Las Calaveras at Republic Square: Celebrating our Shared History

Ruben Esquivel: Echoes of Guadalupe Park

Mexican celebrations and festivities are significant to the overall culture and heritage of Austin. Austin’s Mexico is a historical neighborhood, formerly known as Mexico, located west of Congress Avenue. This area, which includes Republic Square (formerly known as Mexican Park), is where the first Mexican immigrants and Mexican Americans settled in Austin. They created a vibrant business and cultural community where many Mexican celebrations and festivities took place, many of which still persist today.

Historically, one of the most significant celebrations for Mexicans globally occurs at Republic Square. Diez y Seis de Septiembre, Mexican Independence Day, not to be confused with Cinco de Mayo, celebrates Mexico’s sovereignty as a nation and independence from Spain. It is a celebration of Mexico’s cultural heritage and its citizens. Celebrations at Republic Square usually consist of live music, food, folklorico dancers, and a reenactment of El Grito de la Independencia (Mexico’s declaration of independence). This year, the event was hosted by the Austin Saltillo Sister Cities Association, with Saltillo being Austin’s sister city in Mexico, further highlighting the connection between Austin and Mexico’s cultural and historical heritage.

Another significant and long-standing Mexican celebration in Austin is the Viva La Vida Festival, held during the month of October. Organized annually by Mexic-Arte for 41 years, it is the largest Day of the Dead event in Austin. The festival features a grand procession to collectively honor and celebrate deceased loved ones, traditional foods consumed during Día de los Muertos, art and cultural activities, lowrider exhibitions, local artists and organizations booths, and live music and performances. The event and procession take place at 4th Street and Congress Avenue, where historically Mexican and Mexican Americans have lived.

Artist Statement

This calavera, embodies the spirit of celebration and community central to the history of Republic Square Park, once known as Guadalupe Park. On one side, a mariachi guitar player serenades with lively tunes, evoking the vibrant musical heritage of Mexican gatherings. On the other side, a folklórico dancer, adorned in a traditional dress painted in purple, yellow, red, and white, twirls gracefully, symbolizing joy and tradition. The front of the calavera is detailed with intricate traditional Mexican patterns in warm tones of yellow, orange, and red, tying together the artwork with a nod to festivity and culture.

Artist Bio

Ruben Esquivel is a fifth generation Austinite and artist based in Austin, Texas, with deep roots in the local community. Specializing in works that celebrate and preserve cultural heritage, Ruben draws inspiration from the vibrant stories and traditions of Mexican and Indigenous communities. With a dedication to uplifting diverse narratives, he has had the honor of displaying his art at the Smithsonian Museum of the American Latino and creating culturally significant murals throughout Austin. His art celebrates tradition while fostering a deep connection to the city’s heritage and evolving identity.

NIZ: Wolf Dance or El Baile del Lobo

The Tonkawa Tribe is indigenous to central Texas, including what is now known as Austin. They occupied the Balcones Escarpment between Austin and San Antonio, as well as the recently reclaimed sacred site of Red Mountain (also known as Sugarloaf Mountain) in Milam County, Texas. Despite their coexistence and alliance with Texas settlers, the Tonkawa were removed and exiled to a reservation in present-day Oklahoma in 1859. Later, in 1884, another group was relocated from Fort Griffin, Texas.

On September 12, City of Austin officials, Tonkawa tribe leaders, and members gathered at Republic Square to commemorate the Tonkawa’s purchase of Red Mountain and to officially thank the tribe for their historical friendship and protection of the city. Around 182 years ago, the Tonkawa Tribe camped a few yards away from Republic Square for 18 months to protect the city from Comanche raids. This was after Sam Houston encouraged Austin’s citizens to abandon the city in hopes of making Houston the new capital of Texas. Despite their displacement, the Tonkawa are thriving and returning home today. The Tonkawa are significant to the history and preservation of Austin, and they play a crucial role in protecting the city’s cultural heritage.

About Wolf Dance

In the heart of Republic Square stands a striking painted skull, its vibrant colors and intricate designs telling a story deeply rooted in the Tonkawa Tribe’s heritage. The eyes of the skull symbolize the Tonkawa’s profound connection to the peyote religion, reflecting their role as pioneers in establishing its practices and beliefs. This artwork pays homage to the tribe’s resilience, being the only Native American tribe removed twice to Oklahoma.

Adorning the skull are motifs representing the Tribe’s history, inspired by their nomadic lifestyle—tracking buffalo, gathering berries, and the spiritual journeys tied to peyote. Among these motifs, the legacy of Sergeant Johnson, a notable Tonkawa sub-war chief and Scout during Texas’ formative years, resonates powerfully. The spirit of Railroad Cisco, not only a boy born on the Tonkawa’s journey to the Oakland Agency but also a respected spiritual leader of the peyote religion, is woven into the design, symbolizing the hopes and dreams carried by the tribe during times of change.

The painted skull also features representations of the Scalp Dance, where women dancers wield coup sticks to celebrate battle conquests, along with echoes of the revived Buffalo and Snake Dances, celebrating the Tonkawa’s cultural revival. Each brushstroke is a tribute to their enduring spirit and vibrant traditions.

The Tonkawa’s modern ambassador, Deaundra “Na•xsitix” Chisholm, the 2024-2025 Tonkawa Tribal Princess, embodies the tribe’s legacy. She stands as a powerful symbol of the Tonkawa’s future while honoring their past. As an ambassador, she invites all who pass through Republic Square to reflect on the rich tapestry of Indigenous culture and history.

