Running Head: THE CHICANO MOVEMENT
The Chicano Movement: Literature Review
Irving Caamano
University of Texas El Paso
Sabrina Vargas
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Abstract
The Chicano movement began in Los Angeles in the 1960s when César Chávez and
agricultural workers organized boycotts and other actions in order to protest police
brutality, to raise consciousness about student and community issues, and to promote
justice. Over the years, the range of concerns grew to include the treatment of workers
and the right to unionize, particularly for migrant farm workers. The movement
demonstrated a desire to address socioeconomic issues and to make constructive changes
in U.S. society, with the overall goal of achieving Mexican-American empowerment.
José Ańgel Gutiérrez and his Partido de la Raza Unida in South Texas also advocated
these overall aims of the Chicano movement. The purpose of this literature review is to
contextualize the Chicano movement and its influence on politics, music, and culture.
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Introduction
The Chicano movement started during the 1960s when Mexican-Americans were
struggling for equality, regardless of their country of birth. This struggle was part of a
larger Hispanic movement for fairness in America, which included marches against
unequal treatment organized in Chicago, New York, and Puerto Rico. MexicanAmericans in Los Angeles were on the frontlines of what came to be known as the
Chicano Civil Rights Movement. Two of the most influential figures in this movement
were Dolores Huerta and César Chávez. Dolores Huerta is a labor leader and civil rights
activist who co-founded the national farmers association. Chávez fought for the civil
rights of Latinos and Chicanos, and is most widely known for defending the rights of
farm workers by advocating new laws and regulations, even when his activity endangered
his life, such as during his long hunger strike. He continues to serve as an inspirational
figure for organizations dealing with Chicano political and cultural matters.
Because Hispanic culture in America is increasingly visible and important, and
because the Chicano movement continues to exist, those who are curious may benefit
from a serious consideration of three major questions:
1. How did the Chicano movement begin?
2. How does Chicano rap influence a Chicano’s way of life?
3. How were zoot suiters influential for the Chicano movement?
These questions will narrow the focus of the literature review by contributing to
knowledge of the background conflicts of the Chicano Civil Rights Movement, as well as
its cultural background, the influence of the zoot-suit style, and musical influences.
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How did the Chicano movement Begin?
Although the Chicano movement is often identified as a phenomenon of the 1960s and
1970s, it traces its own origins to the previous century and the conflicts between the
young United States and Mexico. As a term, Chicano refers to Mexicans who were
supposed to be able to choose where they would live after the War of 1848 and the treaty
of Guadalupe Hidalgo. This treaty was later violated by the United States, and the word
Chicano came to refer to the descendants of the affected Mexicans. Chicano activists base
their political activity on this interpretation of historical events. The first Chicano
activists of the 20th century gathered in East Los Angeles to protest violent
discrimination against Hispanics. This Chicano tradition of confronting discrimination
continues to this day in private and public institutions. Consistent with this approach, the
Movement seeks to achieve political and socioeconomic change, as well as
empowerment, for Mexican-Americans.
As primary research for this review, I interviewed a professor at the University of
Texas at El Paso who was born and raised in Los Angeles during the Chicano Movement,
and who now lectures in the Chicano Studies Program and teaches courses in cultural
diversity. When I asked how this Mexican-American movement began, Professor Carlos
Ortega replied: “The Chicano movement was about making justice, better for the
community, and confronting people. The movement consisted of social projects from
ethnic separation to socialist international all the way to institutional reform and electoral
politics”. Expanding on his remarks, Professor Ortega said that Chicanos had very few
rights and were segregated from whites in school. This situation persisted until MexicanAmericans could no longer tolerate such treatment and responded by creating the
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movement. Mariscal (2005, p. 4) explains the term La Raza, a slogan which for MexicanAmericans symbolized unity, but which for others was a slang term for troublemakers.
