Murals and drawings outside of churches and businesses
represent the most common form of public art in the Byzantine-Latino Quarter,
like in other Latino neighborhoods. Mural painting in the barrio dates
back to the 1960s as a direct reaction to the social, economic, and political
conditions of the Chicano community. Murals, as opposed to art in traditional
art galleries, became popularized because of their accessibility for everyone
in the community. Their purpose is to cultivate an awareness of cultural
identity, and empower the community. They usually depict a people's history
and struggles for better futures as well as religious motifs, which are
extremely common in Latino public art.
Among the most popular Latino muralism motifs
found in the Byzantine-Latino Quarter are:
(1) Latino history and immigration
Two murals in the neighborhood depict these themes.
The first one is located outside of a fabrics and textiles business. It
depicts images from the history of Mexico such as:
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The Mixtecs, that is the
people who appeared in the highlands of the Oaxaca region about the 9th
century A.D., and later spread over a fairly extensive territory, which
included the present provinces of Oaxaca, Puebla, Tlaxcala, and Guerrero.
Mixtec images are very popular in Latino muralism. See for instance the
mural Eight-Deer Ocelot-Claw, Mixtec Chieftain or Life of An Aztec King,
Edward R. Roybal Comprehensive Health Center, exterior, 245 South Fetterly
Ave. Or go to Mixteca
Royal.
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La Mujer Dormida,
that is the romantic image of a sleeping woman in the arms of a pre-Columbian
warrior. This image is often seen in Chicano murals. For instance, an untitled
Sleeping Woman mural can be found in Higland Park/Northeast, Los Angeles
County.
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The Mexican Revolution and
its heroes, such as Emiliano Zapata and Francisco Villa.
The second mural, located outside of a market, depicts
images of immigrants in the United States. The
Statue of Liberty, which can often be found in Latino muralism, appears
as a mirage for the immigrant. The rest of the mural illustrates some of
the activities performed by poor immigrants from Central and South America.
Among such activities are the selling of oranges, working for the garment
industry, the recycling of cans. Both the strong work ethic (see the woman
sewing) and the importance of tradition and family (see the woman cooking
tortillas and the pregnant woman pushing a stroller) typical of this people
are represented in the mural. Immigration and Latino history and life in
the U.S. represent the themes of a variety of Los Angeles murals. See,
for example,Chicano Time Trip, CMP/Crocker Bank, 2601 North Broadway,
Lincoln Heights; Our Past, Our Present, and Our Future, Pan-American
Bank, 3626 East 1st Street; Tome Conciencia (Drink Awareness), One
Stop Immigration and Educational Center, 3600 Whittier Blvd.
2) The Virgin of Guadalupe, and other religious
images, such as Jesus Christ. The image of a praying Virgin of Guadalupe
towering over the upraised arms of Juan Diego is commonplace in barrio
art, including murals. There are a number of images of the Virgin of Guadalupe
in the Byzantine-Latino Quarter. Two images can be found nearby St.
Thomas Church; another one can be found by the mural on the history
of Mexico; another one is illustrated near the mural on immigration.
The Virgin of Guadalupe is Mexico's patron saint. According to legend,
a dark-skinned Virgin Mary appeared before campesino Juan Diego in 1531
on Tepeyac Hill, the site of the former temple of Tonantzin, an Aztec earth
goddess -- the virgin mother of many of the Aztecs' gods. The Virgin asked
that a church be built there, and as a sign left a print of roses on Juan
Diego's cloak. Indians came from all over to pay homage, calling the Virgin
Tonantzin. The Virgin of Guadalupe can be found in other murals in Los
Angeles County, such as:
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Virgin's Seed, Our Lady of Guadalupe Church,
David Lee Market, exterior, Hazard Ave at Hammel St.
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Our Lady of Guadalupe, Community Development
Commission, Brooklyn and Mednik avenues
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Virgin
of Guadalupe, 12th Street and Union
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Virgin
of Guadalupe, The Southside of Olympic Blvd. east of the Harbor Freeway
3) The chief Toltec god Quetzalcoatl,
the feathered serpent, whose name indicated the union of heaven and earth.
The myth of Quetzalcoatl grew from memories of a historic person, Topiltzin
Quetzalcoatl, who became chief priest and leader of the Toltecs in 968,
or 980. Gradually Quetzalcoatl began to represent "He who was and will
rise one day to reign again." The myth, which was spread throughout
ancient Mexico, depicted him as a bearded white man who would come from
the east. When Cortes disembarked in the year 1 Acatl (1519), which was
dedicated to Quetzalcoatl, people took him at first for the god who had
returned to rule his kingdom. Other images of the god can be found in Los
Angeles County. See, for example, Quetzalcoatl, Avenue 20 and Mozart,
Lincoln Heights; Read Between the Lines, 4539 East Olympic Blvd;
Quetzalcoatl-Plumed Serpent, rear of corner Mercado, City Terrace
Drive and Miller.
References:
Dunitz, Robin J., Street Gallery, Los
Angeles:, RJD Enterpises, 1993
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