Creative El Diario
An analysis of creative writing and artwork featured in El Diario de la Gente
Introduction
“Creative El Diario” examines the landscape of creative work published in El Diario de la Gente to explore the Chicanx civil rights movement of the 1970s and 1980s. Amidst the widespread national political turmoil of the Vietnam War, Watergate, labor unrest, and economic crisis of the era, the student-published newspaper served as an independent voice for Chicanx and other under-represented students at University of Colorado Boulder. This backdrop was especially important for linking the broader social conscience of students with local activism to improve the campus climate and to break down systemic barriers erected by university administrators that caused pervasive discrimination against Mexican-American students. The tragic deaths of Los Seis de Boulder, six local Chicanx activists who died in two mysterious unsolved car bombings between May 27-29,1974, further galvanized the University of Colorado Boulder students to speak out, write, and create art to advance social justice.
Over its twelve-year publication cycle, El Diario presented a vibrant selection of illustrations, poetry, short stories, photography, cartoons, and letters by students, activists, inmates, and community members to express their concerns and envision a more equitable future. For this project, we used topic modeling to broadly identify creative works by theme, followed by close readings and visual analysis of individual, representative pieces. In each instance, we ask:
• What was the creative work trying to convey to the Chicanx community and broader society about the social context of the Mexican-American experience in the United States?
Literature Review
El Movimiento was not a monolithic movement but a multidimensional and intersectional era that advocated simultaneously for the present day social survival of Mexican-American people alongside an aspirational future of social equity for the community (Gómez-Quiñones and Vásquez xxvii). El Movimiento was “comprised of many regionally based movements, the Chicanx Movement had several important loci of activism, rather than a central leadership” (Rodriguez 1). One outcome of this broad community involvement is the diversity of creative works (Gonzalez xx), described as a “Chicano Renaissance” spurred by artistic and literary activism to advance “La Causa” (Aldama et al 299). The political identity work rooted in farmworker union organizing and boycotts spearheaded by Dolores Huerta and Cesar Chavez in California (Rodriguez 23) was a frequent theme of Chicanx art. Another manifestation of this creative activism was especially prevalent in prisons, where male and female Chicanx inmates, referred to as los pintos (Cardozo-Freeman 9), produced poetry, short novellas (274), and los paños, an evocative form of folk art (Gómez-Quiñones and Vásquez 273).
In the southwest United States, referring to oneself as Chicano, rather than Hispanic or Latino, Rodriguez argues, was to embrace the mythic homeland of Aztlan (124) and with it a retelling of Mexican-American history to further burnish the new Chicanx identity (123): “Mexican Americans were torn between an Americanist imaginary that highlighted liberty and individualism, and a Mexicanist and largely Catholic imaginary that placed the focus on family and community” (124). Community newspapers, like El Diario, were a driving force in communicating the new nationalist Chicanx identity within the broader civil rights movements led by Mexican-American workers and intellectuals (125). El Diario was also instrumental in the distribution of los paños and other creative works by inmates agitating for prison reform (272), as well as other activist art promoting boycotts, politics, and family life—a key intersection of the Chicanx identity and political movements.
Our project instantiates the variety of voices, perspectives, and concerns expressed in the creative work of El Diario, as well the scope of the works themselves—which range from folkloric stories of family and empowering feminist poetry to scathing political cartoons and hand-drawn prison art as a form of identity-seeking and community-building.
Digital Humanities Context
The relationship between computing tools and cultural discussion is always a concern in the digital humanities. As Kim Gallon notes in her article “Making the Case for the Black Digital Humanities,” “It may then be of little surprise that scholars of the black literary tradition, as a whole, have yet to embrace text mining and other quantitative digital approaches in the same numbers as other groups of literary scholars.” The reason behind this is that scholars of African-American literature may view text mining as counterposed to recovery. Though our project is not about black or African-American creative works, it shares a similar concern: minorities’ creative work. Therefore, scholars of Chicanx literature may view text mining as counterposed to recovery as well. This project might help show how using digital humanities tools to analyze creative works by minorities contributes to the elevation of minority voices. It is also important to seriously consider the political relations and assemblages that have racialized the literary, philosophical, and historical texts that we study. This project analyzes creative works about family, prison reform, boycotts, and activism, topics that address social justice concerns.
