BGuthrie Photos: CA -- San Diego -- Chicano Park

CA -- San Diego -- Chicano Park:

Bruce Guthrie Photos Home Page: [Click here] to go to Bruce Guthrie Photos home page.

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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[4] CPARK_160724_0007.JPG	[5] CPARK_160724_0010.JPG	[6] CPARK_160724_0016.JPG	[7] CPARK_160724_0020.JPG
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[60] CPARK_160724_0197.JPG	[61] CPARK_160724_0199.JPG	[62] CPARK_160724_0201.JPG	[63] CPARK_160724_0204.JPG
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[92] CPARK_160724_0296.JPG	[93] CPARK_160724_0299.JPG	[94] CPARK_160724_0303.JPG	[95] CPARK_160724_0306.JPG
[96] CPARK_160724_0308.JPG	[97] CPARK_160724_0311.JPG	[98] CPARK_160724_0313.JPG	[99] CPARK_160724_0318.JPG
[100] CPARK_160724_0320.JPG	[101] CPARK_160724_0322.JPG	[102] CPARK_160724_0324.JPG	[103] CPARK_160724_0325.JPG
[104] CPARK_160724_0328.JPG	[105] CPARK_160724_0331.JPG	[106] CPARK_160724_0334.JPG	[107] CPARK_160724_0337.JPG
[108] CPARK_160724_0340.JPG	[109] CPARK_160724_0342.JPG	[110] CPARK_160724_0344.JPG	[111] CPARK_160724_0347.JPG
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[260] CPARK_160724_0782.JPG	[261] CPARK_160724_0785.JPG	[262] CPARK_160724_0788.JPG	[263] CPARK_160724_0790.JPG
[264] CPARK_160724_0792.JPG	[265] CPARK_160724_0795.JPG	[266] CPARK_160724_0797.JPG	[267] CPARK_160724_0800.JPG
[268] CPARK_160724_0804.JPG	[269] CPARK_160724_0808.JPG	[270] CPARK_160724_0811.JPG	[271] CPARK_160724_0814.JPG
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[352] CPARK_160724_1076.JPG	[353] CPARK_160724_1081.JPG	[354] CPARK_160724_1087.JPG	[355] CPARK_160724_1090.JPG
[356] CPARK_160724_1093.JPG	[357] CPARK_160724_1097.JPG	[358] CPARK_160724_1109.JPG	[359] CPARK_160724_1121.JPG
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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. CPARK_160724_0010.JPG: Rest in peace Descanse en Paz Rico Bueno y David Savage Presente Our Love and Prayers To Las Familias
2. CPARK_160724_0016.JPG: Dedicated to the people that died during Operation Gatekeeper Operation Gatekeeper From Wikipedia, the free encyclopedia Operation Gatekeeper was a Clinton-era measure implemented by the U.S. Border Patrol, then a part of the Immigration and Naturalization Service, aimed at halting illegal immigration at the United States–Mexico border near San Diego, California. According to the Immigration and Naturalization Service, the goal of Gatekeeper was "to restore integrity and safety to the nation's busiest border." Operation Gatekeeper was announced in Los Angeles on September 17, 1994, by U.S. Attorney General Janet Reno, and was launched two weeks later on October 1. The United States Congress allocated additional funds to the United States Border Patrol and other agencies. By 1997, the budget of the Immigration and Naturalization Service had doubled to 800 million dollars, the number of Border Patrol agents had nearly doubled, the amount of fencing or other barriers more than doubled, and the number of underground sensors nearly tripled. The merits of Operation Gatekeeper were debated extensively, including during Congressional hearings. The Department of Justice, the INS and the Border Patrol maintained that Operation Gatekeeper was a success. Some Congressmen and others sharply criticized the program and declared it a failure.
3. CPARK_160724_0020.JPG: Paint for me a Pink Sunset so that I know that I am Home Keep dancing So the drums guide to my grandparents. The Earth is where I COME from & will be my return With you I will never die Keep on Keep Strong where there is Justice I will find My Peace Gracias Thank You Tlazocamatl Creator
4. CPARK_160724_0023.JPG: La Tierra Mia San Diego Calif April 22 1970 Stewards of Chicano Park
5. CPARK_160724_0026.JPG: No Retrofitting Saturday March 23, 1996 9am Save Chicano Park!
6. CPARK_160724_0033.JPG: Laura Rodríguez From Wikipedia, the free encyclopedia Laura Fiora Rodríguez Riccomini (1957-1992) was a Chilean political activist from the Humanist Party. In 1989 she became the world's first Humanist to win a seat in parliament, after claiming victory as part of the Concertación coalition. Rodríguez was born in Santiago, Chile. She married Darío Ergas in 1978. She was active in and eventually became president of the Community for Human Development. She graduated as engineer from the University of Chile in 1983. Rodríguez was co-founder of the Humanist Party in 1984 and was president of the party in 1990. She was elected to the Chilean parliament in 1989 for the La Reina-Peñalolén electoral district. Rodríguez died of cancer in 1992.
