Directorio Empresas "Punto Limpio" Vigentes Aguascalientes
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Intro Alebrije.Pdf
Arte Popular from Mexico: Candles, Lacquer, Alebrijes © Alvaro de la Paz Franco / Wikimedia Commons/ CC BY-SA 4.0 What is arte popular? Arte Popular is a Spanish term that translates to Popular Art in English. Another word for Arte Popular is artesanias. These can be arts like paintings and pottery, but they also include food, dance, and clothes. These arts are unique to Mexico and the communities that live in it. After the Mexican Revolution of the 1910s, focus was turned to Native Amerindian and farming communities. These communities were creating works of art but they had been ignored. But, after the revolution, Mexico needed something that could unite the people of Mexico. They decided to use the traditional arts of its people. Arte popular/artesanias became the heart of Mexico. You can go to Mexico now and visit artists’ workshops and © Thelmadatter / Edgar Adalberto Franco Martinez Ayotoxco De Guerrero, Puebla at see how they create their beautiful art. the Encuentro de las Colecciones de Arte Popular Valoración y Retos at the Franz Mayer Museum in Mexico City / Wikimedia Commons/ CC BY-SA 4.0 Arte popular/artesanias are traditions of many years within their communities. It is this community aspect that has provided Mexico with an art that focuses on the everyday people. It is why the word ‘popular’ is used to label these kinds of arts. The amazing objects they create, whether it is ceramic bowls or painted chests, are all unique and specific to the communities This is why there is so much variety in Mexico, because it is a large country. -
Movements of Diverse Inquiries As Critical Teaching Practices Among Charros, Tlacuaches and Mapaches Stephen T
University of Massachusetts Amherst ScholarWorks@UMass Amherst Open Access Dissertations 9-2012 Movements of Diverse Inquiries as Critical Teaching Practices Among Charros, Tlacuaches and Mapaches Stephen T. Sadlier University of Massachusetts Amherst, [email protected] Follow this and additional works at: https://scholarworks.umass.edu/open_access_dissertations Part of the Education Commons Recommended Citation Sadlier, Stephen T., "Movements of Diverse Inquiries as Critical Teaching Practices Among Charros, Tlacuaches and Mapaches" (2012). Open Access Dissertations. 664. https://scholarworks.umass.edu/open_access_dissertations/664 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. MOVEMENTS OF DIVERSE INQUIRIES AS CRITICAL TEACHING PRACTICES AMONG CHARROS, TLACUACHES AND MAPACHES A Dissertation Presented by STEPHEN T. SADLIER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION September 2012 School of Education Language, Literacy, and Culture © Copyright by Stephen T. Sadlier 2012 All Rights Reserved MOVEMENTS OF DIVERSE INQUIRIES AS CRITICAL TEACHING PRACTICES AMONG CHARROS,1 TLACUACHES2 AND MAPACHES3 A Dissertation Presented By STEPHEN T. SADLIER Approved as to style and content -
Wab Forum Armies the Tarascan Army of the Conquest
WAB FORUM ARMIES THE TARASCAN ARMY OF THE CONQUEST HISTORICAL BACKGROUND Mexican Basin. However, it was a rocky volcanic land, punctuated by smaller fertile valleys, and home to only 1.3 million people. In this respect it could never rival the power of the Triple Alliance. The Tarascans spread their language and administrative skills into a cohesive uniform polity that encompassed a variety of ethnic groups, all maintained from the administrative offices within the main city of Tzintzuntzan. It was a highly stratified society with a small hereditary nobility ruling on behalf of a large population of commoners. There was also a very large slave population. The minor nobility formed a The Pyramids of Tzintzuntzan, the “Place of the Hummingbirds” professional military force, with the commoners delivering their military service as a form of tribute to the government. Unlike Together with the Tlaxcalteca, the people of the Michoacan the Mexica, the Tarascans employed uniformly armed combat Valley, the Tarascans, could be considered one of the most