Jessica Chilián – Nômade Cinema

Coffee production in Mexico is not only an economic activity, but a cultural legacy deeply rooted in the indigenous traditions of our country. Regions such as Puebla, Chiapas and Veracruz have stood out for their coffee production, where indigenous communities, including the Nahua and Totonac, play a fundamental role.

History of Coffee in Mexico

The introduction of coffee in Mexico dates back to the 18th century, when the first plantations began to be established in the Veracruz region. Over the years, coffee production expanded to other regions, with Chiapas and Puebla being the most representative in terms of quality and volume. Mexico has become one of the largest producers of organic coffee in the world, and its geographical and climatic situation favors the cultivation of various varieties. The history of coffee in Mexico is also a history of resistance and adaptation of communities that have made its cultivation an integral part of their cultural identity.

Historically, coffee has been an economic and social engine in Mexico. From the time of the colonizers to the agrarian revolution, coffee has been at the center of the struggles for land and the rights of farm workers. However, it is crucial to recognize that indigenous communities have been the true guardians of this tradition. Coffee stands out as a strategic crop in Mexico, involving more than 500 thousand producers distributed across 15 states and 480 municipalities.

According to the Federal Consumer Protection Agency (PROFECO), per capita coffee consumption in the country reaches 1,600 kilograms per year, showing that 85% of Mexicans enjoy between one and three cups a day; curiously, men are the ones who predominate in this habit, consuming an average of three cups compared to the two cups that women drink.

This panorama highlights not only the fondness for coffee in Mexican society, but also the exceptional quality produced in the country, determined by its topography, climate and the richness of its soils that facilitate the cultivation of world-renowned varieties and the work of the coffee grower as a planter, harvester and creator of the drink that awakens Mexico.

Coffee Plantations and Indigenous Communities

Indigenous communities, such as the Nahua and Totonac, have cultivated coffee for generations, each contributing their own knowledge and traditional techniques. Coffee cultivation is integrated into their worldview and sustainable agricultural practices, which consider the relationship between humans and nature. Coffee planting in Chiapas, for example, is done with techniques that respect ecological balance, combining coffee with fruit trees and shade, which not only results in more abundant harvests, but also preserves the biodiversity of the environment.

These communities have organized solidarity economies through cooperatives, which allows them to obtain better prices for their products and improve their living conditions. Through the production of specialty coffee, these communities have managed to position themselves in international markets, highlighting the quality of their coffee and the stories that surround it.

Coffee Varieties and Indigenous Tradition

In Mexico, various varieties of coffee are grown, the best known being Arabica and Robusta. However, it is Arabica coffee that predominates in Mexican production, especially in mountainous regions where conditions are ideal. Each region contributes unique characteristics to its coffee; Chiapas coffee, for example, is known for its acidity and fruity notes, while Puebla coffee stands out for its robust body and intense flavor.

The Sierra Norte region of Puebla, due to its topography, hydrography, altitude, climate and soil, has allowed the cultivation and production of varieties classified among the best in the world.
Mexican Association of Specialty Coffees and Cafeterias (AMCCE)

The indigenous coffee tradition is not only related to the cultivation, but also to the preparation process and rituals around coffee. For many communities, coffee is more than a drink; it is a symbol of hospitality and community. The ceremonies surrounding its consumption reflect a deep connection with the land and ancestors, making each cup of coffee a cultural experience.

In the Sierra Norte of Puebla, the humid semi-warm climate, with temperatures ranging between 18°C and 24°C, and abundant rainfall, create an environment conducive to the cultivation of “prima lavadoras” coffees, characterized by their pleasant flavor and aroma, with good acidity and body. This privileged environment is evident in Cuetzalan, a town that unfolds between cloud forests and coffee plantations, being a place where culture and nature intertwine. Founded by the Totonacs around 200 BC, Cuetzalan is a testament to the region’s rich indigenous heritage.

The indigenous Totonac and Nahua community of Cuetzalan preserves its cultural tradition through rituals such as “Los Voladores,” a dance that represents fertility and has been recognized as Intangible Cultural Heritage by UNESCO since 2009. This town, 930 meters above sea level, delights with its cobblestone streets and white buildings that sway under the morning fog, where the aroma of coffee merges with the song of birds.

Just over fifteen minutes from Cuetzalan, Finca Cafetalera Reserva Azul offers a space designed to enjoy nature, with 11 hectares of cloud forest and organic coffee plantations. Its history dates back to the plantations started between 1860 and 1870 by Jesús Flores, who took advantage of the unbeatable conditions of the land. The wise practices of the Nahua culture integrated coffee cultivation into a polyculture system, where citrus fruits, bananas and spices are also found that benefit the community.

On this coffee farm, the coffee production process is enriched, maintaining harmony with nature, preserving artisanal practices in its production, processing and roasting to achieve a cup with flavor and aroma for demanding palates.
Reserva Azul.

The coffee plant, belonging to the Rubiaceae family, is mainly classified into two species: Arabica and Robusta. The former is more sensitive to pests and requires higher altitudes, while Robusta is more resistant and is grown in less demanding conditions. However, the main distinction between the two lies in their flavor: Arabica has an unmatched smoothness and aroma, in contrast to the intensity and bitterness of Robusta.

The Fernández family produces Arabica, Garnica and Caturra coffee grown at 1,000 meters above sea level. The process to obtain a cup of aromatic coffee at the Reserva Azul is meticulous: the harvest, carried out by hand, begins in March and ends in October, following a selection and treatment process to ensure the quality of the bean. From pulping to drying, each stage is crucial.

