LOS ANGELES — Mario relied on his job in the car wash industry to raise his three children. It was during a shift at a Santa Ana car wash last August that he was arrested by federal agents, taken to a U.S. Immigration and Customs Enforcement detention center and held for two months.

“They made me sleep on the cold floor for a week without a blanket, a toothbrush or basic medical care for the injured man next to me,” Mario, a 33-year resident of the United States, said at a news conference earlier this summer at Inglewood’s Crenshaw Imperial Car Wash, which is now closed after being raided by federal agents.

Mario, who is being identified only by his first name for safety reasons, is among hundreds of car wash workers detained across Southern California in the year since the Trump administration began an aggressive immigration crackdown in the region, according to the CLEAN Carwash Worker Center.

News of raids by masked agents has faded from the headlines, but the effects still linger for those caught in the crosshairs. Family members have been deported or left to languish in detention, and many who remain live with the fear of being hunted down by immigration officers.

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At least 373 car wash workers have been detained at car washes across Southern California since the raids began last summer, according to figures compiled by CLEAN. The group’s data also shows federal agents raided or attempted to raid at least 106 car washes in communities across Los Angeles, Orange County and surrounding areas, including Inglewood, Culver City, Westchester, Bell and Whittier.

CLEAN, an advocacy group founded in 2007, has been fighting to protect car wash workers from exploitation and unsafe conditions. When the raids began last year, the group sprang into action, working around the clock to help detained workers and provide their families with legal and financial support.

“We gathered our information from workers, managers, and owners of the car washes that were being raided,” CLEAN Deputy Director Andrea Gonzalez said. “We also gathered information from rapid response teams who were on the ground responding to the raids.”

The Department of Homeland Security did not respond to a request for comment on the group’s findings.

Mario said he was one of seven workers at the Harbor Blvd Car Wash detained on the same day last August, but the only one who has been released. He said he refused to sign deportation papers and is fighting to stay in the United States, a process that has drained his family emotionally and financially.

“Being released is not the same as being free,” he said.

During Mario’s detention at the Adelanto ICE Processing Center, his wife and children struggled to cope with his sudden absence while fighting for his release, his wife Alejandra said.

“The employer gave us a video showing my husband being taken away under arrest, treated worse than a common criminal, with chains binding his legs, arms and waist,” Alejandra said. “It wasn’t right.”

The experience of a car wash worker named José was recounted at the news conference by the Rev. Andy Schwiebert of Immanuel Presbyterian Church in Los Angeles, who said agents “took him” from the La Cienega Car Wash last August.

José’s wife is a U.S. citizen, Schwiebert said, and José had a pathway to gaining citizenship before he was detained. By the time a judge ordered his release on bond, the car wash had shut down, Schwiebert said, leaving José without a job.

“These raids did not just target workers; they destabilized families, congregations, workplaces and entire communities,” Schwiebert said.

The administration’s aggressive enforcement operations have continued across the nation in the months since José’s and Mario’s detention, with ICE arrests in July surging to their highest rate so far under President Donald Trump.

Last month, ICE agents shot and killed Lorenzo Salgado Araujo, a 52-year-old father of three in Houston. Less than a week later, an immigration officer fatally shot 26-year-old Johan Sebastián Duran Guerrero in Biddeford, Maine.

Back in Inglewood, Mario said he was grateful to share his story and that, even though he was released, his experience in detention stays with him.

“I still feel frustrated and traumatized,” Mario said, “because my life is no longer the same as it used to be.”

Ernesto Ureño is a Loyola Marymount University journalism major and intern at Capital & Main, a nonprofit publication focused on inequality. It is published here with permission.

Based on reporting by Wave Community Newspapers.

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This summer, Misty Copeland will step into a different kind of spotlight. Instead of taking center stage as a dancer, she will help determine what audiences see onstage as curator of the 2026 Joyce Ballet Festival. Taking place August 4 through August 16 at The Joyce Theater in New York City, the two-week celebration will bring together dancers, choreographers and companies representing a broad spectrum of ballet. The festival gives Copeland an opportunity to share not only her appreciation for ballet’s traditions, but also her vision for its future.

Copeland understands better than most how powerful a ballet stage can be. Her historic career with American Ballet Theatre changed the conversation about representation in one of the world’s most traditional performing arts. When she became the company’s first Black woman to reach the rank of principal dancer, her achievement carried significance far beyond a personal milestone. It gave young dancers of color a new image of what was possible and challenged the industry to reconsider who belonged at the center of ballet.

That history informs the perspective she brings to the festival. Copeland has spent much of her career moving between performance, mentorship, advocacy and storytelling. Her curatorial role allows her to bring those interests together by creating a program that does not treat ballet as a museum piece. Instead, the festival presents dance as an evolving language capable of carrying classical traditions into new cultural and artistic territory.

Audiences will encounter a mixture of established works and contemporary creations during the festival. Classical ballet vocabulary will share space with choreography that pushes dancers toward different physical, emotional and theatrical possibilities. The result is intended to give audiences a broader understanding of the art form while demonstrating that tradition and innovation do not have to be competing forces.

The lineup also provides an opportunity to see dancers from different artistic environments. Performers connected to organizations including American Ballet Theatre, New York City Ballet, Paris Opera Ballet, Houston Ballet, Dance Theatre of Harlem and Complexions Contemporary Ballet are among those represented in the festival. Each company carries its own history and artistic identity, making their participation part of a larger conversation about the many ways ballet can be performed and interpreted.

The presence of Dance Theatre of Harlem is particularly meaningful within the larger story of Copeland’s career and the evolution of Black representation in ballet. Founded during a period when opportunities for Black dancers were severely limited, the company helped demonstrate that excellence and classical training could flourish in a Black cultural environment. Its legacy continues to influence dancers and audiences, making its connection to a festival curated by Copeland especially resonant.

The program also reaches beyond a single definition of contemporary ballet. Choreographers with different backgrounds and artistic philosophies contribute to an evening that can move from recognizable classical structures to works shaped by modern dance, theater, popular culture and new approaches to movement. That diversity reflects a generation of artists who increasingly see ballet not as a rigid vocabulary but as a foundation from which they can explore.

For New York audiences, the festival offers something that is increasingly valuable: the opportunity to experience outstanding dancers in an intimate setting. The Joyce is known for presenting dance in a theater where audiences can see movement and artistry up close. That environment can make a familiar ballet work feel newly personal while allowing experimental pieces to communicate with unusual immediacy.

Copeland’s role as curator also sends a message about the importance of artistic leadership. The people who select performers and choreography help determine which stories receive attention and which artists receive opportunities. By bringing a range of voices into the festival, Copeland is using that responsibility to broaden the conversation around ballet. Her choices can introduce audiences to artists they may not otherwise encounter while encouraging longtime ballet followers to look at the form from a different perspective.

The 2026 Joyce Ballet Festival ultimately arrives at an important moment for the art form. Ballet is carrying centuries of tradition into an era defined by changing audiences, broader representation and increasingly adventurous choreography. Copeland’s festival reflects that transition. For two weeks in August, The Joyce will become a meeting place for the familiar and the unexpected—a celebration of where ballet came from and a preview of where it may be going. And with Misty Copeland helping shape the conversation, the future of ballet promises to be as expansive as the dancers who are defining it.

Based on reporting by The Positive Community.

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