Preserving the Street Gangs of Mexico: GATA introduces CHITO BANDA
Roñas (right) holding military weapons, Moy (center) with a pistol saying "fuck around and find out".
(EN)
The reality of youth gangsterism and its long-standing blaze of illegal activity— has existed on the border between America and Mexico for many decades. To the outside world, it is a mysterious and exotic world filled with striking images, that tug at our voyeuristic urges for the unknown and the forbidden. “Chicanos”, “Cholos”, “Pachucos”, while many of these terms have seeped into the public consciousness, what do we really know about this element of popular culture?
The terms “Chicano” and “Chicana” are derivatives of “Mexicano/Mexicana”, used to denote things of Mexican origin. It has also been used to name Mexicans and people of Mexican descent. Some will recognise Chicanos, by their recognisable way of dressing, their bandanas, “Spanglish” language or even their shaved heads. All of this is just a superficial representation that barely scratches the surface of what goes on inside these guilds and the reality of the streets.
GATA recently took the time to uncover the roots of this culture, through the lens of legendary CHITO BANDA, a Mexico City based photographer who documents the day-to-day life of these urban tribes and is still active to this day. Through his images, BANDA illustrates what it means to be a part of these gangs, how the divided culture has shaped him and the integral part the brotherhood of “Chicano or Cholo” has been in forming his identity.
FX3 clicka (CDMX, 2022)
(ES)
La realidad del pandillerismo juvenil -y su prolongada actividad ilegal- ha existido en la frontera entre Estados Unidos y México durante muchas décadas. Para el mundo exterior es un mundo misterioso y exótico lleno de imágenes impactantes, las cuales tiran de nuestro interest cual voyeuristas por lo desconocido y prohibido.
"Chicanos", "Cholos", "Pachucos", muchos de estos términos se han colado en la conciencia pública, pero ¿qué sabemos realmente de este elemento de la cultura popular?
Los términos "Chicano" y "Chicana" son derivados de "Mexicano/Mexicana", utilizados para denotar gente de origen mexicano y/o a las personas de ascendencia mexicana. Algunos los reconocerán por su particular forma de vestir, bandanas, lenguaje spanglish o cabezas rapadas. Todo esto no es más que una representación superficial que apenas araña la superficie de lo que ocurre dentro de estos gremios y de la realidad de las calles.
Recientemente, GATA se tomó el tiempo de descubrir las raíces de esta cultura a través de la lente del legendario fotógrafo CHITO BANDA, afincado en la Ciudad de México que documenta el día a día de estas tribus urbanas y que sigue en activo a día de hoy.
A través de sus imágenes, BANDA ilustra lo que significa formar parte de estas bandas, cómo la cultura dividida le ha moldeado y como ser parte integral de una hermandad ha influido en la formación de su identidad.
(EN)
GATA: Hello Francisco, thank you so much for your time. First of all, could you please introduce yourself to the GATA audience? Where are you from and what are you doing?
CHITO: My name is Francisco Banda Banda, people call me “Chito”. I'm from Ciudad Juarez (Mexico), one of the many borders between Mexico and the USA, and for the last few years, I have been documenting the Chicano and gang culture in the north and center of the country.
(ES)
GATA: Hola Francisco, muchas gracias por tu tiempo. Lo primero de todo; Podrías presentarte a nuestra audiencia? De donde eres y a que te dedicas?
CHITO: Mi nombre es Francisco Banda la raza me dice Chito. Soy de Ciudad Juárez (México), una de las muchas fronteras entre México y USA, y durante los últimos años eh documentado la cultura chicana y pandillera en el norte y centro del país.
Tigre and Payaso posing in front of a banner with the neighborhood logo. The hungry coyote represents Ciudad Nezahualcóyotl.
(EN)
GATA: Is Chito Banda your alias, or do you prefer people to call you Francisco?
CHITO: Francisco Banda is my legal name but since I was born my family and friends call me Chito. The nickname comes from a Mexican corrido called Chito Cano and my last name on my father's side is Banda.
(ES)
GATA: Es Chito Banda tu alias, o prefieres que la gente te llame Francisco?
CHITO: Francisco Banda es mi nombre legal pero desde que nací mi familia y amigos me dicen Chito. El apodo viene de un un corrido mexicano llamado Chito Cano y mi apellido por parte de mi padre es Banda.
