Cip Final

CIP: ARTS AS METAPHORICAL DIALOGUES IN BOYLE HEIGHTS 1
Self-Reflection
Priscilla:
Growing up in southern San Diego, I was always exposed to a diverse group oI individuals. All
throughout my educational experience I was surrounded my students who came Ior various ethnic
backgrounds such as Mexican Americans, Filipina/o Americans, AIrican Americans and Caucasians. I
think the Iact that people Irom diIIerent ethnic and cultural backgrounds surrounded me inIorms how I
deIine community as a space that reIlects and values diIIerences in individuals. At the same time,
however, as a Filipina American who comes Irom a low-income neighborhood and whose parents
immigrated to the United States, I think the socioeconomic struggles I experienced throughout my liIe
very much shape my ideas oI community. For example, when I arrived to UCLA as an undergraduate, I
met many Filipina/o American whose Iamilial and educational experiences were similar to my own. It
was through my involvement in student organizations such as UCLA Samahang Pilipino and UCLA
Kappa Psi Epsilon where I learned more about Philippine history and culture, and about the Filipina/o
Diaspora. ThereIore, connecting my own history with those oI others Irom a similar sociocultural and
sociohistorical background helped me Ieel more connected. I started to see myselI as part oI the greater
Filipina/o American community.
Being oI second generation and living in an underserved neighborhood, I had to navigate my
way through the education system. For instance, in high school, I relied solely on my older siblings to
help me with the college application process because my mom was not Iully aware oI what the process
entailed, even though she understood the importance oI college. In spite oI this, the value oI pursuing a
post-secondary education was held highly in my Iamily. ReIerring back to Yosso`s work on cultural
capital, my parents` ambition oI having their children educationally succeed is indicative oI 'aspirational
capital. Because oI this, my occupational experiences have included working with middle school and
high school students to conIront the access barriers that inhibit them Irom moving on to higher education.
I was Iurther encouraged to Iollow a career path toward education and continued to be a Iirm advocate
Ior educational equity.
The Iact that I am a woman oI color characterizes how I Ieel the need to claim my place in a
society that is dominated by white male privilege. I understand what it means to not only be a 'minority
in terms oI race, but a 'minority in terms oI gender. This intersectionality oI race, class and gender
shapes my idea oI social justice. The Ioundation oI my vision Ior social justice is the belieI that liIe
opportunity, especially educational and developmental opportunities, should be equitable regardless oI
one`s background. I also Ieel that taking on a social justice agenda is a means to helping create
transIormation within the communities I identiIy with and the communities that I hope to serve as an
educator.
AIter reIlecting on my own understanding oI identity and community, I see how this knowledge
inIorms my work in schools and communities. I believe spaces within the classroom and the community
should exist where students can explore their multiIaceted identities and the Ieatures oI their community.
I hope that as an educator I am able to creating opportunities oI learning in the classroom where
students are encouraged and Ieel comIortable sharing about themselves. For instance, as a social justice
English Language Arts (ELA) teacher, I want students to utilize various Iorms oI writing such as
narratives and poems to express who they are as individuals. Also, while understanding the value oI
community, I aim to create a classroom culture where my students see the importance oI respecting and
caring Ior themselves and their peers. By modeling these values with my students, I could only hope that
my students would carry these values with them outside the classroom.
In addition, understanding my positionality might allow me to connect with students personally.
For example, drawing Irom my own personal identity and experiences such as being a child oI immigrant
parents, I can begin to comprehend the importance migration might play in some oI my students` lives. I
would want to explore this with my students my creating opportunities to reIlect on their own
experiences and connect with their Iamilies in order to learn about their Iamilies` histories. Most
importantly, however, I need to be mindIul that not everyone`s Iamily history or migration story are the
same. ThereIore, it is important to engage in discussions oI diversity and learning about diIIerences. As
an ELA teacher, one way I plan on doing this is through a transIormative approach with the curriculum.
Rather than incorporating literature that is recognize part oI the traditional 'Western canon, I strive to
integrate texts that provide counterstories throughout literature and history. By doing this, I hope to
create teachable moments that highlight diverse perspectives.
My educational and personal experiences oI growing up in an underserved and
underrepresented community will inIluence my involvement with the schools and communities that I
serve because I Ieel the current conditions that characterize them reIlect the conditions oI my own
community. This connection allows me to empathize with the students and community members that I
will be working with. However, I need to be mindIul that my positionality could not only positively
inIluence my participation in these schools and communities but it might also bias my involvement. For
instance, even though the conditions oI the schools and communities are similar to that oI my own
community, this does not mean that I am Iully aware oI the distinct concerns as well as the assets and
resources that can be Iound within these schools and communities. I hope to maintain this mindIulness
by learning about the students, Iamilies, and community members that I will be working with. Promoting
open-dialogue, practice active listening, and critical thinking with my students and my colleagues are just
a Iew important ways where I can check my own positionality. Lastly, I think being cognizant oI my
positionality will encourage me to be open-minded and continually learn about my role within these
spaces.
Morgan:
ReIlecting on my positionality and its aIIect on my personal ideas and concept oI community,
education, and social justice is diIIicult as it is still developing. My Ioundations Ior these three topics are
deeply rooted in my adoptee and Korean-American identity. Being adopted by two non-Korean
parents and raised in a small, predominantly Latino and white community thrust me into a world oI social
justice without me even realizing it. Growing up, I never critically considered how adoption or my
hometown aIIected who I was and how I viewed people and the world. I never struggled with being
adopted and was proud to be the only Asian American many oI my Iriends knew.
My awareness oI identity and diversity began to heighten when I moved to Los Angeles to start
my undergraduate career at UCLA. It was the Iirst time that I was around people that looked like me.
I was surrounded by Korean students and peers with my same almond shaped eyes and Iair
complexion. I was excited to explore my Korean culture but quickly realized that I could not identiIy
with many oI the experiences and stories that so many oI my Asian peers shared. I Ielt a sense oI racial
shame not knowing how to speak Korean or not missing my mothers` home cooked kimchi. Never
beIore had I Ielt marginalized, and never would I have expected to Ieel like an outsider by people who I
was supposed to have an inherent, biological connection. This Ieeling oI isolation and identity ambiguity
was incredibly diIIicult Ior me, but it shaped what I know see as my mixed identity and heritage.
Additionally, it sparked my interest in social justice, identity, and community. I want to create a
classroom where students have space to explore their stories and selI. My curriculum and lessons will
incorporate a social justice agenda that not only instills reading and writing skills but also knowledge oI
themselves, their peers, and the diverse world surrounding them.