After being pulped and fermented, the coffee is carefully dried, where the flavors and aromas that characterize Mexican coffee are revealed. Once roasted, the bean is ground according to its use in different preparation methods, where coarse, medium and fine are adapted to each person’s preferences. Each type of bean has an optimal roasting time and type, whose variations alter the final flavor. The roasting of the different coffees must necessarily be done separately, following a different roasting process, since each coffee has its optimal roasting point. We can distinguish three different roasting methods:

• Light: with a delicate flavor.

• Medium: with a strong flavor.

• Full: eliminates acidity and confers a bitter taste.

In conclusion, coffee is not only a popular drink in Mexico, but it is a true reflection of the country’s cultural and productive wealth. From its cultivation in the lush mountains to its consumption in every home, coffee is a symbol of unity and tradition that continues to evolve in the heart of Mexican society.

Mexican tradition allows you to enjoy coffee prepared in clay or pewter pots, enriched with a touch of cinnamon.

The life of the coffee grower in Mexico is a testament to the resilience and cultural wealth of indigenous communities. Through the planting and production of coffee, the Nahua and Totonac people have preserved and transmitted their traditions, while facing the challenges of a constantly changing world. Coffee is not only an export product, but a means for sustainable development and the dignification of life in the countryside. It is essential to support and recognize the role of these communities in the world of coffee, ensuring that their cultural legacy and connection to the land continue to thrive for generations.

Reserva Azul
Calle Principal Cuitchat
Cuetzalan del Progreso, Puebla C.P. 73560
Telephone: +52 (233) 112 61 07
https://www.reservaazul.com/
The history of carpentry dates back to the earliest days of mankind, when the invention and use of hand tools marked the beginning of this noble activity. The first craftsmen to practice this trade were those visionaries who developed new tools to work wood more effectively. In the field of construction, the need to create wooden roofs and structures for homes gave rise to the profession of carpenter, thus establishing a legacy that endures to this day.

Carpentry is undoubtedly one of the oldest arts of humanity. A notable example that resonates in popular culture is the carpenter Joseph, a historical figure from approximately 2,000 years ago, known as the father of Jesus and mentioned in the Bible. However, this is not the first carpenter in history.

Recently, a group of scientists made a key discovery in Germany, where they found what could be the first examples of carpentry in the world, dating from between 5,469 and 5,098 BC. These discoveries include 151 oak trees preserved in a flooded environment, which display both the wooden architecture used and the technological capacity of humans 7,000 years ago.

The discovery is related to the excavation of old and enormous oak trees cut down by a Neolithic farmer, who used stone axes, alluding to a time when carpentry was carried out exclusively by hand. This aspect highlights the importance of the figure of the apprentice, who has accompanied the carpenter throughout history. Generally, the apprentice was a son or a young man to whom knowledge, traditions and the art of carpentry itself were transmitted.

In the development of all cultures, the learning of carpenters went hand in hand with their own experience, and with the help of an apprentice this noble trade was passed down from generation to generation.

This noble craft has been passed down from generation to generation, but not without undergoing significant evolution. The carpentry of yesteryear, characterized by manual work, contrasts with today, where technology and machines have optimized the production process, offering greater ease and speed in the creation of furniture and decorative objects.

The development of wooden furniture manufacturing reached great prominence in Europe from the Renaissance onwards, with Italy and France at the forefront. During the Rococo era in the 18th century, this practice reached its peak, marking a milestone in the complexity and refinement of luxury furniture manufacturing, a standard that has hardly been surpassed. Originally, the term cabinetmaking referred to the creation of furniture with fine woods, such as ebony or mahogany, which shows the appreciation for quality and design in this art.

In Mesoamerican cultures, carpentry also fulfilled social, religious and economic functions. This duality is evident in the distinction between the furniture of the general population and that of the ruling and religious classes. Chroniclers of the time, such as Francisco Javier Clavijero in his “Ancient History of Mexico,” documented the disparities in the quality of furniture. Clavijero notes that the common bed consisted of bark mats, while the riches of the elite were adorned with fine palm mats, cotton linens, and fabrics woven with feathers. The common bed was sometimes just a stone or a piece of wood, thus contrasting with the cotton pillows of the privileged. The daily life of the less fortunate was characterized by the absence of tables, as they ate on mats laid out on the floor, using stools made of wood or bark, known as “icpalli.”

The carpenter’s work has been, and continues to be, a reflection of human development, drawing a parallel between the evolution of techniques and social transformations throughout history. From its beginnings in prehistory to its contemporary role, this art has not only been a means of subsistence, but also a vehicle of cultural and social expression.

“As the history of carpentry developed, members of the guild were able to meet as early as the 13th century and over time form an organisation to regulate the profession. This led to the creation of a carpenters’ union in 1881.”
Genius of Japanese Carpentry. Secret of an ancient craft. Brown Azby. Editorial Charles E. Tuttle

The history of carpentry in Mexico is rich and diverse, with roots dating back to pre-Hispanic cultures. Since ancient times, Mesoamerican civilizations such as the Mayans and Mexicas used wood not only for the construction of temples and homes, but also for the creation of ritual and utilitarian objects. Carpentry was a highly valued skill, and artisans were considered important in their communities.

For the Mayans, the carpentry trade was not only a means of subsistence, but an expression of value and spirituality because the art of wood carving not only involved manual dexterity, but was surrounded by beliefs and rituals that marked its importance in daily life and ceremonial aspects. Mayan carpenters faced the belief that their work could bring illness or curses, which made it difficult to persuade someone to make idols or handicraft pieces.

The wood used in these works, especially the ceiba trunk, known as “the tree of God,” symbolized a connection with the divine and the transcendental. The making of each piece was carried out in a highly ritualized environment, where priests and elders, known as “chaques,” would retreat to a safe and sacred space to work, while offering prayers and performing purification ceremonies.

