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Copyright by Cary Cordova 2005
Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez. -
Ken and Diana Tittle — UFW Volunteers 1971-73
Ken and Diana Tittle — UFW Volunteers 1971-73 Diana and I had gone from Boston to northern New Mexico and southern Colorado the summer of 1970 on a United Presbyterian health education-based community organizing project called the Health Fair project (something that a classmate of mine, Jon Kay, and I had first developed for the Presbyterians in the Southeast in 1966). We worked some with Presbyterian Medical Services down there (PMS, not initials one would choose these days), and were considering returning to northwestern New Mexico the next year. My idea, though, was to offer myself as an organizing focus. I would say to the people in that doctor- deprived area, “Clearly, one doctor cannot meet your medical needs, and I am not going to try, but I am willing to negotiate with a community group to give you a defined amount of physician services — a contract — and you would have to decide how you wanted to use those services and then how you would address the rest of the medical needs.” I was not interested in going there as a solo doctor just to burn out in a year or two, and I was committed to the idea that “community competence” to address their needs was actually more important to the community’s health than whatever a doctor might do, so in principle, the whole thing seemed to make a lot of sense. But in practice, I had never heard of anyone ever doing or even proposing such a thing before, so it was a little daunting. (“Community competence” was, in fact, a concept and term I myself had invented to sell the Health Fair idea to the Presbyterians, something drawing on my Friends Service Committee experiences.) In the meantime, we returned to Boston for another year, where I had a position as a special fellow in ambulatory medicine (and later an instructorship in internal medicine) with the Harvard Teaching Hospitals. -
Reevaluating the Californio Community of San Diego During the Mexican-American War (1846-1848) Jeffrey Swartwood
Mixed Messages and Conflicting Loyalties: Reevaluating the Californio Community of San Diego during the Mexican-American War (1846-1848) Jeffrey Swartwood To cite this version: Jeffrey Swartwood. Mixed Messages and Conflicting Loyalties: Reevaluating the Californio Com- munity of San Diego during the Mexican-American War (1846-1848). Textes & Contextes, Univer- sité de Bourgogne, Centre Interlangues TIL, 2014, Le Temps guérit toutes les blessures : La Ré- sistance à l’autorité de l’Histoire dans les concepts de nation et de nationalisme, https://preo.u- bourgogne.fr/textesetcontextes/index.php?id=1127. halshs-01240041 HAL Id: halshs-01240041 https://halshs.archives-ouvertes.fr/halshs-01240041 Submitted on 8 Dec 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Mixed Messages and Conflicting Loyalties: Reevaluating the Californio Community of San Diego during the Mexican-American War (1846-1848) Jeffrey Swartwood Maître de conférences, CLIMAS (EA4196) [Université de Bordeaux Montaigne], Ecole Polytechnique - Université de Saclay, Département Langues et Cultures, Route de Saclay, 91128 Palaiseau, jswartwood [at] aliceadsl.fr An important element in the identity constructs of both sides of the border, the Mexican-American War of 1846-1848 is often depicted exclusively through a nationalist perspective, with strong associations of victor and vanquished. -
Arte Queer Chicano
bitácora arquitectura + número 34 EN Arte queer chicano Uriel Vides Bautista A mediados de 2015, la Galería de la Raza exhibió un mural que provocó triarcales de la sociedad dominante y los valores hegemónicos de la mascu- una acalorada discusión en redes sociales y actos de iconoclastia contem- linidad chicana, reafirmando a la vez el hecho de ser bilingües y biculturales poránea. El mural, que representa a sujetos queer, fue violentado tres veces dentro de Estados Unidos. consecutivas debido a cierta homofobia cultural que prevalece dentro de un sector de la comunidad chicana asentada en Mission District, San Fran- cisco. El contenido de esta obra y la significación dentro de su contexto son II algunos aspectos que analizaré a lo largo de este breve ensayo. El mural digital de Maricón Collective se inserta dentro de la tradición mu- ralista chicana, que tiene su origen en los murales que “los tres grandes”8 pintaron en distintos lugares de Estados Unidos, pero principalmente en I California. Mientras que en México el muralismo agotaba sus temáticas y La Galería de la Raza se encuentra ubicada en la 24th Street de Mission agonizaba junto con la vida de Siqueiros, en Estados Unidos resurgía de for- District, el barrio más antiguo de San Francisco.1 Este barrio fue en la década ma asombrosa gracias al Movimiento Chicano. Durante este periodo, según de 1970, en palabras del historiador Manuel G. Gonzales, “el corazón del George Vargas, los barrios chicanos de las principales ciudades del país se movimiento muralista de la ciudad”. La proliferación de murales fue impul- cubrieron de coloridos murales que, realizados de manera comunitaria, ex- sada, en este periodo, por los aires renovadores del llamado Movimiento presaban temas fundamentales para la comunidad como la raza, la clase, el Chicano.2 Ante la falta de espacios adecuados para la recreación y el espar- orgullo étnico y la denuncia social.9 cimiento, artistas y activistas chicanos pugnaron por la creación de centros En un ensayo, Edward J. -