This project is a practice of postcolonial digital humanities; it uses existing digital archives that leave traces of colonialism for analysis, interpretation, and visualization. It shares untold stories, such as those fairy tales and myths of resisting colonial inscriptions in the digital cultural record. The creative works about family, prison reform, boycotts, and activism that we address challenge colonialism, authority, and power as they share the voices and concerns of marginalized people.
Data
El Diario de la Gente is available digitally through the Colorado Historic Newspapers Collection. The full corpus of El Diario de la Gente was built by all members of DHUM-5000, Introduction to Digital Humanities: Movements, Methods, and Tools, at University of Colorado Boulder during the Fall 2019 semester. It is available publicly for download here . This corpus includes 1,726 .txt files that are labeled by schema that include the year and date of the issue in which an item appears; whether the item is written in English, Spanish, or a mix of both languages; whether the item is an article, advertisement, notice, masthead, or creative work; and the title of the item. For example, 1972.12.01-en-creative-MadGenieTerrorizesNeighborhood.txt represents a creative work titled “Mad Genie Terrorizes Neighborhood” that was written in English and published in the December 1, 1972 issue.
The sampling of creative works within the corpus is only 103 .txt files. Because of the small sampling, we were unable to accurately perform many computational tasks on a subset of the corpus. We therefore opted to run computational methods on the full corpus before choosing creative works to analyze.
The creative works in the corpus usually take the form of poetry, short stories, cartoons, and drawings. Because our topic model only alerted us to creative writing within El Diario, we had to sift through issues in search of images that related to the themes we were addressing. While images from the corpus are available for download on the OSF site linked above, these images are just selections and do not represent all the images in El Diario. This is because, when building the corpus, we decided as a class to only collect images that we found interesting, rather than each image in the newspaper. Therefore, scanning each individual issue of El Diario was necessary to find images related to our themes that may not have been selected in building our corpus.
The main limit to our data is the bias involved in selecting what counts as creative work when our class of sixteen people built our corpus and we sometimes interpreted text differently. In analyzing specific documents that our topic modeling brought to our attention, we occasionally discovered that some works were labeled creative when they could also be considered articles, notices, or advertisements; similarly, some documents may have been labeled articles, notices, or advertisements when they could also be considered creative work. Therefore, there may be some creative works in the corpus that we did not have the opportunity to analyze because we did not know they existed, and the number of 103 creative works in the corpus may be slightly inaccurate. Ongoing research related to El Diario could include refining the schema and updating the .txt files in the corpus accordingly. A second bias is our choice of specific creative works to analyze; there are likely more creative works related to each of our themes that are not included in our analysis.
In our selection and analysis of our data, we took care to curate, cite, and analyze El Diario’s creative work with compassion and respect, recognizing that we do not belong to the culture or era in which this work was produced and that this work should be interpreted in its proper historical context. Because we have published this work in an easily editable format, we will be able to respond to feedback and update our analysis accordingly to ensure that we continue to respectfully engage with the work published in El Diario.
Methods
In order to approach our research questions, we first used computational methods in order to familiarize ourselves with the corpus. Using the MALLET natural language processing toolkit, we created a series of topic models of the full corpus of El Diario (Fan et. al). This allowed for us to explore how the ethos of the newspaper manifested in the creative work. By running the corpus through MALLET, the software finds patterns between word appearances, assigning word patterns to lists that include similar patterns. Each topic is accompanied by a list of articles ranked according to how many words are attributed to that specific topic. MALLET generates new topic models each time it is run, which is one of its significant limitations. We attempted to mitigate this by generating numerous topic models and toggling with the number of topics the software should generate. We followed each iteration with strategic close readings of the topics, paying particular attention to the creative work featured in the topic (Kirschenbaum).
After analyzing topics in which the creative work appeared, we each chose a topic and returned to the digitized issues of El Diario to see the creative work in the context of the rest of the corpus. We inductively noted the relationships between the creative work and our chosen topic. Two of us noted the physical spaces and locations referenced within our topic and the creative work. We used ArcGIS maps to depict these georeferences to enriched interpretations. ArcGIS is a geographic information system (GIS) that is maintained by Esri, which has a broader suite of digital tools. We also used ArcGIS StoryMaps to bring our various analyses together (Esri).
