been experiencing for centuries at the hands of the U.S. government, perpetuated by police departments and other institutions of power. Like many of the movements during this time, Chicanos took inspiration from the Black Panther Party and used their race, historically manipulated to disenfranchise them, as a source of cultural nationalism and pride. Edward J. Escobar claims the Chicano Movement and its sub-organizations were infiltrated by local law enforcement and the Federal Bureau of Investigation (FBI) to acquire information and cause destabilization from within the organizations. Methods used by law enforcement included "red-baiting, harassment and arrest of activists, infiltration and disruption of movement organizations, and violence." Agent provocateurs were oftentimes planted in these organizations to disrupt and destabilize the movements from within. Repression from law enforcement broadened Chicano political consciousness, their identities in relation to the larger society, and encouraged them to focus their efforts in politics. There are also cases involving Central American activists and the police that sparked activism within the greater Chicano Movement. One case is that of Los Siete de la Raza and their altercation with two policemen in San Francisco's Mission District in 1969. Chicano art Art of the Movement was the burgeoning of Chicano art fueled by heightened political activism and energized cultural pride. Chicano visual art, music, literature, dance, theater and other forms of expression have flourished. During the 20th century, an emergence of Chicano expression developed into a full-scale Chicano Art Movement. Chicanos developed a wealth of cultural expression through such media as painting, drawing, sculpture and printmaking. Similarly, novels, poetry, short stories, essays and plays have flowed from the pens of contemporary Chicano writers. Operating within the Chicano art movement is the concept “rasquachismo,” which comes from the Spanish term “rasquache.” This term is used to describe something that is of lower quality or status and is often correlated with groups in a society that fit this description and have to become resourceful to get by. Chicano artists being resourceful can be seen when artists cut up tin cans and flatten them out into rectangles to use as canvases. In addition to its influence in the visual arts, the concept “rasquachismo” informs Chicano performing arts. El Teatro Campesino’s La Carpa de los Rasquachis is a play written by Luis Valdez in 1972, which tells the story of a farmworker that has migrated to the United States from Mexico; this play teaches