Movements of Diverse Inquiries As Critical Teaching Practices Among Charros, Tlacuaches and Mapaches Stephen T

Total Page:16

File Type:pdf, Size:1020Kb

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 by: _________________________________________________ Maria José Botelho, Chair _________________________________________________ Barbara Cruikshank, Member _________________________________________________ Sangeeta Kamat, Member _________________________________________________ Laura A. Valdiviezo, Member _____________________________________________ Christine McCormick, Dean, School of Education 1 Trade union members seen as disloyal to the spirit of the union and instead faithful to party politics. 2 A dark furry rodent; the informal name of a teachers’ group in this study. 3 A raccoon; a party hack who forages around at night like a rodent to fix elections. NOTE ON LANGUAGE USE I present this dissertation to a predominantly English-reading audience, and as such I made every effort to aid in reader friendliness. All my fieldwork and all but one interview I undertook in Spanish. Fieldnotes in Spanish particularly facilitated participant commentaries, and in earlier drafts of the dissertation, I kept the bilinguality of all Spanish-original data, including in-text citations. A largely English language text remains, distilled from those bilingual snippets, though I preserve the Spanish in three circumstances: when I use a term like guelaguetza, Zapotec practices of mutual aid in farming and festivities, I present it with bilingually at first mention and keep it in Spanish if it carries specific contextual weight inadequately or clumsily rendered in English; when a Spanish language phrase or concept word lends itself to alternative translations and nuances; and when I decided the Spanish felt better than the English. All of the English language quotations, save those published in English, are my translations. I understand I run the risk that language-oriented readers may feel the data watered down, and I recognize the proclivity both in ethnographic and multicultural-oriented research to present words as uttered by the participants. This latter tendency I consciously avoided. Instead, I present English-language data due to my own experience of a reader. While I recognize the weight ethnographers put on placing the reader on the footpaths of community life, oftentimes the overuse of the spoken language serves to exclude a reader unfamiliar with the context and culture. This, in turn, may render the Oaxacan teachers’ social milieu as timeless and folkloric, a position which conflicts directly with my theoretical and methodological commitments. I follow APA’s use of foreign language terms in italics upon first mention and then in ordinary script in all circumstances save when the term reappears in a later section without recent mention. To avoid interrupting reader flow, I introduce translations with a comma or with “or” for longer segments and parenthesis for single terms. Finally, I replaced all personal and proper names with pseudonyms and hid the locations and identifying features of institutions, cities and towns. Larger or unique entities like Oaxaca City or the Mexican National Autonomous University (UNAM) I kept in the original, as they would be impossible to conceal given the thick descriptions. ACKNOWLEDGEMENTS A desire to problematize “critical” pedagogy drove me to enter my doctoral program in Language, Literacy and Culture in the School of Education at the University of Massachusetts at Amherst. During this time, I found myself interacting with geography professor Julie Graham precisely on the point of seeing products and practices afresh, though our conversation focused on the political economic rather than the pedagogical. Julie recounted stories of how she had come through second wave feminist and Marxist training at the geography department at Clark University, and that when she started to venture from the dialectical materialist path into “weak theory,” she hit resistance. In recent years she had bumped into a former advisor at Clark who asked her if she was still doing her weak theory “theatre of the absurd.” With a wry smile Julie related this last encounter to me, as I knew the professor from my time as a geography undergraduate at Clark several years after Julie’s time there. These challenges to her work (and now legacy) proved edifying, for she once matter-of-factly admitted that she never heard an economic argument she could not counter on her own terms. Had Julie stayed within the mainstream parameters of her prior training and experience, rather than the “theatre of the absurd” of weak theory, I wonder if she would have been able to speak with such confidence. To rethink a set of commonsense practices, she had also said, becomes a kind of ethics, for theorizing the same practices in the same way and getting the same outcomes becomes a form of folly, and life is simply too short for