Hombres Y Mujeres Muralistas on a Mission: Painting Latino Identities in 1970S San Francisco
HOMBRES Y MUJERES MURALISTAS ON A MISSION: PAINTING LATINO IDENTITIES IN 1970S SAN FRANCISCO Cary Cordova American Studies, Dickinson College, Carlisle, PA Abstract This article argues for the importance of murals as cultural texts, consciously formed to entertain, influence, and solidify local and transnational communities. In 1974, two teams of artists painted two legendary murals in San Francisco’s Mission District: In ‘‘Homage to Siqueı´ros,’’ the trio of male muralists presented themselves as heirs to famed Mexican muralists in order to solidify their indictment of conditions in the Americas and counter the participatory role of their patron, the Bank of America. In ‘‘Latino America,’’ the female muralists rejected the Chicano Movement’s emphasis on Mexican masters and declared a new feminist, collaborative iconography. Although the murals were dissimilar in terms of gender, approach, and aesthetics, the muralists were joined in their desire to unite the local Latino community through their depictions of a shared homeland, or an imagined Latin America. This article highlights the aesthetic, cultural, political, gendered, and regional dimensions of Latino identities through the lens of mural creation. Keywords community murals; pan-Latino identity; iconography; Mission District ‘‘An explosion of human colors’’: Murals in ascendance Since the late 1960s, cultural workers in San Francisco’s predominantly Latino Mission District have produced an impressive body of literary and artistic work. Their creative milieu was important in helping to mobilize the Chicano movement and spurring a Latino cultural renaissance of local and Latino Studies 2006, 4, (356–380) c 2006 Palgrave Macmillan Ltd 1476-3435/06 $30.00 www.palgrave-journals.com/lst Hombres y Mujeres Muralistas on a Mission ------------------------------------------------------------------------------------------------------ Cary Cordova 357 national significance. -
Restoration of a San Diego Landmark Casa De Bandini, Lot 1, Block 451
1 Restoration of a San Diego Landmark BY VICTOR A. WALSH Casa de Bandini, Lot 1, Block 451, 2600 Calhoun Street, Old Town SHP [California Historical Landmark #72, (1932); listed on National Register of Historic Places (Sept. 3, 1971) as a contributing building] From the far side of the old plaza, the two-story, colonnaded stucco building stands in the soft morning light—a sentinel to history. Originally built 1827-1829 by Don Juan Bandini as a family residence and later converted into a hotel, boarding house, olive pickling factory, and tourist hotel and restaurant, the Casa de Bandini is one of the most significant historic buildings in the state.1 In April 2007, California State Parks and the new concessionaire, Delaware North & Co., embarked on a multi-million dollar rehabilitation and restoration of this historic landmark to return it to its appearance as the Cosmopolitan Hotel of the early 1870s. This is an unprecedented historic restoration, perhaps the most important one currently in progress in California. Few other buildings in the state rival the building’s scale or size (over 10,000 square feet) and blending of 19th-century Mexican adobe and American wood-framing construction techniques. It boasts a rich and storied history—a history that is buried in the material fabric and written and oral accounts left behind by previous generations. The Casa and the Don Bandini would become one of the most prominent men of his day in California. Born and educated in Lima, Peru and the son of a Spanish master trader, he arrived in San Diego around 1822.2 In 1827, Governor José María Echeandia granted him and, José Antonio Estudillo, his future father-in-law, adjoining house lots on the plaza, measuring “…100 varas square (or 277.5 x 277.5’) in common,….”3 Through his marriage to Dolores Estudillo and, after her death in 1833, to Refugio Argüello, the daughter of another influential Spanish Californio family, Bandini carved out an illustrious career as a politician, civic leader, and rancher. -
Old Spanish National Historic Trail Final Comprehensive Administrative Strategy
