Centro Cultural de la Raza facts for kids
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| Formation | 1970 |
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| Headquarters | Balboa Park |
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Region served
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San Diego, California |
| Tommy Ramirez, Aida Soria, Monica Bernal, Roberto D. Hernández, Evan Apodaca, Erick De la Rosa | |
The Centro Cultural de la Raza (which means Cultural Center of the People in Spanish) is a non-profit organization. This means it's a group that works for a good cause, not to make money. Its main goal is to create, save, share, and teach people about Chicano, Mexican, Native American, and Latino art and culture. It's located in Balboa Park in San Diego, California. The Centro encourages creative expression from the native cultures of the Americas. It is also a member of the American Alliance of Museums.
The Centro offers many fun classes and shows. These include drama, music, dance, and arts and crafts. Many of these activities come from Mexico and "Aztlán." Aztlán is a special word used by Chicanos. It means returning to a spiritual homeland and old traditions. Programs at the Centro include Danza Azteca (Aztec Dance), Teatro Chicano (Chicano Theater), movie nights, art shows, and musical performances. The Centro also has its own dance group, Ballet Folklorico en Aztlan. This group also runs a dance school there. The Centro is also a place where community groups can meet.
The Centro's building is round and has offices, workshops, studios, and a theater. The theater can seat 150 people. There's also a large art gallery that is 2,000 square feet. The Centro was one of the first cultural centers for Chicanos. It is also one of the biggest in the Southwest United States. You can easily spot it by the many colorful murals painted near its main entrance.
Contents
How the Centro Cultural de la Raza Started
The idea for the Centro began in the mid-1960s. At that time, many people were protesting for social change. For example, there were protests against the Vietnam War. Also, activists like Dolores Huerta and Cesar Chavez were working with the United Farm Workers. These efforts led to many community groups forming in San Diego. People involved in these protests felt there was a need for a community center. They wanted a place run by and for Chicanos.
At San Diego State University, a group called the Mexican American Youth Association (MAYA) was created. Its goal was to help Chicano students join the university and finish their studies. This group, along with the Mexican American Liberation Art Front (MALAF), saw the need for a cultural center. MALAF also noticed that Chicano artists had few places to show their art. Alurista, a poet, and artists Guillermo Aranda and Salvador Roberto Torres were part of MAYA. They later became part of M.E.C.H.A. These artists worked hard to create a space for culture and art. In 1968, the San Diego Parks and Recreation Department let Torres use the old Ford Building in Balboa Park as an art studio for six months.
Torres invited other artists and the Ballet Folklorico en Aztlán dance group to use the space. Many artists joined, including Alurista, Ochoa, Torres, Guillermo Aranda, and others. By 1969, the Ford Building became a major hub for San Diego's Chicano artists. More artists and musicians joined, like Guillermo Rosette and Trio Moreno. They officially named themselves "Los Toltecas en Aztlán." This helped them create a stronger group identity.
Los Toltecas en Aztlán wrote down their main belief. They said they wanted to create a Centro Cultural de la Raza. This center would be a place where their "ancestral spirit of brotherhood, justice, and peace" could grow through Chicano art. By 1970, Los Toltecas en Aztlán had forty members.
Moving to a New Home
The group started making plans to turn the Ford Building into the Centro Cultural de la Raza. First, they asked the city of San Diego for permission. Their idea for the Centro was presented to the city council and the mayor, Frank Curran. They also sought support from other Chicano groups and people. However, the city had other plans for the Ford Building. They wanted to turn it into an aerospace museum. According to Ochoa, the city was not comfortable with what the Toltecas were doing. He said, "At one time there was 300 cars outside the Ford Building -- all Mexicans. They never saw so many Mexicans in Balboa Park before."
At the same time, in another part of San Diego, people were protesting. They were demanding that a former Hispanic neighborhood be turned into a park. Torres and other members of Los Toltecas en Aztlán were part of this protest. They called the area Chicano Park. The Chicano Park protest and other issues became part of a new proposal. This proposal strongly argued for the need to create the Centro Cultural de la Raza. Alurista, Torres, and Aranda brought this new proposal to the city. Despite this, the city tried to make the artists leave the Ford Building. Los Toltecas en Aztlán refused to go.
In October, the Chicano Federation of San Diego County got involved. They helped Los Toltecas en Aztlán talk to the city manager. Los Toltecas en Aztlán said they would not leave the Ford Building until they were given another place for the center. Finally, the city offered them an old water tank built in 1914. Alurista was key in the final talks. The agreement included using the new building and $22,000 from the city. This money helped improve the building. It paid for lights, heaters, water, and a wood floor for the Ballet Folklorico.
Los Toltecas en Aztlán moved into the new building in May 1971. They worked hard to get it ready for a big opening on July 11, 1971. Over 500 people came to the grand opening. There was music, dance, and an art show inside the building.
Murals and Famous Artists
The first mural in the new Centro building was called "La Dualidad." It was created by Aranda and volunteers and finished in 1984. Outside the building, you can see murals by many artists. These include Mario Aguilar, Aranda, Barajas, Arturo Roman, Neto del Sol, David Avalos, and others.
The Centro became known around the world as a lively cultural hub. Important scholars and artists visited and talked with community members. Many famous artists, musicians, and performers were supported at the Centro. Some groups that started there include Ballet Folklórico en Aztlán and Trio Moreno. Many individuals also became well-known after being part of the Centro. These include Culture Clash, Gronk, Guillermo Gomez Peña, and the Taco Shop Poets.
A Time of Disagreement
From 2000 to 2007, some artists and community members did not support the Centro. This was called a boycott. Even one of the founders, Ochoa, was part of it. This disagreement happened because of changes made by new leaders at the Centro. It left the Centro in a difficult situation for a while.
The Centro Today
Today, the Centro Cultural de la Raza helps people understand important issues, like those at the border. It continues its mission to celebrate Chicano and Indigenous culture. It also encourages discussions about immigration and identity. The Centro is very important to the community. It provides resources and educates people on these topics. For example, a recent exhibit was called “Suturing the Border: Re-Membering BAW/TAF.” This show celebrated the unique experiences of people who have lived in the border region for many years.
The Centro is also starting a two-year project called "borderlands vision." This project will explore how art plays a role in the community. The first exhibit focuses on the border art workshop. It highlights the need for communication between Mexicans and North Americans.
As a cultural center, the Centro does more than just promote art. It also offers many workshops. These include traditional folk dance (danza folklórica) and other interpretive dance forms. There are also classes for music, theater, spoken word, and drumming. The Centro also hosts many public events. These include art shows, concerts, theater plays, dance performances, and multimedia events.
In 2014, the Centro operated on a budget of $30,000 a year. At that time, it had no paid employees. Only volunteers worked for the organization.
The Centro Cultural de la Raza has archives from 1970-1999. These important historical records are kept at the University of California, Santa Barbara.
Directors
- 1971-1975 Guillermo "Yermo" Aranda
- 1988-1990 Victor Ochoa