7. CPARK_160724_0046.JPG: Aztlán From Wikipedia, the free encyclopedia Aztlán (from Nahuatl: Aztlān) is the legendary ancestral home of the Aztec peoples. Aztecah is the Nahuatl word for "people from Aztlan". The place Aztlan is mentioned in several ethnohistorical sources dating from the colonial period, and each of them give different lists of the different tribal groups who participated in the migration from Aztlan to central Mexico, but the Mexica who went on to found Mexico-Tenochtitlan are mentioned in all of the accounts. Historians have speculated about the possible location of Aztlan and tend to place it either in northwestern Mexico or the southwest US, although there are doubts about whether the place is purely mythical or represents a historical reality.
8. CPARK_160724_0136.JPG: El respeto al Derecho Ajeno es La Paz [Respect for the Right of Others is La Paz] Benito Juárez From Wikipedia, the free encyclopedia Benito Pablo Juárez García; 21 March 1806 – 18 July 1872) was a Mexican lawyer and liberal politician of Zapotec origin from Oaxaca. He was of poor, rural, indigenous origins, but he became a well-educated, urban professional and politician, who married a socially prominent white woman of Oaxaca City. He identified primarily as a Liberal and he wrote only briefly about his indigenous heritage. He was a key figure in the group of professional men in Mexico's indigenous south, and his rise to national power had its roots in that power base. He was not an intellectual star of Mexican liberalism or strict ideologue, but he was a brilliant, pragmatic, and ruthless politician. He held power during the tumultuous decade of the Liberal Reform and French invasion. In 1858 as head of the Supreme Court, he became president of Mexico by the succession mandated by the Constitution of 1857 when moderate liberal President Ignacio Comonfort was forced to resign by Mexican conservatives. Juárez remained in the presidential office until his death by natural causes in 1872. He weathered the War of the Reform (1858–60), a civil war between Liberals and Conservatives, and then the French invasion (1862–67), which was supported by Mexican Conservatives. Never relinquishing office although forced into exile in areas of Mexico not controlled by the French, Juárez tied Liberalism to Mexican nationalism and maintained that he was the legitimate head of the Mexican state, rather than Emperor Maximilian. When the French-backed Second Mexican Empire fell in 1867, the Mexican Republic with Juárez as president was restored to full power. In his success in ousting the European incursion, Latin Americans considered his a "second struggle for independence, a second defeat for the European powers, and a second reversal of the Conquest." He is now "a preeminent symbol of Mexican nationalism and resistance to foreign intervention." Juárez was a practical and skilled politician, controversial in his lifetime and beyond. He had an understanding of the importance of a working relationship with the United States, and secured its recognition for his liberal government during the War of the Reform. Although many of his positions shifted during his political life, he held fast to particular principles including the supremacy of civil power over the Catholic Church and the military; respect for law; and the de-personalization of political life. In his lifetime he sought to strengthen the national government and asserted the supremacy of central power over states, a position that both radical and provincial liberals opposed. He was the subject of polemical attacks both in his lifetime and beyond. However, the place of Juárez in Mexican historical memory has enshrined him as a major Mexican hero, beginning in his own lifetime. His birthday (March 21) is a national public and patriotic holiday in Mexico, the only individual Mexican so honored. In the assessment of Mexican historian Enrique Krauze, "Without taking [Juárez's] biography into account, we cannot hope to understand either the triumph of the Liberals in the War of the Reform or the course of Mexican history in the nineteenth century."
9. CPARK_160724_0170.JPG: "The Elders" (c) Mario Torero, 1999
10. CPARK_160724_0179.JPG: Varrio Si, Yonkes No!
11. CPARK_160724_0192.JPG: Ser humano La Tierra Mía [Human Being My Land]
12. CPARK_160724_0201.JPG: Barrio Logan It's the Most Polluted Barrio Logan, San Diego From Wikipedia, the free encyclopedia Barrio Logan is a neighborhood in south central San Diego, California. It is bordered by the neighborhoods of East Village and Logan Heights to the north, Shelltown and Southcrest to the east, San Diego Bay to the southwest, and National City to the southeast. Interstate 5 forms the northeastern boundary. The Barrio Logan Community Plan Area comprises approximately 1,000 acres, of which slightly more than half is under the jurisdiction of the Port of San Diego or the United States Navy rather than the city of San Diego. The community is subject to the California Coastal Act.