The first twenty topics that the MALLET natural language processing toolkit revealed
Analysis
November 03, 1972
The Importance of Family as Bedrock of Chicano Culture
by Xueyue Liu
Myths are a guarantee, a certification of reality, and often a guide. Cultural facts are a memorial in which myths find specific expression; myths are also the true source of moral laws, social groupings, ceremonies, and customs.—Bronislaw Kasper Malinowsky
Reports from Wounded Knee, March 20, 1973
Mad Genie Terrorizes Neighborhood 1972.12.01
Fairy tale about the love mother to children.
UMAS Goals, November 03, 1972 emphasize family and unity
Since most of you have never seen the old style of genie and a few of you have never seen Da Meanie, I’ll tell you what he looked that first day we found his magic Coors bottle in the Denver Stockyard garbage bin. A couple of us had been walking down this alley toking when we noticed the bottle dead center in front of us. It sounded like it was humming to get our attention. We held it up to the light (it was still unopened) and could see a small, black, greasy, kinky pile in the bottle. God knows how many times we’ve wished we hadn’t touched it.
Chicano Prison Reform Movement
by Wendy Norris
During the first and formative years of El Diario, the struggle to advance Chicanx civil rights within US institutions, known as El Movimiento, also served as a rallying cry for uniting students, families, and communities around a common cultural identity. Fusing the political aims of El Movimiento with growing national attention to farmworkers’ advocacy for humane working conditions via La Causa, a cadre of lawyers, intellectuals, and community activists called for a new focus on prison reform. As Chase writes: “struggles for prisoners’ rights were not disconnected from the societal struggles of the 1960s and 1970s” (853-854).
Advocacy to end the brutal conditions of prison farm labor and dehumanizing incarceration policies at the time were further ignited by the discovery of law enforcement abuses suffered by Chicanx activists through COINTELPRO, the controversial FBI counterintelligence program. The Hoover-era FBI COINTELPRO activities exploited extralegal methods to target “dissident” Chicanx, Black, and Native American students, workers, and advocates for surveillance and helped to imprison movement activists through false charges and civil rights violations (Barrera 188-119).
While El Diario is often described as a campus-based newspaper for students, the paper’s editorial priorities also reflected broader societal concerns expressed in El Movimiento and La Causa struggles. The newspaper also served as a voice for the emerging Chicanx prison reform movement. However, locating these works in the full El Diario corpus proved more difficult than expected. In order to segment this theme, I had to generate fifty topics in the MALLET natural language processing toolkit software. I speculate that the reason the smaller topic model outputs were less specific to the prison reform movement was because these published works often reflect wide-ranging societal concerns as well as those specific to inmates’ rights, incarceration experiences, and illusions to an idealized life in the mythical Aztec homeland of Aztlan.
Over its eleven-year publication cycle, El Diario featured approximately 169 articles, creative pieces, notices, and advertisements about the Chicanx prison reform movement. Between 1973 and 1975, El Diario published multiple pieces in single issues about prison conditions, lawsuits, church-sponsored visits to the Colorado State Penitentiary, and letters to the editor penned by inmates and advocates.
Works identified in MALLET topic model containing Chicanx prison reform themes
Creative work inspired by the Chicanx prison reform movement includes poetry, illustrations, short stories, and photography. Movement poetry played a particularly important role as a literary tool to convey an emerging Chicanx identity, educate readers about Mexican-American history and heritage, reclaim power from conquest and postcolonial repression, and create space for Chicanx social consciousness. Select examples and brief interpretations of the creative work published in El Diario about prison reform are explored below.
Los Pintos
Male and female inmates advocacy about prison reform often took the form of creative work, including short novellas and folk art called paños and inspired by Catholic symbolism, Aztec warriors and myths, and political imagery. This simple illustration by an unknown artist of an Aztec eagle clutching a pencil symbolizes the cultural pride of Chicanx inmates, who referred to themselves as los pintos.
