Transfer
Thanks to all the gifted artisans who not only let me into their workshops, but welcomed me into their houses and lifes.
Transfer An observation of mexican handcrafts and culture Maintopic | Intermediate Examination 2013 Prof. Jenz Grosshans | Concept Design Kรถln International School of Design I hereby guarantee that I have completed this work on my own. In addition I have not used any other sources as those that have been quoted and properly documented.
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March 2013 Brenda Olalde Miranda
Index
Introduction 1 Mexico and its indigenous groups 3 Handcraft, folk art and artisans 5 Materials and techniques Paper Amate paper 8 Pi単atas 16 Cut-out paper 20 Papier mache sculptures 23 Alebrijes 26 Clay 29 Black pottery 33 Burnished pottery 38 Petatillo pottery 41 Fibers Wickerwork 44 Textiles 48
Masks 52 Viejito masks 53 Tastoanes masks 55 Lucha Libre masks 57 Proposal and Result Conclusions and Reflections Sources and works cited
59 62 63
I n t r o d u c ti o n
The oldest cave painting is found in Spain and dates back to
During this investigation importance is given to such objects, and the
at least 40,000 years, we can assure then the fact that since ancient
people who still keep alive this handcrafting techniques that have
times human beings have given importance to leave traces of their
almost entirely extinguished nowadays due to a new technological
own and their societies, as small or big as they might have been be-
advanced society.
hind; a trace for others to discover, acknowledge and even admire.
Such techniques and artisans are admired even today by the master-
Such traces or hints have often been left in what we might consider
ful way in which such materials are manipulated with almost no tech-
nowadays artistic representations. This may strike archeologists in the
nological help or usage of complex tools, used by normal manufactur-
form of entire architectural findings, to household handmade items or
ing processes.
even paintings on caves as mentioned above. What all of these items
Not only materials and techniques are important in the production
have in common is that they all attempt and seek to narrate a story
of such objects, but also cultural value has a great importance in the
of what happened during past years to future generations. Objects
meaning and message carried by this objects. Mexico is in the top
often symbolized important characters or historical events and carry a
five world listings by UNESCO heritage in cultural sites with 27 differ-
message through time; even when these were at first only created for
ent sites. It is also one of the countries in the world with the biggest
decoration or the contrary only for their utilitarian purposes, impor-
number of indigenous groups, counting to 47 in the last year. Such
tance is given to them with time and historical happenings.
environment has nourished the production and survival of a diverse
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and rich series of objects in the country, and given it a worldwide recognition. The following work will focus on Mexican handcrafts, going from a wide variation of techniques and processes used in different mediums, to name a few: clay, fibers, textiles, paper, etc. A small insight to the origin of each object and what it symbolizes along with images and a detailed explanation of the process it undergoes will also be provided in each section.
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Mexico
and its indigenous groups
There are more than 12 million persons in Mexico that belong into an
With the conquest of the Spanish in 1492 technological advance-
indigenous group, this sums up to more than the 10th part of Mex-
ments and new techniques were also brought into the continent.
ico’s total population. On a world scale Mexico is 8th on the list of
Because of this a new art wave known as “tequitqui” was born. “Te-
countries with the most number of indigenous groups. Because of
quitqui” is a term proposed by Jose Moreno Villa, which defines all
this more than 60 different tongues apart from Spanish are spoken in Mexican territory. The principal indigenous groups in the country by
artistic manifestations realized by indigenous people in Mesoamerica after the Spanish Conquest.
number are the following: Nahuatl, Maya, Zapoteco, Mixteco, Otomí
Some of the characteristics of this new art were:
and Tonalteca. These groups of indigenous people not only bring diversity into the
1.
field of language, but also into the culinary, artistic and social field.
posed on indigenous groups, which often ended in a mixture of
While 70% of the indigenous people work in the agricultural sector,
superstitious beliefs.
indigenous people are the poorest sector of Mexican population.
2. Strange mixes of styles from three different periods due to the newcomers: Romanesque, Gothic and Renaissance.
One of the ways indigenous people have used in order to communicate their customs, rituals and ceremonies are handcraft techniques and objects.
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The new interpretation of Spanish religions and customs im-
3.
Presence of an anachronistic style due to the new materials received like briefs, crosses, drawings, ivory etc,
With this new material and influences in hand, indigenous people cre-
Crafts as known today were a concept created in the XX century,
ated new items having in mind their own ancestry crafting technique
when after the Industrial Revolution a difference was marked be-
and feeling mixed with the Spanish technology. This mixture of cul-
tween handmade items and industrial produced items. This difference
tures gave birth to different traditions and styles that colonial artisans
was also named due to the conservation of a cultural nationalism and
today are heirs of.
touristic attraction.
Handcraft as we know them today were in the past a mere trade, in a time where markets and artisan shops didn’t not exist, because all goods needed by feudal society were done in workshops owned by a craftsman who knew respectively the secrets, techniques and characteristics of whatever his or her craft was. This crafts amounted to many, including shoe making, silver and iron making, crystal making, etc.
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Handcraft folkart and artisans
We must first define and understand the difference between craft
The wide and rich variation of materials used, reflect the country’s
and folk art, in order to analyze the works of artisans. The word
ethnic variety, which show in its own the multifaceted image of the
craft refers to “the skill and mastery of working with materials and
Mexican people. In fact Mexican crafts are one of the richest and
or processes.” Because handcrafts are made by hand as the name
most varied crafts in the world.
suggests, they do not follow high art rules, or industrial production
While most handcrafts are usually produced with natural materials
frames of quality; each product is different and unique. Because of
from surrounding areas, it is the high cultural value and the hand-
this reason crafts are often associated with the applied or “low” arts.
made process that determines if an object is or not a craft. Some
The Mexican Secretary of Public Education defines handcrafts as:
of the materials used for widely known Mexican crafts, are made
“the art of producing hand-made objects with very simple instru-
with materials of industrial production; for example textiles done
ments.”
with synthetic fibers, or products made by the “huichol” indigenous
1
2
These objects may be categorized into two sections, utilitarian ob-
group which are decorated with plastic beads. It is then obvious that
jects and decorative objects. This applies both to traditional crafts
the cultural value in these items is the most important aspect. This
and recent inventions. Popular handcrafts are defined as traditional
may be found in different characteristics of the product: form, color,
crafts; these are associated with festivities, common tastes or rituals.
technique, symbolism, etc.