13. CPARK_160724_0209.JPG: Raza Si. Migra No. [Race Yes. Migration No.]
14. CPARK_160724_0212.JPG: We Save Our Murals!
15. CPARK_160724_0303.JPG: Nuestra Tierra Sagrada Parque Chicano Aztlan [Our land is sacred, Chicano Park Aztlan]
16. CPARK_160724_0308.JPG: I am Joaquin: an Epic Poem, 1967 I am Joaquin, Lost in a world of confusion, Caught up in a whirl of an gringo society, Confused by the rules, Scorned by attitudes, Suppressed by manipulations, And destroyed by modern society. My fathers have lost the economic battle and won the struggle of cultural survival. ... I am the masses of my people and I refuse to be absorbed. I am Joaquin The odds are great but my spirit is strong My faith unbreakable My blood is pure I am Aztec Prince and Christian Christ I SHALL ENDURE! I WILL ENDURE!
17. CPARK_160724_0318.JPG: Save Our Barrios Coalition
18. CPARK_160724_0325.JPG: San Diego Lowrider Council
19. CPARK_160724_0331.JPG: La union hace nuestra fuerza [The union is our strength]
20. CPARK_160724_0361.JPG: "La virgen" (c) Mario Torero April 1978
21. CPARK_160724_0378.JPG: Diego Rivera From Wikipedia, the free encyclopedia Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez, known as Diego Rivera (December 8, 1886 – November 24, 1957) was a prominent Mexican painter. His large frescoes helped establish the Mexican mural movement in Mexican art. Between 1922 and 1953, Rivera painted murals among others in Mexico City, Chapingo, Cuernavaca, San Francisco, Detroit, and New York City. In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York. Rivera had a volatile marriage with fellow Mexican artist Frida Kahlo. José Clemente Orozco From Wikipedia, the free encyclopedia José Clemente Orozco (November 23, 1883 – September 7, 1949) was a Mexican painter, who specialized in political murals that established the Mexican Mural Renaissance together with murals by Diego Rivera, David Alfaro Siqueiros, and others. Orozco was the most complex of the Mexican muralists, fond of the theme of human suffering, but less realistic and more fascinated by machines than Rivera. Mostly influenced by Symbolism, he was also a genre painter and lithographer. Between 1922 and 1948, Orozco painted murals in Mexico City, Orizaba, Claremont, California, New York City, Hanover, New Hampshire, Guadalajara, Jalisco, and Jiquilpan, Michoacán. His drawings and paintings are exhibited by the Carrillo Gil Museum in Mexico City, and the Orozco Workshop-Museum in Guadalajara. Orozco was known for being a politically committed artist and promoted the political causes of peasants and workers. David Alfaro Siqueiros From Wikipedia, the free encyclopedia David Alfaro Siqueiros (born José de Jesús Alfaro Siqueiros, December 29, 1896, in Chihuahua – January 6, 1974, in Cuernavaca, Morelos) was a Mexican social realist painter, better known for his large murals in fresco. Along with Diego Rivera and José Clemente Orozco, he established "Mexican Muralism." He was a Marxist-Leninist in support of the Soviet Union and a member of the Mexican Communist Party who participated in an unsuccessful attempt to assassinate Leon Trotsky in May 1940. His surname would normally be Alfaro by Spanish naming customs; like Picasso (Pablo Ruiz y Picasso) and Lorca (Federico García Lorca), Siqueiros used his mother's surname. It was long believed that he was born in Camargo in Chihuahua state, but in 2003 it was proven that he had actually been born in the city of Chihuahua, but grew up in Irapuato, Guanajuato, at least from the age of six. The discovery of his birth certificate in 2003 by a Mexican art curator was announced the following year by art critic Raquel Tibol, who was renowned as the leading authority on Mexican Muralism and who had been a close acquaintance of Siqueiros. Siqueiros changed his given name to "David" after his first wife called him by it in allusion to Michelangelo's David. Another factual confusion is the year of his birth: he was born in 1896, but many sources state 1898 or 1899. Frida Kahlo From Wikipedia, the free encyclopedia Frida Kahlo de Rivera (July 6, 1907 – July 13, 1954), born Magdalena Carmen Frida Kahlo y Calderón, was a Mexican painter, who mostly painted self-portraits. Inspired by Mexican popular culture, she employed a naïve folk art style to explore questions of identity, postcolonialism, gender, class, and race in Mexican society. Her paintings often had strong autobiographical elements and mixed realism with fantasy. In addition to belonging to the post-revolutionary Mexicanidad movement, which sought to define a Mexican identity, Kahlo has been described as a Surrealist or magical realist. Her work has been celebrated internationally as emblematic of Mexican national and indigenous traditions, and by feminists for what is seen as its uncompromising depiction of the female experience and form.