With the arrival of Spanish colonizers in the 16th century, new carpentry techniques and styles were introduced, as well as tools that expanded the creative possibilities of carpenters. The fusion of these traditions gave rise to a distinctive colonial style, which can be seen in the architecture of churches, houses and furniture of the period.

This ceremonial and deeply spiritual approach is still present in the practice of carpentry today. In regions such as Tlaxcala, an important center of carpentry tradition in Mexico, pre-Hispanic heritage merges with European influences, generating a rich cultural heritage. The manual skills of the Tlaxcalans are manifested in the construction of a wide variety of woodwork, from utensils to furniture, which reflect both their history and their cultural identity. The use of local woods, such as ocote and cedar, together with ancestral techniques, gives each piece a unique and personal character.icraft pieces.alo duro, cedar and “tlaxixtle” (amelanchier denticulata is a native and emblematic plant of Tlaxcala) which for years was very significant for the economic development of the state.

In the region of Tlaxco, Don Miguel Ángel Márquez Sánchez together with his sons, create wooden crafts in their workshop, where the works that can be found are toys such as tops; beauty accessories such as earrings or bracelets; ornaments such as jewelry boxes or vases; furniture and various other products. But, without a doubt, the most curious thing is the “tlaxcomóvil”, a car built entirely of wood from a Volkswagen Sedan engine, an example of ingenuity, creativity and art. This handcrafted piece took three years to build.

With the exception of the traction, suspension, braking and electrical system, this device is made entirely of wood: handles, steering wheel, wiper, seats, hood, doors, awning, headlight bases, glove box, engine cover and trunk. The first change in the vehicle was to cover the base of the gas tank with wood and the rest of the modification was made with “ayacahuite” or pine planks, which are screwed to the metal structure of the former beetle. The vehicle is fully functional, it goes to exhibitions, cultural events and is also rented for parties, weddings and quinceañeras.

“Speaking in general terms about people, it is a bit difficult for someone to understand that this is an art, that this is beautiful, that this is creative, you don’t have time for leisure, this work requires all your attention and patience.”
Miguel Ángel Márquez.

Amado Márquez, Don Miguel’s grandfather, was the one who started carpentry at the beginning of the 20th century, and today his grandson and great-grandchildren continue with this life project. Don Miguel remembers that in May 1971 he was at CIME (College of Mechanical and Electric Engineers, A.C.) studying his first semester when he decided to drop out and continue with the family business. And although his family was very disappointed, he does not regret that decision, because he has always liked carpentry and has never, despite the difficulties and difficult times, thought about changing professions.

Today Don Miguel Márquez has been dedicated to carpentry for more than 50 years, a trade that he is passionate about: “my grandfather was a carpenter, my father was a carpenter, two of my sons are carpenters and it is the fourth generation of carpenters in the Márquez family.” They began working in the trade making furniture and repairs, today they work in the production of crafts.

Carpentry techniques have evolved over time, incorporating both hand and machine tools. The process begins with sawing, which can be carried out with a handsaw or a power saw. Screwing or nailing then secures the pieces together, followed by sanding to achieve a smooth, uniform finish; this last step is crucial, as it allows splinters to be removed and ensures user comfort. Finally, varnishing not only provides an aesthetic finish, but also protects the work from the effects of time and wear.

Over the centuries, carpentry has evolved in Mexico, adapting to social, economic and technological changes. Today, carpenters continue to be instrumental in preserving traditional techniques and creating works that reflect the country’s cultural identity. Many of them consider themselves artists, as their work goes beyond mere functionality; they create unique pieces that tell stories and transmit traditions.

The legacy of carpentry in Mexico is evident in the diversity of regional styles, such as the furniture of Oaxaca, the woodwork of Michoacán and the carvings of Puebla, among others. Each region has its own aesthetics and techniques, which enriches the country’s carpentry tradition.

Today, carpenters face challenges such as competition from industrialized products and the need to preserve ancestral techniques. However, many are committed to teaching their craft to new generations, ensuring that the tradition of carpentry lives on. Through workshops, schools, and communities, carpenters pass on their knowledge and passion, becoming guardians of an invaluable cultural heritage. The carpentry in Mexico is an art that has evolved over the centuries, fusing pre-Hispanic and colonial influences, and remains a means of cultural and artistic expression today.

MADEM Carpentry
Furniture, Crafts and Wood Designs
Gabriel M. Hernández No. 12 Fifth Section
Tlaxco, Tlaxcala. Mexico. Zip code 90250
Phone: +52 241.496.00.53
The Purepecha princess Erendira

By Instituto Nacional de los Pueblos Indígenas

Reading Time: < 1 minute

Introduction

Today we are a country, but 500 years ago the territory was divided into towns, each one called “Señorio”; with systems of life and governments very different from each other.

Until one day, from the sea the Spaniards arrived on their ships. They were ambitious, seeking wealth and power. There was a clash of cultures; they carried fire in their weapons, they brought with them diseases and animals that were unknown to our ancestors.

The newcomers conquered Tenochtitlan, which made it easier for them to advance towards the different Dominions, such as the Purepecha, which we know today as the state of Michoacán.

This is the story of the Purepecha princess Erendira; she owns herself, willing to defend hers until the end, full of pride and always smiling.

“Princess Erendira was standing next to the Cazonci, she was distinguished by her tranquility in the midst of the complete chaos that was in the great palace room. The messengers were the center of attention, they brought terrible news:…”

Lic. Adelfo Regino Montes
Managing Director
Instituto Nacional de los Pueblos Indígenas

Mtra. Bertha Dimas Huacuz
General Coordinator of Cultural Heritage and Indigenous Education

José Luis Sarmiento Gutiérrez
Director of Social Communication

Jessica Paola Martínez José

Illustrations
Ana Cristina Espinosa Ramos

Style correction
Azalea Isabel Monterrubio Jiménez

Edition
Ana Cristina Espinosa Ramos

Coordination
Norberto Zamora Pérez

No items were found matching your selection.
Mother Earth, awareness of the care of nature

By NÔMADE CINEMA
Photo by: Servindi

Reading Time: 3 minutes

World Mother Earth Day is commemorated every April 22, more than a billion people in 190 countries carry out various demonstrations and actions to remember that the planet and its ecosystems give us life and sustenance. The origin of this celebration began in 1970, when 20 million Americans began to demonstrate for a healthy and sustainable environment. It was in 2009 when the United Nations Organization declared April 22 as World Mother Earth Day.

