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Royal Chicano Air Force Archives
CEMA 8
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Table of contents
Contributing Institution:
UC Santa Barbara Library, Department of Special Research Collections
Title: Royal Chicano Air Force archives
Identifier/Call Number: CEMA 8
Physical Description:
21 Linear Feet
16 slide albums, 34 document boxes, 2 oversized boxes, video and audio files, and 550 prints
Date (inclusive): 1973-1988
Abstract: Extensive collection of slides and silkscreen prints, along with administrative records, news clippings, correspondence, exhibition
descriptions and flyers, photographs, creative writings, and miscellaneous publications of the Sacramento-based artists collective.
Founding members of the
RCAF
include José Montoya, Esteban Villa, Juanishi V. Orosco, Ricardo Favela, and Rudy Cuellar (CEMA 8).
include José Montoya, Esteban Villa, Juanishi V. Orosco, Ricardo Favela, and Rudy Cuellar (CEMA 8).
Physical Location: Del Norte
Physical Location: Boxes 1-8: S1-A33-C1-R9
Boxes 9-16: S1-A33-C2-R1
Boxes 17-23: S1-A33-C2-R2
Boxes 24-31: S1-A33-C2-R3
Boxes 32-34: S1-A33-C2-R4
Boxes 1-8: Stacks 1, Aisle 33 / Column 1.
Boxes 9-34: Stacks 1, Aisle 33/ Column 2.
Boxes 35, 36: Stacks 1, Aisle 74 / Column 1.
Slide Albums: 1-14: Stacks 1, Aisle 68 / Column 3.
Language of Material:
English
.
None
Copyright has not been assigned to the Department of Special Collections, UCSB. All requests for permission to publish or
quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given
on behalf of the Department of Special Collections as the owner of the physical items and is not intended to include or imply
permission of the copyright holder, which also must be obtained.
Royal Chicano Air Force Archives, CEMA 8, Department of Special Collections, University Libraries, University of California,
Santa Barbara.
Donated by Royal Chicano Air Force, 1988.
The Royal Chicano Air Force (
RCAF
) is an artistic collective based in Sacramento. Initially named the Rebel Chicano Art Front, the
RCAF
was founded in 1969 to express the goals of the Chicano civil rights and labor organizing movement of the United Farm Workers.
Its mission was to make available to the Chicano community a bilingual/bicultural arts center where artists could come together,
exchange ideas, provide mutual support, and make available to the public artistic, cultural, and educational programs and
events.
RCAF
) is an artistic collective based in Sacramento. Initially named the Rebel Chicano Art Front, the
RCAF
was founded in 1969 to express the goals of the Chicano civil rights and labor organizing movement of the United Farm Workers.
Its mission was to make available to the Chicano community a bilingual/bicultural arts center where artists could come together,
exchange ideas, provide mutual support, and make available to the public artistic, cultural, and educational programs and
events.
The founding members of the
RCAF
include José Montoya, Esteban Villa, Juanishi V. Orosco, Ricardo Favela, and Rudy Cuellar. Montoya and Villa knew of each
other through their involvement in the Mexican American Liberation Art Front and the California College of Arts and Crafts.
During the Chicano Movement students pressured colleges and universities to diversify their faculties. As a result, Montoya
and Villa were hired as professors of art at California State University, Sacramento. Their academic positions gave them the
creative freedom to initiate programmatic exchanges between the university and the barrio community. Through this effort they
initiated many programs including the Barrio Art Program, which required university students to go out into the community
including senior centers to teach art courses.
RCAF
include José Montoya, Esteban Villa, Juanishi V. Orosco, Ricardo Favela, and Rudy Cuellar. Montoya and Villa knew of each
other through their involvement in the Mexican American Liberation Art Front and the California College of Arts and Crafts.
During the Chicano Movement students pressured colleges and universities to diversify their faculties. As a result, Montoya
and Villa were hired as professors of art at California State University, Sacramento. Their academic positions gave them the
creative freedom to initiate programmatic exchanges between the university and the barrio community. Through this effort they
initiated many programs including the Barrio Art Program, which required university students to go out into the community
including senior centers to teach art courses.
