LARC Resources on Art, Identity, and the Mexican Revolution
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The Impact of the Mexican Revolution on Spanish in the United States∗
The impact of the Mexican Revolution on Spanish in the United States∗ John M. Lipski The Pennsylvania State University My charge today is to speak of the impact of the Mexican Revolution on Spanish in the United States. While I have spent more than forty years listening to, studying, and analyzing the Spanish language as used in the United States, I readily confess that the Mexican Revolution was not foremost in my thoughts for many of those years. My life has not been totally without revolutionary influence, however, since in my previous job, at the University of New Mexico, our department had revised its bylaws to reflect the principles of sufragio universal y no reelección. When I began to reflect on the full impact of the Mexican Revolution on U. S. Spanish, I immediately thought of the shelf-worn but not totally irrelevant joke about the student who prepared for his biology test by learning everything there was to know about frogs, one of the major topics of the chapter. When the day of the exam arrived, he discovered to his chagrin that the essay topic was about sharks. Deftly turning lemons into lemonade, he began his response: “Sharks are curious and important aquatic creatures bearing many resemblances to frogs, which have the following characteristics ...”, which he then proceeded to name. The joke doesn’t mention what grade he received for his effort. For the next few minutes I will attempt a similar maneuver, making abundant use of what I think I already know, hoping that you don’t notice what I know that I don’t know, and trying to get a passing grade at the end of the day. -
The Mexican Revolution.Pdf
The Mexican Revolution How did Mexico achieve its independence? • Mexico achieved its independence from Spain in 1821 – Achieved with the help of men like Padre Morelos • Developed a constitution in 1824 similar to the US What problems did the new Mexican nation face? • Serious problems: – Issues with the Catholic Church – Issues over class / wealth – No experience with democracy – Issues with the US (“the Colossus of the North”) • Mexico also lacked a strong / honest leader Mexico’s Long Dictator History Mexico’s Issues with the Catholic Church Mexico’s Long History of the Poor General Antonio Lopez de Santa Anna Issues with Texas The Texas War for Independence The Alamo The Mexican War Los Niños Héroes Santa Anna’s Leg How did the wars with Texas and the United States effect Mexico? • The wars with Texas and the US caused much turmoil in the Mexican government – Constant disputes for power / revolts • Issues between the rich, poor, and the Church added to the chaos Who was Benito Juarez? • Benito Juarez was a reformer president – 1806-1872 • Background: – Born into a poor Indian family – Lawyer / Judge – Former governor • Wanted to help reform Mexico for the better How did Juarez reform Mexico for the better? • Juarez introduced a reform movement called “La Reforma” – Less power for the Church – Land reform for the poor – More education • Juarez’s political enemies rebelled – Civil war / foreign intervention (Europe) The Mexican War of Reform (1857-1861) French Intervention in the War / Conquest (1861-67) Mexican Emperor Maximilien Emperor -
Emily Edmonds-Poli and David A. Shirk 2009- Contemporary Mexican Politics
CONTEMPORARY MEXICAN POLITICS EMILY EDMONDS-POLI and DAVID A. SHIRK ContempMexPolPBK.indd 1 10/16/08 12:23:29 PM #/.4%-0/2!29 -%8)#!.0/,)4)#3 CONTEMPORARY MEXIC AN POLITICS Emily Edmonds-Poli and David A. Shirk ROWMAN & LITTLEFIELD PUBLISHERS, INC. Lanham • Boulder • New York • Toronto • Plymouth, UK ROWMAN & LITTLEFIELD PUBLISHERS, INC. Published in the United States of America by Rowman & Littlefield Publishers, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowmanlittlefield.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2009 by Rowman & Littlefield Publishers, Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Edmonds, Emily. Contemporary Mexican politics / Emily Edmonds-Poli and David A. Shirk. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-7425-4048-4 (cloth : alk. paper) ISBN-10: 0-7425-4048-0 (cloth : alk. paper) ISBN-13: 978-0-7425-4049-1 (pbk. : alk. paper) ISBN-10: 0-7425-4049-9 (pbk. : alk. paper) 1. Mexico--Politics and government--2000- I. Shirk, David A., 1971- II. Title. F1236.7.E36 2009 320.972--dc22 2008031594 Printed in the United States of America ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. -
Jazzamoart El Estado Chileno No Es Editor
