Art and Activism: A Study of the Young Lords Party in New York City

How did a political community organization use art to create social and political change, and why

does art continue to be one of the best ways to reflect on the organization’s influences? Initially founded

in 1968 by Jose “Cha Cha” Jimenez, the Young Lords Organization (YLO, also commonly referred to as

the Young Lords Party) was a Chicago-based organization that calls for the protection and empowerment

of Latinx and African American people with a focus on Puerto Rican nationality and pride. During and

after the peak of their influence, a large amount of art was produced by and about the Young Lords and

their work through various mediums of artistic expression. Hand in hand with the political actions taken

by the Young Lords for change, these different mediums echoed the struggles of the YLO and its

community, putting social issues into perspective and honoring the YLO legacy. In 2015, a large number

of contemporary works and archived materials were collected and curated into a three-part art exhibition

that explored the connection between creativity and politics through the lens of the Young Lords Party.

This came in the form of the “¡Presente! The Young Lords in New York” art exhibits, showcased in three

different museums located in New York City, displaying a fascinating array of artwork surrounding the

Young Lords and their work. Throughout the 1960s and 1970s, the political and social change caused by

the Young Lords Party was emphasized and supported through poetry, visual art, and photography,

exposing society to their efforts and impacts, as well as exploring the striking relationship between art and

activism.

It was not a coincidence that the Young Lords were focused mainly in New York City and

Chicago. In the early 1950s, “The Great Migration” of Puerto Ricans took place, where millions traveled

away from unstable living conditions in their home country to settle primarily in New York City - which

holds the largest Puerto Rican population in the United States - and Chicago (Library of Congress). It did

not take long before these large groups of migrants began to form neighborhoods filled with Puerto Rican
people and lifestyles, communities also known as “barrios.” But during their attempts to familiarize and

build new lives for themselves, Puerto Rican immigrants were greeted with systemic discrimination and

marginalization from surrounding communities. As time went on, these “barrios” were subjected to

economic disparity, neglect, police brutality, and a severe lack of education and employment. Out of these

conditions, the Young Lords Party arose, determined to change the quality of life for their community. In

1968, Jose “Cha Cha” Jimenez founded the Organization in Lincoln Park, “one of the most impoverished

barrios of Chicago, Illinois” (Chavez). Over time, the YLO rebranded from a street gang to a

community-based organization, growing in size and influence, and eventually spreading to New York

City. Modeling closely after the Black Panthers, the YLO advocated for prominent social crises during

the late 1960s and 1970s including, but not limited to, healthcare, sanitation, economic equality,

employment, police brutality, and housing within governmentally-neglected areas of New York City and

Chicago (Eaton-Martinez, 101). With the involvement of now-famous members including Felipe Luciano,

Iris Morales, Pablo “Yoruba” Guzman, Denise Oliver, and more, the Party fought for change through a

variety of operations, conventions, and protests throughout Manhattan that eventually led to the

establishment of free clinics, community centers, and social change overall. Alongside the cultural,

artistic, and intellectual development of the Nuyorican Movement - a term coined by Puerto Ricans and

their descendants residing in New York City - the Young Lords changed the course of history for Latinx

and African Americans within their communities. Although the peak of their influence occurred in the

20th century, the legacy and influence of the Young Lords Party continue to linger today, echoing through

art produced both then and now.

Throughout history, poetry has been used to communicate emotions and spread messages in ways

that many believed simple prose could not. Many social movements incorporated the use of poetry to

reach out to people in attempts to connect through a shared value or struggle, including the movement of

the Young Lords. One specific poem written by a Young Lord did this well, titled “A Puerto Rican

Obituary” by Pedro Pietri. Born in 1944 in Puerto Rico and raised in New York City, Pietri gained fame at

an early age as a poet and playwright. Credited as one of the co-founders of the Nuyorican Movement of
the 20th century, Pietri also became recognized as a Young Lord shortly after reciting his poem during a