My positionality and experiences will undoubtedly inIluence my participation in my Iield school
and community. At UCLA, I learned most by listening to my peers` stories, culture, and struggles.
Since this peer learning greatly inIluenced my path to becoming a social justice educator and sparked
my curiosity to continue learning about diversity, I hope to engage in classroom discussions centered on
equity, change, and identity. One oI my primary goals is to get to know my students, build relationships,
and always leave them room to openly communicate the triumphs and tribulations oI their lives.
In my Iield community, Boyle Heights, I plan to explore the area, talk with residents, and
become more acclimated with its many diverse components that comprise its rich culture. I also want to
Iamiliarize myselI with community issues that might be aIIecting my students and their academic
perIormance. Gaining an understanding oI these needs will help me to best create a curriculum and
classroom that maximizes and Iosters students` growth and talents.
While my positionality laid a basis Ior positively viewing and supporting my students and their
community, it is also important to note how it can create bias. I must remain cognizant that my
experiences with identity and diversity do not necessarily reIlect my students` own personal
development. Moreover, my studies oI social justice and historically underrepresented groups within
TEP might not mirror my students` struggles or oppression. Just because a student is oI color, does not
mean that they identiIy with past and present Latino, AIrican American, or Asian American challenges.
I must remember to always see my students as unique individuals, rather than making hasty assumptions
regarding their stories and experiences. Regarding my perspective oI Boyle Heights, I have to be
mindIul that I am an outsider looking in, attempting to connect with and understand a community. My
initial view oI the area begins biased because oI previous notions and my positionality with my
hometown. It is essential Ior me take Boyle Heights as a blank slate that becomes Iilled, not by my
own, biased interpretations, but rather with residents` stories, history, and present community culture.
Ideally, my preconceptions will remain separate Irom my work as a social justice educator but it
is impossible to do so. It seems best to always be mindIul oI how my positionality can misshape my
perspective oI Boyle Heights and Stevenson students while using my personal experiences with diversity
and identity to Ioster students` potential and selI-esteem. I must recall that both students and community
should be taken individually. Students and communities might share dual qualities but are never the
same, and our treatment oI them can never Iully translate as homogenous or devoid oI empathy or
complexity.
Group:
AIter writing individual selI-reIlections, we came together to see that we have similar
and diIIerent experiences that have shaped our positionality. In San Diego, Priscilla grew up exposed to
a diverse group oI people, whereas coming to UCLA marked the Iirst time that Morgan was
surrounded by numerous, diIIerent cultures and ethnicities. Though we share UCLA was a place where
we both began to explore our ethnic identities. Priscilla joined Samahang Pilipino and Kappa Psi
Epsilon, which taught her about Philippine history and culture, and about Filipina/o Diaspora. Morgan
explored her Korean American identity by interacting and making connections with other Asian
American students. While we used diIIerent paths to navigate our positionalities and identities, we share
the UCLA community as a space Ior learning about ourselves and social justice.
Our group is also committed to serving underrepresented communities and students. We both
plan to incorporate a social justice agenda into our curriculum to best support students. Each oI our
positionalities have guided us towards TEP and Iighting Ior social justice. Despite our hometowns
possessing diIIerent privileges and needs, we each grew up in underserved or marginalized communities
that have traditionally been overlooked. Issues or struggles in our hometowns and Iormer schools are
reIlected in the community we serve, Boyle Heights. We Ieel a connection and sense oI empathy
towards our students, because oI our positionality identiIying with many oI the social injustices that
pervade their lives.
AIter bringing our individual reIlections together, we both emphasized how our positionalites can
potentially bias our involvement with students and their community. Our selI-reIlections expressed our
mutual caution and hesitation to reIrain Irom making assumptions about Boyle Heights and Stevenson`s
needs or issues. We hope to use our positionality to critically consider our Iield space while being
careIul to always use an individual lens to Irame our students and community. Our independent, unique
pasts and stories have combined to prompt our commitment to the community we serve. We are eager
to Iamiliarize ourselves with what makes Boyle Heights and Stevenson Middle School such vibrant
communities. Importantly, we are also beginning the project with caution since we are currently
outsiders looking in. Together, we will use our positionalites to better understand, emphasize, and
critically explore the community we serve, however we will remain cognizant oI projecting our own
biases on to Boyle Heights and Stevenson Middle School.
Overview of Community
Walking Tour
The walking tour provided us with a beginning Ioundation Ior learning about Boyle Heights. We
spent a lot oI time walking around our Iield school, Robert Louis Stevenson Middle School, and the
surrounding area with a Stevenson teacher and student. At a glance, Stevenson`s rich history and culture
are evident. The school is covered with several elaborate, colorIul murals which celebrate education,
activism, and culture. All oI the murals are created and painted by current and Iormer students,
highlighting Stevenson`s attention to its students` diverse talents and backgrounds.
Walking around the community was very interesting. Like Stevenson, Boyle Heights` vivid
culture is apparent just by walking the streets. There are several murals similar to the ones at Stevenson
on walls, alleys, and even store Ironts. While we walked around, there were many residents out and
about. Many were with their young children or other Iamily members, leading us to Ieel a strong sense
oI Iamily within the community. Though Boyle Heights has roughly 100,000 residents (Boyle Heights),
members oI the community seem to be close-knit and strongly value Iamilial relationships. This aspect oI
the community has been supported by several interviews we conducted with Stevenson students in
which they expressed the importance oI Iamily. One student, Eddie, told us, 'I don`t really know what
you mean by community. For me, my community is my Iamily. Those people at school and my actual
Iamily. Family is everything. When Eddie said this, several other students chimed in and agreed. Each
said that within their larger school and neighborhood community is their Iamily unit. These 8th graders
also responded with, 'Family helps us get through school and eventually to college. Students`
reIerences to Iamily as academic support illustrates the importance oI integrating parents into the
classroom. Furthermore, our student guide also reiterated that his Iamily means the most to him. He said
that he does not see Boyle Heights as a 'big deal in his liIe. It is 'just where he lives. Though he said,
'My Iamily is really my community. That`s home. Our team Iound it intriguing that our student guide did
not view his neighborhood as a major part oI his identity. Perhaps this is because his concept oI himselI
is still developing or because Ior him, Iamily and home are more inIluential that the physical environment
around him, which Iurther denotes the importance oI relationships within the area.