EXCELSIOR MIÉrcoles 27 DE MAYO DE 2015 Foto: CortesíaFoto: INAH PATRICIA LEDESMA B. TEMPLO MAYOR, NUEVO TIMÓN La arqueóloga Patricia Ledesma Bouchan fue designada ayer como nueva titular del Museo del Templo Mayor, en sustitución de Carlos Javier González. Así lo anunció el Instituto Nacional de Antropología e Historia mediante un comunicado, en el que destacó su labor en temas relacionados “con la gestión del patrimonio arqueológico y la divulgación del conocimiento científico”. [email protected] @Expresiones_Exc Foto: Cortesía Nuria Gironés El Estado chileno no es editor “Chile tiene que hacerse cargo de un problema estructural que se arrastra desde la dictadura militar (1973-1990), cuando se destruyó el tejido cultural por la censura”, dice en entrevista Marcelo Montecinos, presidente de la Cooperativa de Editores de La Furia. >4 Reaparece Jazzamoart Una obra de carácter vibrante, que a ritmo de pinceladas “se hace lumínica y cromática”, es lo que ofrecerá el pintor y escultor mexicano Francisco Javier Vázquez, mejor conocido como Jazzamoart, Revelan la trama acerca de la sustracción, en 1904, del llamado en su exposición Improntas, que M A PA se presenta a partir de ayer en el Lienzo de Tlapiltepec, patrimonio “extraviado” de México > 5 Museo Dolores Olmedo. >6 Foto: Cortesía Fundación Alfredo Harp Helú Oaxaca FOTOGALERÍA ESPECIAL Exposición Visita MULTI Galería Throckmorton Recintos celebran ¿Qué me pongo? MEDIA Exhiben en Nueva York imágenes Recomendaciones para Marcelino Perelló. 2 poco comunes de Frida Kahlo. la Noche de los Museos. 2: EXPRESIONES MIÉRCOLES 27 DE MAYO DE 2015 : EXCELSIOR ¿Qué me pongo? PALACIO DE CULTURA BANAMEX MARCELINO PERELLÓ El desastre que viene Retorna La jungla sudamericana no es únicamente el pulmón de la Tierra. -
6Th Grade Unit Plans
HORIZON 6th GRADE ART Overarching Concept: CONNECTIONS Essential Question: How does art connect to the world around me? ------------------------------------------------------------------------------------------------- -Eye Self-Portrait How does art connect to the world around me? Students will begin art by practicing drawing a realistic eye in their sketchbook using at least five values with a pencil. They will continue by experimenting with blending colored pencils to create depth and realism. Students will create a self-portrait using their eye of any style to represent their identity. Students will use symbols, patterns, words and designs to express what makes them unique. Focus Question: How does art connect to the world around me? What is a self-portrait? How can I use symbols to express myself? Donut Oil Pastel Artwork How does art connect to the world around me? Students will create a realistic donut artwork using shading, blending and value with oil pastels. Students will investigate the American Pop Art style by analyzing the artwork of Wayne Thiebaud. Focus Question: How can I use blending and shading to create realism? What is Pop-Art? Academic Vocabulary: Pop Art, “to scale”, shading, blending, value, realism, highlight, repetition, unity, emphasis, evaluate, compare, contrast, Daily Art History and Art Criticism Sketchbook Assignments: Students will sketch, describe, analyze and critique a variety of artists and art forms from a broad cultural context. Students will also use their sketchbooks to practice and explore a wide variety of art techniques. ARTISTS: Frida Kahlo, Vincent Van Gogh, Wayne Thiebaud, Claes Oldenburg, Elizabeth Catlett, Auguste Rodin, Keith Haring, Expressive Figure Sculptures Focus Question: What is it like to be a young person in the 21st century? How can the human body show expression? What is proportion? How can I create a 3-D work of art that has balance? Academic Vocabulary: Proportion, sculpture, figure, evaluate, paper mache, expression, balance, Action Figure Paintings Ceiling Tile Designs . -
Finding Aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154
Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154 Finding aid updated by Meghan Jordan, June 2016 AG 154: Lola Alvarez Bravo Archive, 1901-1994 - page 2 Lola Alvarez Bravo Archive, 1901-1994 AG 154 Creator Bravo, Lola Alvarez Abstract Photographic materials (1920s-1989) of the Mexican photographer Lola Alvarez Bravo (1903 [sometimes birth date is recorded as 1907] -1993). Includes extensive files of negatives from throughout her career. A small amount of biographical materials, clippings, and publications (1901-1994) are included. The collection has been fully processed. A complete inventory is available. Quantity/ Extent 32 linear feet Language of Materials Spanish English Biographical Note Lola Álvarez Bravo was born Dolores Martínez de Anda in 1903 in Lagos de Moreno, a small city in Jalisco on Mexico's Pacific coast. She moved to Mexico City as a young child, after her mother left the family under mysterious circumstances. Her father died when she was a young teenager, and she was then sent to live with the family of her half brother. It was here that she met the young Manuel Alvarez Bravo, a neighbor. They married in 1925 and moved to Oaxaca where Manuel was an accountant for the federal government. Manuel had taken up photography as an adolescent; he taught Lola and they took pictures together in Oaxaca. Manuel also taught Lola how to develop film and make prints in the darkroom. -
The Mexican Revolution and the Relevant Present Anton Schulzki – William J
