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Made in Mexico: Souvenirs, artisans, shoppers and the meanings of other "border-type-things" Item Type text; Dissertation-Reproduction (electronic) Authors Alvarez, Maribel Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 20:33:18 Link to Item http://hdl.handle.net/10150/280342 MADE IN MEXICO: SOUVENIRS, ARTISANS, SHOPPERS AND THE MEANINGS OF OTHER "BORDER-TYPE-THINGS" by Maribel Alvarez Copyright © Maribel Alvarez 2003 A Dissertation Submitted to the Faculty of the DEPARTMENT OF ANTHROPOLOGY In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2003 UMI Number: 3106967 Copyright 2003 by Alvarez, Maribel All rights reserved. UMI UMI Microform 3106967 Copyright 2004 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 THE UNIVERSITY OF ARIZONA ® GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the dissertation prepared by Marlbel Alvarez entitled Made In Mexico: Souvenirs. Artisans. Shoppers and the Meaning of other "Border-Type-Things" and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of DOCTOR OF PHILOSOPHY N^ndv~jrTarizj^ oSte i\cv-x vj ^ ^ Thomas Weaver ^ Date A- ^ ( iV-63 Barbara Babcock Date Date Date Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. Dissertatxon -Director ^ancy J. Parezo Date 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: 4 ACKNOWLEDGEMENTS In the conception of this research project and the writing of this dissertation I had one of the greatest blessings that a graduate student can ever hope for: my greatest supporter was also my sharpest critic. This project and this manuscript simply would not exist in the form they have today if it were not for the unconditional support and extraordinary commitment to teaching and mentoring of Dr. Nancy Parezo. Thank you Nancy for teaching me how to become an ethnographer. Dr. Barbara Babcock has been an incredibly generous and wise teacher. I feel privileged to have become, in the true sense of the word, her disciple. Dr. Thomas Weaver has been a steady and solid advisor since I first entered the graduate program at the University of Arizona. A special thanks to the late Dr. Daniel Nugent, whose legacy is especially palpable in this work. The contribution of Dr. Ana Alonso is also acknowledged. Graduate College Associate Dean Dr. Maria Teresa Velez gave me financial and moral support. I will be forever grateful for her assistance. The Arizona Humanities Council, the Arizona Arts Council, and the Pima County Arts Council provided financial support for the exhibition component. My companeros in the Anthropology Graduate program have been formidable intellectual partners. To my friend Elea Aguirre I owe more than words can express: moral and spiritual nourishment, intelligent observations, and loyalty. The last week of production was only "enjoyable" because of her gracefulness. My dearest friend Guillermo Nunez Noriega taught me the only things really worth knowing—about anthropology, life, love, and self-reflection. His brilliance and passion are infinite. Paola Sesia is one of the "best minds of her generation." Her love for Mexico opened doors for me beyond what she would ever know. Edaena Saynes taught me things about Mexico that go beyond the "cliches" and that have directly shaped my thinking in this work. Las amigas Jackie Messing, Kirsten Reinschmidt, and Hortensia Caballero shared many stories and good wishes. El doctor Jorge Descamps and Elea Uraga have always shared their affection and support. Anjee Helstrup has been a wonderful fnend and intellectual interlocutor. To Neri and Beti, my love. To the memory of Kaki, my car/wo. Everyone at MACLA and my friends in San Jose have shared little pieces of this journey with me. They know who they are. To Raquel Rubio Goldsmith and Barclay Goldsmith in Tucson infinite gratitude for warm hospitality and wonderful friendship. Dr. Renato Rosaldo has been an inspiration; his book Culture and Truth sparked a vision of the world and of anthropology. The love and support of my family has exceeded the limits of the rational. To my departed parents