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Goldman                            19

[[underline]]El Malcriado[[/underline]] in the 1960s, and Chicano linocut and silkscreen posters in 
which the graphis arts are used as direct vehicles for labor organizing, it is not to far-fetched.  Carolos Cortez-himself a self-educated working class intellectual, union organizer, song writer, [[?]] newspaper editor, and graphic artist - carries out the IWW prescription in his own person.
[[underline]]Miners' Images by Chicano Artists[[/underline]].  The Mexican and Chicano miner has been painted in works by Chicano artists in a less historically specific way.  One of the earliest appears on a 1972 mural in Santa Fe, New Mexico by the group Artes Guadalupanos de Aztlan. Wrapped around a corner of a building is a giant muscular figure of a miner, one arm raised in a clenched fist, the other holding a book title [[underline]]Viva la raza[[/underline]] (Long Live Our People).  The stance of the figure is echoes by a pre-Columbian personage along one wall, and a modern Mexican woman on the other and set in an agricultural landscape with a rising sun and bulbous clouds. The self-taught Guadalupanos, part of the grassroots mural movement emerging from the political and economic struggles of the 1960s, drew heavily on various Siqueiros murals seen in books.  They expressed an ideology popular with the fledgling Chicano political movement of the time:  social change and uplift (a new dawn symbolized by the sun) is to be achieved through education "of the race", revival of the ancient Indian cultures, the spirituality of the Virgin of Guadalupe (red roses in the jars under the miner's arm), and the cessation of fratricidal gang warfare (a youth with a knife being restrained at one corner of the wall).  No symbols of labor unionism or of class struggle, explicit in Siqueiros' murals, appear.
[[left-margin]](Fig. 9)[[/left-margin]] Antonio Pazos includes two eloquent figures of miners within a large mural on a community center in Tucson, Arizona.  Pazos immigrated from Sonora to Arizona shortly before the mural was painted and was aware of the mines on both sides of the border.  His oppressed miners, kneeling head to head, assume a a posture derived from Maya paintings and relief sculpture generally associated with slaves or