Nuevas Voces Artes de Mexico en Utah

Life in Utah can be hard for Latinos where the majority of the population is White. Latinos in Utah sometimes experience subtle and overt racism and discrimination. At the same time, Mexican Americans can also feel like outsiders when they travel to Mexico. In this episode we examine this dichotomy, and also explore the work of Linda Vallejo, a Chicana artist from California, who produces art to challenge cultural normalization and implicit bias about skin color with her series "Make ‘Em All Mexican." She also challenges the internalized negative attitudes some Latinos have about having brown skin.
https://www.artesmexut.org/part20

The term “cholo” generally carries a negative connotation. It refers to a Mexican American gangster. But the fashion, the tattoos, the Old English graffiti writing style, the lowriders, and the music of “cholo culture” is popular beyond the negative stigma and stereotypes. In this episode Luis, Xris, and Jorge discuss what cholo culture means from a “Utahno” perspective.
https://www.artesmexut.org/part19

Artistic expression has remained central to exploring and defining the Chicano identity since the beginnings of the Chicano Movement of the late 1960s. In many ways, being Chicano is about standing up for social equality, resisting discrimination, honoring one's Latino/a and indigenous heritage, and defying negative portrayals of Mexican-American culture. In this episode we explore what it means to be Chicano, and the work of the Asco art collective of the 1970s.
https://www.artesmexut.org/part18

The Tlatelolco Massacre that occurred just before Mexico City hosted the 1968 Olympic Games was part of the Mexican government's so-called “Dirty War.” The event helped to trigger new forms of political art and artistic expressionism in Mexico that vented the frustrations of the surviving generation. While there were some government efforts to reconcile what happened only decades later, the seemingly never-ending injustices in the following decades fomented distrust and mass migration by Mexicans seeking better lives in the U.S. and elsewhere.
https://www.artesmexut.org/part17

The post WWII period – also coined “the Mexican Miracle” – was a prosperous time for some Mexicans, but not for everyone. While urban Mexicans enjoyed new affluence and growth, farmers and indigenous peoples struggled to make ends meet. But this cultural renaissance didn’t last long before young Mexicans challenged older norms and ideas about artistic expression and politics.
https://www.artesmexut.org/part16

In 1932, David Siqueiros was asked to paint a romantic vision of Mexico on a wall in Los Angeles. He instead flipped the metaphorical bird at American imperialism and its history of subjugating indigenous peoples. That ultimately got him deported, and his mural was whitewashed from public view - until recently. The reemergence of América Tropical, and Siqueiros' work more generally, offers observers a chance to consider alternative narratives that challenge the official history. And while some murals today still draw controversy or get covered up, public murals remain powerful platforms for offering passersby different ways of seeing the world.
https://www.artesmexut.org/part15