Enrique and Hilda I owe everything that I am, but more than anything, the love of learning. My grandfather Eliezer Montalvan provided loving care. This Ph.D. is for them. My sister Sonia has given me absolute and uncompromising love and support. Her values and strength are the anchors of my life. My brother Enrique provided financial and spiritual support; he gives me more inspiration than he can ever imagine. My sister-in-law Magaly was always there when I needed her; thanks for the "little" things that made life easier. My little Santos was patient when I could not spare the time to spend with him. My family and friends in Cuba— presente y ausente—h&NQ cared deeply and earnestly about my projects and me. My Patricia gives "meaning" to everything I am; her love made the journey worthwhile. Este logro es nuestro. My best friend Eva knows me better than anyone else; her grace, intelligence, and passionate engagement with life gave me motivation and sweet encouragement. I love her deeply. Last but not least, my deepest gratitude goes to Meno, Raul, Lalo, and Don Manuel Hernandez in Nogales, and to Linda and Orville in Tucson, for trusting me with their stories. May this "interpretation" of their world do justice to the integrity and elegance of their lives. 5 DEDICATION Esta tesis doctoral es para mi tia Berta Gonzalez Alvarez 1918-1994 maestra, escritora, filosofa quien encendio la primera llamita del saber dentro de mi 6 TABLE OF CONTENTS LIST OF FIGURES 8 ABSTRACT 9 PREFACE 11 CHAPTER 1 - INTRODUCTION: A BURNING CURIOSITY FOR "INSIGNIFICANT" THINGS Fifty Million Coyotes Can't Be Wrong 16 Curios: A Conspicuous Silence 32 Organization of the Text 51 CHAPTER 2 - FIELDWORK AND WORKSITE Fieldwork 56 The Hernandez Workshop 66 CHAPTER 3 - BORDERLANDS AND BORDERTOWNS Borderlands 90 Bordertowns 103 Nogales 116 CHAPTER 4 - STORY AND NATION A Handful of Mental Pictures 122 Totally Disrupting the System? 140 Handicrafts, Nationalism, and State Rituals 158 The Land of Opportunity: Hybrid Objects in an In-Between Place 179 7 TABLE OF CONTENTS - Continued CHAPTER 5- PERCEPTIONS AND METAPHORS The Violence of Language 188 The Insistent Vocality of "Gente Humilde" 216 "La Indiada:" Let's Not Take Things to Ridiculous Levels 239 CHAPTER 6 - LABOR AND DISCIPLINE The Invisible "Patron" 260 The Question of Oppression 266 The Cost of Autonomy 288 "That's The Satisfaction That I Get" 307 Living Under the Stigma of Categories 316 Manual Metaphors 326 CHAPTER 7 - SOUVENIRS AND SHOPPERS Resisting Simulacra 330 Participant-Observation at a Flea Market 344 Kitsch and the Phantom Consumer 358 CHAPTER 8 - CONCLUSION; AN ETHNOGRAPHIC CONUNDRUM 372 POSTSCRIPT 380 REFERENCES CITED 383 8 LIST OF FIGURES FIGURE 1.1, Peddler approaching cars waiting to cross ''la lined" inNogales, Sonora 17 FIGURE 1.2, Shoppers barter for "curios" in Nogales, Sonora 20 FIGURE 1.3, Tweedy Bird figurines in hip-hop attire dry on the patio of the Hernandez Plaster Workshop in Nogales, Sonora 23 FIGURE 1.4, "Sleeping Mexican" statutes, also known as "Panchos," on display at a curio shop in Nogales, Sonora 24 FIGURE 2.1, The Hernandez brothers—left to right, Raiil, Meno, and Lalo~at their "Taller" inNogales, Sonora 63 FIGURE 2.2, As a first step in the production process, the artisan mixes plaster in powder form with water 72 FIGURE 2.3, Liquid plaster mix is poured into a hollow mold 75 FIGURE 2.4, Large rubber bands hold together the half-molds 76 FIGURE 2.5, A rubber liner is used to prevent the new plaster figure from sticking to the plaster mold 77 FIGURE 2.6, The artisan rocks the mold to make sure that the plaster mix is evenly distributed 78 FIGURE 2.7, Artisan cleans plaster residues from a piece just separated from the mold 79 FIGURE 2.8, In the "priming" stage of production, a plaster figure is bathed in black paint mixed with adhesive to seal the pores on the surface 81 FIGURE 2.9, An artisan sands a "Pancho" figure in preparation for painting 82 FIGURE 2.10 Plaster figurines dry in the sun in the patio of the Hernandez Workshop 83 FIGURE 2.11, The '''compadre''' adds color with