that. Recalling Julie becomes a point of departure of my dissertation project in the pedagogical practices of primary teachers in Oaxaca, Mexico. And I start by dedicating this vi dissertation to Julie, to her memory, especially keeping in mind her courage, curiosity and generosity. I also wish to thank my advisor Maria José Botelho for hours-long meetings and for reading of my work which prompted in me broader imagination. I express gratitude as well as committee members Sangeeta Kamat who helped me appreciate how doctoral study involved a theoretical and personal refashioning, Barbara Cruikshank who helped me read widely and valorize exact words and ideas of generative thinkers and Laura Valdiviezo who fomented in me a taste for ethnographies as storytelling. I also could not have started without the mentorship of Alvino Fantini. I am in indebted to Lee O’Donnell for her multiple commentaries on earlier chapter drafts. I also wish to thank Marcela Romero, Nacho Morales, Maricela López, Dalia Guzmán, Flor García, Clara Meza, Adriana Bustamente, Luis Antonio Silva, Luis Octavio Silva, Marcela Romero and the San Fermín Parents’ Committee for their kind support and prodding when needed as well as los maestros Sergio, Mariluz, Lulu, Oscar, Nancy, José Luis, Pablo and Bernardo, Freddi and Sara for helping me contextualize Oaxacan education and history. I am grateful to professors Hugo Aboites, Eduardo Bautista Gustavo Esteva, and Bulmaro Vásquez Romero for taking time to meet with me and/or read respond to my theoretical notes as well as Kara Dellacioppa, María Elena García and Judy Hellman for insightful email discussions on Oaxacan politics. Also, professors Sonia Alvarez, Meg Gebhard and Barbara Madeloni have guided my course papers in ways that proved helpful here. My doctoral student colleagues, Marky Jean Pierre, Thelma Belmote, Kathy McDonough, Elsa Wiehe, Fabiola Orozco-Mendoza and Rebecca Lisi provided helpful feedback and support at different junctures. I remain indebted to Mrs. Guadeloupe vii Alcántara for her hospitality in Mexico City and the Center for Latin American, Caribbean and Latino Studies at the University of Massachusetts Amherst for their pre- dissertation grant that proved invaluable for my first field visit in 2010. I also want to thank Asma Kiran for her love and support, my parents Ellen and Jerry Sadlier, my sister Michelle for their stalwart support as well as my Seattle network of Catie, Connie and Claire who pulled me out of the mental labyrinth to offer needed social engagement during the months of writing. This support has been indispensable in articulating the pages I present here. The words here are mine; I assume responsibility for lapses and inaccuracies as well as moments of joy within. viii ABSTRACT MOVEMENTS OF DIVERSE INQUIRIES AS CRITICAL TEACHING PRACTICES AMONG CHARROS, TLACUACHES AND MAPACHES SEPTEMBER 2012 STEPHEN SADLIER, B.A., CLARK UNIVERSITY M.A.T, SCHOOL FOR INTERNATIONAL TRAINING Ed.D., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Maria José Botelho This year-long participant observation qualitative case study draws together five social practices of mid-career elementary school educators in the Mexican southeastern state of Oaxaca:
Recommended publications
  • 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.
    [Show full text]
  • Brad Will Presente! by MARK READ Enough; He Was Charming As Hell, After All, and Funny, and Police
    ART Tiffany Holmes BOOKS John Duvernoy, Elizabeth Treadwell FEATURES Fulton Fish Market’s Last Days POETRY Kish Song Bear, Shanxing Wang BOOG CITY POLITICS Collins and Durand on Brad Will A COMMUNITY NEWSPAPER FROM A GROUP OF ARTISTS AND WRITERS BASED IN AND AROUND NEW YORK CITY’S EAST VILLAGE ISSUE 38 FREE Brad Will Presente! BY MARK READ enough; he was charming as hell, after all, and funny, and police. They were trashing the Zocalo. They had “no sense of hard not to like. But they were a bit, I don’t know, startled by aesthetics.” They “cared nothing for the artistic heritage of the Y FRIEND BRAD WILL, AN his more hobo-ish qualities, his patches and his scraggly beard, his funkily repaired city of Oaxaca,” he said. They just pumped out this “tired rhetoric from the 1970s,” he INDEPENDENT JOURNALIST glasses, and his equally funky smell. added. AND ACTIVIST, HAS BEEN There was more than “Yes, the same old M one casual, comical, rhetoric,” I thought to MURDERED IN OAXACA, MEXICO BY patronizing remark myself. “Yes, lacking subtlety.” But I couldn’t GOVERNMENT-BACKED PARAMILITARIES. about one of these qualities during help thinking that not There was a vigil held immediately for him at the Mexican much has changed consulate that Saturday night and a protest about the ongoing his stay with me. Meanwhile, Brad since the ’70s. I mean, violence in Oaxaca on the following Monday. it’s been the same That Saturday night one of my oldest friends, Buck, was either didn’t notice that Buck and Beth fight more or less, having his birthday party.