Young Lord rally in 1968. Following the lives of five Puerto Rican immigrants living in New York City,

the poem embodies the common struggles of Latin Americans in the United States, praises the beauty of

Puerto Rican culture, and criticizes the capitalist environment that seems to systematically work against

them. Firstly, Pietri uses careful diction to make his message shine clearly. Although he focuses on five

characters, through the continuous use of the pronoun “them” throughout the poem, Pietri manages to

embody the perspectives of millions of Latinx immigrants rather than individual experiences,

emphasizing the widespread scale of these struggles. Additionally, Pietri’s poem explores the painstaking

cycle of poverty that millions of immigrants face in the United States, where racial and economic

disparities create systems in which only some can succeed. One line exemplifies this cycle; Pietri writes,

“All died yesterday today / and will die again tomorrow / passing their bill collectors / on to the next of

kin” (Pietri). As many move away from their homelands to improve their quality of life, Pietri exposes the

reality of these circumstances.

On top of the oppression, racism, and inequality that Latinx and African American citizens have

been subjected to for centuries, Pietri’s poem additionally recognizes the glorification of the United States

as a land of opportunity. This endless, seemingly inescapable cycle is well addressed by the line, “All died

waiting dreaming and hating” (Pietri), directly referencing the “failure” to achieve the so-called

“American Dream.” Additionally, Pietri’s poem touches on the lack of respect for Latinx communities

through the line, “They were trained to turn / the other cheek by newspapers / that misspelled

mispronounced / and misunderstood their names” (Pietri). This line skillfully verbalizes the daily

struggles of being misunderstood and “othered” by White, American society by addressing the daily

microaggressions that immigrants from all over the world face. His frequent mentioning of death

throughout the poem is also notable, as it does not directly address the lives of his characters, but alludes

to a certain death of identity and culture that his characters experience while living in America, separated

from their home country and people. But in the end, while naming all the struggles of being a Puerto

Rican in America, Pietri simultaneously celebrates the beauties of the identity. For one, his use of
“Spanglish” - a hybrid language of Spanish and English - represents his willingness to embrace his

culture, and rejects the complete “Americanization” of his identity. All in all, “Puerto Rican Obituary”

embraces the collective desires of a population, making it a prime example of the use of art in activism.

The political and social change that the Young Lords sought to help New York’s Puerto Rican population

is almost perfectly reflected in Pietri’s poem, which simultaneously reassures his people of the beauty of

their heritage, and informs those outside of his community of the struggles they face. However, his poem

was not the only example of this expression.

The Young Lords Party did not solely use verbal communication to spread its influence. Visual art

such as drawings, paintings, and collages was also created by and about the YLO, used to push

convincing narratives and educate external communities on their efforts. A near-perfect example of this

artistic political expression can be found in Palante, a bilingual newspaper created and published by the

Young Lords from 1970 to 1976, which was featured in the “¡Presente! The Young Lords in New York”

art exhibits. Displayed in three different

museums in New York City in 2015, the

“¡Presente!” exhibits pose as quintessential

examples of the relationship between art and

activism, both for reflection and future social

change. From July to December 2015, the

three-part exhibition was displayed in The

Bronx Museum of the Arts, El Museo del

Barrio, and Loisada Inc., showcasing a multitude of artwork surrounding the Young Lords. Composed of

paintings, photographs, films, and physical installations, the art exhibits combined primary sources from

the 1960s and 70s with contemporary pieces to highlight the YLO's efforts and impacts. Despite this vast

range of media, some of the most compelling works put for display in the multi-venue exhibits were

copies of Palante, rediscovered from the archives. Covering the walls of the three New York museums,

copies of article covers and the newspaper’s contents were hung for visitors to see, the party logo blazing
in the corner of each page; “Tengo Puerto Rico En Mi Corazon1” (pictured below). Ranging from

opinionated editorials to graphic cartoons and caricatures, the contents of Palante criticize the United