-Miranda Nax’ce Myer, Cultural Director of the Tonkawa Tribe

Artist Statement

My design was inspired by information provided by present day Tonkawa and research. I was careful to find an overlap between the Mexican celebration of Dia de Los Muertos and aspects of Tonkawa culture that are associated with death. The overlaps were their relationship to the wolf, war and the Trek of the Tonkawa. I illustrated these aspects by creating a pattern like you might see on a blanket or poncho, of past and present day Tonkawa dances. I also included past and present day portraits of the Tonkawa (Railroad Cisco and Tonkawa Princess Deandra) as well as a depiction of the Trek of Tonkawa (their Trail of Tears). Some important visual aspects that were included: strong wolf features(as they considered themselves descendants of the world) and the wolf dance(associated with death), peyote (which is used in ceremonies), Red Mountain (their place of origin), the Tonkawa tribal seal, arrowheads, photographs provided by Tonkawa members, matrilineal elements, and buffalo, snake, deer, scalp dances. The color scheme is based on the Brazos River, the earth, Red Mountain, and fiery Texas skies.

Artist Bio

Niz is a self taught street artist from Lima, Peru. She was introduced into the art world through her involvement in skateboarding, hip hop and urban culture and eventually progressed to large scale stencil murals. Her work is informed by mythology, spirituality, elevated consciousness, music and activism. She is also known for Goddess and archetype portraiture that aims to empower women. Niz is a member of Few and Far Women, the largest all female graffiti crew in the world. She lives and works between Austin, Texas and The Yucatan, where she is actively using street art as a means of highlighting important aspects of Mayan culture. Niz’s work can be found all over the Americas, from the USA to Peru.

Carmen Rangel: Mercado Origins

Republic Square has long been a vibrant hub for Mexican and Mexican American vendors, reflecting the rich cultural heritage of the community. These vendors have historically brought the flavors of Mexico to the heart of the city, offering traditional foods like tamales, tacos, and elotes, alongside an array of colorful candies and sweets. Their presence not only celebrates Mexican culinary traditions but also serves as a vital economic and social platform for local families. Over the years, these vendors have contributed to the square’s lively atmosphere, creating a space where people gather to enjoy authentic tastes and connect with the cultural narratives of their heritage. Through food, they honor their roots, fostering a sense of community and pride in Mexican identity.  

Artist Statement

The vibrant colors bring the market economy of the Mexican community to life once again by displaying vendors, traditional candies, fresh local fruits, pan dulces, and tamales. The lush treaty oak trees stretch their branches wide, symbolizing the roots of commerce at Republic Park, and green leaves and golden accents scattered throughout, symbolize prosperity and the flow of money. The essence of this thriving merchant economy is deeply rooted in culture, community, and the spirit of entrepreneurship.

Artist Bio

Carmen Rangel is most known for her captivating use of color in mosaics and painted murals. Rangel is a first-generation Mexican American born and raised in Austin, Texas. She has been creating public art and community-driven projects for ten years. Common themes in her work include; the connection that femininity has with nature, her exploration of Latinx culture/experience, and wanderlust.

Ryan Runcie: Out of Many, One People

The history of the Black community in Austin is rich, extensive, and influenced by multiple African diasporas. This text highlights key points of African American history in Austin, the collective efforts of Latino and Black communities against oppression, and the influence of Afro-Latinos in Austin.

The history of African Americans in Austin begins in 1839 with ten-year-old Mahala Murchison, the first African American to arrive in Austin. She came with Alexander Murchison and his wife as their enslaved maid. Over the next few years, the population of enslaved people in Austin grew, reaching approximately 1,019 by 1860. Enslaved men and women worked as domestic servants, tended livestock, and helped develop much of Austin’s infrastructure and iconic buildings, such as the Texas State Capitol and the Governor’s Mansion. The work conditions for enslaved people were harsh, with long hours of physically strenuous labor.

After the emancipation of slavery, African Americans established multiple Freedmen communities. These communities provided better economic opportunities and allowed African Americans to direct their own lives. Despite the 1928 City Plan pushing many citizens out of these communities, their legacy and preservation continue. Organizations like The Clarksville Community Development Corporation work to preserve the history of Freedmen communities like Clarksville and care for the historic landmarks in the area.

Artist Statement

The nearest freedman community to Republic Square was the West Austin/Shoal Creek community. (Freedmen are African Americans who were freed from slavery after 1867.) They were in constant contact and shared traditions with the nearby Hispanic communities, naturally creating Afro-Latino culture comprised of foods, music, religion, and art. These communities were thriving with skilled tradesmen, growing educational opportunities, and churches before the master plan of 1928 forced minorities to move to East Austin.

Artist Bio

Ryan Runcie is a first-generation American artist whose inspirations come from his study of philosophical beliefs and how our experiences can change how we view and value others and ourselves. His large-scale murals are heavily community focused with the intent to leave behind social and racial reconciliation in his wake. He graduated from Texas State University with his Bachelor of Fine Arts in 2016 and has been through various art business workshops. He also hosts art business workshops for non profit organizations, municipalities, and arts education programs. At Texas State University, he studied communication design while developing his vibrant painting style and building custom skateboards under TanMan Longboards.

He now has many private works collected across the United States and public murals completed in multiple cities in Texas. His client list includes Austin FC, The Moody Center, Starbucks, The City of San Marcos, Capital Metro, Austin Energy, Rhodesrunna Productions Inc, Riversouth Austin, eBay, Abbott Laboratories, Bennu Coffee, George Washington Carver Museum, Ketra Lighting, local elementary schools, and multiple non-profit organizations. Runcie is currently a project coordinator for the City of Austin’s Art in Public Places, a board member of Capitol View Arts, an East Austin non-profit, and a Big Medium Programming Committee member.