    [Show full text]
  • Representation and Materiality in Coetzee, Ellis, Cooper
    VIOLENCE, IMMEDIATELY: REPRESENTATION AND MATERIALITY IN COETZEE, ELLIS, COOPER, BECKETT, GODARD, AND NOÉ BY AMY NEDA VEGARI A.B., HARVARD UNIVERSITY, 2002 A.M., BROWN UNIVERSITY, 2005 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF COMPARATIVE LITERATURE AT BROWN UNIVERSITY PROVIDENCE, RHODE ISLAND MAY, 2008 © Copyright 2008 by Amy Neda Vegari “Do your politics fit between the headlines? Are they written in newsprint? Are they distant? Mine are crossing an empty parking lot; They are a woman walking home at night, alone— They are six strings that sing and wood that hums against my hipbone.” -Ani DiFranco This dissertation by Amy Neda Vegari is accepted in its present form by the Department of Comparative Literature as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date _________________ ___________________________________ Timothy Bewes, Director Date _________________ ___________________________________ Rey Chow, Director Recommended to the Graduate Council Date _________________ ___________________________________ Kevin McLaughlin, Reader Approved by the Graduate Council Date _________________ ___________________________________ Sheila Bonde, Dean of the Graduate School iv CURRICULUM VITAE Amy Neda Vegari was born on May 15, 1981 in Philadelphia, Pennsylvania. After graduating from The Episcopal Academy in Merion, Pennsylvania in 1998, she attended Harvard University in Cambridge, Massachusetts. She graduated magna cum laude
    [Show full text]
  • 1976 Voters' Pamphlet
    JENERAL ELECTION TUESDAY, NOVEMBER 2,1976 VOTERS PAM-PHLET P CANDIDATES PAMPHLET ENCLOSED WASHINGTON STATE LIBRARY STATE DEPOSITORY COPY How to Obtain an Absentee Ballot: Any registered voter who cannot vote in person may apply directly to his county auditor or department of elections far an absentee ballot. Any signed request containing the necessary information will be honored. For your convenience, an application is reproduced below. The addresses of the auditors or departments of election are also listed below. !n order to be certain that the voters' application is authentic, the election laws require that the signature on the application be ~erifiedby comparison with the signature on the voter's permanent registration record. For this reason, if a husband and wife both wish to vote by absentee ballot, separate, signed requests should be submitted. An additional absentee ballot request form can be found on the inside back cover of this pamphlet. In order to be counted, an absentee ballot must be voted and postmarked no later than the day of the election. For this reason, sufficient time must be allowed for an exchange of correspondence with the county auditor or depart- ment of elections. COUNTY ADDRESS ClTY ZIP COUNTY ADDRESS ClTY ZIP Adams ................. County Courthouse Ritzvilie 99169 Lewis .................. 344 West Main Chehalis 98532 Asotin ................. 135 Second Street Asotin 99402 Lincoln ................ 450 Logan Street Davenport 991 22 Benton ................ County Courthouse Prosser 99350 Mason ................. Fourth & Alder Shelton 98584 Chelan ................. County Courthouse Wenatchee 98801 Okanogan ............. 149 Third North Okanogan 98840 Clallam ................ 319 South Lincoln Port Angeles 98362 Pacific ................. Memorial Avenue South Bend 98586 Clark .................
    [Show full text]
  • Breaking the Spell
    Praise for Breaking the Spell “Christopher Robé’s meticulously researched Breaking the Spell traces the roots of contemporary, anarchist-inflected video and Internet activism and clearly demonstrates the affinities between the anti-authoritarian ethos and aesthetic of collectives from the ’60s and ’70s—such as Newsreel and the Videofreex—and their contemporary descendants. Robé’s nuanced perspective enables him to both celebrate and critique anarchist forays into guerrilla media. Breaking the Spell is an invaluable guide to the contempo- rary anarchist media landscape that will prove useful for activists as well as scholars.” —Richard Porton, author of Film and the Anarchist Imagination “Breaking the Spell is a highly readable history of U.S. activism against neo- liberal capitalism from the perspective of ‘Anarchist Filmmakers, Videotape Guerrillas, and Digital Ninjas,’ the subtitle of the book. Based on ninety interviews, careful readings of hundreds of videos, and his own participant observation, Robé links the development of better-known video makers such as Videofreex, Paper Tiger Television, ACT UP and Indymedia with activist media makers among key protest movements, such as the League of Revolutionary Black Workers in Detroit, Oregon’s Cascadia Forest Defenders, the day workers of Voces Mobiles/Mobile Voices in Los Angeles, and the indigenous youth in Outta Your Backpack Media. Underscored by significant tensions of class, race/ethnicity, and gender among the groups and the videos discussed, Robé traces the continuing concerns
    [Show full text]
  • 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.
