Guadalajara Oculta a La Vista Guadalajara Hidden from Sight
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Mexico's Indigenous and Folk Art Comes to Chapala
Mexico’s indigenous and folk art comes to Chapala Each year Experience Mex‐ECO Tours promotes a trip which we call the ‘Chapala Artisan Fair’, but this is much more than just a shopping trip; so what’s it really all about? The Feria Maestros del Arte (Masters of Art Fair) is the name given to this annual event in Chapala, and also the name of the non‐profit organization which puts in an incredible amount of work to make it happen. In 2002 an amazing lady called Marianne Carlson came up with the idea of bringing some of the artists and artisans she came across in rural Mexico to Ajijic to sell their high quality traditional work. After a successful first fair, with 13 artists being very well received by the public, Marianne decided to make this an annual event. Providing an outlet for traditional Mexican artists and artisans to sell their work, the Feria Maestros del Arte has provided many families with the opportunity to continue creating Experience Mex‐ECO Tours S.A. de C.V. | www.mex‐ecotours.com | info@mex‐ecotours.com their important cultural representations by allowing them to pursue this as a career, rather than seeking alternative employment. Here is their mission as a non‐profit organization: “To preserve and promote Mexican indigenous and folk art. We help preserve these art forms and the culture that produces them by providing the artists a venue to sell their work to galleries, collectors, museums and corporations. We promote regional and international awareness to the value of these endangered arts.” The efforts made by the Feria committee and its many volunteers mean that the artists and artisans not only have a chance to generate more income in a few days than they may otherwise generate in a year, but also the chance to be recognized by buyers and collectors from around the world. -
A Day in Guadalajara"
"A Day in Guadalajara" Créé par: Cityseeker 12 Emplacements marqués Instituto de la Artesanía Jalisciense "See and buy handicrafts" The Institute is located at Parque Agua Azul, one of Guadalajara's most traditional sites. The aim of the Institute is to protect, preserve, exhibit and promote the state's handicraft traditions as a kind of co-operative retailer by Llanydd Lloyd on Unsplash for the state's artisans. On sale is everything from ceramics, blown glass and textiles, wrought iron to papier maché, silver pieces, traditional indigenous Huichol art and other crafts all from throughout the municipalities of Jalisco including Tlaquepaque, Sayula, Colotlán, Ciudad Guzmán, Tonalá and Talpa. +52 33 3030 9080 artesanias.jalisco.gob.mx [email protected] 20 Calzada González Gallo, Guadalajara Ex Convento del Carmen "Cultural center with a religious past" The ex-Convento del Carmen is one of the most beautiful places in Guadalajara, even though after almost being destroyed, only part of the main buildings and the chapel remains. It has been remodelled, however, and is definitely worth a visit. Today, the ex-Convento functions as a cultural center. Some of its halls display art exhibitions while others stage by alej+hern%C3%A1ndez plays, recitals and chamber music concerts. Dance performances are held in the main courtyard. +52 33 3030 1350 638 Avenida Juárez, Guadalajara Mural de la Biblioteca Iberoamericana Octavio Paz "Most outstanding of Mexican arts" Currently a library, this building previously was the temple of the Compañía de Jesus (Company of Jesus). The impressive mural found here was painted in 1917 by the internationally renowned muralist José David Alfaro Siqueiros and Amado de la Cueva, a Tapatío painter. -
CULTURA POPULAR Y ARTESANÍAS 2/1/07, 11:56 AM CULTURA POPULAR Y ARTESANÍAS Efraín Franco Frías Otro, Más Complejo, Sorprendente