Our team has also seen Stevenson teachers, such as Ms. Ruggierio and Mr. Contreras, working
to build the bridge between parents and their child`s education. Both oI these teachers spoke with us
and reiterated the vital role parents play in their child`s success, while also acknowledging that teachers
must actively work to communicate and create trust with parents. Ms. Ruggierio and Mr. Contreras do
so by sending parents notes in English and Spanish and remaining open to in person meetings with
parents. From these teachers to students` admiration Ior their Iamilies, Boyle Heights seems to be close
knit and prideIul oI their Iamilial relationships.
We were directed towards several interesting community resources and popular local spots.
Directly across the street Irom Stevenson is Plaza Community Services, which 'supports children,
youth, and Iamilies in need to develop and grow within a nurturing environment by providing eIIective,
high quality health, education, housing, and other community services (Plaza Community Services).
Additionally, we were guided to Robert Louis Stevenson Branch Library, Homeboy Industries,
Mariachi Plaza, and Boyle Heights Neighborhood Council. Our walking guide told us that many
students come to Robert Louis Stevenson Branch Library to work on homework and use the
computers. At Homeboy Industries our tour guide, Omar, told us: 'Homeboy has become a Iorce
within the community. It is a major place where gangs are being Iought. Homeboy even reaches out to
Iormer gang members to let them know that there`s liIe outside oI the gangs, even though it`s so hard to
leave. These landmarks show that while the area has many needs, there are multiple organizations, like
Homeboy Industries, and community activists attempting to Iill gaps leIt by social injustice. An example
oI an organization working to combat social injustice within the area is the Boyle Heights Neighborhood
Council (BHNC), which acts as a voice Ior all residents. The BHNC listens to community members`
needs and concerns and relays their messages to politicians making decisions which aIIect the
community (Boyle Heights Neighborhood Council). Without resources like the BHNC the
underrepresented members oI the area might be leIt without power. These landmarks illustrate Boyle
Heights as a strong community with numerous resources coming together to enhance its vibrant culture.
We also drove around the area alone to get an incredibly quick glance at the community. We
went to one oI our Community Asset sites, SelI Help Graphics and Arts. The outside oI SelI Help
Graphics and Arts is covered with beautiIul murals done by local Boyle Heights artists. Just looking at
the outside oI SelI Help Graphics provides another colorIul view oI Boyle Heights. The murals have
diIIerent topics ranging Irom Latino and Native American heritage to depictions oI important aspects oI
the community. They illustrate the community`s rich, deep, and vivid culture and history that we are
eager to explore as we progress with the CIP.
Identification of People to Converse With
Michelle Levander and Pedro Rojas, Co-Editors and Publishers (Boyle Heights Beat)
Claudia Delgado, Art Director (Boyle Heights Beat)
Mr. Danny Martinez, 8th Grade Art Teacher (Stevenson)
Mr. Frank Rodriguez, 8th Grade English Teacher (Stevenson)
Mr. Xavier Contreras, 8th Grade History/Science Teacher (Stevenson)
Ms Ronniee-Marie Ruggiero, Title III Coach (Stevenson)
Ms. Cortez, Assistant Principal (Stevenson)
Andres, student (Stevenson)
Andrew Bernal, student (Stevenson)
Joel Garcia, Program Manager (SelI Help Graphics & Art)
Jaime 'Vyal Reyes, Artist (SelI Help Graphics & Art)
Internet Search
'Boyle Heights is a neighborhood in the city oI Los Angeles in the Eastside region oI Los
Angeles County. It contains Estrada Courts. The neighboring communities are Chinatown, Commerce,
Downtown, East Los Angeles, El Sereno, Lincoln Heights, and Vernon (Los Angeles Times). In terms
oI its geographic boundaries, Boyle Heights is east oI the Los Angeles river near the intersection oI
Highway 60, 101, and 5. Because the area is surrounded by Ireeways, perhaps the community has a
history oI gentriIication or people moving to and Irom the area. We hope to explore this possibility more
as the project progresses.
Using the internet, we Iound an LA Times interactive proIile oI Boyle Heights. It describes the
ethnic demographic oI the area as, 'Not especially diverse Ior the city oI Los Angeles and especially
diverse Ior the county (Los Angeles Times). 94 oI the community is Latino, while Asians, Whites,
and Blacks make up approximately 5 oI the area. The high Latino population is reIlected at our Iield
school, Stevenson, where almost all oI the students are Latino.
During the 1950s, Boyle Heights` demographic was very diverse. Within it were many Jewish
communities, which eventually leIt because oI redlining and Ireeway construction. Freeway construction
led to the loss oI many Jewish Iamilies` homes (Los Angeles Times). Our team has noticed very Iew
non-Latino Stevenson students and community members, leading us to ponder other Iactors that
motivated non-Latino residents to leave the community in the 50s. We suspect that there were racial
implications behind the departure oI other racial, religious, and ethnic groups and hope to discover more
as the CIP continues.
It is interesting to note that most oI the articles we Iound online about Boyle Heights were either
about crime or Iood in the area. Out oI roughly 40 LA Weeklv articles about Boyle Heights, roughly a
third were about violence in the area. The rest were composed oI Iood reviews, particularly on tacos, as
well as a Iew pieces about community activism or art. Local media seems to portray Boyle Heights in a
very one-dimensional lense. It writes it solely as a low-income area plagued with random acts oI
violence that receive more media coverage than positive community events. While it is nice to see the
area`s Latin Iood celebrated, there is more to Boyle Heights than cheap tacos. The media`s attention to
simple articles about new taco trucks or stands might play a role in perpetuating the idea that Boyle
Heights is simply a underrepresented, Latino community with nothing more to oIIer than late night
burritos.
