It is surprising that many people do not know the role of Denver in the history of the Chicano Movement. After long periods of enduring civil rights abuses and displacement, Mexican American protesters began to advocate for fair treatment free from discrimination across the nation. This became known as “El Movimiento,” and much of its roots can be found in Denver, Colorado.
The History Colorado museum located in Denver dedicated much time to discussing its Latin American histories. One core exhibition explores the rich and long history of Mexicans and Mexican Americans in the state. The exhibit titled “El Movimiento,” created with the assistance of community advisors, explores the role of Coloradans in the civil rights movements and struggles for justice that occurred in the 1960s and 1970s. In-person and hybrid programming such as the following discussion panel served to contextualize the movements in Denver while also alluding to how art became integral to the campaigns for justice.
The Spiritual Plan of Aztlan
The Spiritual Plan of Aztlan was written by Rudolfo “Corky” Gonzalez (1928-2005) in Denver and presented at a Chicano Youth convention in 1969. The manifesto inspired the Chicano community to confront civil rights abuses towards the community. The term Aztlan refers to the mytho-historical origins of the Aztecs before settling in what is today known as Mexico City.
A reclamation of Indigenous origin was associated with the Chicano Movement, as was also the case in the earlier fight for independence in Mexico. Scholars hypothesized Aztlan to be in the Southwestern United States, furthering the political sentiments of Mexican Americans in this region not having crossed the U.S Mexico border; rather, the border crossed them. The concept of a “return to occupied Aztlan” is conveyed in the following excerpt:
In the spirit of a new people that is conscious not only of its proud historical heritage but also of the brutal “gringo” invasion of our territories. We, the Chicano inhabitants, and civilizers of the northern land of Aztlan, from whence came our forefathers, reclaiming the land of their birth and consecrating the determination of our people of the sun, declare that the call of our blood is our power, our responsibility, and our inevitable destiny.
Tensions between the city of Denver and the Chicano community reached its peak when students at West High School in Denver were beaten by police for protesting their unfair treatment in an event that became known as the 1969 “West High School Blowouts.” After this, it became increasingly important for Denver students to have other places to learn and grow. Mural projects became one solution among many where students inhibited by discrimination in the public school system could continue to learn important local histories about their heritage.
Replicas of Chicano murals in Denver took up prominent wall space in History Colorado’s core exhibition, “El Movimiento,” demonstrating art’s centrality in the struggle for justice and civil rights. The mural as an artform offers a unique way of reaching people otherwise excluded from opportunities to learn and be proud of their histories. In addition to being engaging to viewers, murals were and still continue to be a place where collaboration and creativity thrive. Case studies of several murals are one of the best ways to uncover their potential as artist studios, where burgeoning young artists and learn painting techniques and the histories embedded in their compositions, furthering the urgency to preserve them.