    [Show full text]
  • INTERVENCIÓN INSTITUCIONAL Y MIGRACIÓN EN LA REGIÓN TRIQUI BAJA María Dolores París Pombo El Colegio De La Frontera Norte
    2011 Mexican Rural Development Research Reports INTERVENCIÓN INSTITUCIONAL Y MIGRACIÓN EN LA REGIÓN TRIQUI BAJA María Dolores París Pombo El Colegio de la Frontera Norte Reporte 20 INTERVENCIÓN INSTITUCIONAL Y MIGRACIÓN EN LA REGIÓN TRIQUI BAJA María Dolores París Pombo Departamento de Estudios Culturales El Colegio de la Frontera Norte, Tijuana ÍNDICE ÍNDICE .................................................................................................................................................. 2 LISTA DE SIGLAS Y ACRÓNIMOS............................................................................................................ 4 RESUMEN DEL LIBRO ............................................................................................................................ 6 INTRODUCCIÓN .................................................................................................................................. 13 CAPÍTULO 1 ........................................................................................................................................ 21 LA ESPIRAL DE VIOLENCIA POLÍTICA Y LA INTERVENCIÓN .................................................................. 21 DEL ESTADO MEXICANO EN LA TRIQUI BAJA ...................................................................................... 21 Violencia política e intervención del Estado ................................................................................. 24 Con o sin el Estado ........................................................................................................................
    [Show full text]
  • Mudqueen Based on Business Licenses
    mudqueen Based on Business Licenses LEGAL NAME DOING BUSINESS AS NAME ADDRESS CITY VERVE WINE CHICAGO, VERVE WINE 2349 N LINCOLN AVE 1 A-1-130 CHICAGO LLC KOVAL INC. KOVAL DISTILLERY 4241 N RAVENSWOOD AVE 1 CHICAGO REZA ON CLARK, INC. REZA'S RESTAURANT 5255-5259 N CLARK ST LL-2 CHICAGO THE VEGGIE GRILL, INC. STAND-UP BURGERS 204 N WELLS ST 1ST CHICAGO THE VEGGIE GRILL, INC. STAND-UP BURGERS 614 W DIVERSEY PKWY 1 CHICAGO GGC CHICAGO LLC MRS. GU SKEWER HOT POT 2405-07 S WENTWORTH AVE CHICAGO FUN HAUS LLC FUNKENHAUSEN 1709 W CHICAGO AVE 1 CHICAGO BIG WIG 0001, LLC BIG WIG 770 N LA SALLE DR CHICAGO CHICAGO EATS SPORTS CHICAGO EATS SPORTS BAR 5312 W CHICAGO AVE 1 CHICAGO BAR LLC MACHINE 1846, LLC MACHINE 1836-1846 W DIVISION ST LL-1 CHICAGO MR BEEF & PIZZA LLC MR BEEF ON HARLEM 3917 N HARLEM AVE 1 CHICAGO THE HOXTON (CHICAGO) THE HOXTON, CHICAGO 200 N GREEN ST BSMT-12 CHICAGO R-B LLC LA PATRONA, INC. LA CALAVERA 1438 W CHICAGO AVE CHICAGO OMAKASE, LLC MAKO 731 W LAKE ST 1 CHICAGO MEADOWFLOUR LLC LOST LARSON 5318 N CLARK ST 1 CHICAGO CB AND G, LLC CEBU BAR AND GRILL 2211 W NORTH AVE 1 CHICAGO MILK BAR LLC JOJO'S MILK BAR 23 W HUBBARD ST 1-2 CHICAGO Page 1 of 600 09/30/2021 mudqueen Based on Business Licenses STATE ZIP CODE LICENSE CODE LICENSE DESCRIPTION IL 60614 1475 Consumption on Premises - Incidental Activity IL 60613 1475 Consumption on Premises - Incidental Activity IL 60640 1475 Consumption on Premises - Incidental Activity IL 60606 1475 Consumption on Premises - Incidental Activity IL 60614 1475 Consumption on Premises - Incidental
    [Show full text]
  • Directorio Empresas "Punto Limpio" Vigentes Aguascalientes