States, using the power of media and art to target the healthcare, housing, racial, and economic systems

that the YLO preaches against. Artistic expression was an effective way to do this; In the second volume

of Palante, published July 17, 1970, the edition ends with a cartoon featuring

two pigs adorned with doctor’s clothes performing surgery on a patient, the

words “Lincoln Hospital Butcher Shop” printed boldly at the top. This cartoon

refers to the Young Lord's occupation of South Bronx’s Lincoln Hospital in

1970, which was “notorious for its lack of resources, its overcrowding, and its

rat infestation in the emergency room” (Rivera 23). As the occupation protested

against dangerous working conditions and medical malpractice, Denise Oliver’s crude caricature reflects

the opinions of the Young Lords just as clearly as words could. The depiction of doctors as pigs (an

unmistakable connection to YLO anti-police rhetoric), the inclusion of a fist of money, and the words

“butcher shop,” Oliver’s cartoon exemplifies the use of art to send a clear message. Just like in Pedro

Pietri’s poem, the cartoon embodies the opinions and values of the Young Lords, making the message

even more powerful.

Lastly, photography was one of the main forms of art that best portrayed the toils of the Young

Lords Party. Helpful to those who seek to learn more about the YLO through photography, one primary

source holds more than 75 photographs taken of the Young Lords and their activism, titled Palante: Young

Lords Party, edited by Michael Abramson and Iris Morales. Separated into two sections, the book

includes verbal recollections from YLO members reflecting on their childhoods and Party involvement, as

well as a photographic essay made from a compilation of photographs of the YLO taken through the

1960s and 70s in New York City. Mainly consisting of party members and adjacent individuals directly

working with or being helped by the YLO, the photographs are captivating and raw. Throughout the

essay, anger, sadness, strength, and unity are splashed across the subject’s faces, making the images

1
Translation: “I hold Puerto Rico in my heart.”
strikingly human. While the individual photographs are powerful, the structure and chronology of the

essay paint an impactful narrative about the work of the YLO. The essay begins with the foundation of

Puerto Rican struggles, unabashedly depicting the poverty and pain of the photograph’s subjects in both

the Bronx and Puerto Rico. The essay continues on to show the manifestations of this suffering on a larger

scale through photos taken during the funeral procession of Julio

Roldan, a Young Lord allegedly murdered by police in his jail cell

in 1970, staged to appear like a suicide (Quarles). Many of the

photographs in the essay are of the demonstration that took place

on that day, including one depicting a large crowd brandishing

Puerto Rican flags and homemade protest signs showing Julio

Roldan’s face (Abramson 93). Demanding vengeance and riling up for revolution, this photograph

practically radiates the pain of his community, as well as the collective desire for better treatment. The

focus of the photos then shifts through a wide range of aspects relating to the YLO, including unfiltered

national pride, Puerto Rican youth, the involvement of women, and even behind-the-scenes clerical work.

The use of the Palante newspaper to communicate with the community was also included, highlighted in

its own section of the photographic essay. One image embodied this perfectly, depicting a man reading a

1970 volume of Palante, the words "JULIO ROLDAN YOUR

MURDER SHALL BE AVENGED" printed boldly on the cover

(Abramson 149). This photograph almost singlehandedly

encapsulates the Young Lords Party's work, showing an unbeatable

collaboration between art, mass communication, and political

activism. Similarly to political cartoons, photographs are an

excellent method to communicate non-verbally, yet coherently.

Once again, art proves itself to be an effective agent in the fight to

be heard, reflecting the values and desires of the Young Lords

Party, and the ties between art and political activism.