EFRAÍN FRANCO FRÍAS es profesor in- vestigador y director del Instituto de In- Efraín Franco Frías vestigaciones Estéticas de la Universi- n este volumen se abordan diversos conceptos de cultura popular, dad de Guadalajara (CUAAD). Comenta- Earte popular y artesanías,tratados por teóricos y estudiosos nacio- CULTURA POPULAR rista de temas culturales y populares en nales y extranjeros. Se asume una postura para revisar las principales Radio Metrópoli, condujo De viva voz El pueblo jalisciense danza al son de actividades artesanales y de arte popular en el estado de Jalisco. Se Y ARTESANÍAS en XEJB más de dos años y actualmente cuerdas, vientos y tambores; pinta con conduce el programa La hora del juglar pone énfasis en los centros artesanales más representativos de la enti- esos colores que la luz del sol matiza se- en Radio Metrópoli. Licenciado en letras dad: Tonalá, Tlaquepaque, Teocaltiche, Sayula, Guadalajara, Colotlán, gún su curso por el cielo; crea conoce- y en derecho. Maestro en lengua y lite- San Juan de los Lagos, así como en las regiones, a partir de un mapa de doras y anecdóticas expresiones en su ratura española e hispanoamericana. producción artesanal, en que se ha dividido a Jalisco. Se mencionan lenguaje; cocina deliciosos platillos sur- Doctor en educación superior y en le- algunos de los muchos artistas populares y artesanos del estado. Cerá- gidos de su entorno ecológico, cree y re- tras. Es miembro del Colegio Académi- mica, vidrio soplado, miniaturas, piteado, cestería, talabartería, arte- crea leyendas inauditas que son parte de co del doctorado en letras de la Univer- sanía huichol, exvotos y graffiti, son algunas de las manifestaciones que nuestra historia; juega y se divierte de sidad de Guadalajara, del Seminario de mil e inimaginables maneras; elabora aquí son estudiadas. -
Ceramica: Mexican Pottery of the 20Th Century Ebook
CERAMICA: MEXICAN POTTERY OF THE 20TH CENTURY PDF, EPUB, EBOOK Amanda Thompson | 208 pages | 01 Jan 2001 | Schiffer Publishing Ltd | 9780764312489 | English | Atglen, United States CerAmica: Mexican Pottery of the 20th Century PDF Book Garcia Quinones has won prizes for his work since he was a boy and each year for thirty year has sold his wars at the annual Christmas Bazaar at the Deportivo Venustiano Carranza sports facility. A marble vase from the s. They were used to serve first class passengers and are made of white stoneware with the red continental airlin Bjorn Wiinblad for Rosenthal ceramic pitcher and cups. In addition to majolica, two large factories turn out hand painted ceramics of the kaolin type. This permits many artisans to sell directly, cutting out middlemen. By Charles Catteau for Boch Freres. When creating a southwest Mexican rustic home decor, talavera pottery can add a gorgeous finishing touch. The best known forms associated with Metepec are its Trees of Life, mermaids and animals such as lions, horses with or without wings and ox teams. Today, her pieces are part of Atzompa's pottery traditions even though she herself is outsold by younger potters who produce cheaper and better wares. These are Bram and Dosa in the city a Guanajuato and the town of Marfil respectively. Indigenous traditions survive in a few pottery items such as comals , and the addition of indigenous design elements into mostly European motifs. Uh-oh, it looks like your Internet Explorer is out of date. There has also been experimentation with new glaze colors, such as blue and mauve. -
The Living Camera in the Ritual Landscape: the Teachers of the Tatuutsi Maxakwaxi School, the Wixárika Ancestors, and the Teiwari Negotiate Videography
Journal of Ethnology and Folkloristics 11 (1): 39–64 DOI: 10.1515/jef-2017-0004 THE LIVING CAMERA IN THE RITUAL LANDSCAPE: THE TEACHERS OF THE TATUUTSI MAXAKWAXI SCHOOL, THE WIXÁRIKA ANCESTORS, AND THE TEIWARI NEGOTIATE VIDEOGRAPHY LEA KANTONEN Professor of Artistic Research Academy of Fine Arts, University of the Arts Helsinki Elimäenkatu 25 A, Helsinki P.O. Box 10, 00097 Uniarts, Finland Postdoctoral Researcher Foundation for Cultural Policy Research Pitkänsillanranta 3B 00530 Helsinki, Finland e-mail: [email protected] PEKKA KANTONEN Doctoral Student Academy of Fine Arts, University of the Arts Helsinki Elimäenkatu 25 A, Helsinki P.O. Box 10, 00097 Uniarts, Finland e-mail: [email protected] ABSTRACT In this article, we outline the meanings modern Wixárika institutions, such as the school and the museum, may receive as parts of ritual landscape and how the community-based videos shot in the context of these institutions may increase our understanding of ritual landscapes in general. We discuss how ritual landscape can be researched using community-based documentary video art in a way that takes the ontological conceptions of the human and non-human relations of the community seriously. In this case, we understand community-based video art as artistic research in which the work is produced with the community for the com- munity. The making of art, discussed in this article, is a bodily activity as it includes walking with a camera in the Wixárika ritual landscape, interviewing people for the camera, and documenting the work and rituals of the pupils, teachers, and the mara’akate (shaman-priests) planning the community-based museum. -