units and relied much more heavily on archery. As an aside, the dangerous enemy of the Triple Alliance Mexica. Ironically, they Tarascans were so named due to another error by the “cloth- fought the much larger Mexica armies to a standstill for about 90 eared” Spanish. The Tarascans facetiously called the Spaniards years but then surrendered their entire empire to the Spanish “Tarascue” or “sons-in-law” due to the Spaniards reputation of Crown within 1 year of the Aztec collapse. stealing native daughters. Somehow, the Conquistadores thought this was the name the Tarascans used for themselves, and so the The Tarascans were, like the Nahuatl speaking Chichimec tribes term stuck. -
Cabot's Museum Oaxaca Craft Sept 8 2017
Tia Stephanie Tours Craft Traditions of Oaxaca Cabot’s Pueblo Museum September 8-15, 2017 (7 Nights) Join us on an extraordinary journey with Cabot's Pueblo Museum to explore the culture, arts and crafts of Oaxaca. Based in Oaxaca City, we’ll visit communities of the Central Valleys, where we'll meet the wonderful artisans featured here at the museum! In San Bartolo Coyotepec, known for its black pottery, we'll join Magdalena Pedro Martinez to see how the soil from the region is masterfully transformed into beautiful pots and sculptures. In San Martin Tilcajete and San Antonio Arrazola, known for whimsical carved wood animals and "alebrijes," we'll join Julia Fuentes, Eleazar Morales and Mario Castellanos. In Teotitlan del Valle, the legendary "tapestry" weaving town, we'll visit the family of recognized artisan, Porfirio Gutierrez, recently awarded by the Smithsonian Institution for his work with his ancient family and Zapotec community in the revival and use of natural dyes in their weavings. We'll meet Yesenia Salgado Tellez too, who will help us understand the historic craft of filigree jewelry. We'll also visit workshops of some extraordinary emerging artisans, explore vibrant markets, experience fabulous regional cuisine and enjoy special museum and gallery tours. Join us on this very special opportunity to travel with Cabot's Pueblo Museum to explore Oaxaca's famous craft traditions and meet the artisans of Oaxaca! Day One: Friday, September 8, Arrive Oaxaca City (D) Transfer to our charming and centrally located hotel. Tonight we enjoy a festive welcome dinner to explore the culinary world of the seven moles at Los Pacos! www.tiastephanietours.com (734) 769-7839 Page 1 Day Two: Saturday, September 9, Oaxaca City Tour: (B, L) • Explore Oaxaca City, UNESCO World Heritage Site, and our home base. -
The Christianization of the Nahua and Totonac in the Sierra Norte De
Contents Illustrations ix Foreword by Alfredo López Austin xvii Acknowledgments xxvii Chapter 1. Converting the Indians in Sixteenth- Century Central Mexico to Christianity 1 Arrival of the Franciscan Missionaries 5 Conversion and the Theory of “Cultural Fatigue” 18 Chapter 2. From Spiritual Conquest to Parish Administration in Colonial Central Mexico 25 Partial Survival of the Ancient Calendar 31 Life in the Indian Parishes of Colonial Central Mexico 32 Chapter 3. A Trilingual, Traditionalist Indigenous Area in the Sierra Norte de Puebla 37 Regional History 40 Three Languages with a Shared Totonac Substratum 48 v Contents Chapter 4. Introduction of Christianity in the Sierra Norte de Puebla 53 Chapter 5. Local Religious Crises in the Sixteenth and Seventeenth Centuries 63 Andrés Mixcoatl 63 Juan, Cacique of Matlatlán 67 Miguel del Águila, Cacique of Xicotepec 70 Pagan Festivals in Tutotepec 71 Gregorio Juan 74 Chapter 6. The Tutotepec Otomí Rebellion, 1766–1769 81 The Facts 81 Discussion and Interpretation 98 Chapter 7. Contemporary Traditions in the Sierra Norte de Puebla 129 Worship of Tutelary Mountains 130 Shrines and Sacred Constructions 135 Chapter 8. Sacred Drums, Teponaztli, and Idols from the Sierra Norte de Puebla 147 The Huehuetl, or Vertical Drum 147 The Teponaztli, or Female Drum 154 Ancient and Recent Idols in Shrines 173 Chapter 9. Traditional Indigenous Festivities in the Sierra Norte de Puebla 179 The Ancient Festival of San Juan Techachalco at Xicotepec 179 The Annual Festivity of the Tepetzintla Totonacs 185 Memories of Annual Festivities in Other Villages 198 Conclusions 203 Chapter 10. Elements and Accessories of Traditional Native Ceremonies 213 Oblations and Accompanying Rites 213 Prayers, Singing, Music, and Dancing 217 Ritual Idols and Figurines 220 Other Ritual Accessories 225 Chapter 11. -