Los pintos activist and Colorado State Penitentiary inmate Juan Gaitan. (Credit: photographer unknown)
Police corruption
Abuse by law enforcement is a recurrent theme in the creative work published in El Diario. In this editorial cartoon, the artist implicates the police framing a man by planting a weapon on his lifeless body in order to justify a self-defense shooting.
Art by Juan Gomez, 1971.
Prison reform
Civil rights advocates for the Chicanx, African American, and Native American communities in the 1970s and 1980s often came together in common cause around prison reform issues since incarceration rates were then, and remain today, exponentially higher for minorities than whites in state and federal prisons. In this photograph published in the November 11, 1974 issue, an intersectional, multi-ethnic group rallies in Denver in support of prison reforms following an inmate riot at the Colorado State Penitentiary (CSP) in Canon City.
(Credit: photographer unknown)
Inmate families
Many of the stories and poems reflect the plight of inmates’ children and families left behind. El Diario published several pieces by Chicana feminist poet Marcela Trujillo Gaitan, a University of Colorado Boulder alumna and wife of CSP inmate and los pintos activist Juan Gaitan. Trujillo Gaitan’s bilingual poems often took a defiant tone, imploring Chicana women to rise above the traditional patriarchal Mexican-American and conservative Catholic cultures that demanded subservience.
"We are La Raza" is a poem for El Teatro De Ustedes
It also features perspectives from los pintos who retain their place and value in the Chicanx community.
Navigate the map (at right) to read the poem's stanzas from where the action takes place in the lives of families, activists, inmates, and the dead.
Boycotts and the United Farm Workers
by Jenna Gersie
It is difficult to open an issue of El Diario and not find an article about boycotts of lettuce, grapes, wine, Coors, or Safeway. The very first issue of El Diario, from October 20, 1972, includes the articles “UFW strike returns to Delano Vineyards” and “Lettuce boycott group meets with parents”; nearly ten years later, the June 1, 1981 issue includes an article on the “reawareness” of the Coors boycott. In between, articles on the boycotts appear consistently, with titles like “Why we still boycott” (July 17, 1975) and “Lettuce boycott continues” (July 20, 1979). There are very few issues in the history of the newspaper in which there is no article, notice, or creative work related to these boycotts. The topics pictured above represent much of the work written in El Diario that refer to these boycotts.
Creative works do not appear high or frequently in the lists for the topics pictured above. This is likely because of the sheer number of articles related to these topics, but also because the language used in creative works is often not as direct as it is in articles. For example, the poet Tigre uses words like “leaves” and “fruit” rather than “lettuce” and “grapes”; his poem, "Human Leaves," analyzed below, is clearly from the perspective of a farmworker, but does not include words like “boycott,” “strike,” or “labor,” words that appear in the topic model and in most articles on the boycotts. Therefore, the topic model is useful for deriving themes found in El Diario, but discovering the content of creative work requires a knowledge of the corpus and closer reading.There are three pieces of creative writing in El Diario that refer directly to the boycotts. “Lechuguero,” from the October 26, 1973 issue, is a short story about a farmworker working in a lettuce field. “Mad Genie Terrorizes Neighborhood,” from the December 1, 1972 issue, is a short story in which a malevolent genie lives inside a Coors bottle. “Human Leaves,” from the February 22, 1974 issue, is a poem that describes the plight of farmworkers. Though creative writing about the boycotts is sparse in El Diario, these works are representative of a larger theme, one that is central to El Diario's content throughout its history. In addition to these three pieces of creative writing, there are many images and comics that refer to the boycotts. This content is explored below.
Lettuce and Safeway
Si se puede!
In 1962, alongside Dolores Huerta, Cesar Chavez co-founded the National Farm Workers Association, which later became the United Farm Workers of America, or UFW. Chavez was committed to nonviolent action to achieve better pay, safer working conditions, and the right to unionize for farmworkers. One of the nonviolent actions that Chavez was committed to was boycotting non-union products and companies that sold non-union products. Throughout El Diario, support for Chavez's boycotts is seen in notices, articles, comics, images, and creative writing.