22. CPARK_160724_0431.JPG: Jose Elijio Gomez May 10, 1941 - January 12, 1985 In memory of your commitment to the struggle of Chicano Park and your sacrifice for the betterment of Barrio Logan...
23. CPARK_160724_0453.JPG: Preferible morir de pie... que nivia de rodillas [Better to die standing than to live on your knees]
24. CPARK_160724_0596.JPG: Ancestors... Maxx Moses. 2013
25. CPARK_160724_0707.JPG: General Emiliano Zapata "Chauhtli del sur" Agosto 8, 1879-Abril 10, 1919 Escultor: Arturo Ruano Singh Emiliano Zapata From Wikipedia, the free encyclopedia Emiliano Zapata Salazar (8 August 1879 – 10 April 1919) was a leading figure in the Mexican Revolution, the main leader of the peasant revolution in the state of Morelos, and the inspiration of the agrarian movement called Zapatismo. Zapata was born in the rural village of Anenecuilco in Morelos State, where peasant communities were under increasing pressure from the small landowning class who monopolized land and water resources for sugar cane production with the support of dictator Porfirio Díaz. Zapata early on participated in political movements against Diaz and the landowning hacendados, and when the Revolution broke out in 1910 he was positioned as a central leader of the peasant revolt in Morelos. Cooperating with a number of other peasant leaders he formed the Liberation Army of the South of which he soon became the undisputed leader. Zapata's forces contributed to the fall of Díaz, defeating the Federal Army in the Battle of Cuautla, but when the revolutionary leader Francisco I. Madero became president he disavowed the role of the Zapatistas, denouncing them as simple bandits. In November 1911, Zapata promulgated the Plan de Ayala which called for substantial land reforms, redistributing lands to the peasants. Madero sent the Federal Army to root out the Zapatistas in Morelos. Madero's generals employed a scorched earth policy, burning villages and forcibly removing their inhabitants, and drafting many men into the Army or sending them to forced labor camps in Southern Mexico. This strengthened Zapata's standing among the peasants and Zapata was able to drive the forces of Madero led by Victoriano Huerta out of Morelos. In a coup against Madero in February 1913, Huerta took power in Mexico, but a coalition of Constitutionalist forces in Northern Mexico led by Venustiano Carranza, Álvaro Obregón and Francisco Villa ousted him in July 1914 with the support of Zapata's troops. Zapata did not recognize the authority that Carranza asserted as leader of the revolutionary movement, continuing his adherence to the Plan de Ayala. In the aftermath of the revolutionaries' victory over Huerta, they attempted to sort out power relations in the Convention of Aguascalientes. Zapata and Villa broke with Carranza, and Mexico descended into civil war among the winners. Dismayed with the alliance with Villa, Zapata focused his energies on rebuilding society in Morelos which he now controlled, instituting the land reforms of the Plan de Ayala. As Carranza consolidated his power and defeated Villa in 1915, Zapata initiated guerrilla warfare against the Carrancistas, who in turn invaded Morelos, employing once again scorched earth tactics to oust the Zapatista rebels. Zapata once again retook Morelos in 1917 and held most of the state against Carranza's troops until he was killed in an ambush in April 1919. After his death Zapatista generals aligned with Obregón against Carranza and helped drive Carranza from power. In 1920, Zapatistas managed to obtain powerful posts in the governance of Morelos after Carranza's fall. They instituted many of the land reforms envisioned by Zapata in Morelos. Zapata remains an iconic figure in Mexico, used both as a nationalist symbol as well as a symbol of the neo-Zapatista movement.
26. CPARK_160724_0770.JPG: But I Am Somebody by Joann Little I am somebody I may be down today but I am somebody. I may be considered the lowest on earth but I am somebody. I won't allow myself to sit in solitude 'cause I am somebody I grew up in low rent housing I lived in the slums but I am somebody. I killed a white in self defense but the jury doesn't care when he came for me, to prepare trial, he said she deserves the chair Every hurting pain I feel I pick up the morning news I see my name on the front I begin to wonder They make me feel less than somebody but in the end I will have freedom. Joann Little, an African-American from the rural south, was put on trial in 1975 for murdering a white deputy sheriff who attempted to rape her while in county jail. Her trial drew national attention. She was the first black female in US history to successfully assert the right of self-defense against white rapist. Of her acquittal, Little stated, "My life is in the hands of the people." Joan Little From Wikipedia, the free encyclopedia Joan Little (pronounced "Jo Ann") (born 1953) is an African-American woman whose trial for the 1974 murder of a white prison guard at Beaufort County Jail in Washington, North Carolina, became a cause célèbre of the civil rights, feminist, and anti-death penalty movements. Little was the first woman in United States history to be acquitted using the defense that she used deadly force to resist sexual assault. Her case also has become classic in legal circles as a pioneering instance of the application of scientific jury selection.