1 2
5
Erlhoff Gonzales
Old traditional Mexican houses are well known for their narrow front,
This includes all steps of the process, from acquiring the materials to
big depth, and few indoor open gardens. Such environment provides
the final decorations.
Mexican artisans with the opportunity to have a workshop where
Nowadays a lot of artisans belonging to a big family have divided the
they can work in their own houses. The Mexican artisan works in fam-
workload, by specializing each of the siblings in one step of the work.
ily workshops and specializes in a specific material and technique. Ar-
No matter how a piece of work is done, all products being handmade
tisans copy and create new models, but often they inherit from father
are unique works, even when only a detail differs.
to father the original molds to make the basic shapes of each object, off course with time and taste, each generation adds or removes new things to the work, responding also to the needs of the present market. Most Mexican artisans start very young to learn their trade, and often lack an academic education. However they thoroughly know and master all the aspects of their trade. A complete artisan is one who elaborates a piece of work from beginning to end.
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The word folklore has its origins in old English language, its roots are folk: which means people and lore: that means science. Therefore being the Science of the people. Folklore is a field of science, which “collects, analyzes, compares, popular songs, traditions, proverbs, games, ceremonies of the people of a town with the rest.”3 Historians debate that folk-art is the most authentic form of art, because it’s practiced by the people anonymously from its own origins and roots. Folk arts are common expressions of a society, spontaneous and instinctive ways of visualizing the invisible. Artisans fall also into the category of folk art, with the high cultural and social value that their work has; even to themselves some of them as Jose Angel Santos Juarez believe that their work does not belong to them but rather is from the people and for the people “it’s a work emanating from the popular, that comes from the village and is thus a cultural heritage.” 4 3,4
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UNAM
Materials paper
Amate paper Paper is probably one of the most accessible and flexible materials
The first paper ever used in Mexico was amate paper. Amate comes
known to artisans. All work done with paper by artisans falls into the
form the word amatl that in the native language nahuatl means pa-
category of cartoneria which comes form the word cardboard.
per. Mayas called it hunn, which means bark, or book and Aztecs
Paper or cardboard being free or incredibly cheap to attain has be-
named it amatl. Both indigenous groups used it to write codices, and
come “the raw material of a poor art� . Most of it its collected by
sometimes for decorative purposes. Amate paper was produced in
recycling or trash, thus minimizing the cost of acquisition. What may
the cities of Puebla, Veracruz and Hidalgo and later used in different
be a common item or even considered trash for ordinary people, is
parts of the country, until the Spanish arrived. When the Spanish ar-
a tool for artisans to create astonishing objects. We may write lists,
rived to Mexico they also brought a new type of paper, tissue paper,
messages or even diaries with our most hidden secrets on papers,
which is known as papel de china (Chinese paper) in Mexico. This
but handicraftsman and woman communicate this and more through
paper replaced amate paper, which is now only produced in a small
art on paper. One can basically do anything to paper, folding, cutting,
village in the city of Puebla, named San Pablito. Amate paper is made
pasting, tore into pieces, submerge in water; the possibilities are lim-
out of the bark of the wild fig tree, the nettle tree and mulberry tree,
itless and so are the numerous handcrafts and objects made with it
depending on which bark is used the color and darkness of the pa-
by artisans.
per, going from dark browns to silver whites.
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8
Pontones
The intensity of the color also depends on how old the tree is, the
Amate paper is still produced today but in a more commercialized way
older the tree the darker the paper. Artisans who still elaborate this
in order to gain attention from more customers; bookbinding, lamps,
paper, cut out figures, which are used by the village people in ritu-
and paintings are some of the examples produced for the modern
als of medicine and witchcraft, it is believed that items made from
market nowadays
amate paper have magical functions. Two types of figures are usually present in different festivities and ceremonies along the year; good spirits are presented in amate white paper and bad spirits in the dark amate paper. Nowadays amate paper is also used for strictly decorative purposes, may it be paintings on it or the production of other objects with it by artisans of the area. Papers are produced in all sizes, from bookmarks or greeting cards, to big papers for artwork painting ranging up to 1,50 m x 2,40 m.
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E laboration
process
Amate paper
The technique and process for making amate paper is nowadays basically the same as thousands of years ago. Men are in charge of getting the materials, that is the bark and women are in charge of doing the rest of the process in order to attain the paper.
1. Men get the bark from the tree with the help of a machete and their hands. 2. Then they separate the dark and hard part from the softer and lighter part that is used for the making of the paper. 3. The bark is then tied up in a special way in order to occupy less space in its transportation. 4. Woman wash the bark, boil it, and leave it in water for at least for one day, since that will soften the bark and make it easier to handle. 5. The fiber is then organized in a wooden piece in lines in order to form a grid. 6. It is then hit and pressed with a volcanic stone called mondo in order to cover all the empty spaces and have a regular surface.
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While amate paper is very ancient and was present in early Mexican
mitting any messages while paper may contain but being fragile and
civilizations like the Aztecs and Mayans, cardboard was not available
weak it is a better means for transporting messages and information.
until the eighteenth century. It is thus understandable that the boom
Another important factor we should pay attention both in paper by
of paper and cardboard folk art happened in the mid 19th century,
itself and handcraft objects made with paper is it’s ephemeral na-
lasting until the late decades of the 20th century, and decreasing its
ture, which is that of being temporal. In comparison with plastic that
numbers after the 20th century consequence to the new introduc-
will last forever, paper will most likely break or fade away; but this is
tion of plastic into the market. This made it hard for paper products
not seen as a disadvantage for artisans but rather as an advantage.
to compete with the durability and resistance of plastic toys, masks and other products.
cut out paper and piĂąatas are both great examples of Mexican hand-
We may categorize paper at this stage in two wide groups: paper and cardboard. While paper contains and transmits messages, that is being a perfect carrier of information, cardboard wraps and protects important objects; in a way cardboard only keeps and contains without trans-
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crafts that use the disposable and flammable characteristics of paper to its benefit; both objects are made specifically for a temporal existence and planed destruction; no one will keep an unbreakable piĂąata or Judas figure at home, they must be broken as tradition dictates.
For every need desired to be performed by paper in a piece of work, artisans use a different type of paper; some are colorful and light, while others may serve as a background structure due to their resistant properties.