Community Assets
1. Robert Louis Stevenson Branch Library 10. Boyle Heights Neighborhood Council
803 Spence Street 2130 E 1st Street, Suite 110
Los Angeles, CA 90023 Los Angeles, CA 90033
2. Los Angeles Music & Arts School 11. Lou Costello 1unior Youth Center
3630 East 3rd St. 3141 E Olympic Blvd.
3. Homeboy Industries 12. Self Help Graphics & Arts
130 Bruno Street 1300 E 1st St.
4. Boyle Heights Beat 13. The East L.A. Society of Film & Arts
1000 S Fremont Ave. #83 1300 E 1st St.
Alhambra, CA 91803 Los Angeles, CA 90033
5. Boyle Heights Historical Society 14. Hollenbeck Youth Center
2015 E 1st St.
Los Angeles, CA 90033
6. Boyle Heights Arts Conservatory 15. Casa 0101
2708 E Cesar Chavez Ave. 2009 East 1st St.
7. Corazon del Pueblo 16. Plaza Community Services
2003 East 1st St. 648 South Indiana St.
8. InnerCity Struggle 17. ART Share LA
124 North Townsend Ave. 801 E 4th Place
9. Bienestar
5326 East Beverly Boulevard
Los Angeles, CA 90022
Ethnographic Conversations
Our team interviewed several, diIIerent members oI Boyle Heights hoping to gain Iurther insight
into its vivid history as well as our Iocus area, arts and culture. Prior to these interviews, we were really
interested in learning more about Boyle Heights` ethnic demographics and the enclaves that may have
existed in the area overtime. In terms oI our Iocus area, we were eager to explore possible ways the
cultures and histories that make up the Boyle Heights community are integrated and displayed
throughout the local art, such as the visual murals Iound in the community. We began our ethnographic
conversations by asking our interview to share a little about themselves and their experiences living
and/or working within the Boyle Heights. We also inquired about their thoughts and opinions oI the role
art and culture play in Boyle Heights, and how might art and culture be important in education.
It was interesting to hear how community members described both Boyle Heights and our Iield
school, Robert Louis Stevenson Middle School and their connections to art and culture. Interviewing a
diverse group oI community members that ranged Irom middle school students to a school administrator
provided a colorIul collection oI perspectives. We also saw how these community members` individual
identities create their own positionality, which might lead them to perceive their surrounding areas in
particular or diIIering ways. For instance, when it came to deIining art and culture, we Iound similarities
and diIIerences in how the interviewees addressed both. While each interview reIlected a unique
vantagepoint, many interviewees shared common themes or ideas revolving the topic oI art and culture
in the Boyle Heights and education.
One oI our beginning interviews was with our guiding teacher, Mr. Rodriguez. Mr. Rodriguez
holds many identities within his community. He is an 8th grade English teacher at Stevenson and a Iather
to Iour children, one oI which attends Stevenson. While he did not explicitly say that he was an activist
within the community, our team would certainly categorize him as someone consciously working
towards preserving much oI Boyle Heights` rich history and promoting social change through his
teaching. In his interview, Mr. Rodriguez said that he attended Stevenson and 'Ielt that it was crucial to
return to a school and community that I love. This love and pride was evident when he spoke about
growing up in Boyle Heights and through his work to digitalize all oI Stevenson`s newspapers that began
in the early 50s. Additionally, Mr. Rodriguez said, 'It was important Ior his son to attend Stevenson.
He wanted to pass his love Ior investment in Boyle Heights and Stevenson down to his son, illustrating
the signiIicance oI traditions and Iamilial bonds within the community. The regard Ior Iamily and building
close relationships was reiterated when Mr. Rodriguez told us that he 'personally knows many oI his
students` parents and older siblings and has been invited to many quinceaneras and Iamily events.
SpeciIically regarding art and culture, Mr. Rodriguez said that he is an artist himselI and draws
all oI his tattoo designs. He also directed us towards many murals within the community, which we also
saw during our CIP Walking Tour. He noted that one oI his tattoo artists designed and painted on
mural on nearby 1st Street. From his discussion oI his personal relationship to body art and his
consideration Ior Boyle Heights` many beautiIul murals, it is clear that Mr. Rodriguez highly values art
and its connection to the community. It is a way oI personal and communal expression. During his
interview, he recalled how he pushed Ior a Iormer AVID student to be able to paint a mural with the
phrase, 'BEYOND THE BEYOND, on a Stevenson wall. He said that many questioned the mural,
though he recognized it was a positive, empowering Iorm oI student expression and learning. From this,
our team gathered that some residents strongly value art as a Iorm oI individual and communal
expression. Art as culture is literally shown through the beautiIul murals that Mr. Rodriguez pointed us
towards, and his pride in them conveys the community`s recognition oI Boyle Heights art as a powerIul
asset.
Next, we interviewed two Stevenson students about their perspective oI their school and
surrounding area. 8th grade student, Andrew, told us that he sees 'trash as his school`s largest
problem. He said that he Ieels, 'only about 25 oI students really care about what the school looks
like. He was adamant about Stevenson not having 'any other bad things. Within Boyle Heights, he
Ielt that the biggest issue was 'cars driving too Iast and lots oI car accidents. Andrew expressed
concern over seeing cars speeding down his neighborhood and street. We also interviewed another
student, Eddie, who said that Stevenson is 'okay, but there aren`t any problems. When asked iI he
thought student littering was an issue, Eddie said no. The boys` diIIering opinions on places Ior
improvement or change at the school revealed how community members oIten see things diIIerently,
despite having the same surroundings. Though still trying to digest these interviews, our team thought it
was vital to note how each student similarly and diIIerently viewed their school and its assets and
improvement areas, iI any. Both boys emphasized that they think Stevenson is 'great because oI the
teachers. Eddie said, 'I really like all the teachers here. They make every day a better, new chance Ior
me to learn and get better at things I`m not so good at. Their admiration and appreciation Ior their
teachers inIormed our team that there are numerous community members, like Stevenson teachers, who
are committed to serving and enhancing the community.
In addition, our team was Iortunate to interview one oI Stevenson`s administrators, Ms. Cortez,
who spoke quite openly about her views surrounding arts and culture, and the purpose she Ielt it has in
education. She shared her thoughts oI how visual and perIorming arts classes are important, especially
at Stevenson, because they allow the teachers and Iaculty to 'name and identiIy students who
demonstrate a personal interest in the arts. She expressed the importance oI valuing the arts within
schools because they enable to students to explore their interests and potentially pursue a career in the
Iield. ReIlecting on our interview with Ms. Cortez, our team recognized some commonalities with the
ideas expressed in Mr. Rodriguez`s interview. Again, we saw the great value oI arts and culture at
Stevenson and within the Boyle Heights community.
Alluding to the negative eIIects oI the Iiscal crises, Ms. Cortez also discussed how 'the arts are
underIunded in education, which explains why music and art classes have been disappearing or are
non-existent in many public schools. This issues that Ms. Cortez spoke to highlights an issue that has
been pervasive in the public education system Ior the past decade. As social justice and critically
conscious educators, it is important to analyze what Iactors have contributed to this issue. In addition to
the governmental Iiscal crises, educational policies such as the No Child LeIt Behind Act oI 2001
played an inIluential role in limiting the Iocus on history, arts, and Ioreign languages in order to draw
attention towards reading, writing, and mathematics. Because oI these changes in educational policies
administrators and teachers are Iorced to Iind alternatives avenues to provide students access to
services in the arts. In her interview, Ms. Cortez shared how schools such as Stevenson continue to
seek out community resources such as local artists and community organizations that assist in bringing
the arts back into schools. She shared how at a recent meeting with the Boyle Heights Chamber oI
Commerce, a private nonproIit organization that aims to support small businesses, the members
discussed the importance oI supporting local artists in the Boyle Heights community and utilizing them as
educational resources Ior students in the community.