Old Spanish National Historic Trail Final Comprehensive Administrative Strategy Chama Crossing at Red Rock, New Mexico U.S. Department of the Interior National Park Service - National Trails Intermountain Region Bureau of Land Management - Utah This page is intentionally blank. Table of Contents Old Spanish National Historic Trail - Final Comprehensive Administrative Stratagy Table of Contents i Table of Contents v Executive Summary 1 Chapter 1 - Introduction 3 The National Trails System 4 Old Spanish National Historic Trail Feasibility Study 4 Legislative History of the Old Spanish National Historic Trail 5 Nature and Purpose of the Old Spanish National Historic Trail 5 Trail Period of Significance 5 Trail Significance Statement 7 Brief Description of the Trail Routes 9 Goal of the Comprehensive Administrative Strategy 10 Next Steps and Strategy Implementation 11 Chapter 2 - Approaches to Administration 13 Introduction 14 Administration and Management 17 Partners and Trail Resource Stewards 17 Resource Identification, Protection, and Monitoring 19 National Historic Trail Rights-of-Way 44 Mapping and Resource Inventory 44 Partnership Certification Program 45 Trail Use Experience 47 Interpretation/Education 47 Primary Interpretive Themes 48 Secondary Interpretive Themes 48 Recreational Opportunities 49 Local Tour Routes 49 Health and Safety 49 User Capacity 50 Costs 50 Operations i Table of Contents Old Spanish National Historic Trail - Final Comprehensive Administrative Stratagy Table of Contents 51 Funding 51 Gaps in Information and -
Chicano Park and the Chicano Park Murals a National Register Nomination
CHICANO PARK AND THE CHICANO PARK MURALS A NATIONAL REGISTER NOMINATION Josie S. Talamantez B.A., University of California, Berkeley, 1975 PROJECT Submitted in partial satisfaction of The requirements for the degree of MASTER OF ARTS in HISTORY (Public History) at CALIFORNIA STATE UNIVERSITY, SACRAMENTO SPRING 2011 CHICANO PARK AND THE CHICANO PARK MURALS A NATIONAL REGISTER NOMINATION A Project by Josie S. Talamantez Approved by: _______________________________, Committee Chair Dr. Lee Simpson _______________________________, Second Reader Dr. Patrick Ettinger _______________________________ Date ii Student:____Josie S. Talamantez I certify that this student has met the requirements for format contained in the University format manual, and this Project is suitable for shelving in the Library and credit is to be awarded for the Project. ______________________, Department Chair ____________________ Aaron Cohen, Ph.D. Date Department of History iii Abstract of CHICANO PARK AND THE CHICANO PARK MURALS A NATIONAL REGISTER NOMINATION by Josie S. Talamantez Chicano Park and the Chicano Park Murals Chicano Park is a 7.4-acre park located in San Diego City’s Barrio Logan beneath the east-west approach ramps of the San Diego-Coronado Bay Bridge where the bridge bisects Interstate 5. The park was created in 1970 after residents in Barrio Logan participated in a “takeover” of land that was being prepared for a substation of the California Highway Patrol. Barrio Logan the second largest barrio on the West Coast until national and state transportation and urban renewal public policies, of the 1950’s and 1960’s, relocated thousands of residents from their self-contained neighborhood to create Interstate 5, to rezone the area from residential to light industrial, and to build the San Diego-Coronado Bay Bridge. -
National Register of Historic Places Registration Form
NPS Form 10-900 OMB No. 1024-0018 (Expires 5/31/2012) United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in National Register Bulletin, How to Complete the National Register of Historic Places Registration Form. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional certification comments, entries, and narrative items on continuation sheets if needed (NPS Form 10-900a). 1. Name of Property historic name Chicano Park & Chicano Park Monumental Murals other names/site number 2. Location street & number National Ave. at Dewy Street not for publication city or town San Diego vicinity state California code CA county San Diego code 067 zip code 92113 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this nomination _ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property _ meets _ does not meet the National Register Criteria. I recommend that this property be considered significant at the following level(s) of significance: national statewide local Signature of certifying official/Title Date State or Federal agency/bureau or Tribal Government In my opinion, the property meets does not meet the National Register criteria. -
Cosmopolitan Chronicle