Types of paper 1. Tissue paper: this paper is very thin, easy to manipulate and available in a wide range of colors, which is why we find it in most artisans work used as part of the final decorations. 2. Crepe paper: this paper comes also in a variety of colors and is known for its natural elasticity and resistance. 3. Minagris paper: its thickness and resistance is ideal for the elaboration of thick bases required sometimes on the first steps of the production of different handcrafts, available only on a grey color.
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In order to complete paper handcrafts, artisans use other materials apart from paper. We may divide these additional materials depending on their usage and purpose in the following categories: support materials, articulation materials, adhesives materials, decoration and last details/decoration materials. 1. Support materials: balloons, wires, wood, etc. basically any object that serves as a first base or structure in order to form the majority of the pieces needed for the final object. 2. Articulation materials: wood and wire. 3. Adhesive materials: the most common paste used is called engrudo which is a mixture of flour, water, and a small amount of commercial white glue. Every artisan makes its own mixture, but they all have the same ingredients. 4. Decoration materials: Traditionally paper work arts were painted with natural powder pigments that were processed and prepared by the artisans, but nowadays, these have proven to be very hard and expensive to obtain, which is why now all work is done with vinyl or latex paints. Additionally extra decoration is added to the figures with seeds, glitter, ribbons, fibers, beads and so on.
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Different techniques are also used depending on the object desired. Basic techniques include the following: working with molds; on a previously made frame/structure that serves as a base, and free hand modeling. All of these techniques can sometimes also be mixed in order to create just one piece of work. In order to understand better the use of materials, and techniques we will look into the manufacturing process of the following paper handcrafts: piĂąatas, cut-out paper, and paper machĂŠ sculptures.
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Piñata A piñata is “a decorated vessel (as of papier-mâché) filled with can-
mas celebration but has grown to be a mandatory item for children’s
dies, fruits, and gifts and hung up to be broken with sticks by blind-
birthday celebrations. It is important to remark than in the latter oc-
folded persons as part of especially Latin-American festivities (as at
casions, piñatas have been made in the form of different television
Christmas or for a birthday party)”.
and movies characters in order to appeal to the target group of chil-
6
Piñatas first came to Mexico with the coming of the Spanish and
dren, however the traditional piñatas are the ones with form of star
were part of other celebrations linked to Christianism. The vessel or
(seven spikes), as piñata makers call them.
container of the piñata represented Satan, which attracted people
The traditional piñatas were done with clay, but due to the danger
with its appearance. The fruits and candies contained inside, repre-
and injuries caused by it to children when it was broken, artisans de-
sented the unknown pleasures that he offers to man in order to at-
cided to make safer piñatas, which were made of paper. The size of
tract him into his reign. And it is the blindfolded person who repre-
piñatas may vary; there are piñatas as small as a hand and as big as
sents faith; faith must be blind and is in charge of destroying the evil
1.5 meters.
spirit. The oldest and more traditional piñatas are made with seven spikes, which represent the seven deadly sins: lust, gluttony, greed, sloth, wrath, envy and pride. This whole tradition was received by the Mexican people from the Spanish and is now not only a Christ6
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Pontones
Artisans start working in mid October and November, collecting and cutting all the newspaper pieces they will need and making the spikes already, leaving only the making of the container and decoration for late November and December. Piñatas are broken in Mexico from the 16th of December to the 24th in parties called posadas, the word posada means ones own house, or a place where one can receive guests; this celebrations have a religious meaning too, remembering the journey of Mary and Joseph from Nazareth to Bethlehem, where they seek a place to stay to give birth to Mary’s child. We may thus classify piñatas as a decorative object used in religious occasions in the case of the star piñatas and as a decorative object used in celebrations in the case of its usage in birthdays.
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E laboration
process
Piñata
As we’ve mentioned above the seven spike piñatas used for Christmas are the traditional piñatas, this can be found nowadays in the market both made in clay and in paper. The ones made in paper are done with the technique of the usage of a model, in this case using an air balloon.
1. A balloon is first inflated with the size one desires the middle container to be. 2. Pieces of newspaper are cut into small squares and pasted into the balloon with the help of a homemade adhesive called engrudo which contains flour, water and a small amount of commercial white glue. At least six or seven layers must be added to the balloon in order to have a hard shell, which wont break as easy as thin ones. 3. Then the balloon with the newspaper is left to dry off and when it is as hard as desired, one must pop the balloon, leaving then an egg shaped container with a whole in the top, which will be used later to fill up the piñata with food, candies, and gifts. 4. Next, the seven spikes are done with minagris paper and are covered with foil paper. 5. Tissue paper is added all over the container in small stripes and in long lines at the end of each spike, the tissue paper is curled up in the container using a wet towel.
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Cut out paper Another Mexican paper handcraft present during celebrations is cut-
The designs made in the paper are also dependant on the occasion
out paper. Cut-out paper is a paper with symmetrical cut out designs,
for celebration. Independence Day papers usually portray national
this are created through the tiny holes left by the artisan who makes
heroes, bells, nopales, sombrero hats and the phrase “Viva México”.
them. They are used to decorate and to light up a room or outdoor
Day of the death decorations include the famous death skull named
places like squares or streets with festive colors. It is also well known
catrina which means elegant skull. The catrina is portrayed in differ-
for its presence in the famous Day of the Dead, celebrated the 2nd
ent positions and often engaged in dancing or celebrations, it always
of November. Cut-out paper is usually hanged across a room in a line
seems playful and is not portrayed as a frightening figure, which con-
of string, it is only used as a mat in the altars arranged on the Day of
veys the whole message behind the Day of the Death tradition. For
the Death.
general sheets of cut out paper for any celebration or occasion, arti-
Cut out paper is made with tissue paper, a lightweight paper available
sans tend to portray flora and fauna themes.
in a wide range of colors. The colors used depend on the celebration
Cut out paper as well as piñatas are bright, colorful but also signal its
to be had. For civic celebrations like Mexican Independence Day the
ephemeral nature. Being tissue paper so delicate and thin, it is never
colors used are those of the Mexican flag, green, red and white. For
used twice and disposed after the party or celebration is over.
the Day of the Death celebrations, black, purple and orange are used.
It is mainly produced in the cities of Puebla, Jalisco, Michoacán and
For any other general celebration a range of primary colors are used.
Mexico City.