Branching out into the community, we spoke with Joel Garcia, the program manager at SelI
Help Graphics and Art, non-proIit visual arts center in Boyle Heights. Joel inIormed us oI SelI Help
Graphics and Arts mission is to promote the creation and exhibition oI local artists work through
printmaking and other Iorms oI visual art. As one oI SelI Help`s only three Iull-time employees, Joel
described how he must 'wear various hats in the organization. He oIten works with artists one-on-one
in constructing and executing programing Ior the community. Some services that he spoke to was the
various arts workshops that are target to youth. In these spaces, artists who are leading the workshop
might 'bring in newer technologies across mediums (i.e. Instagram, internet, etc.), and craIt art geared to
the youth. Joel also described how the arts is unique in that they create opportunities Ior artists, youth,
and community members to creatively work on a 'peer-to-peer level through collaboration.
Similarly to our ethnographic conversation with Ms. Cortez, Joel spoke to how the arts are
underIunded. He described how not only does 'there need to be additional Iunding Ior local artists, but
there also needs to be a Iinancial backing Ior these artists. He Iurther explained how 'the inIrastructure
oI SelI Help Graphics doesn`t allow the small number oI Iull-time employees to 'work beyond their
current capacity and that most oI the staII are volunteers so they are oIten 'undermanned in the
services they are able to provide. Because oI this, it is important that the organization works with
speciIic community members, teachers and student groups throughout Boyle Heights in order to create
spaces where youth can be immersed in the arts.
Lastly, our team spoke with Field Deputy Rocio Hernandez oI Councilmember Jose Huizar`s
oIIice. Prior to speaking with her, our team was aware oI the recent update on the ordinate Ior murals in
Los Angeles, which made murals on private property legal again. Our team hoped to gain more
inIormation on this new legislation and Councilmember Huizar`s role passing it. Rocio shared how artists
must go through a permit process in order to paint a mural. The artists that underwent this process have
access to a maintenance plan with the city to prevent vandalization oI their artwork.
Rocio explained how the mural ordinance is way to 'protect and preserve public art such as the
murals and because oI this, we will see the creation oI more murals in the Iuture and 'a natural
movement towards the arts throughout Boyle Heights and Los Angeles. She inIormed us how as 'a
strong advocate Ior the arts, Councilmember Huizar was at the IoreIront oI passing the mural ordinance.
Councilmember Huizar also has a 'vision oI making 1st Street |in Boyle Heights| a mini-art district. He
recently commissioned nine artists to create murals on 1st Street`s utility boxes and redesign its
sidewalks.
When we ask Rocio what she thinks the purpose oI the arts is in Boyle Heights she stated that
its a 'Iorm oI selI-expression. Especially Ior youth, she described how the arts serve as an 'outlet to
escape social pressure. Also, we see Boyle Heights` culture and history through art and music. Rocio
used the example oI Mariachi Plaza as 'an intersection where musicians have gathered over 80 years.
In describing Mariachi Plaza, Rocio reIerenced Plaza Garibalidi, located in central Mexico City, which
is the home oI mariachi music. Just like in Plaza Garibalidi, mariachi bands gather in Mariachi Plaza
seeking patrons Ior their music.
Overall, our team concluded that students have similar and diIIerent thoughts about the assets
and challenges within their own school and community. ReIerring back to the interviews with our
students, our team was able to recognize the various views students had about their school and their
community. However, we acknowledged that the insights we have gained are just Irom two students
among the thousands at Stevenson, let alone within the Boyle Heights community. It is saIe to assume
that there is an array oI student perspectives that may be similar and/or diIIerent Irom those we
encountered. Our team Iurther concluded Irom our ethnographic conversations that the arts, both visual
(i.e. murals, paintings, architecture) and perIorming (i.e. music and theatre), play a vital role particularly
Ior members in the Boyle Heights community. Not only does the arts serve as an outlet Ior individual
and personal expression but also a tool to showcase a community oI multiple and diverse perspectives.
As expressed by the educators interviewed, the arts are a mean Ior students to uniquely express their
own thoughts and understandings. By allowing students to employ the arts in their education and
personal lives students are able to create and recreate a culture oI learning, diversity, and community.
Digging Deeper into Action
As we dig deeper, we want to continue investigating how culture is expressed through art within
the community. Our initial research and ethnographic conversations have also led us to examine art`s
place in our community`s schools. Some questions that we asked ourselves are: How, iI at all, is art
Iunded in schools? How do students view the importance oI art? Do they relate it to cultural expression?
How can we, as social justice educators, use art to engage diverse students? What positive and negative
eIIects do embedding art within a curriculum have on students? Connecting what we observed
throughout our Iieldwork and what we Iound in our initial ethnographic conversations, it seems that the
arts played an important role in bringing the curriculum to students and vice versa. ThereIore, we came
to Iocus on the Iollowing research question: How can understanding the purposes and Iunctions oI the
arts, speciIically murals, help educators use the arts as a tool to create a culturally relevant and engaging
curriculum?
In order to help our team explore the various meanings behind murals as an artIorm and why
local artists in Boyle Heights created the diIIerent murals Iound throughout the community, we
researched diIIerent theories that speak to the many Iunctions oI art. One scholarly reIerence we Iound
that contributed to our inquiry was Louis Holscher`s sociological observations oI the artists and murals
in East Los Angeles and Boyle Heights. Holscher asked the central question, 'What is the Chicano artist
communicating to the people when he paints publicly? (p. 26). He also presented a range oI deIinitions
oI art, one oI which our team Iound to be closely linked to what we observed with the murals in Boyle
Heights and Stevenson Middle School, and our ethnographic conversations. 'One interpretation oI art
involves its use oI a language, a language which describes the Ieelings, attitudes, and values oI the artists
and the community in which |he/she| lives (Holscher, 1976, p. 26). Applying this theoretical deIinition
oI art to the murals oI Boyle Heights and Stevenson Middle School, we started to see these works oI
art as a means oI communication between distinct parties (i.e. artists, students, community members,
general public, etc.). In order to survey how others viewed art in the community, we interviewed two
Stevenson students, Kim and Natalie (Irom Mr. Martinez`s 8th grade art class), about their thoughts oI
the murals in Boyle Heights. They shared how everytime they pass by them they always 'try to imagine
what the artist are trying to say and 'what the artist was thinking when |he/she| created it. In this case,
the murals in the community can be viewed as metaphorical dialogues between local artists and Boyle
Heights residents, whereas the murals that are painted on the walls oI Stevenson are dialogues between
the student artists, the student body, and the community. This Iramework Iurther helped us understand
the purpose oI these artworks and later question how the knowledge we gained can be beneIicial to our
roles as educators.