According to the United Nations Organization, this day offers the opportunity to raise awareness among all the inhabitants of the planet about the problems that affect the Earth and the different forms of life that develop on it. Expand and diversify the environmental movement around the world and mobilize it effectively to build a healthy and sustainable environment, address climate change, and protect the Earth for future generations.

In Mexico, the importance of preserving Mother Earth is celebrated and recognized, a common expression used to refer to the planet in various countries and regions, which demonstrates the interdependence between human beings, other living species and the planet we all inhabit.

For example, for the Wixarikas, the earth is a central divine being, it is the mother Tatei Yurianaka, this deity gives life to herself and to the world. For the Tzotzils of Chiapas, like many other peoples, they think that the land on which they live, walk, and breathe is sacred. They conceive of the land as the mother of their community, so it is imperative to request its authorization before making use of it: harvesting fruits, growing food and drinking water, even building houses.

For the Andean people (currently made up of the countries of Bolivia, Colombia, Ecuador, Peru and the associated countries of Argentina, Brazil, Chile, Paraguay and Uruguay) Mother Earth is known as “Pachamama”, which clearly reflects that the concepts regarding Mother Earth coincide in essence among the world’s ethnic groups.

In 1992, more than 178 countries signed Program 21, made up of Agenda 21, the Rio Declaration on Environment and Development, and the Declaration of Principles for the Sustainable Management of Forests at the United Nations Conference on the Environment and Development (UNCED), the Program is a comprehensive action plan to be adopted universally, nationally and locally by organizations of the United Nations System, Governments and Major Groups in each area in which human beings influence environment.

Subsequently, with the objective of providing humanity with the necessary instruments for the sustainable use of natural resources and to build the essential scientific infrastructure for sustainable development, in 2005, the General Assembly declared 2008 as the International Year of Planet Earth for promote the teaching of Earth sciences.

It is imperative to reflect on the fact that climate change is one of the main challenges facing humanity in the 21st century and that its main manifestations have repercussions on biology, economy and society. Mexico highlights two points: Humanity recognizes that the Earth and its ecosystems are home and declares itself convinced that in order to achieve a fair balance between the economic, social and environmental needs of present and future generations, it is necessary to promote harmony with the nature and the Earth. Likewise, Mexico together with 171 countries (through the signing of the Paris Agreement in 2016) commits to work to stabilize the increase in the planet’s temperature below 2º Celsius.

Mother Earth pleads for immediate, clear, convinced, committed actions. The oceans fill with plastics and become more acidic. Extreme heat, wildfires, floods, and other weather events have affected millions of people. In 2020, COVID-19 emerged, a global health pandemic with a strong relationship with the health of our ecosystem.

Climate change, human-induced changes in nature, as well as crimes that disturb biodiversity, such as deforestation, land-use change, intensive agricultural and livestock production, or the growing illegal trade in wildlife, may accelerate the rate of destruction of the planet.

Ecosystems support all forms of life on Earth. The health of the planet and its inhabitants directly depends on the health of ecosystems. Restoring those that are damaged will help end poverty, combat climate change, and prevent mass extinction.

Becoming aware that the human being is part of the earth and not the other way around “that the earth does not belong to us” is the first step to reverse the damage that has been caused, consider more the vision of indigenous communities and inhabitants of towns natives who venerate Mother Earth, for being the giver of life and sustenance. Remembering today more than ever that there must be a shift towards a more sustainable economy that works for both people and the planet. Promote harmony with nature and the earth.

No items were found matching your selection.
Ts’unu’um. Historias del colibrí

By Instituto Nacional de los Pueblos Indígenas

Reading Time: 2 minutes

Foreword

A long time ago when the gods created all the animals, they decided to give each one a very special function; they took mud and corn and with them they formed what we know today. The powerful jaguars, the quetzals with their brightly colored feathers, the owl guide to the world of the dead, the wise serpent, the faithful xoloitzcuintles, among many others.

At the end of their creations, the gods noticed that they had not formed any animal to be in charge of communicating requests, wishes and messages, and by not having more than mud and corn to mold it; they took a small jade stone to which they shaped an arrow and finally, they blew on it to give it breath of life.

Immediately the little arrow began to spin rapidly, turning into a beautiful little bird with beautiful feathers; all the colors of the rainbow were reflected in them. Light and graceful, with its elongated beak, it could approach all the flowers without moving a single petal, and with its fleeting wings, the cute animal could fly anywhere in a short time. The gods, pleased by its creation, named it ts’unu’um in its language of origin, Maya, huitzilli in Nahuatl, although we now know it as hummingbird.

Seeing how much men longed to adorn themselves with its exquisite plumage, the gods warned them of the severe punishment they would receive if anyone dared to capture it. 3 This was how the hummingbird, since ancient times, became the emissary in charge of transmitting messages to the gods; that is why when one of them suddenly appears, it means that it carries the thoughts and emotions of someone very special.

Next, you will witness five stories in which the hummingbird helped human beings with his magical gift, we advise you to be very attentive because the next adventure could happen to you.