The
RCAF
created in 1972 the not-for-profit Centro De Artistas Chicanos. This community based organization became the spring-board
for all types of Sacramento community programs, such as La Nueva Raza Bookstore (with its Galería Posada), Aeronaves de Aztlán
(Automotive Repair Garage),
RCAF
Danzantes (Cultural Dance venue), Barrio Art Program, and the
RCAF
Graphics and Design Center. By 1977, the Centro de Artistas Chicanos and Breakfast for Niños Program (a community non-profit
program that fed children before school) joined forces to create the Cultural Affairs Project, which further funded their
many community services.
RCAF
created in 1972 the not-for-profit Centro De Artistas Chicanos. This community based organization became the spring-board
for all types of Sacramento community programs, such as La Nueva Raza Bookstore (with its Galería Posada), Aeronaves de Aztlán
(Automotive Repair Garage),
RCAF
Danzantes (Cultural Dance venue), Barrio Art Program, and the
RCAF
Graphics and Design Center. By 1977, the Centro de Artistas Chicanos and Breakfast for Niños Program (a community non-profit
program that fed children before school) joined forces to create the Cultural Affairs Project, which further funded their
many community services.
The
RCAF
is best known for its mural paintings, poster art production, and individual artistic contributions. The artists of the Centro
have produced murals and exhibitions from San Diego to Seattle.
RCAF
is significant as a collective that has maintained a twenty-five year history of engaging communities to express their Chicano
culture, history and struggle for equal rights.
RCAF
is best known for its mural paintings, poster art production, and individual artistic contributions. The artists of the Centro
have produced murals and exhibitions from San Diego to Seattle.
RCAF
is significant as a collective that has maintained a twenty-five year history of engaging communities to express their Chicano
culture, history and struggle for equal rights.
While the "
RCAF
" originally stood for the Rebel Chicano Art Front, people confused the letters with the acronym for the Royal Canadian Air
Force. Montoya and his fellow officers capitalized on the misunderstanding, and in good humor adopted the name Royal Chicano
Air Force. This new identity found its way into their wardrobe, as well as their highly successful silkscreen poster program,
which began to disseminate the World War I aviator and barnstorming bi-winged planes as icons. The
RCAF
gained a well-deserved reputation for outrageous humor, fine art posters, murals, and community activism. Their pioneering
spirit throughout the 1970s and early 1980s was well-known in the California Chicano community, and continues to the present.
RCAF
" originally stood for the Rebel Chicano Art Front, people confused the letters with the acronym for the Royal Canadian Air
Force. Montoya and his fellow officers capitalized on the misunderstanding, and in good humor adopted the name Royal Chicano
Air Force. This new identity found its way into their wardrobe, as well as their highly successful silkscreen poster program,
which began to disseminate the World War I aviator and barnstorming bi-winged planes as icons. The
RCAF
gained a well-deserved reputation for outrageous humor, fine art posters, murals, and community activism. Their pioneering
spirit throughout the 1970s and early 1980s was well-known in the California Chicano community, and continues to the present.
The
RCAF
Archives complement the work of CEMA's
Proyecto CARIDAD (Chicano Art Resources Information Development and Dissemination), the archival cataloging of Chicano visual arts slide images.
Together, these projects document the visual art production and social history of important Chicano art collectives in California.
RCAF
Archives complement the work of CEMA's
Proyecto CARIDAD (Chicano Art Resources Information Development and Dissemination), the archival cataloging of Chicano visual arts slide images.
Together, these projects document the visual art production and social history of important Chicano art collectives in California.
Scope and Content of Collection
The Royal Chicano Air Force Archives consists of eight series distributed among 34 document boxes, 2 oversized boxes, and
16 slide albums that occupy approximately 21 linear feet of space. In addition, there are 550 prints. The archival material
includes, administrative/personnel records, grant applications, news clippings, correspondence, exhibition descriptions and
flyers, photographs, creative writings, color copies, 2-D artwork and miscellaneous publications. The
RCAF
Archives cover the period between 1972-88. Series are arranged with emphasis upon the Center's activities, and folders generally
follow an alphabetical order according to the titles given to them by the. When necessary, titles were assigned to folders
that lost their labels or to items that were loose or unfoldered. Folders with the same subject are usually arranged alphabetically
or chronologically.
RCAF
Archives cover the period between 1972-88. Series are arranged with emphasis upon the Center's activities, and folders generally
follow an alphabetical order according to the titles given to them by the. When necessary, titles were assigned to folders
that lost their labels or to items that were loose or unfoldered. Folders with the same subject are usually arranged alphabetically
or chronologically.