One theme that arose as our team dug deeper into our inquiry was the arts as a Iunction oI
providing artists the opportunity to express their emotions and Ieelings. In addition, art 'has the
psychological Iunction oI providing the artist with an outlet Ior |his/her| pent-up psychic energies-- a
means why which |he/she| can achieve outward, symbolic expression Ior his emotional conIlicts and
unsatisIied desires (Munro, 1967, p. 91). This idea was prominent in the ethnographic conversations
we continued to have with students. In our interviews with Kim and Natalie, they described how one
purpose oI art is to 'express Ieelings. Natalie Iurther shared how even though 'the arts isn`t Ior
everyone, it is one way Ior some students to share how they Ieel.
In addition, our research explored the idea that the arts serve in the artists` process oI searching
Ior their own identities. This is evident in the murals in Boyle Heights and Stevenson that depict symbols
and motiIs oI their ethnicity and cultural identities. For example, the mural located on 1st street between
Anderson Street and Utah Avenue, which was painted by artists oI SelI Help Graphics & Arts, depicts
images that reIlect indigenous cultures as well as those that represent various Latina/o communities in
Boyle Heights. Similarly, one mural at Stevenson exhibits the word 'HERITAGE alongside an image oI
an indigenous Iigure. Although these murals display signs oI the artists` search Ior their ethnic and
cultural identities, our team saw the complexity that coincides with examining identity. ThereIore, it is
important to not overgeneralize and assume that individuals within the same community share the same
identity. Jacinto Quirarte highlights this complexity as he describes the Iollowing: 'We have a rich
heritage; we have our roots in pre-Columbian times; we are related to three centuries oI Spanish rule;
we are related to a century and a halI oI American rule. So that we are all oI these and none oI them
(p. XXIII).
This connection oI the arts and one`s cultural identity also came up in our conversation with Mr.
Martinez, an 8th grade art teacher at Stevenson. When asking him what he thought the purpose oI the
arts is, Mr. Martinez described how it plays an important role in students lives and is 'rich in their
culture. He used the example oI graIIiti art and shared how because 'the kids see that everywhere it
becomes a part oI their generation`s cultural practices.
We began to see a theme oI the arts as a reIlection oI history throughout our inquiry. In his
work, Holscher explained how 'the concept oI art as a revolutionary tool, as a weapon in a propaganda
campaign against the oppressor, or as revolution itselI has been carried over into the murals by Chicano
artists in Los Angeles today (27). We wanted to explore this idea by looking at the history oI the
murals in Boyle Heights. For instance, the mural located at Estrada Courts on Olympic Boulevard,
painted by El Congreso de Artistas Cosmicos de las Americas de San Diego, displays an image oI Che
Guevara alongside the statement, 'We are NOT a minority!! In order to learn more about the history
and meaning behind this mural we contacted the Mural Conservancy oI Los Angeles, an organization
that helped restore and preserve this mural along with many others throughout Los Angeles. We learned
that the mural was painted in 1978 by muralists who played an important role in the Chicano Park
struggle in San Diego. With the spirit oI the Chicano Movement Irom the 1960`s still at a peak,
Chicana/o artists and their work became a means to represent the voices oI the community. This mural
can be interpreted as addressing the marginalization oI the Latina/o and Chicana/o communities in Los
Angeles throughout history. It also emphasizes the idea oI power in numbers, and how the number oI
people oI color in the United States continues to grow.
Also, our team read two articles that connect art to education. 'What`s Good Ior Boyle Heights
is Good Ior the Jews: Creating Multiracialism on the Eastside During the 1950s by George Sanchez
provided us with a deeper look into Boyle Heights` history. The article illustrated the area`s rich history
oI activism and civil rights progress by remembering 'a legacy oI political interracialism, commitment to
civil rights, and a radical multiculturalism in Boyle Heights, despite the growing conservative climate oI
the 1950s (Sanchez, 2004). This quote resonated with us because it showed how deep Boyle Heights`
activism runs. Touring the area, we have seen how art is used to express this vivid history. Many oI the
murals on buildings and apartment complexes have political themes that reIlect the article`s image oI
Boyle Heights` 'legacy oI political interracialism, commitment to civil rights, and a radical
multiculturalism (Sanchez, 2004).
Our team saw the community`s political and cultural art as a Iorm oI education. Community
members publicly express themselves and cultural components oI Boyle Heights, which teaches youth
about the cultural values and practices oI their own community. Our interviews with Stevenson students,
Kim and Natalie, showed us that students can/are learning Irom community art. For instance, both
students recognized how the murals in their community help 'broaden minds oI the viewers and speak
to the need oI 'improving the environment. As developing social justice educators, we think that this
kind oI sociocultural art can be embedded within curriculum to help students make critical connections
between themselves and their social surroundings. Just as Stevenson decorates itselI with student
created murals, teachers can have students explore their identities and communities through various art
assignments.
In addition, we read an article entitled, 'The Myth oI the Classic Slum: Contradictory
Perceptions oI Boyle Heights Flats, 1900-1991 by Sophie Spalding. This piece dissected the idea oI
classic slums within Los Angeles and looked speciIically at Boyle Heights. Spalding argues that Boyle
Heights is Iar Irom a slum or ghetto while recognizing that all communities have areas that could beneIit
Irom additional resources or sociopolitical change. Our group liked that the author characterize Boyle
Heights as an area with 'complex texture (Spalding, 1992). Stevenson and community murals have
shown this 'complex texture (Spalding, 1992) to be evident. Spalding Iocuses on oral history within the
community as a strong asset. Though not an oral retelling, murals in the area are another way oI
asserting Boyle Heights` culture, history, and stories. Again, our group sees art`s meaningIul connection
with education as a powerIul, instructional tool. Teachers can weave art and culture together through a
curriculum that appeals to students` heritages and identities.