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E laboration
process
Cut out paper
Cut out paper is done 100% by hand, and also involves the whole family of the artisan, the wife and children usually cut the sheets of paper into the desired size, count it, pile it when its done, and are in charged of the packaging for its final destination and sale. While the artisan typically the husband is in charge of making the design on the paper. 1. The first step is to count the sheets of paper, up to 50 sheets may be perforated at the same time. 2. They are then laid down on a table, above this the artisan will place the pattern of the design desired made in Manila paper. Once he has the whole pile of papers and the pattern, he will staple this together, so they don’t move while he is working. 3. Then the artisan will proceed to perforate the paper with a hammer and the metal mallets or chisels. Each artisan may have up to 50 different chisels, which are different both in size and shape. 4. Square by square and cut-by-cut, the design will be attained. Usually a professional cut out artisan will be able to finish a set of 50 sheets in 3 to 4 hours, depending on the difficulty and size of the work. 5. After the papers are done, they will be pasted on a string intercalating designs and colors of the same thematic, and then packaged in a plastic bag to be sold.
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Papier maché sculptures The term papier maché comes from the French for ground paper.
Melquiades Preciado passed away in 1992, nevertheless his brothers
Papier maché handcrafts unlike other paper handcrafts are strictly
and their children who continue to work in the workshop keep the
created for their decorative usage.
tradition of this craft alive today.
Generally the iconography and style used on the sculptures does not correspond or match with the traditional patterns we see reflected in other paper crafts; this is not only because of the style of the pieces but because of the acrylic lack layers applied at the end of its production which make the figure look very shiny. Because papier mache sculptures have no relation with any festivities or particular celebration they are produced throughout the whole year. The oldest and most important workshop that creates papier maché sculptures in Mexico is based in the city of Tonala, Jalisco. Named after its two founders first three letters of their names SERMEL; was founded in 1963 by Sergio Bustamante and Melquiades Preciado. Sergio Bustamante left the workshop by the end of 1970´s and
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E laboration
process
Papier machĂŠ sculptures
All the pieces are made of fiberglass molds, depending on the animal to be done, several molds might be used, the most complex pieces may use up to 18 different molds. Sermel produces a wide variety of paper sculptures, most of them refer to animals, for example giraffes, turtles, ducks, unicorns, etc. They can be as small as 10 cm to as big as 2-meter tall giraffes. 1. The first step is to fill each half with a mixture of grounded cardboard and engrudo. Then the pieces must be left a couple of hours to dry off, until they are hard enough, to remove them from the mold. Once they came out of the mold they must be left once more to dry off completely. 2. The leftovers from the figure are then cut and the two halves are glued together 3. Then the whole piece must be covered with newspaper and engrudo. 4. Details are then added to the figure: eyes, hands, feet, all of these details are sculpted with paper paste, a mixture made by combining ground paper and engrudo. After the details have been added the whole figure is covered once more in another three layers of paper paste, but this time a finer paste is prepared. 5. Once it is completely dry, the piece must be sanded, in order to leave the entire surface smooth. 6. With the modelling done the figure is then first painted with a white coat and then colored with acrylic paintings, after this base colors, the details are added, again with acrylic paintings, and final details are added with watercolor. Finally a layer of acrylic lacquer is applied to the figure.
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Alebrijes Alebrijes are bright colored painted sculptures that represent an im-
Alebrijes are nowadays world famous and the family of the Linares
aginary animal. The first alebrijes were down in paper technique in
is one of the few artisan families that have managed to make a liv-
1936 by Pedro Linares. Who describes this pieces now as “what one
ing out of their craft. Some of their customers include Diego Rivera,
is seeing, and what one is thinking” this fuses both the realms of fan-
Frida Kahlo, the Rolling Stones and David Copperfield. Pedro Linares
tasy and reality, depending on the artisans imagination the form that
passed away in 1992, however the tradition is still kept alive by his
the creature will take. Linares was a paper artisan; he made piñatas,
family, who work in their own workshops in their houses in Mexico
masks and Judas figures with papier maché in Mexico City. It was not
City. Some people believe that alebrijes may keep their home safe
until he became ill and due to high fevers, during period of hallucina-
from bad spirits due to their monstrous look, however this was never
tions that he saw this monsters in his dreams and they were all re-
stated or confirmed by its creator.
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peating to him the same nonsense word “alebrijes,alebrijes,alebrijes” when he finally woke up form his hallucinations and recovered his health, he decided to create this creatures by using his craft, papier maché sculptures.
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Gil
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E laboration
process
Alebrijes
The materials used to make alebrijes are newspaper, tissue paper, manila paper and brown paper. Metallic and fluorescent colors are generally used for coloring alebrijes.
1. The artisan must first model the basic shape of his final figurine, this can be done both by free hand modeling with paper and engrudo and with framework and knotted wire skeleton 2. Extra pieces as big ears, a tail or wings, are done separately so they can be removable and thus not break when the piece is transported. 3. Once all the parts of the figure are done, the artisan paints them with acrylic paintings.
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Materials clay
Pottery
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The word ceramic has its root in the Greek language word keramus
The production of any item of clay follows the following basic pro-
that means burned clay. All civilizations got to know and use clay in
cess: molding, drying and baking. The materials used can be catego-
ancient times, but it is believed that its discovery was accidental. Ba-
rized into two types, minerals as oxides and colorants and organic as
sically any type of soil that is made out of clay, when exposed to fire
color pigments.
will hardened up. Wet or humid clay has plastic features that allow it
The quality of clay affects the quality of the final piece too, there are
to be molded into any form, once clay is baked though it is hard as
three different types of clay: porcelain, ceramic and pottery.
a rock, and practically eternal, it is not affected or decomposed by
Porcelain is the finest class in which clay can be acquired; it can only
natural elements. Due to the above mentioned qualities of this mate-
be attained with pure clay, this is called kaolin, in Mexico this type of
rial, it played an important role in ancient civilizations, it was not only
clay it is not used for artisanal work.
used to contain both food and water, but also as a canvas for cultural
Ceramic is a mixture of clay and different synthetic pastes and are
manifestations of different towns and societies. Different items were
baked at high temperatures, 1200º to 1400º Celsius.
done with clay, while some were purely utilitarian like pots, glasses
Pottery is the most used in Mexican artisans, it is basically just the
used in households, others were more ornamental and ritualistic
pure natural clay, with no synthetic pastes added, it’s baked at lower
items, toys and miniatures were also done with this material.
temperatures, 800º to 900º Celsius.