27. CPARK_160724_0800.JPG: This Chicano Park freeway pillar is entitled "Ninos Del Mundo" or "Children of the World." Charles W. Felix "Cat"and Norma Montoya, a muralist team based in Los Angeles, shared a struggle in common with San Diego's Logan Heights community and the local muralists Victor Ochoa and Mario Torero in the early 1970's. Together they sought to embolden their communities through public art and organized a mural exchange between San Diego and Boyle Heights. While Cat and Norma have completed numerous murals in the Estrada Courts Mural Movement, this pillar is a special gift to the Barrio Logan community. At first glance, the mural is distinctive for its lively colors, playful shapes and graphic impact. Artist's Charles W. Felix and Norma Montoya shared the same philosophy: to paint with optimism, illuminating the beauty of childlike wonder and fantasy despite life's obstacles. On the Pillar you will see that among the many colored books of knowledge the Artist's arm reaches out to paint a polycephalous Quetzalcoatl, the "feathered serpent"; a Mesoamerican deity who is the source for art, poetry, and all knowledge. Below, nature takes the form of mushrooms growing around bold upturned arrows signifying higher consciousness. The uplifting moral for the heavy-hearted is that the power of creativity can help us achieve a superior way of life that is beautiful and wise.
28. CPARK_160724_0855.JPG: Ruben DeAnda Gilberto Ramirez Clemente Orozco Pablo Picaso D. Alfaro Siqueiros Diego Rivera
29. CPARK_160724_0867.JPG: Diego Rivera Frida Kahlo Fidel Castro Ernesto Che Guevara
30. CPARK_160724_0878.JPG: Delores Huerta Reies Tijerina Ruben Salazar Joaquin Murrieta Francisco I. Madero
31. CPARK_160724_0880.JPG: Joaquin Murrieta Francisco I. Madero Miguel Hidalgo Jose Maria Morelos Benito Juarez Francisco Villa Genaro Vazquez Emiliano Zapata
32. CPARK_160724_0890.JPG: Raza 4 Bernie Sanders
33. CPARK_160724_0898.JPG: God is laughing
34. CPARK_160724_0991.JPG: Let me say at the risk of seeming ridiculous, that the true revolutionary is guided by great feelings of love. Che
35. CPARK_160724_1003.JPG: Logan Heights Veterans Memorial Honor Them By Remembering
36. CPARK_160724_1053.JPG: The Undocumented Worker A contemporary story through symbolism. Read the painting from bottom to top. (1) The immigration helicopter looks for the undocumented worker who is already a part of the landscape. People are caught and put in boxes on display. (2) The road and the fence, two realities of movement; to be caught and eaten by the border guards (monsters) or to fall from the sun's heat like Icarus. (3) After crossing the border, we possess two hearts. One on fire for the homelands. The other of water for the river. We are bodies without faces. Monsters and disaster follow us through the mountains, our struggle turns to flames. (4) Change is not a dream. We can lead over history and monsters. Not even the stars are out of reach. (5) Barriers, walls and fences must be moved, must be broken down; between countries, between people, between neighborhoods.
37. CPARK_160724_1061.JPG: The Life of Pedro J. Gonzalez Telegraph operator for Pancho Villa. Popular radio and recording star in Los Angeles. Sent to San Quentin on false charges. Released from San Quentin in 1941 becomes a broadcasting pioneer in the border region of San Diego and Tijuana.
38. CPARK_160724_1072.JPG: The Life of Pedro J. Gonzalez Telegraph operator for Pancho Villa. Popular radio and recording star in Los Angeles. Sent to San Quentin on false charges. Released from San Quentin in 1941 becomes a broadcasting pioneer in the border region of San Diego and Tijuana.
39. CPARK_160724_1093.JPG: The V in barrio symbolizes victory over oppressive environmental conditions. Varrio Si Yonkes No! represents the intent of our community to take back our enviroment [sic] from industry. With the uplifting of the barrio, the people as well must be uplifted, or the renaissence [sic] is not complete. Los vatos al varrio. Viva la Raza
Wikipedia Description: Chicano Park
From Wikipedia, the free encyclopedia