Seventh Grade Social Studies
Seventh Grade Social Studies Activity 3 knoxschools.org/kcsathome *There will be a short video lesson of a Knox County teacher to accompany this task available on the KCS YouTube Channel and KCS TV. 7th Grade Social Studies Task 3 Age of Exploration: The Defeat of the Aztecs and Incas Standards: 7.62 Describe how the Aztec and Inca empires were eventually defeated by Spanish Conquistadors (i.e., Hernan Cortes and Francisco Pizarro). Resources and Materials: ● Aztec Reading ● Inca Reading ● Aztec and Inca Task sheet ● Pencil, Pen, highlighter ● KCS@home Summer video Background: Many of you have learned about various explorers. In this lesson you will learn how explorers known as conquistadors defeated the indgigenous civilizations known as the Aztec and Incas. Activities: 1. Watch the section of the video on the Aztecs to create background knowledge. 2. Watch the section of the video for gathering evidence and annotating a text. 3. Annotate along with the teacher on your Aztec reading. 4. Watch the section of the video on the Incas to create background knowledge. 5. Watch the section of the video that explains how to complete the two task questions. The Aztecs Background Tenochtitlán was founded in 1325 A.D. by a wandering tribe of hunters and gatherers on islands in Lake Texcoco, near the present site of Mexico City. In only one century, this civilization grew into the Aztec empire, largely because of its advanced system of agriculture. The empire came to dominate central Mexico and by the ascendance of Montezuma II in 1502. At the time, the empire was held together primarily by Aztec military strength, and Montezuma II set about establishing a government system. -
Ruta Mágica De Las Artesanías Invita a Conocer Parte De Los Trabajos Manuales De Este Inmenso Estado
En Oaxaca, la alfarería es un trabajo de gran tradición. La especial magia que emana el estado de Oaxaca atrae la atención de viajeros de México y de todo el mundo. Entre otras muchas razones, esto se debe a que es un lugar tradicional, misterioso y fuertemente marcado por los pueblos indígenas que lo habitan. Pero también abierto a experimentar con nuevas tendencias estéticas y culturales. Así, su vibrante artesanía, sus artistas plásticos de vanguardia, sus coloridas fiestas y su espectacular gastronomía hacen de Oaxaca un lugar sumamente atractivo. En el centro del estado se encuentra la Ciudad de Oaxaca, una fascinante y hospitalaria capital en cuyo entorno se ubican diver- sas poblaciones, cada una con una personalidad y una tradición artesanal propia, acompañadas de sus respectivas costumbres, fiestas y platillos. La Ruta Mágica de las Artesanías invita a conocer parte de los trabajos manuales de este inmenso estado. Pues el tan especial lugar que ocupa Oaxaca en México y el mundo se debe en gran medida a las incontables y magníficas manos de los artesanos que con gran sensibilidad y creatividad plasman minuciosamente sus sueños, ilusiones, aspiraciones y necesidades espirituales en piezas de barro, madera, metal, piedra, hiloseda o algodón. Ruta Mágica de las Artesanías: arte y magia multicolor El recorrido que se propone es una invitación a: Encontrarse con el arte y la creatividad plasmados en los finos to- ques que, con amor y dedicación, le dan a cada una de sus piezas los habitantes de las seis comunidades que integran la Ruta Mágica de las Artesanías. Atestiguar los procesos artesanales de los grandes maestros oaxaqueños, quienes conservan y transmiten técnicas aprendidas de generación en generación. -
ZAPOTEC-MIXTEC SOCIO-POLITICAL CHANGE 1400-1970 by MARK OTTO GLADE, B.A