Clay used in traditional Mexican pottery can be divided into four different types of powder: 1. Plastic clay: used in all traditional pottery processes, artisans call this material, black, chewy or sticky clay. This clay is characterized by its high plasticity properties and while this allow the artisan to manipulate the material in many forms, it is usually mixed with other types of clay, that are not so plastic, in order to give more solidity to the final object. 2. Ocher clay: added to plastic clay in order to provide it with more stability. Artisans know it as smooth or white clay. 3. Ferrous clay: tends to be really hard and less plastic than both clays mentioned above. It is mainly used as colorant for other clays due to its high concentration of iron oxide,it is known by artisans as red or colorful clay. 4. Lacquer clay: plastic clay naturally decanted from black clay, which by removing most of its oxide contents, when baked creates light cream or pinkish colorations. It is usually added as the final step of the process, in order to create a shinny effect.
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With a mixture of all this clays artisans create two types of work, utilitarian objects and decorative objects. Utilitarian objects are basically pots, jars, glasses, large vases for water, plates, teacups, etc. Ornamental items can be animal figurines, platters, jewelry boxes etc. Three different kinds of techniques are used for the modeling of the pieces:
1. Hand molding: where hands fingers and an awl are usually used. 2. Molding with a potter’s wheel: this can be either mechanical or activated manually. 3. Molding with a previously made mold of clay or plaster: this technique is usually started with a simple basic figure done with a mold but it is finished by hand with the addition of small details and forms. All of these techniques can also be mixed and used to make only one piece of work; it all depends on the artisan’s skills and preferences.
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The tools used for the final decoration of the objects are acrylic or natural paintings, and brushes. The brushes are in almost all cases made by the artisan himself with hairs of dog or cat. The different techniques of the pieces are what defines what type of handcraft it is, and where the process for each work starts to differ.
1. Barro bandera: which translates to flag clay, which uses the three colors of the Mexican flag, red white and green for the decoration. 2. Barro negro: which translates to black clay, because of its black shinny final look. 3. Barro bru単ido: burnished clay, which acquires a shiny effect by rubbing it with rocks and minerals. 4. Barro betus: which is known for its shinny and colorful finish. 5. Barro petatillo: petatillo pottery, which is decorated with cross hatch lines.
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Black Pottery Eusebio Mateo Ortega, black pottery artisan explains us the origin
However in Guadalajara, the black acquired in pottery workings is
and the process he follows to create his pieces.
more clean and shinny and is acquired through the burning of eu-
Black pottery was first done in 1953 by Do単a Rosa Leal in San Bartolo
calypt leafs while the pieces are still in the oven, due to the ashes
Coyotepec ,Oaxaca. She was a very humble woman who mastered
produced from this plant. All the pieces produced with black clay are
the craft of pottery making but knew that the market will start to
merely decorative and cannot be used to store liquids; the typical
decrease due to the introduction of plastics into the market. Because
pieces made are decorative plates, different type of vases, and min-
of this she decided to try new techniques to acquire a new original
iature xoloitzcuintli dogs. Black clay pottery is known worldwide be-
handcraft that will grab the attention of new and old customers. So
cause of its pure but shinny blackness.
one day when one of the pieces was just out of the oven she started to burnish it with a rock that gave it this black color. New customers and foreign people started to ask for these wonderful pieces of black shiny pottery. This technique was then widespread through the state of Oaxaca, which is famous nowadays for this handcraft.
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E laboration
process
Black pottery
Eusebio Mateo Ortega belongs to the pioneer family of this technique and explains the steps to be followed. The clay is first prepared by mixing the powders depending on the type of figure to be made, the powders are laid and mixed in the ground, after this they are grinded and pulverized using a rudimentary tool called by artisans the ball rock which is basically a big heavy oval shaped rock, by rotating this stone a fine powder is acquired. 1. make a tortilla with some clay and hit it with a rock known by artisans as testal this action is called enanchar. 2. The clay is then placed on a pre made mold, which is commonly known as mushrooms because of their form. 3. The exceeding material is removed and the piece is let to dry for a couple of minutes. 4. Meanwhile another piece is created by free hand molding a tube like figure that will make the mouth, leg, or top of whatever the artisan wants to design at the end. 5. With a potter’s wheel, and a small amount of water both pieces are pasted together, with a piece of leather he pronounces the opening on the figure, and then with a metal piece, he makes the hole in the figure. After this the figure must be left to dry for two to three days in the sun. 6. Once it is completely dry, the piece must be sanded with river rocks and then put out to the sun again.
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1.
2.
3.
4.
5.
6.
35
E laboration
process
Black pottery
7. After it is completely dry they give the whole piece a bath with red clay, which will give the piece its natural brightness.It is then burnished with pyrite rocks to make it smooth, shiny and resistant. 8. Black pottery is then decorated with cuts made with blades, and knife instruments. This is the only type of pottery that is decorated this way instead of the normal use of paint. 9. Once the artisan is happy with the design he has cut into the piece, he can then proceed to burn it in the oven, the oven is homemade with an open sky, the pieces must be completely burned before the leafs of eucalypt can be burned in a separate oven, where piece by piece the artisan introduces the figurines and makes sure to turn them over and over, so they turn black completely. After this they must be let alone to cool off and then a quick wash with water will let them shinny and completely black.
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7.
8.
9.
10.
5.
6.
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Burnished Pottery All members of the Jim贸n family have been creative potters of Tonala for over 50 years. They are especially famous for their own creation and design of a piece called the granada which translates to granade. Their specialty is bru帽ido pottery, which may translate to varnish or polishing pottery. The characteristics of this type of pottery are a red background color, due to the use of red clay, a natural shine thanks to the polishing technique, white decorations usually of flowers, and a nice fresh taste on water stored in this recipients thanks to the red burnish clay used. This technique is probably the most ancient technique of pottery known in Mexico, works have been found by archeologist dating up to the year 600 A.C.
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E laboration
process
Burnished pottery
Florentino Jim贸n makes his designs with the help of molds but also free hand modeling.
1. Make a tortilla with some clay and hit it with a rock known by artisans as testal this action is called enanchar. 2. The clay is then placed on a pre made mold, which is commonly known as mushrooms because of their form. 3. More pieces are done this way or by free hand modeling depending on how complex the final figure will be. 4. With a very thin brush and while spinning the plate, decoration is added to the piece with acrylic paintings. 5. When the figure is dry and decorated it is then burned in a homemade oven with open sky at no more than 800潞C, otherwise the piece will lose its glance, for about three hours.
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1.
2.
3.