Lastly, we delved deeper in our inquiry by looking into speciIic arts organizations in the
community. Speaking with artists Irom SelI Help Graphics and Art, we learned about their artist
roundtable where artists come together and collaborate current and Iuture programming that is made
available to the Boyle Heights community. The role oI local artists has been important throughout the
history oI SelI Help Graphics both through the organization`s print studio and printmaking program as
well as the outreach activities and workshops. The organization is also unique in that it maintains
communication with the community as much as possible. By doing so, SelI Help Graphics is able to
provide services that are relevant to the community`s interests and needs.
From our new knowledge oI local community based organizations, our team began to recognize
how the arts as a Iunction oI building and maintaining the idea oI community. Looking into ART Share
LA, a resource that Mr. Martinez mentioned in his interview, we learned that it is a community arts
center and aIIordable housing project. Through their Artists in Residence Program, aIIordable
living/working spaces are available to artists in the Downtown area. ART Share LA also oIIers a variety
oI arts services: dance, theater, ceramics and visual art.
In conclusion, this portion oI our CIP has allowed us to dig deeper into the academic world`s
view oI Boyle Heights. By reading diIIerent scholarly articles, we have seen how art connects a
multitude oI community members. We also witnessed how art can connect diIIerent community groups
together through a mutual message or social justice theme. All the articles we explored mentioned Boyle
Heights and social justice together. The area is synonymous with a vivid culture that is deeply rooted in a
history comprised oI political, racial, and social activism. Stevenson and community murals exempliIy
this rich history, which connects all residents with Boyle Heights` past and Iuture. Our team sees how art
can, and should, be implemented within schools to provide a more relevant, engaging, and impactIul
academic journey Ior students. We plan to continue exploring and researching additional strategies and
resources to embed sociocultural expression through art within a K-12th grade curriculum.
One idea that our team has Ior a potential project/action plan is to create a website or blog that
Iocuses on connecting artists, educators, students, and the public on the topic oI the arts and education.
Creating a website will allow various people Irom diIIerent disciplines to have access to a network
where ideas can be shared about how to integrate the arts into education. For example, since Boyle
Heights is home to many historical murals and paintings, integrating these works into the classroom might
be a Iew possible ways to make learning engaging and culturally relevant Ior students. Lessons that look
at the history oI a given art piece is just one way to incorporate the arts in Social Studies classes. In
addition, tapping into perIorming arts can transIorm lessons in English Language Arts to be very
interactive. We envision our website to be a space where such ideas can be created and shared.
Also, with the various community based arts organizations that exist in Boyle Heights, we would
also like our website to be a practical way Ior students, educators, and community members to learn
about current and Iuture events both within their local arts and education community. Our website would
be a space Ior local organizations to Iurther advertise their services in the arts to the general public.
ReIerences
Boyle Heights Neighborhood Council, BHNC. (n.d.). Bovle heights neighborhood council.
Retrieved Irom http://bhnc.net/
Holscher, Louis. 'Artists & Murals in East Los Angeles and Boyle Heights: A Sociological
Observation. Humboldt Journal of Social Relations. 3.2 (1976) : 25-29. Print.
Los Angeles Times. (n.d.). Bovle heights . Retrieved Irom
http://maps.latimes.com/neighborhoods/neighborhood/boyle-heights/
Munro, Thomas. The Arts and Their Interrelations. Cleveland: The Press oI Western Reserve
University, 1967. Print.
Quirarte, Jacinto. Mexican American Artists. Austin: University oI Texas Press, 1973. Print.
Sanchez, George. 'What`s Good Ior Boyle Heights is Good Ior the Jews: Creating Multiracialism
on the Eastside During the 1950s. American Quarterlv. 56.3 (2004) : 633-661. Print.
Spalding, Sophie. 'The Myth oI the Classic Slum: Contradictory Perceptions oI Boyle Heights
Flats, 1900-1991. Journal of Architectural Education. 45. 2 (1992) : 107-119. Print.
Individual Reflection
Priscilla:
ReIlecting on my team`s work so Iar, my understanding oI the Boyle Heights community has
slightly changed Irom when we Iirst started this inquiry project. BeIore, I was aware the community held
many resources that were available to the community members. For instance, learning about
organizations such as Homeboy Industries during Community Day at the beginning oI the quarter was
just a 'sneak peek oI the community`s many assets. However, as I delved deeper in our inquiry, I
became more Iamiliar with organizations like SelI Help Graphics and Arts, and ART Share LA, both oI
which directly serve youth, local artists, and the surrounding community at large. Learning about these
organizations helped me understand how the available resources in Boyle Heights are a reIlection oI the
needs and interests oI the Iamilies and members that reside there. As the arts has and continues to be a
signiIicant part oI the community`s history and culture, community based organizations that Iocus on the
arts continue to provide such services to the community.
My thoughts about the murals that exist in Boyle Heights and Stevenson have also evolved
throughout this inquiry project. Prior to our research, my Iirst impressions oI these works oI art were
their intentions are Ior the artists to communicate messages to the community and the public. However,
aIter speaking to community members including teachers and students about what they thought oI them,
I began to see the Iunction oI these murals diIIerently. Rather than perceiving the murals just Irom the
point oI views oI the artists, I also learned about the noteworthy eIIects these murals has on some
community members, particularly students. AIter speaking to Kim and Natalie, 8th grade students at
Stevenson, and seeing/hearing their excitement as we asked them their thoughts oI the murals in their
community, it was evident the arts has a positive impact on them as individuals. What was inspiring Irom
this conversation was their response oI how they like to imagine what the artists were thinking as the
murals were created. Speaking with these students helped me clearly see the value oI the arts and the
possible learning opportunities it can create within education. I began to understand ways the arts can
deepen students` understandings and construct their own meaning in the classroom and the community.
My team used a variety oI methods to conduct our research to Iurther our inquiry. Through
ethnographic conversations, we were able to interact with a diverse group oI students and community
members who provided a multitude oI perspectives about arts in the community. For instance, we were
Iortunate enough to speak to an elected oIIicial, Field Deputy Rocio Hernandez, who touched on the
political aspect oI the arts in the community by giving us more inIormation about the mural ordinance and
the implications it might have Ior the arts in Boyle Heights. Also, because we were able to talk to a
variety oI nonproIit and community organizations, we were able to directly interact with the community
and deepen our understandings oI the arts in Boyle Heights.