r I f^i n iiiáil ZAPOTEC-MIXTEC SOCIO-POLITICAL CHANGE 1400-1970 by MARK OTTO GLADE, B.A. A THESIS IN ANTHROPOLOGY Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS AoDroved Accepted May, 1980 Ac 193Ú C^C^Á, ACKNOWLEDGMENTS Completion of this thesis required input from many indivi- duals. My family, friends, colleagues, and professors have assisted throughout the preparation of this thesis. I am most indebted to Dr. Evelyn Montgomery, the chairman of my thesis committee. She provided the necessary criticism and encour- agement which resulted in significant improvements over the draft copies. Dr. Nancy Hickerson and Dr. James Goss, my other committee members, also gave valuable suggestions and their assistance is gratefully acknowledged. A special thanks is owed to Richard Salzar who, through his enthusiasm for anthropology, influenced my decision to get a degree in the field. I am also indebted to the many different persons who have helped me in my field trips to the Oaxaca Valley and made this thesis what it is. TABLE OF CONTENTS ACKNOWLEDGMENTS ii LIST OF ILLUSTRATIONS vi I. INTRODUCTION 1 Oaxaca Valley 4 Acculturation 7 II. PEASANTS 11 Peasants vs. Tribal . ( 14 Peasants vs. The Larger Whole 15 Corporate Peasant Communities in Mexico. .16 Types of Relations Between the Peasant and the Larger Whole 19 The Process of Integration within Peasant Society 21 Examples of Integration within a Peasant Community 23 Summary 25 III. PRE-CONQUEST 25 The Zapotecs 26 Social Structure and Political Organization of the Zapotecs 31 Dominant Themes of Mesoamerican Culture 31 Zapotec Political and Social Organization Just Prior to Conquest 32 i i i The Mixtec 33 Mixtec Social Organizational Structure 33 Mixtec Urban Development 36 Mixtec Religious Life 37 Mixtec Warfare 37 Political Structure of the Mixtec up to the Conquest 38 IV. -
Artisan Cooperatives in Oaxaca, Mexico a Thesis
UNIVERSITY OF CALIFORNIA, SAN DIEGO Crafting Culture: Artisan Cooperatives in Oaxaca, Mexico A Thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Latin American Studies (Cultural Studies) by Meghan E. Edwards Committee in charge: Professor Milos Kokotovic, Chair Professor Roberto Alvarez Professor Christine Hunefeldt 2009 Copyright Meghan E. Edwards, 2009 All rights reserved. The thesis of Meghan E. Edwards is approved and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Chair University of California, San Diego 2009 iii Table of Contents Signature Page…………………………………………………………………. iii Table of Contents………………………………………………………………. iv List of Figures………………………………………………………………….. v List of Acronyms………………………………………………………………. vi Abstract……………………………………………………………………….... vii Introduction…………………………………………………………………….. 1 1 To Market, To Market: The Trajectories of Oaxacan Artesanías……………. 10 2 Setting the Scene: The Historical and Economic Context…………………… 30 3 The Oaxacan Experience…………………………………………………….. 57 4 What (and How) Do Artesanías “Mean”?…………………………………… 88 Reference List………………………………………………………………….. 106 iv List of Figures Figure 2.1: Central Valleys of Oaxaca………………………………………. 35 Figure 3.1: Oaxaca City Center……………………………………………… 58 v List of Acronyms AMO (Apoyo a la Mujer -
Pedro Linares–Alebrijes
Fever Dreams: Alebrijes Pedro Linares (1906-1992) Pedro Linares was an artisan from México City, who specialized in making piñatas , carnival masks and "Judas" figures from cartonería (a kind of papier-mâché ). He sold his work in the street markets. In 1936, when he was 30 years old, Pedro Linares fell ill with a high fever, which caused him to hallucinate. He thought he died. In his fever dreams, he was in a forest with rocks and clouds, many of which turned into wild, unnaturally colored creatures, frequently featuring wings, horns, tails, fierce teeth and bulging eyes. He heard a crowd of voices repeating the nonsense word "alebrije." After he recovered, he began to re-create the creatures he'd seen, using papier-mâché. Eventually, a Cuernavaca gallery owner discovered his work. This brought him to the attention of Diego Rivera and Frida Kahlo , who began commissioning more alebrijes, elevating folk art to fine art. The tradition grew after British filmmaker Judith Bronowski's 1975 documentary on Linares . Later, sculptors from Oaxaca saw his work and started carving Alebrijes out of copal wood and painting them with intricate patterns. Today, the Linares family continues to make Alebrijes in Mexico City, and there is a parade of Alebrijes every year in Mexico City. Alebrijes have entered into popular culture including the Disney Movie Coco (2017). Assignment suggestions • Create your own alebrije: take a personal fear and make it real and fanciful • Explore the concepts of Scary/Funny or Ugly/Beautiful • Create an artwork inspired by alebrijes or early Mexican art • Explore biomorphic forms and patterns in alebrijes Use any media you like 2D or 3D. -