The article “Boycott Head Lettuce” in the November 3, 1972 issue of El Diario describes the reasons for the lettuce boycott: farmworkers are underpaid, have inadequate housing, have a low life expectancy, are exposed to lethal pesticides, and are not given clean drinking water. Often, farmworkers are children under the age of thirteen.
In this image, the farmworkers encourage a strike (huelga). They are represented by the United Farm Workers, and the UFW flag with an Aztec eagle proudly flies in the background. Variations of this image appear several times in El Diario.
In conjunction with a nation-wide lettuce boycott, activists began a secondary boycott of Safeway supermarkets in over forty cities, because Safeway did not commit to selling only union lettuce. Activists in Boulder picketed outside the Safeway and tracked the number of shoppers they turned away from the store. They presented their success with these thermometer graphics. Though only two of these images appeared in El Diario, they clearly show the growth of the boycott and commitment of activists locally, from the February 20, 1973 issue to the March 6, 1973 issue.
In this cartoon, the farmworker must face a three-headed giant; its heads represent the growers, the Teamsters (a union that sided with the growers and did not adequately represent farmworkers), and Safeway, which continued to sell non-union lettuce despite petitions not to. The consumer offers aid to the farmworker by boycotting Safeway and providing a pesticide mask to the farmworker.
In this comic, Paul cannot believe that Randy would ask for lettuce on his tacos. The lettuce boycott is so strong that Paul thinks it is obvious that he would not include lettuce in the food he serves.
This personal narrative, handwritten by ten-year-old Tomás, promotes the lettuce and Safeway boycotts by appealing to the emotions of its audience. Because it is presented in first-person in a child's handwriting, the fact that young children work in the fields and are underpaid for their labor becomes less of an abstraction. Tomás shares his pride of being Chicano with the title of his essay and capitalizing and underlining CHICANOS.
Lechuguero
por Celestino
October 26, 1973
In this story, a farmworker continues planting lettuce plants eight inches apart despite the pain in his back, the hunger in his stomach, the sun beating down on him, and later, the rain that pours, turning the field to mud. Throughout the story, the author repeats the phrase “leaving only eight inches between each plant,” showing the repetitive nature of the work, work that the farmworker knows will continue for the rest of his life and from which he will have little or no relief.
The author personifies the natural elements in the story: the sun moves behind a cloud and cries “a flow of tears”; later, these tears “rise up in anger” from the lettuce plants and the sky “angrily swallowed the sun” as a thunderstorm arrives, forcing the farmworker to leave his work for the day. The “clouds cursed at him and hurled angry insults.” The pathetic fallacy here represents the plight of the farmworker: tears and sadness about his working conditions, and anger at the injustice of it.
In the image that accompanies the story, the UFW Aztec eagle can be seen on one of the lettuce boxes and a dark sun beats down on the silhouetted farmworkers, who are faceless to represent all those undergoing the same injustices.
Coors
A Fine Racist Employer
Information about the Coors boycott first appears in the March 6, 1973 issue of El Diario. Reasons for the boycott include inequities in wage scales, preferential treatment given to male employees, dangerous working conditions, racist hiring practices, and discrimination against workers, especially those with long hair.
In this image, an eagle devouring a serpent, from the coat of arms of Mexico, crushes a Coors beer can in its talons. Because the Coors beer is “brewed with the blood of Chicanos,” the Mexican eagle takes revenge on the company.
This image of a Coors beer can includes text that is hidden in the previous image where the eagle is crushing the can. Coors is “A fine racist employer.” The figure on the can could represent either a police officer or a military figure; a military figure and the helicopter in the center of the can could signal to the Vietnam War, offering commentary on the way the United States perpetuates racism not only domestically but across the world. If the figure is a police officer, the helmet, indicating readiness for a riot, and the baton held in the officer’s hands signal to police brutality.