“I was eight years old and my brother was eleven when they gave us a chick at the flea market. Most of them were painted in bright colors but I fell in love with the only one that still kept its yellow color. When I got home I was very happy and I played with the chick all afternoon; the next morning he was dead. My brother said that I was so annoying that everyone got tired of me very soon, maybe he was right, and that’s why a year later my parents divorced…”

Lic. Adelfo Regino Montes
Managing Director
Instituto Nacional de los Pueblos Indígenas

Mtra. Bertha Dimas Huacuz
General Coordinator of Cultural Heritage and Indigenous Education

José Luis Sarmiento Gutiérrez
Director of Social Communication

Mayra Lisset Morales Martínez

Ilustraciones
Paola Lizbeth López Arias

Corrección de estilo
Victoria Cea

Diseño editorial
Paola Lizbeth López Arias

Coordinación
Norberto Zamora Pérez

No items were found matching your selection.
Yoremes, a town that respects tradition

By Instituto Nacional de los Pueblos Indígenas
Photo by Civitatis

Reading Time: 4 minutes

The Yoolem’me or Yoremes live in the northern region of Sinaloa, they have existed since before the discovery of America, a unique group of indigenous people that has a cultural heritage of hundreds of years, still alive, that makes them an indigenous organization par excellence.

The current Yoreme are descendants of the ancient inhabitants of the Huatabampo culture, belonging to one of the cultural traditions of Sonora. According to the group’s oral tradition, the word mayo means “the people of the riverbank.” The Mayos recognize themselves as Yoremes: “the people who respect tradition”; in contrast, the white man is called: “the one who does not respect”. The indigenous people who deny their roots and community commitments are conceptualized as torocoyori: “the one who betrays”, “the one who denies tradition”. Mayo and Yaqui share a common origin, language and culture. Guarijio, Mayo and Yaqui are the result of a process of migration and ethnic redistribution.

The Mayo or Yoreme region is located both in the northern part of Sinaloa and in the southern part of Sonora. The municipalities where the mayo are located are: Álamos, Etchojoa, Huatabampo, Navojoa and Quiriego in the State of Sonora, as well as in the north of Sinaloa in: Choix, El Fuerte, Guasave, Los Mochis, Ahome and Sinaloa de Leyva. The Mayos do not have their own territory, their localities and population centers are formed within the ejido system and are shared by non-indigenous groups originating from the State itself and from other populations from the rest of the country.

The population is distributed along the Mayo River in 242 localities, with eight main centers: Santa Cruz (today Júpare), Etchojoa, San Pedro, Cowirimpo, Navojoa, Tesia, Camoa and Conicarit. Its estimated population is 72,000 inhabitants, 32,000 belonging to Sonora (representing 4% of the total population) and 40,000 to Sinaloa.

The Yoreme language belongs to the Taracahíta family, of the Yutoazteca or Yutonahua family, related to the Yaqui language and the Guarijío language. It also bears a certain kinship with the Pima and the Tohono O’otham. The Mayos, in general, are bilingual, although contact with the mestizo or Yori peoples has generated a rapid displacement of the mother tongue.

The house is built with reeds, heart of pitahaya or saguaro jarred with adobe. The roof is made of wood and reeds with plasters of earth, whitewashed to avoid saltpeter. Generally, each home has a bower made with mesquite poles and roofed with reed, tule or palm. There are also some houses made of brick or concrete block. In homes it is common to find a mesquite cross that represents their faith and provides protection.

Traditional clothing is practically non-existent, although there are garment designs from old references and talks from older people. As is known in pre-Hispanic times, they covered part of their body with animal skins such as deer. However, in Colonial times and the time of the 1910 Revolution, drawings and photographs of the dress can be seen, which consisted of rudimentary fabrics and a blanket. Today the woman wears a two-piece outfit made of thin fabric and a discreet pattern, sandals, gold earrings, a shawl, and hair clips. The man dresses in the style of the cowboys of the region.

In their ceremonies, the costumes of the deer and pascola dancer (it does not refer only to a dance, but also to a set of arts that includes music, oratory, oral narrative, comedy, and the work of textiles and wood) are Similar to the Yaqui, perhaps the biggest difference is that the Yaqui dancers dance bare-chested and the Mayo are dressed in white. The masks of the Pascola Yaqui have cut eyebrows and those of the Mayo are long.

The social codes or social organization is, according to Pierre Guiraud, a sign of participation; therefore it is the individual or group as a whole, signifier and signified at the same time. The social codes of communication include: rites, ceremonies, festivals, fashions, games, etc., through which individuals define themselves in relation to the social group to which they belong and, at the same time, the group in relation to society, manifesting the role that each one assumes.

The basic social grouping of the Mayos is the extended family and the networks of relationships and solidarity that this brings with it: the family constitutes a space for collective participation to which all its components are integrated, such as grandparents, parents, children, uncles , nephews and brothers. Another space is the town itself, which is referred to as the Ceremonial Center that brings together various surrounding communities and where all members actively participate in the organization of traditional festivals through the “Fiesteros”.

In most cases, the forms of organization and power are controlled by the Yoris: such as the ejidal commissioners, the preventive police, the church board, the progress committees and the municipal authorities.

The vision of the Mayo world has two great influences that have been transforming each other until adopting a deep and complex face in their meanings. In their rites, songs and dances, the role of nature, as the provider of their world, is expressed in the character played by dancers such as El Venado and El Pascola. It is a world where flowers, birds and deer are sung.

Another influence is due, from the action of the Jesuits, to the Catholic faith reflected in the veneration of certain divinities such as the Holy Trinity, Saint Joseph, Saint Francis, etc.; both influences, amalgamated, interact in their traditions, festivals and beliefs. Among its origin myths is the one that tells how God created gold for the Yoris and work objects for the Yoremes; the restrictions that prevent incest; how God created the first animals and made them as they are, among others.