The Mexican Revolution and the Relevant Present Anton Schulzki – William J. Palmer High School, Colorado Springs Objectives for the day Attendees will examine the relationship between the United States and Mexico Attendees will discuss the historical impact of the Mexican Revolution on Mexico and the relationship between the United States Attendees will develop techniques for using relevant connections in class What is the connection between these two individuals? What is the connection between these two events? United States troops at the U.S.- Remains of Columbus New Mexican border 2018 Mexico after Villa raid 1916 Mexican Revolution K-N-L What do you Know What do you Need to know (what do you want to know) What have you Learned “So close to the United States, so far from God” – Porfirio Diaz Revolution was the single greatest political, social and cultural event in the 20th century 1million to 1.5 million died as a result (total population of approx.. 15 million) 300,000 to 450,000 emigrated to the United States from 1910-1930 United States invaded/attacked/intervened in the Mexican Revolution at least three different times – including the 1916-1917 Punitive Expedition Constitution of 1917 seen as a model for constitutions written in Latin America in the 20th century – including Cuban Led to a development of Mexican cultural expressions including muralists and corridos Popular vision of the Mexican Revolution How I approach the Mexican Revolution A topic of study for the International Baccalaureate program Entire unit -
The Start of the 20Th Century: Mexico As Metaphor of Latin America
Convenit Internacional 17 jan-abr 2015 Cemoroc-Feusp / IJI - Univ. do Porto The Start of the 20th Century: Mexico as Metaphor of Latin America Areli González1 California State University-Fullerton Resumen: Este artículo explora la identidad utópica de México en 1920, por medio de la reproducción de arte, de dos escritores mexicanos, Octavio Paz y Juan Rulfo. Se argumenta en este ensayo que México es el vocero de América Latina en términos políticos, movimientos sociales, y económicos. Lo que sucedería en México durante los años de 1920 es la creación de una nación utópica que más adelante se transformaría en la experiencia de América Latina; y por medio de esta creación ilusoria de un lugar perfecto se refleja en el arte las discrepancias de esta creación. Muestra al lector una visión de México y su utopía. Palabras Clave: México; utopía; arte; Juan Rulfo; Octavio Paz. Abstract: This article explores the utopian identity of Mexico in the 1920s through the reproduction of the arts by Octavio Paz and Juan Rulfo. It is argued that Mexico is the spokesperson of Latin America in terms of politics, social movements, and economy. What happened in Mexico during the 1920s as the creation of a utopic nation was later experienced in other Latin American countries in years to come. Through this creation of a fanciful, perfect place, the artwork reflects the discrepancies of the same, and shows to the viewer that Mexico was and still is a utopia. Keywords: Mexico, Utopia, Art, Juan Rulfo, Octavio Paz. Yo vengo a hablar por vuestra boca muerta. A través -
Legacies of the Mexican Revolution” a Video Interview with Professor Aurora Gómez-Galvarriato
DISCUSSION GUIDE FOR “LEGACIES OF THE MEXICAN REVOLUTION” a video interview with Professor Aurora Gómez-Galvarriato Organizing • What were the immediate and long-term legacies of the Mexican Questions Revolution within Mexico? • What legacies of the Mexican Revolution were intended from its outset? Which were achieved and which were not achieved? Summary Aurora Gómez-Galvarriato is a Professor of Historical Studies at Colegio de México. In this 18-minute video, Professor Gómez-Galvarriato discusses how perceptions of the legacies of the Mexican Revolution have changed over time. She talks about the immediate legacies of the Revolution, intended outcomes that did not materialize, and the legacies that have persisted until today. Objectives During and after viewing this video, students will: • identify the immediate and long-term consequences of the Mexican Revolution; • discuss to what extent the goals of the original revolutionaries were achieved by the end of the Mexican Revolution; and • evaluate whether the benefits of the Mexican Revolution justified the costs. Materials Handout 1, Overview of the Mexican Revolution, pp. 5–10, 30 copies Handout 2, Video Notes, pp. 11–13, 30 copies “LEGACIES OF THE MEXICAN REVOLUTION” DISCUSSION GUIDE 1 introduction Handout 3, Perspectives on the Legacies of the Mexican Revolution, p. 14, 30 copies Handout 4, Synthesis of Perspectives, pp. 15–16, 30 copies Handout 5, Assessing the Mexican Revolution’s Costs and Benefits, p. 17, 30 copies Answer Key 1, Overview of the Mexican Revolution, pp. 18–19 Answer Key 2, Video Notes, pp. 20–21 Answer Key 3, Perspectives on the Legacies of the Mexican Revolution, p. -
Soldaderas and the Staging of the Mexican Revolution 1