Although the knowledge and inIormation we gained Irom this inquiry project has been beneIicial,
the inquiry process itselI was diIIicult. What was most challenging about our inquiry was trying not to
include any biases and assumptions as we spoke to various community stakeholders. For example,
when it comes to the topic oI the arts and culture, I have my own opinions and ideas about how both
playout in my own educational and personal experiences. However, during our ethnographic
conversations, I had to be cognizant oI letting these personal understandings shape the questions I asked
my interviewees. It was challenging to not ask any leading questions or Iraming questions in a way that
imposed my biases. In addition, I Iound it diIIicult to Iully personalize the inIormation that I learned and
think oI ways that I would use this inIormation to give back to the community. There were moments
when I would learn oI some insightIul inIormation, however, it was diIIicult to make meaning oI how to
turn this knowledge into an action plan.
AIter much thought oI possible action plans, my team came to the conclusion oI creating a
website that would serve as a resource Ior students, educators, and community members. It will act as a
space where educators can create and share lessons that Iocus on integrating the arts into the
classroom. Also, the website will be a means Ior community based organizations to Iurther communicate
and advertise their resources and services to the local community. Overall, we hope that the website it
be a way to bridge the work oI diIIerent community members and organizations Irom various disciplines
(i.e. visual arts, perIorming arts, education, and policy).
Morgan:
My ideas about Boyle Heights have somewhat changed. More than anything, my
understanding oI the area has greatly deepened and become complex. BeIore I started student teaching
at Stevenson middle school I had only visited East LA a Iew times and had never been to Boyle
Heights. Friends and colleagues told me that the neighborhood was predominantly Latino and some
reIerred to it as 'ghetto . These two surIace characteristics, while certainly questionable in their
1
representation oI the neighborhood, were the only things I heard about Boyle Heights. Though my
Iamiliarity with the community is continuously expanding and reshaping, the CIP has illustrated that truly
knowing a neighborhood extends Iar past census data and statistics.
Our walking tour led by a Stevenson student shattered the idea oI Boyle Heights as a 'ghetto.
Simply walking the area revealed Boyle Heights` vibrant culture and history. Many murals adorn sides
oI buildings and cover the ins and outs oI Stevenson school. These murals really struck Priscilla and I
1
I use quotes to enclose ghetto as I Iind the term innately oppressive and problematic. It is included to show my
incredibly undeveloped perception oI Boyle Heights beIore TEP.
and eventually laid the Ioundation Ior our Action Project. One mural particularly resonated with me:
'WE ARE NOT A MINORITY (Torero, Rocky, Lion, Zade) located on the side oI Estrada Courts,
a low-income housing project known Ior its 1970s activist murals. It depicts Che Guevara pointing and
the words: 'WE ARE NOT A MINORITY. The mural is strong and beautiIul. For me, its colors and
image oI Guevara read just as vivacious as the powerIul caption. The mural embodies community
vibrancy I have seen Ior the past ten weeks, which implodes the general deIicit thinking (Valencia,
Solorzano) oI the area as an impoverished 'ghetto.
In terms oI what we did to explore Boyle Heights, Priscilla and I began by driving around the
neighborhood. This acted as a beginning glance in which we noticed many other murals, aside Irom
those at Estrada Courts. We also conducted an Internet search oI Boyle Heights. It was interesting to
see how the media chose to portray the community. I Iound an overwhelming number oI crime statistics
and articles, which reinIorces the public`s notion oI Boyle Heights as a 'ghetto. Our student lead
walking tour gave me deeper insight into the community. Our guide showed us the Estrada Courts
murals and took us to several community resources, such as Mariachi Plaza and The Boyle Heights
Neighborhood Council. Lastly, we interviewed numerous community members. Included in this list was
a local politician, a SelI-Help Graphics representative, Stevenson teachers, administrators, and students.
These interviewees spoke to their pride in the community by expressing its rich history and assets, like
Stevenson school. Visiting landmarks and speaking with several residents Iurther illuminated the
community`s strengths and vitality.
The most diIIicult thing was conducting 'research to develop a more complex understanding oI
the community, while being an outsider. Throughout the CIP I have been Irustrated, Ieeling that the
project had good intentions but Ielt contrived and impersonal. Much oI our research occurred naturally
through casual conversations or noticing interesting places in the area but some bits Ielt sterile, like a
traditional research project. One cannot truly explore a community without living there. It is hard doing
the project, knowing it is a project. To me, it Ielt invasive at times. When interviewing students, I
became Irustrated when they described their community in picturesque terms but Ielt uncomIortable
guiding their answers with questions that Iocused on areas oI need. I Ieared asking questions about gaps
within the community, because I recognized my role as an outsider conducting a project and did not
want to insult someone`s home. Overall, there were times where the CIP lacked Iluidity, seemed
invasive, and Ielt like a strange ethnographic case study on a 'Ioreign place.
From the beginning oI our arrival in Boyle Heights, Priscilla and I have been drawn to the
community`s many murals. Learning more about art and its relation to culture and education, we have
decided to Iocus our Action Plan on art`s relationship to cultural expression and education. Though still
in its early stages, we have decided to create a website that details and highlights community art. The
website will Ieature interviews with artists, community artwork, and art resources within the area.
Furthermore, we hope to have a submission section where local artists can submit their work Ior
Ieature. The site will enact as a community resource where residents can come together over a common
interest. We also see the site as a way Ior Boyle Heights to be recognized Ior its vibrant culture, since
art within the community is oIten deeply intertwined with culture, identity, and activism. Community
outsiders can view the site, which will work to disrupt the general, inaccurate, and socially unjust
portrayal oI Boyle Heights as a 'ghetto or 'impoverished community.
With the conclusion oI the Iirst part oI the CIP, I have learned that in general, one must use
multiple lenses to view the true nature and assets oI a community. Whether these perspectives come
Irom ethnographic conversations, a walking tour, or an Internet search is eventually unimportant. What
is crucial is a willingness to look beyond each piece to Iorm a holistic and developed notion oI a
neighborhood. Communities are not static so interpretations oI an area must be Ilexible and able to
adjust as one`s exploration goes deeper. Ultimately, this portion oI the CIP has taught me that Boyle
Heights is a community rich in culture, pride, and activism and Iar more than a 'ghetto or a small part oI
Los Angeles.
ReIerence
Solorzano, D. G., & Bernal, D. D. (2001). Examining transIormational resistance through a critical
race and latcrit theory Iramework. URBAN EDUCATION, 36(3).
Torero, M., Rocky, Lion, E., Zade. (Artists). (1978). We are not a minority |Mural|.

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