The ceremonial life of the Yoremes is extremely important, practically all the festivals have links with the Catholic Church and its liturgical calendar. In these festivities, various elements are expressed in ritual spaces delimited according to the occasion and type of festivity: dances, processions, orchestras, images of saints, etc. Among the most important festivals are: Holy Week, Holy Trinity, San José, San Ignacio de Loyola, the Holy Cross, Virgin of Guadalupe, Day of the Dead and Lent.

No items were found matching your selection.
Art, expressions of visions of the real or imaginary world

By NÔMADE CINEMA
Photo by: Teletón

Reading Time: 3 minutes

World Art Day is an international celebration of the arts, which was declared by the International Art Association (IAA) in order to promote awareness of creative activity throughout the world. The proposal was presented at the 17th General Assembly of the Association in Guadalajara to declare April 15 as World Art Day, with its first celebration taking place in 2012.

This proposal was sponsored by Bedri Baykam from Turkey and co-signed by Rosa Maria Burillo Velasco from Mexico, Anne Pourny from France, Liu Dawei from China, Christos Symeonides from Cyprus, Anders Liden from Sweden, Kan Irie from Japan, Pavel Kral from Slovakia, Dev Chooramun from Mauritius, and Hilde Rognskog from Norway. This proposal was unanimously accepted by the General Assembly.

The date was chosen in honor of the birth day of Leonardo da Vinci (painter, sculptor, designer, architect, poet, biologist and a long etcetera, for whom he considers the “Renaissance man”), who was selected as a world symbol of peace, freedom of expression, tolerance, brotherhood and multiculturalism.

The first World Art Day was on April 15, 2012, it was supported by all the national committees of the International Art Association and 150 artists, including those from France, Sweden, Slovakia, South Africa, Cyprus and Venezuela, but the intention of the event is universal. The events varied in terms of special museum hours, conferences and more.

Art is one of the most evolved forms of human expression. Through it, man can express his personal vision of what afflicts him, interests him or simply seems beautiful to him, through plastic, sound or linguistic resources.

The creativity of the human being can be fluid or limited since it is linked to artistic freedom, which is the freedom to imagine, create and distribute diverse cultural expressions without government censorship, political interference or pressure from non-state actors. It includes the right of all citizens to access these works and is essential for the well-being of societies.

Artistic freedom embodies a set of rights protected under international law: The right to create without censorship or intimidation; the right to have artistic work supported, distributed and remunerated; the right to freedom of movement; the right to freedom of association; the right to protection of economic and social rights; the right to participate in cultural life.

The 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions states that “Cultural diversity can only be protected and promoted if human rights and fundamental freedoms are guaranteed, such as freedom of expression, information and communication, as well as the possibility for people to have access to diverse cultural expressions” [1]

However, the world still cannot speak of full artistic freedom, quoting Deeyah Khan, UNESCO Goodwill Ambassador for artistic freedom and creativity: “The right of artists to express themselves freely is threatened all over the world “Art has the extraordinary capacity to express resistance and rebellion, protest and hope. It makes an essential contribution to all prosperous democracies” [2]

The adoption of World Art Day confirms the importance for Mexico, as a cultural power, of the creative industries and policies on the matter as central points to generate development and social inclusion within a framework of respect for cultural diversity and non-discrimination, rights and actions.

This celebration has the purpose of becoming one of the instruments to promote the role of culture as a transversal tool to achieve the Sustainable Development Goals of the 2030 Agenda, while reinforcing UNESCO’s sectors and programs and remembering the incalculable contributions that the arts and cultural heritage represent for humanity.

2020 became a watershed for many activities and social dynamics, in the presence of COVID-19, “these times force us to reflect on the future of the cultural field in the midst of a global emergency. Dialogue and listening will be essential to imagine new horizons in a collective, diverse and inclusive way. With solidarity and generosity we will get ahead” Alejandra Frausto, Secretary of Culture of Mexico. This is how the strategy “With you in the distance” was adopted, a space for creators and the general public that invites them to discover the cultural diversity of Mexico and participate actively, without having to leave home.

Mexico is also a seedbed of this diversity of artistic expressions committed to this cause and also celebrates this world festival, to show nationally and internationally that culture in our country is above violence and is the maximum expression that writes our history, because we have an enormous wealth of pre-Hispanic, colonial and modern art that can be seen both in museums, as well as in public areas and in the abundant remains of indigenous architecture.

The celebrations of this day help to strengthen the links between artistic creations and society, to promote a greater awareness of the diversity of artistic expressions and to highlight the contribution of artists to sustainable development. Likewise, this date is the opportunity to highlight artistic education in schools, since culture is the path to an inclusive and equitable education. There is much to learn, share and celebrate on World Art Day, and UNESCO encourages everyone to participate through various activities such as debates, conferences, workshops, cultural events and presentations or exhibitions.

[1] http://www.unesco.org/new/es/culture/themes/cultural-diversity/cultural-expressions/the-convention/convention-text
[2] https://en.unesco.org/creativity/sites/creativity/files/artistic_freedom_esp_pdf_web.pdf

No items were found matching your selection.
Tenango embroidered representation of the Otomi culture

By NÔMADE CINEMA

Reading Time: 4 minutes

When we talk about Mexican embroidery, it is important to highlight that there is not a single style or a single technique, on the contrary, in Mexico various types of embroidery coexist and there are great textile artists. The tenango is a type of embroidered textile that is made in the municipalities of Tenango de Doria, Hidalgo, and Pahuatlan de Valle, Puebla. They are blanket canvases of different sizes, in which the embroiderers illustrate the flora and fauna of the region and scenes of daily and festive life. Each figure is embroidered with cotton threads using the “cross past” technique.