Chicano Park is a 32,000 square meter (7.9 acre) park located beneath the San Diego-Coronado Bridge in Barrio Logan, a predominantly Mexican American and Mexican-immigrant community in central San Diego, California. The park is home to the country's largest collection of outdoor murals (67), as well as various sculptures, earthworks, and an architectural piece dedicated to the cultural heritage of the community. For the magnitude and historical significance of the murals, the park was designated an official historic site by the San Diego Historical Site Board in 1980, and its murals were officially recognized as public art by the San Diego Public Advisory Board in 1987. There is currently a movement to have the park listed on the National Register of Historic Places due to its association with the Chicano civil rights movement. Chicano Park, like Berkeley's People's Park, was the result of a militant (but nonviolent) people's land takeover. Every year on April 22 (or the nearest weekend), the community celebrates the anniversary of the park's takeover with a festival called Chicano Park Day.

Background:

The area was originally known as the East End, but was renamed Logan Heights in 1905. The first Mexican settlers there arrived in the 1890s, followed soon after by refugees fleeing the violence of the Mexican Revolution, which began in 1910. So many Mexican immigrants and Mexican-Americans settled there that the southern portion of Logan Heights eventually became known as Barrio Logan.

The original neighborhood reached all the way to San Diego Bay, with waterfront access for the residents. This access was denied beginning with World War II, when Naval installations blocked local access to the beach. The denial of beachfront access was the initial source of the community's resentment of the government and its agencies.

