turn the space into a park. Torres and other members of Los Toltecas en Aztlán were involved in this protest, calling the area Chicano Park. The Chicano Park protest and other issues became part of a new proposal, citing a great need to create Centro Cultural de la Raza. The new proposal was brought to the city by Alurista, Torres, and Aranda. Despite this, the city attempted to evict the artists from the Ford Building. Los Toltecas en Aztlán refused to leave. In October, the Chicano Federation of San Diego County became involved and helped Los Toltecas en Aztlán express their concerns to the city manager, Walter Hahn. Los Toltecas en Aztlán refused to leave the Ford Building until another site was given them for the center. Eventually the city offered to give them an abandoned water tank that was originally built in 1914. Alurista was largely responsible for the final negotiations which included use of the new facility and a city contribution of $22,000 to the new building. The monetary contribution from the city included improvements to the building such as installing lights, heaters, water and a wood floor for the Ballet Folklorico. Los Toltecas en Aztlán moved into the new building in May 1971 and worked hard to get the building ready for a grand inauguration on July 11, 1971. The grand opening ceremonies attracted over 500 people and included music, dance and an art exhibition inside the building. The first mural "La Dualidad" in the new Centro building was created by Aranda and a team of volunteers and was completed in 1984. Outside of the building are murals by Mario Aguilar, Aranda, Barajas, Arturo Roman, Neto del Sol, David Avalos, Antonio de Hermosillo, Samuel Llamas, Antonio Perez and Ochoa. The Centro was known internationally as a dynamic cultural center where academics such as Shifra Goldman, Tomas Ybarra Frausto and Chon Noriega could be found conversing with community members as well as artists such as Magu, Luis Valdez, Judy Baca, Sergio Arau, Lalo Guerrero, Jose Montoya, Barbara Carrasco, Gabino Palomares and El Vez. Groups that formed through the work of the Centro include: Ballet Folklórico en Aztlán, founded by Herminia Enrique; Treatro Meztizo and Trio Moreno, a musical group, BAWTAF (The Border Arts Workshop/Taller de Arte Fronterizo). In addition countless artists, musicians, performers, writers, dancers and activists were nurtured at the Centro, including Culture Clash, Gronk, Guillermo Gomez