“I believe that Mexico as a country gave me my identity as a person and a photographer; that’s why I am so attached to documenting a part of the Mexican identity in the streets; living here and being part of a community motivates me to continue photographing a world hidden to many.”
(EN)
GATA: When did you have your first contact with photography, and why?
CHITO: Photography came a little late into my life. During my teenage years, my dream was to make films, write and direct my movies, but once I got to college, I understood that you need money, people, and connections. So I decided to leave school and focus on my own projects, including photography. After years of practising photography, I understood that this visual medium could give you the independence that film can't offer you, from the equipment aspect to the money you have to invest.
(ES)
GATA: Cuando tuviste tu primer contacto con la fotografía y por qué?
CHITO: La fotografía llegó un poco tarde a mi vida. Durante mi adolescencia mi sueño era hacer cine, escribir y dirigir mis películas, pero una vez que llegue a estudiar la Universidad entendí que para hacer cine se necesita dinero, gente y conexiones. Decidí dejar la escuela y enfocarme en mis propios proyectos incluyendo la fotografía. Después de años practicando fotografía entendí que este medio visual te puede dar una independencia que el cine no puede ofrecerte; desde el aspecto del equipo hasta el dinero que se tiene que invertir.
Blink is one of the Soldiers who lives and dies for the gang. His tattoos are cartoonish and contrast with his killer attitude.
(EN)
GATA: How has your career developed during all these years living in Mexico?
CHITO: During my whole life, I grew up in a divided culture between Mexican and American, because I lived in a border city like Ciudad Juarez. But once I moved to Mexico City, I understood a reality that was closer to what was considered the identity of my country.
There I experienced first-hand the benefits and difficulties of living in a capital city as populated and dense as CDMX. I learned the customs and languages of a different neighbourhood, than the one I grew up in; I opened myself to more education within the arts and met very interesting people. I believe that Mexico as a country gave me my identity as a person and a photographer; that's why I am so attached to documenting a part of the Mexican identity in the streets; living here and being part of a community motivates me to continue photographing a world hidden to many.
(ES)
GATA: Cómo se ha desarrollado tu carrera durante todos estos años viviendo en Mexico?
CHITO: Toda mi vida crecí entre una cultura que se dividia entre Mexicana y Americana por vivir en una ciudad fronteriza como Ciudad Juárez pero una vez que me mudé a Ciudad de México pude entender una realidad más apegada a lo que se considería la identidad de mi país. Ahí experimente de primera mano los beneficios y dificultades de vivir en una ciudad capital tan poblada y densa como lo es la CDMX, aprendí las costumbres y lenguajes de un barrio diferente al que yo crecí, me abrí a más educación dentro de las artes y conocí gente muy interesante.
Creo que México como país me dio mi identidad como persona y fotografo, por eso tengo tanto apego al documentar una parte de la identidad Méxicana en las calles, vivir aquí y ser parte de una comunidad me motiva a seguir fotografiando un mundo escondido para muchos.
“So many people who grew up in the Mexican barrios have the image of the cholo very present; it became an icon of the counterculture in Mexico. For many, the “Cholo” of the barrio was their cousin, friend, dad, uncle, or even a neighbour. That’s why it is so prevalent in modern Mexican folklore. ”
A subdivision of the ‘CACOS X3’ living within Colonia Mexico. Photograph taken with studio lights on the street.
Splinter and his dickies embroidered with the gang's name ‘CACOS x3’. The clothing is part of the culture and iconography in the neighborhood.
Cholito showing his tricycle with which he has won several awards in lowrider shows where cars, bicycles and skates meet.
(EN)
GATA: Your photographs are always black and white; why is B&W your preference? Have you ever tried photographing in colour?
CHITO: Since I started taking photographs, my preferences and visual references have always leaned more towards B&W; I like how images look in a range of whites, blacks and greys.
Another big reason for using B&W is that I do my projects with film; black and white will lend itself to developing and making prints of my photographs in the darkroom more easily.
(ES)
GATA: Tus fotografías siempre son blanco y negro, ¿por qué B&N es tu preferencia?¿Alguna vez has probado en hacerlo en color?
CHITO: Desde que empecé a tomar fotografías mis preferencias en fotografos y referencias visuales siempre se inclinaron más hacia el B&N, me gusta como se ven las imagenes en un rango de blancos, negros y grises. Otra gran razón del usar B&N es que realizo mis proyectos con film; el blanco y negro se prestara para poder revelar y hacer impresiones de mis fotografias en el cuarto oscuro con más facilidad.