4.
5.
6.
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Petatillo Pottery Jose Bernabé is one of the best known and most famous ceramic
world still buy a lot of work from Bernabés workshop; a tableware
artists of Mexico. Belonging to the fifth generation of the Bernabé
set for with around 20 pieces costs around 11827.14 dollars.
family who specializes exclusively on the petatillo pottery technique,
The family Bernabé is very proud of their success but are aware that
he lives and works in his house in Tonala, Guadalajara, where over
hard work and innovation have been influencing factors for the pres-
200 years have gone by doing this work and is still kept alive by Jose
tige they’ve earned. Not long ago the grandparents of Jose Bernabé
Bernabé and his seven sons.
still had a normal wood oven to burn their pieces, the quality of the
The name of this technique comes from the word petate which is a
finishing look of the pieces is far away from what today comes out
palm mat, used in hot countries of Latin America to sleep on, this mat
of Jose Bernabés workshop, this is thanks to his open mind to new
is done with natural fibers and its relation to the pottery technique
challenges and technologies, nowadays even when everything is still
comes from the way the fibers are weaved, creating a cross hatch ap-
done traditionally and by hand, the Bernabé workshop is the proud
pearance. This was later applied to decorate complex backgrounds
owner of a modern oven, which allows them to burn the figures up
of art in pottery, creating thus the petatillo style.
to 1080º Celsius. Jose says happily while he holds a vase in his hands
Petatillo pottery has amazed since long ago both Mexican and inter-
and hits it hard with a pen “ Look! We have made clay sing!” and so
national audiences, in the XVII century the famous Medici Collection
it is, we can hear a very clean sound, characteristic only of the most
bought works done in this technique. Art collectors from all over the
expensive porcelain in the world.
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E laboration
process
Petatillo pottery
The process of this famous handcraft is explained to us by one of his sons: 1. After mixing the clay powder, it is molded into the figure desired. This might be done with the help of molds entirely if a plate is to be created or hand made, when we talk about a vase. After this the pieces must be left to dry off one day in the shadow and two days in the sun. 2. Then the painting designs are added; the first layer of paint is grey and consists of all the shadow of the figures. 3. Then a second layer is added with white paint, which highlights and details the picture. 4. Finally the petatillo background is added to the figure, this is the final painting step and the one that takes the longest time to do. 5. After the painting is done, the pieces are baked in the oven for 8 hours at 1100ยบC and then they are painted with a white lacquer. 6. Then it is baked one more time in the oven for 6 hours at 900ยบ C. this time the lacquer white color completely fades away and the figure is shinier and so are the colors.
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1.
2.
3.
4.
5.
6.
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Materials fibers and textiles
Wickery Wickerwork is the art of weaving without previously spinning the fib-
is known for the making of baskets with handles, one-piece hats and
ers. According to archeologists, this technique was used by different
more elaborate items.
groups of civilizations all around the globe, before the discovery of
Most of the wickerwork production is done nowadays in the city of
pottery. The invention of this craft was discovered parallel to that of
Tequisquiapan Queretaro, which is commonly known as the “Bas-
the agricultural process, being its primary usage that of a container
ketry Paradise� due to the great diversity of this work that can be
for food or materials that needed to be carried from one place to
found there.
another. With time and skill, this objects became more elaborate and
The following products are still produced manually in Mexico with
sometimes even items of ornamentation.
the respective fibbers:
Today as in the past, the tools used to make this handcraft are basi-
Sedge fibber or dry corn paste: palm mats for tables or floor, bottle
cally none; water to soften the fibers, a knife and an awl might be
casings, matting in the shape of stars, horses and mules for the Cor-
used for some cuts, but most of the work is done with the bare hands.
pus Christi Festival.
Some studies estipulate that the most ancient works of wickerwork
Palm: polychrome baskets, flowers, miniatures, rattle with feathers
found in Mexico date back to 600 B.C. In this region two wickerwork
(commonly known as gallitos) hats, and palms for the Palm Sunday
traditions took place, the Pre-Hispanic one, which still exists today in
festival.
the making of rugs, bags and other items and the Spanish one, which
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The fibers used to make this objects are chosen depending on the malleability or resistance of the final object to be done, and they can be classified into two categories. 1. Rigid materials: reeds, weeping, bamboo and agaves 2. Flexible materials: palm, and grass
The tree basic patterns are used in the weaving of objects, one single piece of work may use all patterns in order to create a more complex piece of work: 1. Torcido pattern: which translates to crooked 2. Petate pattern: hich as in clay makes reference to cross hatching lines 3. Cadena pattern: which looks like a chain
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E laboration
process
Wickery basket
Baskets while being the simplest design, are the most common, however other products used for festivities or ceremonies, have a greater detail of decoration. Eugenia Diaz Gonzales shows us the basic process of elaboration of a basket.
1. The first step is to create the round base of the piece, this is done with the help of different stick that are positioned on a circular form all towards the piece. 2. When the base of the basket is done leaf by leaf, and following the round form a bigger vase is weaved. 3. When the base of the basket is big enough and the vertical lines have being created also, they are tied up to mantain the form of the final basket. 4. With the leafs tied up thread by thread the height of the basket is done by weaving each fiber. 5. Once the desired height is reached, the handles of the basket are done, with the left over material. 6. Final piece.
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1.
2.
3.
4.
5.
6.
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Textiles
48
Another type of craft present in Mesoamerica since ancient times
For indigenous groups, their clothing styles represent their culture
was the weaving techniques in order to create clothing. Anthropolo-
and the place where they are from. Although many of these groups
gists think that the existence of this craft precede the discovery of
wear the same traditional garments like: huipiles, quechquemitles,
agriculture and consequently the beginning of sedentary life in early
enredos, cotones and hats. The colors, the embroidery patterns and
civilizations..
the weaving techniques are different.
The task of fabric weaving were resigned to women and girls, it was
Nowadays, the Folk Dance of every region in Mexico is performed
believed to be a sacred gift from the gods to women; when a girl
with beautiful clothing called “traje regional�; regional clothes, each
was born she was given her weaving tools and instruction in order to
region has a particular style based in their history and cultural back-
begin to master this ancient craft, and when she died she was buried
grounds. Folk Dance has helped preserve the traditional music and
with the tools that had accompanied her during her whole life.
clothing.