Puerto Rican and African American citizens but also encompassed unique ways to tie together art and

political activism to make a long-standing change. The connections between consequential politics and

meaningful artistic expression not only changed the lives of thousands, but also serves as a reminder

about the power of art as a communicator. Humans are special because of our abilities to express internal

thoughts and emotions through communication methods that differ from verbal conversation. While our

innate human tendencies allow us to physically emote emotions through verbal communication and body

language, as a species, we are separated from other creatures in the sense that we can express ourselves

indirectly and creatively to show what we feel or think even further. Art is the way that we have learned to

do this, and through history, humans have proven over and over again that art can reveal things that words

simply can not. Additionally, the potential obscurity of different forms of art can leave certain meanings

up for interpretation, allowing for individual perceptions, all while communicating commonly shared

feelings and experiences. This may lead to a sense of togetherness - since a big factor of what makes a

community is a certain shared emotion or perspective. Art can communicate these perspectives, bringing

people together and showing the rest of the world what is being felt, and the Young Lords used it to do

exactly that, despite their political inclinations. The Party listened to the needs of their communities and

echoed them to the rest of the world through their actions, not only to create change but to express to the

rest of the world what their people were experiencing, and why it had to change.
Bibliography

Abramson, Michael, et al. Palante: Young Lords Party, vol. 1. McGraw-Hill Book Company,
1971.

I plan to use this book in a variety of ways to support my overall argument revolving around the
Young Lords’ political activism and change shown through art, potentially to be found in the exhibit
section of my project. The book is separated into two sections; recollections from YLO members
reflecting on their childhoods and Party involvement, and about 75 photographs taken through the 1960s
and 70s. Many of the pictures are raw and captivating, mainly displaying individuals relating to the party -
Members and others adjacent protesting, reading, and actively contributing to the change that the YLO
preaches. Simply put, these pictures may be relevant to my research as they are a form of art that focused
on the Young Lords. But this occurs through a specific lens; As most of the photographs and articles are
of party members or people that the Young Lords aided, rather than the political actions that the YLO
instigated, the collection allows for a focus on the influence of the party on individual lives in the context
of a collective movement. It serves as a way to include a different, more intimate angle on the work of the
party. Regarding its reliability, all the photos and oral encounters included are primary sources taken in
the 1960s and 1970s, coming directly from members themselves during the peak of the Young Lords’
activism. This makes the majority of the book a primary source.

Chavez, Herman Luiz and Maria Guadalupe Partida. “1968: The Young Lord’s
Organization/Party.”A Latinx Resource Guide: Civil Rights Cases and Events in the
United States, edited by Suzanne Schadl and Maria (Dani) Thurber, Library of Congress,
2020.https://guides.loc.gov/latinx-civil-rights/young-lords-organization#:~:text=In%201968%2C%20Jos
%C3%A9%20%E2%80%9CCha%2D,impoverished%20barrios%20of%20Chicago%2C%20Illinois

Cruz-Malavé, Arnaldo M. “Memorialization and Presence: Capturing the Legacies of the Young
Lords in New York.” ARTMargins, vol. 6, no. 2, 2017, pp. 72-90. Google Scholar,
https://doi.org/10.1162/ARTM_a_00177.

As it discusses pieces of art displayed at the “¡Presente! The Young Lords in New York” shows, I
plan to use this source in both exhibit and argument to support the arguments made in my research
project. The source discusses the three venues in which the shows were held, then delves into specific
pieces shown, explaining them through the materials used and their significance. While the author touches
on the potential performativity of the shows, he ultimately emphasized the vitality and impact of the
works. This source is incredibly relevant to my research as it perfectly sets up descriptions and analyses
of art that reflect the intentions and actions of the Young Lords Party. In my project, I will attempt to do
very similarly, bringing in physical pieces from the ¡Presente! exhibitions, as well as other forms of media
to tie together their activism with art from both the 20th and 21st centuries. Regarding the source’s
reliability, the journal was accessed through Google Scholar, where most journals are peer-edited, and
MIT Press Direct, a digital library supported by the Massachusetts Institute of Technology. Additionally,
the article was written by a director of Latin American and Latino Studies at Fordham University who
focuses on Latino art, politics, and culture.