(EN)
GATA: We see that most of your photographs are focused on portraying the subculture of Latin gangs in Mexico. Why is it essential for you to show the world the street culture?
CHITO: More than anything. This is because of the importance of this subculture in my country. So many people who grew up in the Mexican barrios have the image of the cholo very present; it became an icon of the counterculture in Mexico. For many, the "Cholo" of the barrio was their cousin, friend, dad, uncle, or even a neighbour. That's why it is so prevalent in modern Mexican folklore.
It is important to portray and expose a story from the inside out, and my portraits try to show an everyday world lived by people outside the average. People think that if you are a cholo you are the worst that was society has to offer, but the reality is that your identity does not exclude you from the human experience.
There are still gatherings, parties, fights, laughs, drunkenness and moments like the ones I, you, and whoever else live.
Photo of the veterans in the neighborhood, they have been in the gang for more than 15 years.
I also think it is essential for a photographer to document your times. Now the gangs are not as active as they were 20 years ago, but the culture continues to grow more and more. To portray one of the last gangs that are still active as the CACOS 13 is to understand that a cholo is much more than clothes or appearances.
Many have been active gang members for decades, and, to date, they are still strong in the neighbourhood. Many of them have already been to jail, died, and others were left with physical and psychological sequels because of their lifestyle. But their loyalty to the neighbourhood and their ideals will be the last thing they give up.
That tells you a lot about loyalty and old school rules that many today would find difficult to understand.
(ES)
GATA: Vemos que la mayoría de tus fotografías están enfocada a retratar la subcultura de las bandas latinas en México. ¿Por qué es importante para ti mostrar al mundo la cultura de la calle?
CHITO: Mas que nada es por la importancia de esta subcultura en mi país. Muchas personas que crecieron en los barrios mexicanos tienen muy presente la imagen del cholo, se convirtio un icono de la contracultura en México porque para muchos el cholo del barrio era su primo, su amigo, su papá, su tío o algun vecino y por eso su popularidad en el folklor mexicano moderno.
Es importante el poder retratar y exponer una historia de adentro hacia afuera y mis retratos tratan de mostrar un mundo cotidiano vivido por personas fuera de la media. La gente piensa que si eres cholo eres de lo peor que la sociedad tiene que ofrecer, pero la realidad es que tu identidad no te excluye de la experiencia humana. Sigue habiendo reuniones, fiestas, peleas, risas, borracheras y momentos como los que yo, tu y quien sea vivimos.
También creo importante como fotografo el documentar tus tiempos. Ahora las bandas de pandillerismo no estan tan activas como hace 20 años pero la cultura sigue creciendo mas y mas. Retratar a una de las últimas pandillas que siguen activas como los CACOS 13 es poder entender que para muchos ser cholo va mucho mas que la ropa o las apariencias, muchos han sido pandilleros activos desde hace decadas y hasta la fecha siguen fuertes en el barrio. Muchos ya fueron a la carcel, otros murieron y otros quedaron con secuelas fisicas y psicologicas a causa de su estilo de vida, pero su lealtad al barrio y a sus ideales sera a lo ultimo que renuncien, eso te habla de lealtad y reglas de la vieja escuela que muchos hoy en día se les dificultaria entender.
“In the gang world, territory and belonging have the biggest importance. The territory is marked with graffiti on street corners to warn opposing gangs where they are entering and let them know who controls that area. The tattoos likewise indicate belonging, an individual becoming part of the collective within a band.”
Chupa and Rocio, a couple living a lifestyle centered around Chicano and gang culture. Photography influenced by the aesthetic of the small studios inside the Swap Meets in Los Angeles. Many of us Chicanos have similar photos of our parents, friends and acquaintances.
Chupa showing off his stomach tackle on the classic background with playboy bunnies.
(EN)
GATA: We often see elements such as tattooing and graffiti in your images, are these common means of expression in your culture, and what meaning do they have?
CHITO: In the gang world, territory and belonging have the biggest importance. The territory is marked with graffiti on street corners to warn opposing gangs where they are entering and let them know who controls that area. The tattoos likewise indicate belonging, an individual becoming part of the collective within a band. Hence the importance of a "placazo" means having your gang's letters and numbers tattooed on you. To earn your letters and numbers, you have to "brincarte al barrio", which consists of enduring a beating of 3 cholos against you and carrying out some task to demonstrate that you are fit and worthy to belong and defend barrio when necessary.