During prehispanic times natural factors defined the materials used
Due to the high ornament value native clothing possessed most of
to weave clothes and other items, the main technique to accom-
the textile production in these communities was for their own use
plish this crafts was that of the back strip loom. However with the
but in the last decades the interest of the market in this items have
arrival of the Spanish, new techniques, materials and dress fashion
flourished in a new income for the handcrafts man and women who
influenced artisans. The Spanish brought into the continent, the foot
do this work. Thus in addition to pieces of clothing, the artisan has
pedal loom, new textiles like wool, cotton and silk, and a different
created other pieces of work that serve domestic needs like rugs,
way of dressing.
hammocks, table cloths, pillow cases, toys and bags.
The fibers used to make these items can be divided in two categories: 1. Soft fibers: cotton, wool and silk. 2. Hard fibers: maguey, lechuguilla, tule, ixtle, henequen and chichicastle.
Mexican textiles were characterized by their wide use of vivid colors; this was achieved through vegetable and animal dyes: 1. Marine snail : purple color 2. Insects : dark red color 3. Plants like the xiuhquilitly : dark blue 4. zacatlaxcalli plant: bright yellow 5. Seeds of the achiote plant: red color 6. Wood charcoal : black 7. Azurite mineral : very special tone of blue
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E laboration
process
Back strap loom weaving
Baskets while being the simplest design, are the most common, however other products used for festivities or ceremonies, have a greater detail of decoration. Eugenia Diaz Gonzales shows us the basic process of elaboration of a basket. 1. The first step to work with the back strap loom weave is to tie one of the ends to a tree or post, and put the other side behind your back at the height of the waist. 2. After this the number of threads are positioned on the weave, this depends on how wide the piece will be and how many colors it has. 3. The weaver weaves thread by thread, carefully with a design on mind, working with her fingers and sometimes with a pointy tool, like a pencil or a needle, this helps to get the thread in and out, in case it is too tight. 4. With one of the wooden pieces that is set between the fabrics, the weaver readjusts the work and tightens up the whole fabric once she is done with this part. 5.This same process is repeated in order to bring to the front the next part she will be working on. 6. The final pieces are very complicated, 100% hand made, and usually refer to designs of nature, or local legends.
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1.
2.
3.
4.
5.
6.
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Masks
disguises and tastoanes
Masks Another well-known handcraft in Mexican culture is masks, used as
and festivities by members of a dancing tribe, in order to narrate a
disguises for specific rituals, and dances. This objects may be done
determined story.
out of leather, paper or ceramic. Their use is completely ornamental
The process of making masks out of clay is exactly the same as that
and has no utilitarian usage, but it is very highly praised by different
of making pottery pieces, a mold with the desired figured and size
ethnic groups because the rituals linked to it symbolize important
is used to create the basic shape, and then facial features are added
historical events for example: wars, conquests or legends of impor-
by hand, when the artisan is happy with the work he will proceed
tant gods, depending on the tribe. Nowadays the more demanded
to bake it in an oven and then paint it. Masks are nowadays painted
masks by the modern market are those of skulls, devils and old peo-
with vinyl paintings, and details like hair or eyebrows are added with
ple. This may be found for a very accessible price in the market, made
the hair of horses or cows, depending on the color desired.
out of plastic, cardboard or cheap fabrics. More traditional masks done by ethnic groups or a dancing group of a specific region of the country are usually done with clay or leather. Each member of the group makes his or her own mask for the celebration and wears it for years. This custom is very ancient, and took place in Mesoamerican societies before the Spanish Conquest. Gods were identified by their clothing and their masks and were incarnated with the help of masks or face paintings during celebrations
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Viejito Masks The old man masks are probably the most popular masks in Mexico that are connected with a dance and a ritual. This dance originated in the city of Michoacán and it features a group of “old man” dressed in their typical “campesino” field worker clothes (white cotton shirt and pants, wood sandals, and a red Quexquemetl), who start to dance very slowly with their canes in a hunched position that resembles that of old man, this is then transformed into rapid moves with the feet, trembling and coughing and the occasionally old man who falls down, while their friends try to get him back up. The mask face must always look decent and humble, even when it has wrinkles from age, the red and pink colors in the cheeks, give it a juvenile look, added to the mask is a “sombrero” palm hat with color strings that hang down from it, giving it a colorful look. Generally this dance happens the day of Christmas, the 26th of December and in New Years. Dancers usually bow to the Virgin Mary or “Virgen de la Inmaculada Concepción” to dance for the rest of their life’s, after asking her to restore their health or for success in some personal plans. Children may also start to dance, because their own parents have made bows in their names. The music that accompanies this dance is usually that of string instruments, particularly violins.
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Viejito Masks Dance
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Tastoanes Masks Another group of dancers who are also well known, and make their own masks for their rituals are the: Tastuanes of Guadalajara. Their masks refer to indigenous warriors that fought against Spanish conquerors for their land, and freedom. The word “tastuanes” comes from the Nahuatl “tlatoani” which in Spanish means, Sir, Lord, that who has the authority. The Spanish when overhearing the indigenous people referring to their leader, understood tastuán and that’s the name that was left to this tradition. During the dance of tastuanes, a group of indigenous warriors who are dressed with skins of animals like cows or horses, and have a cane, start to dance and shout words in nahuatl; later a man representing the Spanish, comes in on a horse, dressed with pants and shirt and a hat, and starts hitting the tastuanes with a whip. Because of this reason tastuan dancers use animal skin to cover themselves, in order to get the least injured possibly. Each of them is in charge of making their mask, and they usually have flora and fauna influence into them, the faces look part human and part animal and usually look angry with really exaggerated features. The masks are usually painted in vivid colors; sometimes only two colors can be seen in the background of the mask, dividing this one in a half through the vertical axis, this is done in order to represent the way warriors painted their faces in the ancient times. Animals like spiders, serpents or scorpions might be added to the masks at the last steps of decoration this is signal of the place where tribes lived, where often while walking around forests these animals got into their faces and hair. The hair of the masks is long and achieves a realistic look through the usage of cow or horse tail hair.
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Tastoanes Masks Dance and Fight
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Lucha Libre Masks In a more modern way we might observe that masks are also used popularly in Mexican “lucha libres” free fighting, in this sport great importance is also present in the aspect of the masks. A lot of fighters never take off their masks even when they are not on the fighting ring, and legendary masked fighter “El Santo” the Saint, didn’t reveal his face, even after retiring until he was very old. Some fights oblige the loser fighter to retire his mask in front of the whole audience, which is also considered a great shame, and one of the most important rules that cannot be broken during fighting is the removal of the enemy’s mask. Mask have been used throughout Mexican history and by diverse societies since prehispanic times, behind a mask ones real identity is lost; the poor are rich, the young are old, and man can be gods, even if just for one dance.