Mad Genie Terrorizes Neighborhood
December 1, 1972
In this story, Genie da Meanie lives inside an old Coors bottle and is “a product of modern times,” with a black tie and a GI-style crewcut, representing an affinity with police officers and politicians. When the narrator of the story finds the Coors bottle and opens it, the smell of rotten pork emerges from the bottle, again representing the genie like police (pigs). Like politicians, the genie makes many promises that he does not keep, and later, he begins beating people up. Here, the narrator references police brutality. The people in the community collect signatures to have the genie removed from the town, but he refuses to leave. “So, the people learned, after a lot of effort, that this isn’t the country it’s supposed to be.” But when the old Coors bottle is recycled, the genie isn’t seen or heard from again, and the people are able to build the community that they want. The narrator says, “Things have changed for the better since the people have taken over,” showing that community and collective action can accomplish tasks that politicians and forces of authority cannot. The conclusion of the story more directly references the Coors boycott: “So as favor to the people, stay away from Coors bottles. Don't drink it. Don’t buy it. Don’t even open a bottle. Even if you don’t believe in genies.” The Coors bottle is a container for all of the racist and violent habits of those in power; boycotting the company helps reduce the spread of that kind of power.
Grapes and Wine
Don't Scab!
The article “Huelga - Huelga - Huelga - Huelga” in the May 5, 1973 issue of El Diario describes the renewed grape boycott after contracts with Coachella Valley grape growers expired. Much of this boycott also involved UFW’s struggle against the Teamsters, a union that did not fight for as many benefits for farmworkers as UFW did. In this cartoon, farmworkers represented by the Teamsters head to the field to work, while UFW farmworkers are on strike. The dialogue by the grower shows the violence with which farmworkers were treated.
This advertisement, which appears more than once in El Diario, lists which wines are okay to buy and which ones should be boycotted. Again, the UFW Aztec eagle appears in this image. Chavez chose the symbol of the eagle with squared-off wings so it would be easy for union members to recreate on handmade flags. Its recreation is seen throughout El Diario. Chavez stated, “A symbol is an important thing. That is why we chose an Aztec eagle. It gives pride . . . When people see it they know it means dignity” (ufw.org).
Human Leaves
by Tigre
February 22, 1974
In this poem, the speaker compares human lives to the leaves that grow in the vineyards. Considering that plants fall well below humans and other animals in hierarchies of importance and value, and that treatment of agricultural plants includes dousing them with pesticides and other chemicals, the speaker makes the point that farmworkers are expendable and undervalued. “You don’t see me,” the speaker shares with the audience, showing the disconnect between buying wine in a store and knowing who is on the other end of the production of that wine. The speaker addresses a privileged audience who has no problem putting food on the table and who has little awareness of the plight of farmworkers, and the poem reflects the farmworker’s resentment of that privilege, especially when it results in apathy or ignorance about the struggles of others.
The image accompanying the poem is a cornucopia filled with human skulls, reflecting the abundance of farmworkers who suffer the consequences of pesticide use, hunger, and violence.
Expressions of Activism and Identity
by Shiva Darian
One of the main roles of creative work in El Diario is to provide commentary on the Chicanx experience.
Art, poetry, and stories serve as mechanisms for describing the complex relationships young people have with their various identities. This work encourages pride in the Chicanx identity and culture of activism through promotions of local, national, and international resistance movements.
Below are a few examples of the ways activism and identity were depicted in the creative work of El Diario. This is followed by an interactive map visualizing the landscape of activism within El Diario.
Expressions of Activism and Identity
Bull vs. Buffalo
October 27, 1972
Creative work (particularly illustrations) often depicted the Chicanx identity in abstract ways. In this illustration, the bull and buffalo are not only distinct, but clearly at odds with one another.
- bull = Chicanos
- buffalo= CU Association of Students
Text: El Diario De La Gente
Movement vs. magnetism
by Esperanza
October 20, 1972
Some of the creative work served to distinguish Chicanx people from the broader University of Colorado community. "Movement vs. magnetism" acknowledges the pressures and temptations of "Assimilation, Prestige, Power, and Money" and the difficulties of overcoming those challenges and standing by the Chicanx movement.
The Salad Bowl of The World
by Tony Gandara
December 1, 1972
This piece simultaneously offers commentary on the broader society while iterating Chicanx ideals. The Movement is fighting to have diversity respected and identities legitimatized. Familiar metaphors are considered with a Chicanx lens.