politan Chro Cosmo nicle VOL. IV, No. 9 San Diego, Alta California, November 6, 2009 Price: Free Andalucía, Spain, about 1771--his his friend Eustace Barron, British A Father’s Hand family originally coming from vice-consul at Tepic, describing life Italy. As a young man, he went to in California. This long, detailed Cynthia Hernandez South America, making Peru his letter provided information about Archaeological Project Leader/ Interpreter home. There he married twice- the land, people, towns, trade, -Ysidora Blancas in 1796 and etc. Unfortunately the letter Ellen L. Sweet Manuela Morrelos [or Mazuelos] contained no information about Local Historian in 1802. Juan Bandini was born the construction of the new uan Bandini is credited in 1800, his mother dying soon Bandini family home. with building his San Diego afterwards. As a Spanish officer In the following years, José home, the Casa de Bandini, and mariner, José traveled undoubtedly helped with the J extensively. Juan traveled with family, especially when Dolores 1827-1829. The complexity of the building and the huge amount him some of the time and studied died in 1833 leaving six small of work involved meant that in Europe. There were other children. Juan married Refugio Mission Indians were the work children from these marriages. Argüello in 1835 and the family force behind the building. The One son apparently became the continued to expand. In 1837, José neighboring Casa de Estudillo Archbishop of Lima. Another was chosen as baby Margarita’s was built about the same time. son was listed as the godparent godfather. Perhaps the Estudillos and for one of Juan’s sons. -
Mm September
Fine Arts Museums of San Francisco de Young Legion of Honor Media contact: Robin Wander [email protected] 415-750-2604 MEDIA ALERT WHO: Cultural Encounters: Friday Nights at the de Young presents Mission Muralismo in partnership with Precita Eyes Muralists and Intuitive Impressions in partnership with the San Francisco Bay Guardian. WHAT: Mission Muralismo Film Series Part 2 A spectacular evening of rare and cutting edge, old school and new school, Mission film making that shadows and illuminates Mission art and life. The films mirror the themes and history chronicled in the book Street Art San Francisco: Mission Muralismo. The evening’s highlight is the world premiere of Why I Ride: Low and Slow. Filmmakers and artists represented in the film will participate in a Q & A following the screening. Intuitive Impressions includes palm and tarot card readings, henna by Holistic Henna, live music by the gypsy jazz sextet Gaucho, and DJ Schmeejay. WHEN: September 3, 2010 Details: 6:00–8:30 pm Wilsey Court Enjoy French music classics with DJ Schmeejay and live gypsy jazz with Gaucho. 6:00–8:30 pm Wilsey Court Tarot card readings and henna by Holistic Henna in the Piazzoni Murals Room and art-making with Mademoiselle Kim. 7 pm Koret Auditorium Mission Muralismo Film Series Part 2 Street Art San Francisco: Mission Muralismo film series presents Film Series Part 2––Cutting edge independent local films including the world premier of Why I Ride: Low and Slow and rare archival footage of early Mission District murals. Filmmaker discussion follows. WHERE: de Young Museum, Golden Gate Park COST: Programs are free of charge INFO: www.deyoungmuseum.org and www.MISSIONMURALISMO.com ________________________________________________________________________ San Francisco, August 2010––On Friday, September 3, the de Young Museum presents another dynamic program in the ongoing series Mission Muralismo in conjunction with the recently published book Street Art San Francisco: Mission Muralismo, edited by Annice Jacoby for Precita Eyes Muralists, foreword by Carlos Santana (Abrams, 2009). -
Historic Context & Survey Report
City of San Diego Old San Diego Community Plan Area Historic Resources Reconnaissance Survey: Historic Context & Survey Report Prepared for: City of San Diego City Planning & Community Investment Department 202 C Street, MS 5A San Diego, CA 92101 Prepared by: Galvin Preservation Associates Inc. 1611 S. Pacific Coast Hwy., Suite 104 Redondo Beach, CA 90277 310.792.2690 * 310.792.2696 (fax) DRAFT Historic Context Statement Introduction The Old San Diego Community Plan Area encompasses approximately 285 acres of relatively flat land that is bounded on the north by Interstate 8 (I-8) and Mission Valley, the west by Interstate 5 (I-5), and on south and east by the Mission Hills/Uptown hillsides. Old San Diego consists of single and multi-family uses (approximately 711 residents), and an abundant variety of tourist-oriented commercial uses (restaurant and drinking establishments, boutiques and specialty shops, jewelry stores, art stores and galleries, crafts shops, and museums). A sizeable portion of Old San Diego consists of dedicated parkland; including Old Town San Diego State Park, Presidio Park (City), Heritage Park (County), and numerous public parking facilities. There are approximately 26 designated historical sites in the Old San Diego Community Planning Area, including one historic district. Other existing public landholdings include the recently constructed Caltrans administrative and operational facility on Taylor Street. Old San Diego is also the location of a major rail transit station, primarily accommodating light rail service