Soldaderas and the Staging of the Mexican Revolution 1 Alicia Arrizón Si Adelita se fuera con otro la seguiría por tierra y por mar. Si por mar en un buque de guerra Si por tierra en un tren militar. Adelita, por Dios te lo ruego, calma el fuego de esta mi pasión, porque te amo y te quiero rendido y por ti sufre mi fiel corazón. 2 If Adelita should go with another I would follow her over land and sea. If by sea in a battleship If by land on a military train. Adelita, for God’s sake I beg you, calm the fire of my passion, because I love you and I cannot resist it and my faithful heart suffers for you. 3 “La Adelita” was one of the most popular songs of the Mexican Revolution (1910–1920). According to some sources (see Soto 1990:44), this ballad was originally inspired by a Durangan woman who had joined the Maderista movement4 at an early age. Troubadours made the song—and Adelita her- self—a popular emblem of the Revolution. As Baltasar Dromundo put it, “las guitarras de todas partes se iban haciendo eruditas en ese canto hasta que por fin la Revolución hizo de ella su verdadero emblema nacional” (guitar ists from all over were becoming experts in that song and it became the true em- blem of the Revolution) ( 1936:40). Significantly, Adelita’s surname, as well as the family names of many other soldaderas (soldier-women), remained virtually unknown. However, the popular songs composed in honor of these women contributed enormously to their fame and to documenting their role in the Revolution. -
Copy of Five Artists of the Mexican Revolution
Five Artists of the Mexican Revolution How were artists influenced by the events of the Mexican Revolution? Grades 9-12 Lesson: Five Artists of the Mexican Revolution Grade Band: 9-12 Arts Subject: Visual Arts Other Subject: Language Studies, History SUMMARY In this 9-12 lesson, students will create original artwork demonstrating the style of an early 20th-century artist of the Mexican Revolution. They will research how art was influenced or created in response to major events, artists, and personalities of the Mexican Revolution. PREPARATION Learning Objectives Students will: ● Research and gather information about the Mexican Revolution, including prominent revolutionary figures and artists. ● Analyze the style and recurring themes of Mexican artists. ● Create artwork using contemporary events and the style of one of the artists studied. ● Describe connections between how the artists were influenced by Mexico’s history, political figures, and influence on original artwork. Recommended Materials Editable Documents: Before sharing these resources with students, you must first save them to your Google account by opening them, and selecting “Make a copy” from the File menu. ● Slide: Mexican Artists ● Brief Synopsis: History of Mexico ● Inquiry Project: Mexican Revolution Leaders ● Capture Sheet: Mexican Revolution Political Figures ● Slide: Mexican Revolution Timeline ● Capture Sheet: Artist Inquiry Websites ● TweenTribune ● Newsela ● PBS Teacher Background Review the Brief Synopsis: History of Mexico. Note: This lesson can be adapted for the Spanish language classroom. Lesson Connection: Five Artists of the Mexican Revolution Copyright The Kennedy Center. All rights reserved. Materials may be reproduced for educational purposes. Updated April 2021 Prerequisites Basic knowledge of the Mexican War of Independence and key vocabulary: communism, fresco, Marxism, mural, satire, surrealism, symbolism. -
Frida Kahlo - Connections Between Surrealist Women in Mexico 27Th September to 10Th January
Frida Kahlo - connections between surrealist women in Mexico 27th september to 10th january Curated by researcher Teresa Arcq, Frida Kahlo: connections between surrealist women in Mexico exhibition, with some 100 works by 16 artists, reveals how an intricate network with numerous characters was set up around the figure of Frida Kahlo (July 6, 1907, Coyoacán, Mexico - July 13, 1954, Coyoacán, Mexico). This extract focuses especially women artists born or living in Mexico, acting as the protagonists - alongside Kahlo – of powerful productions, such as Maria Izquierdo, Remedios Varo and Leonora Carrington. Throughout her life, Frida Kahlo painted only 143 screens. In this exhibition, rare and unique in Brazil, about 20 of them have been put together, in addition to 13 works on paper – nine drawings, two collages and two lithographs -, providing the Brazilian public with a broad overview of her plastic thinking. Her strong presence further pervades the exhibition through the works of other participating artists who depicted her iconic figure. Through photography, the works of Lola Álvarez Bravo, Lucienne Bloch and Kati Horna are to be highlighted. Images of Frida are also impregnated on the lenses of Nickolas Muray, Bernard Silberstein, Hector Garcia, Martim Munkácsi and a lithograph by Diego Rivera, Naked (Frida Kahlo), 1930. Among Mexican women artists related to Surrealism, the abundance of symbolic self- portraits and portraits come out as a surprise. Out of the 20 paintings by Frida in this exhibition, six are self-portraits. There are two more of her paintings that bring her presence, as in El abrazo de amor del Universo, la terra (Mexico), Diego, yo y el senõr Xóloti, 1933, and Diego em mi Pensamiento, 1943, plus a lithograph, Frida y el aborto, 1932.