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L ucha L ibre Masks Fight
58
Proposal and results
C lassification
of handcrafts
Materials, purpose, durability
After seeing both the process and history behind every object artisans elaborate we may classify them into different categories depending on some important factors: Materials
a) Used in their natural state: clay, bamboo, grass, palm leaves, etc.
b) Fabricated with the use of technology: paper, cardboard, cotton,etc.
Purpose
a) Ceremonial or used for specific festivities: amate paper, pi単atas, cut out paper
b) Utilitarian: textiles, clay, weaved fiber objects
C) Decorative: papier mache sculptures and alebrijes
Durability:
a) Enduring: clay, textiles, sculptures, alebrijes
b) Ephemeral: amate paper, pi単atas, cut out paper.
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Natural materials
Utilitarian
• • • • •
Perdurable
black pottery burnished pottery petatillo pottery wickerwork textiles
Industrial materials
Decorative
Perdurable
• papier mache sculptures • alebrijes
Ceremonial
Ephemeral
• amate paper • piñatas • cut out paper
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Proposal Transfer, the book
Some similarities present in all objects are the usage of nature motifs,
objects. Another factor that influences the extinction of such objects
geometrical patterns and bright colors for their decoration. More im-
is the rivalry form industrialized copied objects, which at a first glance
portantly every object is more than just an ornament, it has a pur-
look as the original objects but they are just a capricious imitation.
pose and a meaning behind. It has an essence that emanates from
Because of this reason, a proposal is made through a simple graphic
the people and it is important to encourage its further transmission.
book, which rather than transferring each object as a mere physical
To transfer is to convey; to convey from one object to one person
being, aims to transfer the meaning behind each element, step or
or the other way around. In what refers to folk art, society itself
detail in each handcraft object. With the usage of very simple illustra-
has conveyed into artisans an ancient and important essence that
tions in a plain color, attention is directed into the important details,
through handcrafts they transfer backs again into society generation
which give meaning to each object; rather than having the viewers
through generation. Each object serves to the people of this society
attention distracted by the colorful abundant decoration found on
as both mirrors and codices, in which they may perceive their reflec-
the original objects. For this first short version of “Transfer, the
tion and that of their history and past.
book� three different handcrafts are presented: the piùata, the peta-
It is because of this reason, that it is extremely important to keep this
tillo pottery and the tastoanes masks.
original hand made work and tradition alive. Nowadays new technological generations that are not as attached to their past and origins but rather long for futuristic new objects, have
The book is attached to the documentation.
brought dramatically down the sale and survival of this handcrafted
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Conclusions and reflections
Nowadays artisans in Mexico belong to very poor families, and of-
I believe that folk art is a very important aspect of all civilizations be-
ten belong to the population sector of an indigenous tribe, which
cause it reflects who we are and gives each society a point of origin,
means often they live in eradicated places where common utilities
which serves as a base for all other cultural manifestations and social
do not exist. However this may be all of them know all the secrets
progress. The idea that these crafts and trades may soon disappear
of their trade and master all aspects around it. It has been a herit-
because of a modern fast paced industrialization phase on society
age passed down from generation to generation since ancient times.
is quite shocking and something that not a lot of people seem con-
They’ve been introduced to their craft since they were little and do it
cerned about. Hopefully with time and other similar projects that at-
for the rest of their life; which is why they understand and treasure
tempt to re establish the importance of this objects as not only orna-
the importance of their craft, and the importance of their continuous
mentation objects but identity objects, will once again return these
existence on society. Most artisans today will tell you that they do
objects into their rightful place.
not do this time consuming job because it is their source of income but rather because they love doing it. It is not only love for their art, that keeps artisans producing wonderful objects in a country where the biggest market are foreigners; but it is the sense of a heritage, so important, that they know they must keep passing on and on, generation by generation, even when nowadays society is to blind to see the importance of their traditions.
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SOURCES and works cited
Citations
1. Erlhoff, Michael. WWW, Print. 2. Gonzales, Laura. Jalisco, tesoro artesanal. 1 ed. mexico city: Consejo Estatal para la Cultura y las Artes Jalisco, 2006. Print. 3.4. El Arte Popular Mexicano Cinco Siglos. 1st ed. Mexico City: Universidad Nacional Autonoma de Mexico, 1997. Print. 5.6.Pontones, Jose B. De cartones cardboard and paper in mexican folk art. 1st ed. mexico: Smurfit, 2003.
Sources Print • Paz, Octavio. El laberinto de la soledad. 3 ed. mexico city: fondo de cultura economica, 2008. Print. • Erlhoff, Michael. Design Dictionary. Birkhauser, Print. • Gonzales, Laura. Jalisco, tesoro artesanal. 1 ed. mexico city: Consejo Estatal para la Cultura y las Artes Jalisco, 2006. Print. • El Arte Popular Mexicano Cinco Siglos. 1st ed. Mexico City: Universidad Nacional Autonoma de Mexico, 1997. Print. • Pontones, Jose B. De cartones cardboard and paper in mexican folk art. 1st ed. mexico: Smurfit, 2003. • Romero, Carlos. Manos Mexicanas: maestros del arte popular. 1st ed. Mexico City: Pulsar, 1996. Print. • de la torre, Francisco. Arte popular mexicano. Mexico City: Trillas, Print.
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Sources Online
http://thepotatobarn.com/2012/03/13/what-keeps-mankind-alive/ http://news.nationalgeographic.com/news/2012/06/120614-neanderthalcave-paintings-spain-science-pike/ http://whc.unesco.org/en/list/ http://www.etsy.com/shop/aymujer?page=1 http://www.acanomas.com/Diccionario-Espanol/132836/TOMPIATE.htm http://www.bestday.com.mx/Tequisquiapan/Compras/ http://www.mexplora.com/destinos_mexico/articulo_viaje.php?id=537 http://alkonetara.org/image/tid/240 http://iifaem.wordpress.com/tag/cesteria/ http://www.fonart.gob.mx/web/index.php?option=com_content&view =article&id=115&Itemid=133 http://www.nacionmulticultural.unam.mx/acervo/libro/lib_009/I_1.htm
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