This resentment grew in the 1950s, when the area was rezoned as mixed residential and industrial. Junk dealers and repair shops moved into the barrio, creating air pollution, loud noise, and aesthetic conditions unsuitable for a residential area. Resentment continued to grow as the barrio was cleaved in two by Interstate 5 in 1963 and was further divided in 1969 by the elevated onramps of the San Diego-Coronado Bridge.

At this time, Mexicans were accustomed to not being included in discussions concerning their communities and to not being represented by their officials, so no formal complaint was lodged. This attitude began to change in the turbulent decade that brought the demands of African Americans, women, and other oppressed peoples for equality and full inclusion in American society. As the various campaigns coalesced under the banner of the Chicano Movement (for the right to organize and collectively bargain, led by César Chávez and Dolores Huerta of the United Farm Workers, the rights to the full benefits guaranteed to veterans, led by Dr. Hector P. Garcia of the American G.I. Forum, the right to equal and pertinent education, led by the student group MEChA which issued the Plan de Santa Barbara, for the rights of Mexicans guaranteed under the Treaty of Guadalupe Hidalgo, (especially land grants and bilingual education) under Reies Tijerina, and for recognition of the historic contributions of Mexican-Americans and the validity of Mexican culture) so too did the political awareness and sense of empowerment grow in Barrio Logan.

Community residents had long been demanding a park. The City Council had promised to build a park to compensate for the loss of over 5,000 homes and businesses removed for the construction of the freeway and bridge, as well as for the aesthetic degradation created by the overhead freeways supported by a forest of gray concrete piers. In June 1969, the park was officially approved and a site was designated, but no action was taken to implement the decision.

The takeover:

The final straw came on April 22, 1970. On his way to school, a community member, San Diego City College student, and Brown Beret member named Mario Solis noticed bulldozers next to the area designated for the park. When he inquired about the nature of the work being undertaken, he was shocked to discover that, rather than a park, the crew was preparing to build a parking lot next to a building that would be converted into a California Highway Patrol station. Since the community had many grievances against the local police and law enforcement in general already, this was considered a slap in the face.

Solis went door-to-door to spread the news of the construction. At school, he alerted the students of Professor Gil Robledo's Chicano studies class, who printed fliers to bring more attention to the affair. At noon that day, Mexican-American high school students walked out of their classes to join other neighbors who had already congregated at the site. Some protesters formed human chains around the bulldozers, while others planted trees, flowers, and cactus. Solis is reported to have commandeered a bulldozer to flatten the land for planting. Also, notably, the flag of Aztlán was raised on an old telephone pole, marking a symbolic 'reclamation' of land that was once Mexico by people of Mexican descent.

Construction was called off. The occupation of Chicano Park lasted for twelve days while community members and city officials held meetings to negotiate the creation of a park. During that time, groups of people came from Los Angeles and Santa Barbara to join the occupation and express solidarity. Not trusting the city and fearing that abandoning the land would be tantamount to conceding defeat, an agreement was finally reached whereby the recently-formed Chicano Park Steering Committee would call for an end to the occupation of the land while remaining just on the outskirts of the disputed terrain to provide residents with information regarding the project. They maintained that the park would be re-occupied if negotiations failed.