Mariscal writes, “La Raza has become more than a slogan; it has became a way of life for
people who seek to fully realize their personal and group identity and obtain equality of
rights and treatment as citizens of the United States” (2005, p. 4).
Besides the scholarly work, Chicanos also express themselves with artistic work.
For example, the documentary film Ruben Salazar: Man in the Middle of a Political
Movement depicts the life and inner struggles of this figure at the forefront of the Chicano
political movement.

Figure 1. The figure shows Ruben Salazar among hundreds of other
Chicanos protesting their rights as Mexican Americans and standing for
something that is right. “Venues,” by the Latino point of view.com, Ruben
Salazar: Man in the middle of the Movement. 2011 Retrieved from
http://www.latinopov.com/blog/?p=10221
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This protest was a call for political and social justice in the Chicano movement. As the
movement progressed, music also played an important role in the lives of MexicanAmericans, as will be shown in the next section.
How does Chicano rap influence a Chicano's way of life?
Chicano rap music influences many people’s way of life, motivating them to protest and
demand justice for police brutality and to get involved in government issues that impact
everyday life. Chicano activists would write songs and lyrics dealing with the Movement.
Rap music also educated, informing people about the civil rights movement itself. After
hearing the lyrics of the rap music, Chicanos would form groups and protest in affected
neighborhoods. One example of this connection between music and street action is the
series of protests in East LA detailed by Professor Ortega. There were many important
Chicano artists in the music industry during the 1960s and 1970s, some of whom were
rap artists themselves, and some of whom influenced music in different styles. Examples
include Daniel Valdes, Rolas de Aztlán, and Russell Rodriguez, among others. One song
which impacted many Chicanos is the 1973 piece “Yo soy Chicano” by Los Alvarados, a
group formed by Manuel, Emilia, and Ramon Alvarado, from El Movimiento Chicano.
This song represented and celebrated the new sense of Chicano identity, becoming an
anthem that resonated with students and activists all across the Southwest and parts of
Los Angeles. The lyrics of the song express pride in being a Chicano of color and honor,
who will take part in the revolution and defend his people con mucho valor. Another
influential song is “No Nos Moverán,” an adaptation of the well-known civil rights
phrase we shall not be moved. The 1974 song, written by La Rondalla Amerindia de
Aztlán from Gramática Cantada, was dedicated to farm workers and labor unions,
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encouraging them to stand up for their beliefs and to engage in student activism and
social protest. A third influential figure was Rolas de Aztlán, who wrote songs of struggle
and hope that articulated a vision of the Chicano Movement’s quest for civil rights,
cultural respect and economic justice. All of these artists wrote lyrics from the bottom of
their hearts during a time when Mexican-Americans felt that they were being treated
unfairly and wanted to be recognized for who they were and what they believed was
right. Although it played a major role in the Chicano movement, music was not the only
form of expression. Zoot suiters also made an impact, as will be discussed in the next
section.
How were zoot suiters influential for the Chicano movement?
Zoot suiters are closely connected to jazz culture of the mid-1940s and late 1960s. The
zoot suit was an adaptation by Mexican-American adolescents who were struggling to
make a life for themselves. Another term for Mexican-American zoot-suiters was
pachucos, young people who neither belonged to their parents’ culture nor rejected it. As
Professor Ortega explained it, such young people would say, “Mom and dad, no soy
mexicano. I was born on this side of town.” Due to segregation, such young people were
excluded from Anglo society. For example, Mexican-Americans were required to attend
one school, while Anglo students attended another. In response to this sense of not fitting
in, the zoot suiters developed their own language, way of dressing, and styles of music.