San Nicolas is an Otomí – Tepehua community located 8 kilometers from the Tenango de Doria municipality, in the mountains of the state of Hidalgo; Known as “the cradle of embroidery” because a large part of its population is dedicated to the drawing and embroidery of the tenango which in Nahuatl conception means “place of the walls”. For the artisans, the embroidery of these artistic pieces are artistic representations of their culture, their environment, their festivals, their dances, their beliefs, the flora and fauna that surrounds them; Generally, they are embroidered with colors that represent the state of mind of the person who embroiders them.

The tenango not only represents an embroidery technique or the style of the region, the tenango is cultural heritage that symbolizes the importance of a date, the remembrance of an event, the meaning of an identity and the importance of local biodiversity. The tenango is often embroidered with motifs representing festivities, the day of the dead, the harvest, religion, daily life, natural landscapes and animals, demonstrating respect and symbolic devotion.

Each color used for tenango embroidery is specially selected in relation to the meaning of the image to be embroidered. In the past, embroidery was only made with red and black threads, which represented good and evil. Subsequently, they began to experiment more with embroidery and the colors they wanted to implement, adding much more vivid colors, also designed to give a special meaning to each one. Using green as the new representative of vegetation, orange as fire, blue as the moon, brown as earth, red as good and black as evil.

Embroidery arose in 1960 thanks to the commercial exchange between San Nicolas, Tenango de Doria, and San Pablito, Pahuatlan de Valle. During the days of the market, embroiderers from Tenango came to sell napkins and blanket tablecloths made with the “cross stitch” technique. One day, whoever bought them suggested that they change the “stitch”, an “easier” one, which would allow them to do the embroideries in less time. The embroiderers decided to use the technique “to the crossed past” and since the textiles were exchanged immediately, they preferred to continue with this way of elaboration.

During the first years napkins and tablecloths were made; The drawn figures were embroidered with colored cotton threads, alluding to the traditional blouse of the region, and with red and black colors, representing the cave paintings found in the El Cirio cave. Subsequently, since the 1990s, due to the increase in distribution channels and market demand, they decided to make other objects that they did not commonly embroider, such as clothing, pillowcases, curtains, bags, bookmarks, and earrings, among others.

Nowadays, textile production is carried out both in Tenango de Doria and in Pahuatlan de Valle, and for several years, in the municipality of San Bartolo Tutotepec, due to the quantity and variety of embroideries that are now manufactured in the region, the embroiderers of Tenango de Doria have established certain categories to define their textiles as authentic and thus be recognized. An original tenango is one elaborated in its entirety by the same person, that is to say, that the drawing has been made by also the embroiderer. Textile manufacturing is considered a creative activity that cannot be interrupted; As they draw, they think about what colors each figure should have.

Currently, this form of production is unusual given the dynamics of the market, which is why the embroiderers have added to the definition of original embroidery, that it be done by someone who belongs to one of the towns of Tenango de Doria, as a kind of “Appellation of origin”.

Another characteristic is the way of embroidering, the technique “to the crossed past” must be carried out properly to prevent the blanket and the traces of the drawing from being seen through the threads. The back of the textile should not have folds and the stitch should only be seen as a line that marks the outline of each figure. For the embroiderers, the technique is one of the identification criteria because it expresses specific knowledge of certain localities, which through learning from generation to generation have been perfected.

The choice and combination of colors also allows defining whether or not it is an original tenango; for embroiderers they must be contrasting with each other, different from the representation of the figure and, by means of them, mark the details of the drawing. Some use the first combinations, black with red, and others prefer to embroider with colored threads. Recently, they embroider with a single color, either by request of the buyer or because this allows them to finish an embroidery in less time, thus they do not invest time in choosing and combining colors according to the created composition.

With each of these elements or with all of them together, the embroiderers determine if a textile was made in their locality. Likewise, these elements are used to establish borders in terms of ethnic identity; They are forms of manufacturing that correspond only to the population that belongs to one of the localities of Tenango de Doria.

In April 2016, the Pottery Barn and Williams Sonoma stores incorporated into their sales catalog pillows embroidered with the technique and iconography typical of the tenangos. Through social networks, a Mexican woman residing in Chula Vista, California, requested signatures that were gathered on the Change.org page for the company to stop the production of “Otomi textiles” in China and to stop marketing them. Although the required number of signatures were not obtained, the pillows were removed from the display areas of the stores located in Mexico City (Polanco and Plaza Oasis).

We cannot continue cultivating the plagiarism of the Intangible Cultural Heritage of the Original Nations for commercial purposes that favor private consortia. Both these motifs and their technique have an owner and it is the indigenous communities who have preserved them through the tradition of their preparation until today. Similarly, civil associations have denounced the cultural appropriation of the tenangos, considering them part of the cultural heritage of Mexico.

The tenango is a unique piece, a craft created in the day to day of the artisan, the inspiration is always different, every day is different and that is why from its conception a tenango is a remarkable and unrepeatable piece, not only in its design but also in the orientation of the embroidery and the combination of colors. The embodied drawings are particular interpretations of reality and come from the imagination, which makes all the embroideries unique.

No items were found matching your selection.
The Procession of Silence manifestation of popular mourning

By NÔMADE CINEMA

Reading Time: 4 minutes

The Procession of Silence in San Luis Potosí, has its origins in 13th century Spain, when Franciscan priests began their Processions of Blood, in which they inflicted physical punishment and represented scenes related to the Passion of Christ. In the 16th century, the ritual was brought to New Spain thanks to the order of the Discalced Carmelites, it would be established annually, as it is now, until 1954. Since then, it has become the most important Catholic procession. important of the Mexican Republic. Religious heritage that reveals the faith of Potosi, the Procession of Silence is a powerful communion of people with God.