Cartoon
by Pudim
July 13, 1973
Many pieces served as commentary on the broader society, highlighting the daily struggles of living as a minority of color in a predominantly white society.
Text: "Discrimination around here? We don't see A Discrimination. Do you see one?"
"La United Fruit Co."
por Pablo Neruda
May 5, 1974
This famous piece by Pablo Neruda was one of many of Neruda's poems that was featured in El Diario. The newspaper referenced many international activists and other movements, for inspiration and recognition of the collective struggle.
"La United Fruit Co." is a commentary on the way in which "Jehovah gave the world" to corporations, fueling corporate greed at the cost the people's livelihoods:
"..the natives, nameless, a forgotten number, a bunch of rotten fruit, thrown on the garbage heap."
The Landscape of Activism in El Diario De La Gente
Green points indicate original work. Blue points indicate a republishing of other work.
Works Cited
Aldama, Arturo J., Elisa Facio, Daryl Maeda, and Reiland Rabaka., editors. Enduring Legacies: Ethnic histories and cultures of Colorado. University Press of Colorado, 2010.
Barrera, James. “The Political Repression of a Chicano Movement Activist: The Plight of Francisco E. ‘Kiko’ Martínez.” Chican@: Critical Perspectives and Praxis at the Turn of the 21st Century. Selected Papers from the 2002, 2003, and 2004 NACCS Conference Proceedings. http://scholarworks.sjsu.edu/naccs/2002-2004/Proceedings/9
Cardozo-Freeman, Inez. “The Lingo Of the ‘Pintos.’” Bilingual Review / La Revista Bilingüe, vol. 20, no. 1, 1995, pp. 3–21. JSTOR, www.jstor.org/stable/25745249.
Cesar Chavez Foundation. 2016, https://chavezfoundation.org/ . Accessed 17 Dec. 2019.
Chase, Robert T. "Cell Taught, Self Taught: The Chicano Movement Behind Bars-Urban Chicanos, Rural Prisons, and the Prisoners’ Rights Movement." Journal of Urban History, vol. 41, no. 5, 2015, pp. 836-861.
Esri. http://www.esri.com . Accessed 18 Dec. 2019.
El Diario de la Gente. Colorado Historic Newspapers Collection, October 20, 1972 - April 1, 1983, www.coloradohistoricnewspapers.org . Accessed 18 Dec. 2019.
Fan, Xiaocong, et al. "MALLET-a multi-agent logic language for encoding teamwork." IEEE Transactions on Knowledge and Data Engineering, vol. 18, no. 1, 2005, pp. 123-138.
Gallon, Kim. "Making a Case for the Black Digital Humanities." Debates in the Digital Humanities, 2016, pp. 42-49.
Gómez-Quiñones, Juan, and Irene Vásquez. Making Aztlán: Ideology and culture of the Chicana and Chicano movement, 1966-1977. UNM Press, 2014.
Gonzales, Rodolpho. Message to Aztlán: Selected Writings of Rodolfo" Corky" Gonzales. Arte Público Press, 2001.
Kirschenbaum, Matthew G. "The remaking of reading: Data mining and the digital humanities." The National Science Foundation Symposium on Next Generation of Data Mining and Cyber-Enabled Discovery for Innovation, Baltimore, MD. 2007.
Presner, Todd, and David Shepard. "Mapping the Geospatial turn." A New Companion to Digital Humanities, 2015, pp. 199-212.
Rodriguez, Marc S. Rethinking the Chicano Movement. Routledge, 2015.
United Farm Workers. 2019, https://ufw.org/ . Accessed 17 Dec. 2019.
Acknowledgments
We are grateful to Nickoal Eichmann-Kalwara for her course design, instruction, feedback, and baked goods, and to our other classmates in DHUM5000 for their discussion, ideas, and company: Phelan Bowie, Sara Cottle, Eva Danayanti, Brandon Daniels, Juan Manuel Garcia Fernandez, Joshua Ladd, Jackson Reinagel, Ryan Smith, Josh Westerman, and Claire Woodcock. Thank you also to Megan Friedel and Kalyani Fernando for sharing the Special Collections with us; Kevan Feshami for teaching us network analysis; and Alicia Cowart for teaching us ArcGIS.