Graffiti on one of the many corners that are CACOS X3 territory.
(ES)
GATA: A menudo, vemos en tus imágenes elementos como el tatuaje y el graffiti, ¿son estos medios comunes de expresión en tu cultura y qué significado tiene?
CHITO: Dentro del mundo de las pandillas el territorio y la pertenencia son de suma importancia. En la calle el territorio se marca con grafiti en las esquinas para advertir a las bandas contrarias a donde están entrando y que sepan quién controla en esa área. El tatuaje de igual manera indica pertenencia, un individuo que se convierte en parte del colectivo dentro de una pandilla. De ahí la importancia de un “placazo”, eso significa traer tatuadas las letras y números de tu pandilla. Para ganarte tus letras y números tienes que “brincarte al barrio” lo cual consiste en soportar una golpiza de 3 cholos contra ti y llevar acabo alguna encomienda, esto para demostrar que eres apto y digno para pertenecer y defender al barrio cuando sea necesario.
(EN)
GATA: Of all the images you have taken, is there one that is special to you? Why?
CHITO: Yes, a series of portraits I took at my cousin's house is among my favorites. I was taken with my Mamiya RB67 and an Ilford 3200 roll. It is one of my favorites because of the frame, contrast, grain, and elements' composition. The scene includes a parked 1964 Impala, my cousin squatting and a box bag stuck in the middle.
That photo is over five years old, and at that time, I had no plans to become a professional photographer; the only intention was to have a portrait of my cousin in his house.
Every time I see that picture, I am reminded of the importance of portraying someone in their comfort zone (not in the photographer's) to achieve more intimate images.
My cousin Joker at his house at 3am. The 64 impala parked in the background is a project we have been working on since we were teenagers.
(ES)
GATA: De todas las imágenes que has tomado, hay alguna que sea principalmente especial para ti y por qué?
CHITO: Hay una serie de retratos tomados en casa de mi primo que son de mis preferidas. Tomadas con mi Mamiya RB67 y un rollo Ilford 3200. Es de mis favoritas por la escena, el contraste, el grano, la composición de elementos. La escena incluye un Impala 1964 estacionado, a mi primo en cuclillas y una bolsa de box atravesada en medio. Esa foto tiene mas de 5 años y en ese tiempo no tenia planes de ser un fotógrafo profesional, la única intención era tener un retrato de mi primo en su casa. Cada que veo esa foto me recuerdo de la importancia de retratar a alguien en su zona de comfort y no en la del fotografo, esto para poder lograr imagenes mas intimas.
(EN)
GATA: Lowriding, Chicano culture, gangsters and street gangs, all unexplored elements for many people living in another part of the world, but with a very special appeal. Why do you think all this is so interesting for the rest of the world?
CHITO: The iconography and aesthetics of Cholos and Chicanos is well known worldwide, and I think it has become more prevalent in recent years. But once you know the real world of gangs and where that culture originates, you can begin to portray a reality that is hardly shown outside of movies and fiction pieces. For people who have never had contact with this subject, the attraction is to see through a window that you are not supposed to be seeing; it is the appeal of voyeurism to something unknown and forbidden.
(ES)
GATA: Lowriding, cultura chicana, gánsteres y pandillas callejeras, todos son elementos inexplorados para muchas personas que viven lejos, pero con un atractivo muy especial. ¿Porque crees que todo esto es tan interesante para el resto del mundo?
CHITO: La iconografía y la estetica de los cholos y Chicanos es muy conocida a través del mundo y creo se ha echo mas popular en recientes años. Pero una vez que conoces el verdadero mundo de las pandillas y de donde origina esa cultura puedes comenzar a retratar una realidad que casi no se muestra afuera de las películas y piezas de ficción. Para las personas que jamas han tenido contacto con este tema el atractivo es poder ver a través de una ventana que se supone no deberias estar viendo, es el atractivo del voyeurismo ante algo desconocido y prohibido.
Gang ‘CACOS X3’ in front of their pint in La Perla, Nezahualcoyotl. They represent their neighborhood with pride as they are one of the last gangs in their territory. This was one of the first photos I took of the project.
(EN)
GATA: Your work reminds us of photographers like Estevan Oriol or Merrick Morton. Is there any artist that has especially inspired you during your career that you would like to mention?