This particular procession was officially established in 1955 by Monsignor Joaquin Antonio Peñalosa Santillan, with the support of a very large community of Creoles and descendants of Spaniards historically settled in the town. At that moment, the bullfighters Fermin Rivera, Nicolas de San Jose and others began a small procession to promulgate the Via Crucis and the pain of the Virgen de la Soledad for the bullfighters’ guild, in the Iglesia de El Carmen. It is based on the Holy Week processions in Seville, Spain.

The squares in the center of the city are filled to capacity. The streets are crowded with people, food, sweets, relics, chamomile, blessed bread, incense, candles and solemnity, everything opens up to Easter. A silent procession of more than two thousand people including children, young people, women and men, carrying venerated images on a litter, which are the reason for the crowd.

On the night of Good Friday in the Plaza del Carmen, profusely illuminated, the Teatro de la Paz and the Federal Palace, beautiful vestiges of the 19th century from San Luis Potosi, make a fence for the demonstration of pain. The neighborhoods of Tlaxcala, Santiago, San Miguelito, San Sebastian, El Montecillo, San Juan de Guadalupe and Tequisquiapan are present. The Convents are also present: The Carmelites, the Augustinians, the Franciscans and the former Jesuits. Children, young people, professionals, railway workers, (all turned into brotherhoods) in addition to the Charros and the Adelitas, the Praetorian Guard and the Veronicas.

It is eight o’clock at night, everyone is waiting for the start of the duel, the departure of the Procession. The bugle, from the steps of the Teatro de la Paz gives the order to start, the Praetorian Guard walks martially towards the main door of the Templo del Carmen and calls the Zaguan that opens and begins the Procession of Silence. Eight chimes, three knocks on the door and a spirited steed mounted by its rider, in front of the square and followed by a pennant carved in silver, a High Cross and candlesticks plus the Brotherhood of altar boys from the Tequisquiapan neighborhood lead this demonstration of mourning popular.

Members of the different brotherhoods, most of them penitents with their faces covered and bare feet, many of them dragging chains, will accompany the images, carried on a litter by the bearers, with the impressive roll of drums and the sound of trumpets. Some, due to their enormous weight, represent a penance that is carried out with fervor. As has happened in previous years, those who attend the Procession of Silence participate with devotion and respectfully observe the passing of the images.

People form the procession, they are also the spectator. The rebozos of Santa Maria shine in gold, red, blue, gray, pigeon, white, yellow and green. Mourning is rigorous in the ladies, they wear a comb and a braided shawl; brothers with tall dresses, lampposts and a devout silence, only interrupted by the duel of the drum and the bugle. The saetillas in honor of the Jesus who is going to be sacrificed, as well as of the Virgen de la Soledad, who closes the passage of the procession, will be released at strategic points, from those architectural jewels that are the balconies of the city, to move even more to those who witness the procession.

La Dolorosa, La Virgen de la Soledad, a precious sculpture sculpted by Manuel Tolsa, full of tuberose and illuminated by more than a hundred candles, with a tearful face, crowned and resplendent with stars on her diadem, covered by a cloak in the form of a cloak for a walk , under a precious canopy embroidered in black and gold, while the Costaleros raise it in public view in a canopy richly covered in gold. He is the central figure that the people want to see, offer their condolences. Today, the world remembers the death of Jesus. Thus, the slow and painful journey after several hours will come to an end, when the image of the Sorrowful Virgin crosses the threshold of the Templo del Carmen last.

One Good Friday night he received, once again, the solidarity of Catholics in his immense sorrow. In a procession that lasts 240 minutes and in which 20 brotherhoods with 2,000 people participate, illuminating their pilgrimage through the streets of the center of this colonial Mexican city with 3,000 candles and which is followed by the silent gaze of thousands of spectators. It is the representation of the thirteen stations of the cross and five painful mysteries.

According to Catholic tradition, Holy Week is the last week of the period known as Lent, which begins on Ash Wednesday and ends on Good Friday. During this period, seven Fridays of Lent have to be fulfilled, since each of them is dedicated to a religious dedication or passage from the period of the passion of Jesus Christ. There are people who affirm that during the seven Fridays you have to do total penance. Lent, a period of forty days in which the rites of penance and repentance are established, contrasts with the Carnival festivities, which are the prelude to Lent.

Today, it is the only procession in Mexico that represents all the stations of the Via Crucis. It was declared part of the Cultural Heritage of the state of San Luis Potosi in 2013, as well as the most important civic and religious act in the State.

No items were found matching your selection.
Holy Week dances

By Instituto Nacional de los Pueblos Indígenas

Reading Time: < 1 minute

This book presents four stories dedicated, each one, to a regional dance of Holy Week, a different region in each story.

The author shares that each story is a “story in motion” since it comes to them from the dance, from the waddling that the characters carry out and that in some way also dances with the narration itself.

The author says that the stories are about dancing and asks the reader to dance, to dance, to imagine that they can feel, the bodies of the beings that inhabit the story when moving… “just let yourself go.”

“La comunidad de San Pablo Huixtepec recibe la Semana Santa con toda una gama de celebraciones, color, música y mucha, pero en verdad mucha comida. Yo, que ahora vivo en la ciudad de Oaxaca, sigo asombrándome por lo exuberante que resulta la celebración…”

Lic. Adelfo Regino Montes
Managing Director
Instituto Nacional de los Pueblos Indígenas

Mtra. Bertha Dimas Huacuz
General Coordinator of Cultural Heritage and Indigenous Education

José Luis Sarmiento Gutiérrez
Director of Social Communication

Paula Sofía Bautista Salas

Illustrations
Carlos Salvador López Pérez

Editorial design
María Inés Ortega Canul

Style correction
Arely Durán Fernández
Kevin Flores Zavala

Coordination
Norberto Zamora Pérez

No items were found matching your selection.