NACCS 2019 Proceedings Complete
San Jose State University SJSU ScholarWorks 2019 Indigenous Knowledge for Resistance: NACCS Annual Conference Proceedings Lecciones from Our Past Apr 1st, 12:00 PM NACCS 2019 Proceedings Complete Linda Heidenreich Washington State University, [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/naccs Part of the Gender and Sexuality Commons, and the Race and Ethnicity Commons Heidenreich, Linda, "NACCS 2019 Proceedings Complete" (2019). NACCS Annual Conference Proceedings. 5. https://scholarworks.sjsu.edu/naccs/2019/Proceedings/5 This Conference Proceeding is brought to you for free and open access by the National Association for Chicana and Chicano Studies Archive at SJSU ScholarWorks. It has been accepted for inclusion in NACCS Annual Conference Proceedings by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. Indigenous Knowledge for Resistance, Love, and Land: Lecciones for our Children, for our Future” Selected Proceedings of the 2019 Meeting of the National Association for Chicana and Chicano Studies Edited by L. Heidenreich, María González, Francisco Villegas, and Samantha Manz CONTENTS INTRODUCTION “Indigenous Knowledge for Resistance”: Lecciones from Our Past L.Heidenreich .......................................................................................................................... 1 PART ONE: Flourishing of the Nations Chair-Elect Welcome Letter Karleen Pendleton Jiménez ................................................................................................... -
We Search the Markets of the World to Find Distinctive Treasures and Hand-Crafted Artisan Work, Reflective of the Experience Our Guests Have at the Resort at Pedregal
We search the markets of the world to find distinctive treasures and hand-crafted artisan work, reflective of the experience our guests have at The Resort at Pedregal. The global artisans are selected for their quality of work and socially responsible, environmentally sensitive practices. Our mission is to give back to others, create aid through trade, and care for our precious natural resources. Welcome to AlmArte, The Resort at Pedregal´s Gift Shop SHOPPING EXPERIENCIES BY ALMARTE BOUTIQUE The Shopping Experiences by Almarte Boutique will give your guests a flavor of what a typical Mexican market is like; an open-air market, or “Tianguis” as we call them in Mexico, selling colorful, hand-crafted accessories, jewelry and home décor by talented artisans from all over Mexico. Your Guests are greeted by our invited artisans who will explain all the beautiful crafts displayed on every booth. You can give your attendees a Credit voucher (you decide on the dollar amount per person or per couple), so they can shop the items they like at the Market. You can also decide to have just 1 booth or all of them. This is an entertaining experience for them that will create special memories! STERLING SILVER COLLECTION BY SILVERSMITH ARMANDO SANCHEZ Coming from a well known Silversmith Family in Los Cabos, Armando has a passion for Gemstones and one of a kind designs. Owner of Silvemoon Gallery in San Jose del Cabo. He brings his joy and excitement while talking to Guests about how he handcrafts every single piece of his collection. Armando also promotes Mexican Folk Art by exhibiting some of the most unique and beautiful Sculptures made by talented artisans all over Mexico. -
Spanish Language and Latin American Culture Opportunities for Study Inmexico