CHITO: For me, photographers like Estevan Oriol, Joseph Rodriguez, Merrick Morton and Gregory Bojorquez inspired me to go in the direction I am going. All of them portray the Chicano world in the United States. When I arrived in Mexico City, I started studying Mexican photographers. Graciela Iturbide definitely became one of my favorites for taking raw photographs and always maintaining a fine quality of work. Her series of Cholos in Tijuana is incredible.
Federico Gama is another photographer that was very important for me to study because he portrayed the gangs of Nezahualcoyotl in the late 90s when the neighbourhood war was at its peak. His book Cholos a la Neza became a collector's item among the gangs.
(ES)
GATA: Tu trabajo nos recuerda a fotógrafos como Estevan Oriol o Merrick Morton, ¿hay algún artista que te ha inspirado especialmente durante tu carrera y te gustaría mencionar?
CHITO: Para mi fotografos como Estevan Oriol, Joseph Rodriguez, Merrick Morton y Gregory Bojorquez me inspiraron a ir en la direccion en la que voy; todos ellos retratando el mundo Chicano en Estados Unidos. Cuando llegue a la Ciudad de México empece a estudiar fotografos mexicanos y definitivamente Graciela Iturbide se convirtio en una de mis favoritas por su manera de tomar fotografias que se vieran crudas pero siempre manteniendo una calidad de trabajo fino, su serie de Cholos en Tijuana es increible. Federico Gama es otro fotografo que fue muy importante estudiar porque él retrato a las pandillas de Nezahualcoyotl a finales de los 90s cuando la guerra de barrios estaba en su punto de mas conflicto, su libro Cholos a la Neza llegó a ser un articulo de colección entre las bandas pandilleras.
A motorcycle club vest with the legend "Mexican Soilders CaCoS".
Margaro is one of the founders of the ‘CACOS x3’ gang and is one of the members who teaches the old rules to the younger members.
(EN)
GATA: Are there any Mexican artists we should know about that are still going unnoticed?
CHITO: Right now, one of my favorite Mexican photographers is Solito Flickas in Tijuana. He has a great style and an excellent eye for portraying Mexico's lowrider and Chicano culture.
(ES)
GATA: Hay algún artista mexicano que debamos conocer y aun este pasando desapercibido?
CHITO: Ahorita uno de mis fotografos mexicanos favoritos es Solito Flickas en Tijuana. Ese carnal tiene buen estilo y un excelente ojo para retrar la cultura lowrider y chicana de México.
Like Cypress Hill once said "Throw Your Set on the Air", that means to raise your hands and make gang signs to indicate which neighborhood you belong to.
(EN)
GATA: You've told us that you are starting to organize digital archives with a street gang theme. Could you tell us a little more about this project?
I just started a project to archive the gangs in Mexico during the 90s and 2000s. The archive comes from old magazines, photos, videos on cassettes or Facebook. The purpose of all this is to make an active collection of material that shows the emergence and the golden age of cholismo in Mexico.
For me, it is very interesting to preserve documents of this culture in our country.
For now, I will be uploading material from magazines with Chicana and pandillera themes in Mexico to my alternate account on IG: Mexico Blues.
(ES)
GATA: Nos has contado que estas empezando a organizar archivos digitales con temática de pandillas callejeras. ¿Podrías contarnos un poco más sobre este proyecto?
Acabo de iniciar un proyecto de archivo de las bandas en México durante los 90s y 2000s. El archivo proviene de revistas viejas, fotos, videos en cassettes o facebook. El fin de todo esto es poder hacer una recolección activa de material que muestre el surgimiento y la epoca dorada del cholismo en México. Para mi es algo muy interesante poder preservar documentos de esta cultura en nuestro país.
Por ahora estaré subiendo material de revistas con tematica Chicana y pandillera en México a mi cuenta alterna en IG Mexico Blues
Two homies holding their lowrider license plate with the word CACOS 13. These club plates normally go on the rear windshield of a lowrider car.
(EN)
GATA: Is there anything else you would like to tell us?
CHITO: If you like my work, there will be more soon; I plan to continue portraying the gang culture in central Mexico. There are many subgroups that I would like to portray.
I plan to do several experiments in the darkroom with printing photographs on objects, which is something exciting and something different from what is commonly seen. And lastly, I would like to tell you that if you want to buy a physical piece of one of my images, I have handmade silver gelatin prints for sale. You can find more info on my website chitobanda.com to place your order.
Thanks for the invitation and I hope the work has been to your liking.
- Chito Banda