Eaton-Martínez, Omar. “Constructing Blackness in ‘¡Presente! The Young Lords in New York’
Exhibition.” Afro-Hispanic Review, vol. 37, no. 1, 2018, pp. 101–10. JSTOR,
https://www.jstor.org/stable/26875340.
 This source can be used in the background section of my research as it discusses the relationship
between art and activism, presenting different parts of the Young Lords in New York Exhibit, including
commissioned art and Palante newspaper covers and graphics. I plan to use this source to introduce and
support arguments I will make about the art used to fight against racially-based economical inequalities
that Black and Latino people have faced all throughout the 20th century. The article references how the
work of the Young Lords Organization helped amplify Black and Puerto Rican voices through art and
political change, which will tie well into my arguments regarding the YLO’s fight against injustice and
environmental racism. Regarding the source’s reliability, the article comes from a bilingual journal backed
by the University of Tennessee, is written by the Senior Vice President for Historic Sights at the National
Trust for Historic Preservation, and is made available through JSTOR, a digital library in which almost all
works are peer-reviewed.

“Migrating to a New Land: Immigration and Relocation in U.S. History.” The Library of Congress,
https://www.loc.gov/classroom-materials/immigration/puerto-rican-cuban/migrating-to-a-new-lan
d/#:~:text=Over%20the%20next%20decade%2C%20more,reasons%20for%20this%20sudden%2
0influx.

Palante, 17 July 1970, vol. 2 no. 7, https://www.marxists.org/history/erol/periodicals/palante/pal-2-7.pdf.

Pietri, Pedro. “Puerto Rican Obituary” in Palante: Young Lords Party, McGraw-Hill Book Company,
1971.
I plan to use this source within the exhibit part of my project, as it is a work of art that I plan on
analyzing in support of my central claim. The poem, found at the very beginning of a secondary source
that I also plan on using, embodies the economic and social struggles of many Latinos living in the United
States - more specifically, Puerto Ricans in New York City and Chicago. The poem loosely follows the
lives of five Puerto Rican New Yorkers who consistently find themselves fighting for their dreams of
living better lives in a country whose systems seem to directly work against them. The poem also speaks
of the beauty that the people share due to their identities as Puerto Ricans, but how White Capitalist
America has blinded them from seeing these beauties. This sad reflection on shared oppression is
incredibly relevant to my research project as it is one of the pieces of art that I plan to fully analyze to
support my thesis on the Young Lords’ intentions and influences. The party fought political battles to
establish lawful change, but also tirelessly contributed to emphasizing the beauty of the Puerto Rican
culture - a message echoed in Pietri’s poem. Regarding reliability, this poem was not only written by a
Young Lords member but was spoken during a YLO rally in New York, making it a primary source.
Additionally, I took the poem from another reliable source, also produced by YLO members and
acquaintances.

Quarles, Philip. “An Unexplained Death and an Unacceptable System.” WNYC, 21 Sept. 2017,
https://www.wnyc.org/story/unexplained-death-and-unacceptable-system/

Rivera, Katja. "¡Presente! The Young Lords in New York." Afterimage, vol. 43, no. 4, 2016, pp.
23-24. ProQuest,
https://ezproxy.bu.edu/login?qurl=https%3A%2F%2Fwww.proquest.com%2Fscholarly-journal
s%2Fpresente-young-lords-new-york%2Fdocview%2F1769408163%2Fse-2%3Faccountid%3
D9676.

I plan to use this source for the argument section of my project as a tool for in-depth analysis of
the art displayed at the ¡Presente! art exhibits that took place in New York City in 2015. This journal
reviews the exhibition at the Bronx Museum of the Arts, briefly discussing the history, values, goals, and
political demonstrations of the Young Lords Party. The author then delves into some of the photographs,
collages, and primary sources derived from the YLO newspaper Palante that were shown at the exhibit,
analyzing the different media and placing them into the context of the 1960s and 70s. This source is
relevant to my project as it does what I also plan on doing: analyzing art made during and about the
YLO’s peak era of the 20th century and discussing the context in question. Regarding the source’s
reliability, the journal was written in 2016, only a year after the exhibition took place. Additionally, it was
published and supported by the Journals and Digital Publishing Division of the University of California. It
was written by a former assistant curator at the University of Chicago who also has involvements with
other highly-regarded universities around the country.