Aztec Empire JCC Background Guide
Aztec Empire JCC Background Guide April 13th Kutztown University of Pennsylvania Table of Contents 1 | Page Welcoming Letter from Chair……………………..………………………………. 3 Background ……………. ………………………………………………………………. 4-10 Topic at Hand………………………………………………………………………….. 11 What is Crisis ………………….…………………………………………….……… 12-14 Character List ………………….…………………………………………….……… 14-16 Welcoming Letter From Chair 2 | Page Staff Welcome Letter Dear Delegates, Welcome to KUMUNC XI! My name is Angel Rodriguez and I’m a junior from Reading, PA, majoring in Criminal Justice with a minor in Forensic Science. I have been part of Model UN since September 2017 and this is my first time as a chair. From 2017 until now I have been part of big conferences such as NMUN, McMUN and several others. In my spare time, I love playing basketball and recording myself playing my guitar too, later on, submit it to social media. I have a passion for Forensic Sciences and CSI fascinates me (not the TV show though). Fun facts about me, I cannot do horror movies under any circumstances, I speak two languages, English and Spanish, and a third one but partially which is Italian. The Aztecs culture is best known for the chocolate, amazing architecture, and their sometimes questionable religious ceremonies. Get ready to learn more this April… it is going to be amazing! I want everyone here to have a good time and a fun experience at KUMUNC XI. Although I am a first-time Chair, I know we will have a great time. Feel free to reach out to me with any questions that come to mind. Best of luck, Angel Rodriguez ([email protected]) 3 | Page History Early Mexica The Mexica or Aztlan migrants arrived in the basin area of central Mexico in the mid 13th century. -
Xicotencatl: Rethinking an Indigenous Mexican Hero1
XICOTENCATL: RETHINKING AN INDIGENOUS MEXICAN HERO1 ROSS HASSIG One of the major indigenous heroes of Mexico is the Tlaxcaltec gen- eral, Xicotencatl Axayacatl 2 (also known as Xicotencatl the Younger), but in the colonial-period accounts of the conquest of Mexico, he is cast as a traitor, both to the Spaniards and to his home province of Tlaxcallan. Since the War of Independence, however, his reputation has undergone a radical transformation and he is widely regarded as a hero for having opposed Cortés and the Spanish domination of Mexico. In both cases, however, Xicotencatls reputation has grown less from his own actions and purposes than from how the Conquest has been regarded during each time: in the colonial period, the Conquest was officially seen as good and thus everyone who opposed it was bad whereas post-colonial Mexico, having achieved independence, sought to glorify its indigenous past and vilify Spain, so Xicotencatl was rein- terpreted as an anti-Spanish hero. Both perspectives trivialize Xicotencatls life, interpreting his ac- tions simply as reactions to the Spanish presence. But the details avail- able in many scattered sources suggest that his acts and fate are considerably more complex and merit fuller analysis. The interpreta- tion of Xicotencatl as anti-Spanish derives from positions he took, or was claimed to have taken, during the conquest of Mexico in 1519-21. Indigenous or mestizo accounts of his actions all post-date by many decades the events chronicled, and most of these were written by 1 I would like to thank the John Simon Guggenheim Memorial ;oundation and the School of American Research for fellowships in 1997-98 that provided the time required to write this article.