Their in-group language was called caló, which Professor Ortega explained as including
dialects brought from North Africa to the Americas by the Roma people who were
previously referred to as gypsies. Professor Ortega also explained the origins of the zoot
style of dressing, which began with a suit design that proved unpopular in England but
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which found a receptive public in Los Angeles. The primary customers for the new style
were blacks and Mexican-Americans. The style for males featured shoulder pads and a
boxy silhouette, with the trouser waistline halfway up the stomach. The cuffs were
designed to fit tightly around the ankles to prevent tripping and falling while dancing the
Pachuco Boogie. The style for females featured hair piled high in a pompadour and heavy
makeup. The pachucas would improvise men’s jackets with short skirts, fishnet
stockings or bobby socks pulled up to the calves, with platform heels, saddle shoes or
huarache sandals. Professor Ortega explained that police in the 1950’s and 60’s began to
associate such styles with criminality. Despite the fact that most zoot-suiters were
primarily hard-working members of society and only dressed in this style for weekend
outings and special occasions, the police saw the style as exclusively for troublemakers.
The racist attacks of the period led to riots and protests for Chicano civil rights. One
particularly ugly problem would occur with members of the military on leave, who would
go downtown and encounter the pachucos. Many members of the military had never been
in contact with Mexican-Americans, let alone with pachucos, and their reactions would
lead to fights over flirting with pachucas or signs of disrespect. Professor Ortega
explained that members of the Navy would organize raids on pachuco neighborhoods,
beating the men with baseball bats and sexually assaulting the women. When called to
the scene, the police would arrest not the attackers but the pachucos themselves. In
response, the pachucos quickly abandoned their style, which had made them a target, and
joined the protest movement.
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What does it mean to you to be a Mexican American or a Chicano?
When analyzing the overview of every situation my primary research professor Mr.
Carlos Ortega said, “To me Chicano means respecting our heritage, there is nothing to be
ashamed of and we always continue to learn more by school, traveling, experiences. The
second thing is that a Chicano is aware of the injustices that have been committed in the
community like racism; discrimination, etc. The third thing: a Chicano makes a
commitment to change those injustices to try to make society better.” As MexicanAmericans we have to prove to ourselves first that we can make a better society for the
future by making a difference for all the injustices that occurred.
Conclusion
In conclusion, the Chicano Movement of the 1960’s fought against some things and for
others. It was against police brutality, segregation, and exploitation of workers. It was for
justice, solidarity and pride in an often-misunderstood identity. More in depth, Chicanos
wanted to leave a mark on enhanced education, voting rights, and political rights. In the
Chicano civil rights movement there was considerable unity, people joining together to
make justice and prove a point that Hispanics are like everyone else and they deserve to
be treated fairly. To this day, Mexican -Americans are still fighting for a better education,
greater knowledge and the opportunity to expand as a community and make a positive
impact on all of American society. As a proud Chicano myself, I too subscribe to all of
these goals.
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References
Salazar, R. (2014, May 5). Ruben Salazar: Man in the Middle of a Political
Movement. Retrieved October 26, 2014, from
http://www.latinopov.com/blog/?p=10221
Mariscal, G. (2005). Brown-eyed children of the sun: Lessons from the
Chicano movement, 1965-1975. Albuquerque: University of New
Mexico Press.
[Personal interview]. (n.d.).
Berlin, G., Leyvas, L., Espinoza, C., & Arenas, A. (n.d.). American
experince. Retrieved October 27, 2014.
Los Alavardos (Manuel, Emilia, and Ramon Alvarado) (1973). Yo soy
Chicano [Recorded by El Movimiento Chicano] Courtesy of Escuela
Tiatelolco
LA Rondalla, Amerindia De Aztlan (Jose Villarino, Ricardo Felix, Marco Antonio
Roderiguez, David Maestas, David Silva, Jerry Santillan) (1974) No Nos
Moverán [ Recorded by Gramatica Cantada] Courtesy of Jose Villarino
Rolas de Aztlán: Songs of the Chicano Movement. (n.d.). Retrieved
October 27, 2014.
L.A. in the Zoot Suit Era :: Zoot Suit Discovery Guide. (n.d.). Retrieved
October 26, 2014