DOCUMENT RESUME ED 421 414 SO 029 038 AUTHOR Kennedy, Barbara Ann TITLE Spanish Language and Latin AmericanCulture Opportunities for Study in Mexico. Fulbright-HaysSummer Seminar Abroad 1997 (Mexico) . SPONS AGENCY Center for International Education (ED),Washington, DC. PUB DATE 1997-00-00 NOTE 18p. PUB TYPE Reference Materials Bibliographies (131) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS American Indians; Culture Contact; EthnicGroups; Foreign Countries; *International Cooperation;*International Education; Latin Americans; *Mexicans;Multicultural Education; Secondary Education; SocialStudies; *Spanish; *Spanish Culture IDENTIFIERS *Mexico ABSTRACT This paper provides a descriptionof programs for Spanish language study in Mexico. Theprograms listed were chosen because of the interest and beauty of the citieswhere they are located as wellas for the competence of the instruction delivered. A substantial part of thepaper is entitled "A Mesoamerican Worldview: TheHuichol of Mexico. Lesson Plansto Enrich the Study of Native AmericanCultures." This part of thepaper includes student activities,a discussion of Huichol Indian culture,an introduction to Huichol symbolism, and copies of masks and pictures. (EH) ******************************************************************************** Reproductions supplied by EDRSare the best that can be made from the original document. ******************************************************************************** Spanish Language and Latin American Culture Opportunities for Study inMexico Distributed by Barbara Ann Kennedy Fulbright-Hays Summer Seminar Participant, 1997 Tennyson High School Hayward Unified School District Hayward, California 00 October, 1997 U.S. DEPARTMENT OF EDUCATION PERMISSION TO REPRODUCE AND Office of Educational Research and Improvement C) DISSEMINATE THIS MATERIAL HAS EDUCATIONAL RESOURCES INFORMATION BEEN GRANTED BY CENTER (ERIC) This document has been reproduced as received from the person or organization Rosalie originating it. Minor changes have been made to OcleAskime.nis. -
Huichol Art and Ojo De Dios
HUICHOL ARTS AND HISTORY! ! Art class lesson was based on the resilience of the Huichol to survived through the sacred spirit of the amazing Artwork they have been creating. Ojo de Dios by the children of Short Elementary school is in honor of all the !Huichol artists. “OJO DE DIOS” This is a unique form of mandala weaving that was originated with both Huicholi !natives of Mexico, and Tibetan lamas. The purpose of the Ojo de Dios is to protect those praying at Altars. The Native american tribes believed that the object was the symbol of things not seen and the power to see those things hidden from the naked eye. The original objects contained two cross sticks, with each of the four points symbolizing a different element : Water, Earth. Fire and Air.. These object were placed on altars used by the tribes and given a token to the Gods. ! Divine Art For the Huichol people, art is a means of encoding and channeling sacred knowledge. It is considered a form of prayer, providing direct communion with the sacred realm. The Huichol use beads, yarn and wood in their imaginative work, creating elegant beaded jewelry, spiritual masks, votive bowls known as rukuri , Ojo de Dios or Mandala with colorful yarns. Every item carries heavily symbolic, esoteric and beautifully rendered symbols. !There are several prominent symbols featured in Huichol art. The Huichol ! ! The Huichols are an indigenous people who mostly live in the mountainous areas of northern Jalisco and parts of Nayarit in north central Mexico with the towns of San Andrés, Santa Catarina and San Sebastián as major cultural centers. -
The Huichols and the Mexican State, 1810-1910 a Dissertation