At a meeting on April 23, a young artist named Salvador Torres, recently returned to the barrio from the College of Arts and Crafts in Oakland, shared his vision of adorning the freeway support pillars with beautiful artworks. For this reason, he is sometimes referred to as "the architect of the dream". Finally, on July 1, 1970, $21,814.96 was allocated for the development of a 1.8 acre (7,300 m²) parcel of land.

The creation of the park:

While the creation of the park was actually begun on the day of the takeover, with minor landscaping improvements being undertaken by the occupiers, the murals that brought the park to international prominence were not begun until 1973. With few exceptions, the artists and their organizations raised the money necessary to purchase muriatic acid to wash the columns, rubber surface conditioner to prepare them, and paints. Artists were invited from all over the state, with notable contributions from the Royal Chicano Air Force of Sacramento and the mural team of Charles "Gato" Félix, responsible for the murals at the Estrada Courts in Los Angeles. Many non-Chicanos also participated. Over time, more vegetation was planted to create a cactus garden.

Other additions to the park have been piecemeal, as the comprehensive "Master Plan" put forth by the artists was never adopted by the city. The park has expanded, and currently reaches almost "all the way to the bay", a phrase used as the rally cry to extend the park in a 1980 campaign. The Cesar E. Chávez Waterfront Park was begun in 1987 and completed in 1990, finally restoring beach access to the community. With the exception of three city blocks that are not part of the park, the original goal of creating a community park with waterfront access has been achieved. Major mural restoration projects began in 1984, and the murals have been restored almost continuously ever since.

Controversy:

Since its inception, Chicano Park has been a source of controversy. There have been disputes within the community about who decides who gets to paint the murals, what imagery should be represented, who is responsible for the restoration of the murals, etc. But conflicts between the community artists and city and state officials have been much greater. Conflicts have also arisen between defenders of the park and neighboring Anglo-American communities.

In 1979, a San Diego Grand jury investigation forced the Chicano Federation to vacate the park building.
A demand for a kiosk, called the Chicano Park kiosko and based on traditional community centers in Mexican villages, was fulfilled in 1977, but only after a great deal of bureaucratic wrangling and disputes over the style of architecture to be used. Councilman Jess Haro wanted the architecture to be in the Spanish style, while the barrio residents wanted an indigenous style of architecture. The community won out, and today the kiosko resembles a Mayan temple.
Barrios Sí, Yonkes No. An effort to have the barrio re-zoned as (only) residential provoked the ire of the neighborhood junk dealers, who vandalized the murals, especially the "Barrio Sí, Yonkes No" mural created to commemorate the effort.
In the mid-1990s, Caltrans decided to retrofit the San Diego-Coronado Bay Bridge to make it earthquake safe. Fearing that the murals would be damaged or destroyed, the community mobilized to stop the project to protect the murals from what they viewed as official insensitivity to the history and culture the murals represented. Eventually, a compromise was reached whereby the murals would be boarded over with plywood to protect their surfaces from damage during the retrofitting process, and would be restored to their previous condition afterward.
A 2003 plan to renovate the park was stalled when Caltrans objected to the word "Aztlán", which for years had been spelled out in rocks on the park's grounds. Calling the term "militant", they claimed that using federal funding for the project would violate Title VI of the Civil Rights Act of 1964 by showing preference to Mexicans and Mexican Americans. However, Caltrans district director Pedro Orso, after consultations with civil rights experts from within the agency and from the Federal Highway Administration, decided that the word did not violate the law, and the $600,000 grant was allowed to go through.
There are communist motifs scattered throughout several of the murals, including portraits of Fidel Castro and Che Guevara, and references to Salvador Allende, and Ho Chi Minh (as "Tio Ho" a take on his Vietnamese nickname, "Bac Ho" which means "Uncle Ho").
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