Series I: Administrative Records, 1973-1984. Series I include four subseries housed in 17 archival boxes. The first subseries,
History and Founding Documents , consists of the earliest documents from the
RCAF
, by-laws, and Articles of Incorporation. The second subseries,
Business and Financial Records , contains tax returns, board and staff meetings, financial statements and expense reports. The third subseries,
Grants , includes grant applications, related reports, and evaluations. The California Arts Council, County of Sacramento, City
of Sacramento, National Endowment for the Arts, and the Sacramento Metropolitan Arts Commission are major sources of such
grants. The fourth subseries,
Staff , holds documents on members and staff of
RCAF
and Centro De Artistas Chicanos such as résumés, announcements (of exhibitions individual artists were involved in), and
ephemera. The Breakfast for Niños program has been documented in both the Grants and Staff subseries.
RCAF
, by-laws, and Articles of Incorporation. The second subseries,
Business and Financial Records , contains tax returns, board and staff meetings, financial statements and expense reports. The third subseries,
Grants , includes grant applications, related reports, and evaluations. The California Arts Council, County of Sacramento, City
of Sacramento, National Endowment for the Arts, and the Sacramento Metropolitan Arts Commission are major sources of such
grants. The fourth subseries,
Staff , holds documents on members and staff of
RCAF
and Centro De Artistas Chicanos such as résumés, announcements (of exhibitions individual artists were involved in), and
ephemera. The Breakfast for Niños program has been documented in both the Grants and Staff subseries.
Series II: Programs, 1973-1984. Series II includes seven subseries. The first subseries,
Centro Activities , consists of material related to cultural events, such as Cinco De Mayo, Dia De Las Madres, Dia De Los Muertos, Fiesta De
Maiz, and Xic-Indio. The second series,
Dance Programs , contains documents related to the Centro's involvement in Folklorico de Sacramento, Danza Quezalcoatl, and performances
outside California. The third subseries,
Exhibitions , includes art shows that the Centro members sponsored or were participants in, as well as, José Montoya's
Pachuco Art-A Historical Update ,
What We Are.... Now a women's art exhibit, and other international presentations. The fourth subseries,
Mental Health Programs , holds relevant materials concerning the Centro's activities in mental health projects that promoted and disseminated information
related to government health commissions. The fifth subseries,
Muralismo
(magazine), consists of preliminary and working drafts, as well as a final draft of the Centro De Artistas Chicano's magazine
devoted to murals. The sixth subseries,
Mural Programs , contains the documentation of mural projects completed by the
RCAF
. The seventh subseries,
Theater Programs , includes information on Leyendas de Aztlan, Teatro Campesino, Teatro De Calle, Teatro Latino, as well as, other theater
groups. This series is a rich resource on the cultural activities that the
RCAF
initiated, and the Chicano/Latino events that enriched the community.
RCAF
. The seventh subseries,
Theater Programs , includes information on Leyendas de Aztlan, Teatro Campesino, Teatro De Calle, Teatro Latino, as well as, other theater
groups. This series is a rich resource on the cultural activities that the
RCAF
initiated, and the Chicano/Latino events that enriched the community.
Series III: Correspondence Files, 1973-1984. Series III has both an
Incoming and
Outgoing subseries, which are arranged chronologically. The series includes inquiries to the
RCAF
, Centro De Artistas Chicanos, and Breakfast for Niños, as well as, letters of recommendation and support, thank you letters
and various correspondence from city, county and federal governments.
RCAF
, Centro De Artistas Chicanos, and Breakfast for Niños, as well as, letters of recommendation and support, thank you letters
and various correspondence from city, county and federal governments.
Series IV: Subject Files, 1972-1984. Series IV contains the Centro's source materials used to support their programs, grant writing and professional networking
activities, such as, application materials, reports, interviews, public announcements, and promotionals. These material represent
the
RCAF's
social and political interests. The highlights of this series are: the Interview with Francisco Salazar (a Tarahumara Indian,
by James J. Melina), José Montoya's
Pachuco Art , and Interviews with the
RCAF
conducted by the Southwest Center for Educational Television.
RCAF's
social and political interests. The highlights of this series are: the Interview with Francisco Salazar (a Tarahumara Indian,
by James J. Melina), José Montoya's
Pachuco Art , and Interviews with the
RCAF
conducted by the Southwest Center for Educational Television.