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE UNDER THE EYES OF GOD: THE HUICHOLS AND THE MEXICAN STATE, 1810-1910 A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By MICHELE M. STEPHENS Norman, Oklahoma 2011 UNDER THE EYES OF GOD: THE HUICHOLS AND THE MEXICAN STATE, 1810-1910 A DISSERTATION APPROVED FOR THE DEPARTMENT OF HISTORY BY ___________________________ Dr. Terry Rugeley, Chair _________________________ Dr. Sterling Evans _________________________ Dr. James Cane-Carrasco _________________________ Dr. Karl Offen _________________________ Dr. José Juan Colín © Copyright by MICHELE M. STEPHENS 2011 All Rights Reserved. For Tim, for always giving me the strength to soar. Acknowledgements This dissertation has been a work nurtured by many individuals and thus I am indebted to a number of people who aided me throughout graduate school and the dissertation process. First and foremost, I would like to thank my advisor, Dr. Terry Rugeley, without whom I would never have dreamed of this project. Had it not been for the Ethnohistory of Mexico and Central America seminar in 2006, I may have never heard of the Huichols. Besides being the best advisor a graduate student could ever hope for, Dr. Rugeley is also an excellent mentor. He gives freely of his time, including bringing myself and other students to Mexico City in order to ensure that we knew how to navigate the Archivo General de la Nación. While on my research trip in Guadalajara, which kept me away from home for nine months, Dr. Rugeley offered me sage wisdom to help combat homesickness and the stress of foreign research. -
Biography of Juan Negrín
Biography of Juan Negrín Juan Román Negrín Fetter was born in Mexico City on September 20, 1945. His mother, Jeanne Fetter, was born in Hopewell, New Jersey, and majored in English at Trenton Teacher's College. His father, Rómulo Negrín Fidelman, was born in Madrid, Spain. He fought on the side of the Republicans during the Spanish Civil War and later studied engineering at New York University. Juan was raised in Mexico City and England for two years until his family returned to Hopewell, where his sister was born. His mother, who had been diagnosed with multiple sclerosis, soon became too ill to care for her two children, and by the time Juan was four, he and his sister were sent to live in Paris, where they were raised by their exiled grandfather, Dr. Juan Negrín López.1 He became their principal tutor during their ten years of study of the French curriculum. Their mother remained under the care of her own mother until her death in 1969. Following their grandfather’s death, Juan and his sister moved to Mexico City with their father, and continued their studies at the French-Mexican Lycée. Juan was finishing an additional year in philosophy, under the privileged instruction of Dr. Ramón Xirau, when he was accepted at Yale in 1963. Economics was his first choice as a major. His grades allowed him to move into the top 10 percent of his class, and he received a scholarship. His interest in philosophical issues and the arts led him to select a dual major in French and Spanish, which would focus on the trends of existentialism, surrealism, and the theater of the absurd. -
Catalogo De Las Exposiciones De Arte En 1967
DOI: http://dx.doi.org/10.22201/iie.18703062e.1968.sup1 JUSTINO FERNANDEZ CATALOGO DE LAS EXPOSICIONES DE ARTE EN 1967 SUPLEMENTO AL NUM. 37 DE LOS ANALES DEL INSTITUTO DE INVESTIGACIONES ESTETICAS MEXICO, 1968 DOI: http://dx.doi.org/10.22201/iie.18703062e.1968.sup1 Primera edicion : 1969 Dcrechos rcscrvados conformc a la ley 1969. Universidad Nacional Autonoma de Mexico Ciudad Uuivcrsitaria. Mexico 20. D. F. DIREccr6N GENERAL DE PUBLICACIONES Imprcso y hecho en Mexico Printed and made in Mexico DOI: http://dx.doi.org/10.22201/iie.18703062e.1968.sup1 En eI afio de 1967 tuvieron lugar en la ciudad de Mexico unas 310 exposiciones de arte, 0 sea que se duplic6 el numero de las presentadas en 1966 y se super6 notable mente el de afios anteriores cuya cifra maxima fue 250. Esta pequefia estadistica tiene interes pues muestra el movimiento que la capital va teniendo a 10 largo de los afios en materia de exposiciones de arte; es muy probable, POI' ejemplo, que eI pr6ximo afio de 1968 supere a todos los pasados, gracias al Programa Cultural de la XIX Olimpiada. De las instituciones se distinguieron: el Instituto N acional de Bellas Artes (INBA), que present6 en sus distintas dependencias, 81 exposiciones; la Universidad Nacional Aut6noma de Mexico (UNAM), 23 y el Organismo de Promoci6n Internacional de Cultura (OPIC), 17. De los institutos extranjeros fue eI Instituto Mexicano-Norte americano de Relaciones Culturales el que present6 mayor numero, 26; y el Instituto Frances de la America Latina, 10. Entre instituciones y galerias particulares se divide eI resto de las exposiciones que tuvieron lugar durante 1967.