    DIRECTORIO EMPRESAS "PUNTO LIMPIO" VIGENTES AGUASCALIENTES No. NOMBRE COMERCIAL ESTADO MUNICIPIO CORREO SITIO WEB OBED.PEREZ@POSADAS 1 HOTEL FIESTA AMERICANA AGUASCALIE NTES AGUASCALIENTES AGUASCALIENTES .COM 2 FRAGUA TOURS AGUASCALIENTES AGUASCALIENTES [email protected] M WWW.ALTETUR.CO M.MX EXPOVIAJESRESERVAS3 3 EXPOPLAZA VIAJES AGUASCALIENTES AGUASCALIENTES @HOTMAIL.COM CARNITAS_LOSGUEROS 4 CARNITAS LOS GÜEROS AGUASCALIENTES SAN FRANCISCO DE LOS ROMO @LIVE.COM MARISELAVIAJESTREVI 5 VIAJES TREVI AGUASCALIENTES AGUASCALIENTES @HOTMAIL.COM 6 VIAJES ALTETUR AGUASCALIENTES AGUASCALIENTES [email protected] M WWW.ALTETUR.CO M.MX 7 BIOSPHERA TOURS, VIAJES Y EXCURSIONE S AGUASCALIENTES AGUASCALIENTES BIOSPHERATOURS@HO TMAIL.COM BIOSPHERATOURS.C OM.MX 8 HARU HOTEL & VILLAS AGUASCALIENTES AGUASCALIENTES [email protected] OM WWW.HOTELHARU. COM 9 RESTAURANT E LAS DELICIAS DE MARIA AGUASCALIENTES AGUASCALIENTES ANDY_STHEPANI@HOT MAIL.COM 10 MR. PIZZA AGUASCALIENTES AGUASCALIENTES [email protected] OM 11 MESON DEL TACO AMERICAS AGUASCALIENTES AGUASCALIENTES ALICIAPASCUSLJ@YAHO O.COM.MX CAMPECHE No. Nombre Comercial Estado Municipio Correo Sitio Web 1 CENTRO ESTETICO Y SPA DB CAMPECHE CAMPECHE DAYSIBALLARDO@OUTL OOK.COM 2 CAFE LA PUERTA 59 CAMPECHE CAMPECHE [email protected] M 3 RESTAURANT E CALAKMUL CAMPECHE CAMPECHE RESTAURANTE_CALAKM [email protected] 4 OPERADORA TURISTICA COLONIAL&D MC CAMPECHE CAMPECHE VENTAS- [email protected] 5 HOTEL BRENDA MARIA CAMPECHE CALKINÍ [email protected] om 6 RESTAURANT E MAYA KA´AN CAMPECHE CALKINÍ MAYAKA- [email protected] 7 RESTAURANT E LA PALAPA CAMPECHE CALKINÍ LA.PALAPA.CALKINI@H OTMAIL.COM 8 HOTEL DEL PASEO CAMPECHE CAMPECHE CONTACTO@HOTELDEL PASEO.COM WWW.HOTELDELPA SEO.COM 9 AGENCIA IXCHEL TRAVEL & TOURS CAMPECHE CAMPECHE AGENCIA@IXCHELTRAV EL.COM.MX WWW.IXCHELTRAVE L.COM.MX 10 KANKABI\'OK TOURS CAMPECHE CAMPECHE [email protected] WWW.KANKABIOK.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • El Difícil Arte De Enseñar Matemáticas
    U N I V E R S I D A D D E G U A D A L A J A R A Nueva época II • Año 2 • $ 3.50 Núm. 334 • 23 de febrero de 2004 Piden mayor atención a hidrocarburos en la ZMG La ZMG carece de un mecanismo que verifique la contaminación por hidrocarburos. Pag. 8 Julio Cortázar al alcance de todos Con la presentación de las Obras completas del autor de Rayuela, concluyó el Coloquio Julio Cortázar revisitado: nuevas lecturas. Pag. 25 Impecable la alberca olímpica de la UdeG Pag. 4 Los alumnos no saben leer ni comprender ideas FRANCISCO QUIRARTE EN ESTA EDICIÓN Las evidentes deficiencias Perspectiva en matemáticas que Clínica odontológica para 6 arrastran los jóvenes pacientes especiales. desde secundaria, Economía El difícil arte aunadas a los conflictos Fortalecer la banca social 7 propios de su edad y afectaría a las cajas populares. la carencia de recursos Pasaje cultural humanos y técnicos en la Nocturno, de Fernando de la 23 enseñanza, obligan a los Mora. de enseñar Cultura profesores de bachillerato a hacer circo, maroma y Centro de estudios de literatura 24 teatro para prepararlos en latinoamericana. esta materia. Hora cero 30 matemáticas Págs. 18 y 19 Fragmento de Rayuela. 2 Criterio Universidad de Guadalajara Obesidad gubernamental DIRECTORIO Rector general: Lic. José Trinidad Padilla López. “Enfermedad crónica degenerativa de la administración pública” Vicerrector: Mtro. Tonatiuh Bravo Padilla. Berta Ermila Madrigal Torres 1 Este fenómeno de crecimiento de las es- derechos, facultades y a quienes con un des- Secretario general: Claudia Mora de la Torre 2 tructuras organizacionales no es propio de este pido les mutilan su carrera profesional.
    [Show full text]