Series V: Flyers, News Clippings, Publications, 1973-1985. Series V includes five subseries. The first subseries,
Flyers , contains many examples of Centro/
RCAF
text and image advertisements, press releases, brochures, and art exhibition invitations. The second subseries,
News Clippings , consists of news collected by the Centro that cover diverse topics from Chicano art murals, public reviews, art commentaries
to political cartoons, editorials, reports on Latin America, and community based news. The third subseries,
Publications , holds the
RCAF's
resource library, such as journals, articles, essays, and art catalogs--a highlight of this subseries is
Los Sembradores by the Galería De La Raza. The fourth subseries,
Newsletters , includes various pieces of news that encompass many areas including, poetry and Chicano indigenous art. The fifth subseries,
Magazines , contains an assortment of literature concerning the Arts and Chicano/Latino community issues.
RCAF
text and image advertisements, press releases, brochures, and art exhibition invitations. The second subseries,
News Clippings , consists of news collected by the Centro that cover diverse topics from Chicano art murals, public reviews, art commentaries
to political cartoons, editorials, reports on Latin America, and community based news. The third subseries,
Publications , holds the
RCAF's
resource library, such as journals, articles, essays, and art catalogs--a highlight of this subseries is
Los Sembradores by the Galería De La Raza. The fourth subseries,
Newsletters , includes various pieces of news that encompass many areas including, poetry and Chicano indigenous art. The fifth subseries,
Magazines , contains an assortment of literature concerning the Arts and Chicano/Latino community issues.
Series VI: Color Copies, Photographs, Slides, 1978-1983. Series VI includes five subseries. The first subseries,
Color Copies , contains various images that documented events and some items that were used as colorful support materials. The second
subseries,
Photographs , consists of various proof sheets, black and white images of
RCAF
artists' artwork, and an assortment of miscellaneous photos. The third subseries,
Photo Negatives , is a brief collection of images related to
RCAF
activities, such as
Mural Magazine . The fourth subseries,
Miscellaneous Slides , holds a small collection of documentary materials. The fifth subseries,
Slides , is a comprehensive collection that documents the many activities and artistic output of the
RCAF
.
A separate Catalog of Slides for this important collection is available, see Appendix A
RCAF
artists' artwork, and an assortment of miscellaneous photos. The third subseries,
Photo Negatives , is a brief collection of images related to
RCAF
activities, such as
Mural Magazine . The fourth subseries,
Miscellaneous Slides , holds a small collection of documentary materials. The fifth subseries,
Slides , is a comprehensive collection that documents the many activities and artistic output of the
RCAF
.
A separate Catalog of Slides for this important collection is available, see Appendix A
Series VII: Creative Works, 1974-1988. Series VII includes two subseries. The first subseries,
Artwork , contains the original artwork of Ricardo Favela, Esteban Villa, as well as a small group of miscellaneous silkscreened
flyers. The second subseries,
Creative Writings , consists of published and unpublished pieces that cover a range of interests including songs, art, and poetry.
Series VIII: Graphic Arts Collections. Series VIII includes two subseries. The first subseries,
Miscellaneous Announcement Posters , contains assorted advertisements in both the silkscreen and non-silkscreen formats. The second subseries,
Silkscreen Print Collection , documents a significant facet of the
RCAF's
artistic output.
A separate Catalog of Silkscreen Prints for this collection is available., see Appendix B
RCAF's
artistic output.
A separate Catalog of Silkscreen Prints for this collection is available., see Appendix B
Related Collections. There are other Chicano art centers and individual artists' collections within CEMA that complement the
RCAF
Archives. These include Galería De La Raza Archives, Self-Help Graphics and Art Archives, the Ralph Maradiaga Papers, Ester
Hernandez Papers, the Victor Ochoa Papers, Salvador Torres Papers, the Yolanda Lopez Papers, as well as the José Montoya Papers
and the Ernesto Palomino Papers.
RCAF
Archives. These include Galería De La Raza Archives, Self-Help Graphics and Art Archives, the Ralph Maradiaga Papers, Ester
Hernandez Papers, the Victor Ochoa Papers, Salvador Torres Papers, the Yolanda Lopez Papers, as well as the José Montoya Papers
and the Ernesto Palomino Papers.
Subjects and Indexing Terms
Photographs
Clippings (information artifacts)
Programs
Slides
Art, Modern -- 20th century -- California
Slides (Photography) -- Catalogs
Mexican American artists -- California
Screen printing
Administrative records
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