Paper Example. the Observation of the Mural the Varrio Si, Yonkes No!

The primary objective of the artists, as observed in the Mural, was to make their feelings known about their frustrations with the way the Barrio Logan community was discriminated by avoiding to build the park as promised. The artists, therefore, came up with the mural to show their support for their community, which led to the creation of the Varrio Si, Yonkes No! (1977). The Mural exemplifies the bridge and the struggle for freedom by the Chicano people. Jacuez et al. also wanted to show frustration about what they felt was deceit after the park was not built as promised. This paper will assess the historical events that motivated the creation of the Chicano Park Mural (Varrio Si, Yonkes No!), its consequences, and a historical individual associated with the mural and their overall significance in the past event related to the Mural.

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A consequence of the Event Associated with the Varrio Si, Yonkes No! (1977) Mural

During the early 20th century, American nation underwent rapid industrialization and general development. Most of the states oversaw development in their regions, and San Diego, California, was not left behind. The primary community in San Diego was the Chicano people who were not incorporated in the development plans and were replaced during the road and industrial development. The only thing the community had left was the Chicano park, where they preserved their cultural beliefs. When they realized the city council was not going to keep the promise, they staged a significant resistance movement. This resistance led to the development of murals, which the community used as a way of communicating with the authorities. They fought hard for the park, and when the authorities heeded to their call, the park, together with its Murals, became historic. Chicano Park's Varrio Si, Yonkes No! (1977) by Jacuez et al., is, therefore, associated with the Chicano movement, which was a civil rights movement aimed at championing for political inclusion of the Chicano people in matters development as well as the access to the beachfront. It is believed that the establishment of the Chicano Park began the same time as the takeover of the bridge by the Chicano people in protest of lack of community involvement in the town development.

Historical Individual Involved in the Event Depicted in the Mural and Significant of the Event

An individual who stood out during the history-making process of the Chicano park was artist Raul Jose Jaquez who together with Alvaro Millan, Armano Rodriguez, Victor Ochoa, and Vidal Aguire; created the Varrio Si, Yonkes No! Mural in 1977 in support of the protest against Anglo auto junkyards. Jaquez was a member of the Chicano community and played an instrumental role in the design and creation of the He started to envision a park that would act as a canvas, which the Barrio Logan people would use to tell stories. As an artist and one from the community, their community and the tradition were significant. By being one of the people who came up with this mural, Jacquez et al. demonstrated that they were part of the struggle, and no matter what happened, they were going to be a more significant part of the story through the creation of a mural. Jacquez et al. Mural is one of those that speak history and tell stories about the struggle and resistance staged by the Chicano community against the domination of the area by whites. Their work of art played a big part in showing the authorities the demands of the community and also stands today as a reminder of the efforts that Chicano people put forward to reclaim their independence and place in San Diego.