Showing posts with label North America. Show all posts
Showing posts with label North America. Show all posts

28 January 2012

Tizoc

FILM REVIEW 
Title: Tizoc 
Year: 1957 
Director: Ismael Rodríguez 
Writer: Manuel Ojeda, Carlos Orellana 
Cast: Pedro Infante, María Félix 
Running time: 109 minutes   
Country: Mexico 
Plot summary: 
Some people subtitle this movie as Indian Love; the reason is perfectly clear. Tizoc (Pedro Infante) is an Indian who works hard while the rest of the indians envy and even hate him. One day he meets the most beautiful woman on earth, María (María Félix) so takes her as the Virgin of the local church.
The woman is member of a wealthy country-family, one of the richest of the region. However, the wealthy, beautiful and Virgin-like woman befriends the poor but hard working Indian.
One day Tizoc is hurt by another Indian. María witnesses this and gives him a white handkerchief to wipe his blood. ¡Alas! The man goes crazy. In fact she ignores that to offer a white handkerchief to an Indian of this region means to accept him as the husband.
Now Tizoc works harder to build the house where he and María should come to live. No matter what, Tizoc won't listen to anybody, not even the local priest: he is convinced that María wants to be his wife.
After a few days he comes to believe that María has made a fool of him. So, angry, he kidnaps her and takes her to a mountain. Even the Army comes after him to rescue the wealthy woman, but also the other indians who hate Tizoc.
In captivity María talks to Tizoc and he realizes his misunderstanding. So he lets her go free. But then one of the other indians, trying to kill Tizoc, shoots her an arrow to kill her. The saddest Tizoc takes out the arrow from her breast and plunges it into his own chest.
Perhaps the most famous passage of this movie is when Tizoc sings her Te quiero más que a mis ojos. Te quiero más que a mis ojos. Pero quiero más a mis ojos Pero quiero más a mis ojos porque mis ojos te vieron (I love you more than my eyes, I love you more than my eyes. But I love more my eyes, but I love more my eyes because my eyes saw you)
Moved, she begins to weep. Then, when he realizes that she's crying, with a rock hits the mouth that has made her cry.
On April, 15th, 1957 Pedro Infante died on a plane crash. However, months later his character as Tizoc got him the Berlin's Silver Bear for Best Actor (while Twelve Angry Men got the Golden Bear)

© Text and image: Wikipedia and IMDB


31 December 2011

Rough Magic

FILM REVIEW 
Title: Rough Magic 
Year: 1995 
Director: Clare Peploe 
Writer: James Hadley Chase, Robert Mundi, William Brookfield, Clare Peploe 
Running time: 100 minutes   
Country: USA 
Plot summary: 
Set in the 1950s, Rough Magic tells the story of what happens when a pretty apprentice magician goes to Mexico to escape her fiancé, a wealthy politician, and to find a Mayan shaman who will teach her ancient principles of magic. She is being trailed by a detective hired by her fiancé. He's a former photojournalist traumatized by what he saw in Hiroshima. The photojournalist joins her in the search for the Mayan shaman, and falls in love with her; the feeling is not reciprocated. When she finds the shaman, she drinks a potion which empowers her to do magic. The potion has life-changing effects on her and her relationship with her companion. They have strange experiences which are brought about by magic. 

© Text and image: Wikipedia and IMDB 

28 October 2011

The Real Story of the Quileute Wolves

EXHIBITION 
Name: Behind the Scenes: The Real Story of the Quileute Wolves 
Dates: January 13, 2012–May 9, 2012 
Place: National Museum of the American Indian on the National Mall, Washington, DC 
Comments: 
This exhibition brings together rare works of art as a counterpoint to the supernatural storyline of the popular Twilight films. Interpreted by the Quileute people of coastal Washington, Behind the Scenes: The Real Story of the Quileute Wolves offers an intimate look into the tribe's artwork and wolf creation stories, which are central to the Quileute world view. The exhibition includes two wolf headdresses from different regions, as well as replicas of items used on the Twilight set; a paddle necklace symbolizing the "canoe culture," and a necklace made from Olivella shells. A 12-minute video illuminates the history and oral and cultural traditions through interviews with tribal members and teens as they describe the phenomenon and effect of the Twilight films in their own words.
“Behind the Scenes: The Real Story of the Quileute Wolves” is an exhibition at the Smithsonian’s National Museum of the American Indian that brings together rare works of Quileute art as a counterpoint to the supernatural storyline depicted in the popular Twilight books and movies. Opening Jan. 13, 2012, the exhibition will be on view through May 9, 2012, in the museum’s second-level Sealaska Gallery.
The exhibition showcases 23 objects, including elaborate wolf headdresses, rattles, baskets and a whale-bone dance club. Historic drawings created by Quileute teens who attended the Quileute Day School at Mora, near La Push, Wash., from 1905 through 1908, depict activities, including wolf ritual dances and shamanistic performances, house posts that were part of the Potlatch Hall and a whaling scene that shows a crew of eight men coming alongside a whale in their cedar canoe.
Visitors will be able to learn more about Quileute ritual life and the five secret societies that maintained balance between the human and spirit realms, including the Wolf society for warriors, the Fisherman’s society for fisherman and sealers, the Hunter’s or Elk society for land-animal hunters, the Whale Hunters and the Weatherman’s Society, who predicted the weather. Whaling was an important but dangerous endeavor as the giant sea mammals where hunted on the open ocean from 35-foot dugout canoes.
The exhibition also includes a map of Quileute language place names of the modern village and the vast aboriginal territories stretching from the ocean to the Olympic Mountains, a timeline of Quileute history and a 12-minute looped video that illuminates the history and oral and cultural traditions through interviews with tribal members and teens as they describe the phenomenon and effect of the Twilight films in their own words.
Replicas of items used in the Twilight films include a paddle necklace worn by the character Emily portrayed by actor Tinsel Korey, a traditional Quileute hand drum that hangs in Emily’s house, a shell necklace of Olivella shells that was on the wall of her house and the dream catcher that Jacob gives to Bella as a gift.
During the exhibition’s opening weekend, Quileute tribal member and one of only two fluent speakers left in the tribe, Chris Morganroth III, will tell traditional stories for kids and families in the museum’s imagiNATIONS Activity Center at 1:30 p.m. as well as presenting Quileute culture and stories in the Rasmuson Theater at 11 a.m. and 3 p.m. during the Native Storytelling Festival, Saturday and Sunday, Jan. 14 and 15.
This exhibition was organized by the Quileute Nation and the Seattle Art Museum, where it was on view August 2010 through August 2011.

© Text and image: National Museum of the American Indian

18 October 2011

San Francisco Tribal Show 2011

SHOW 
Name: SAN FRANCISCO TRIBAL SHOW 2011 
Date: November 4-6, 2011 
Place: Fort Mason Building D, Fleet Room, San Francisco (USA
Webpage: www.sftribal.com 
Comments:
PREVIEW OPENING NIGHT
NOVEMBER 4 • 6pm - 9pm
sushi and champagne
$35 at the door

REGULAR SHOW HOURS
SATURDAY, NOVEMBER 5 • 11am - 7pm
SUNDAY, NOVEMBER 6 • 11am - 5pm
$10 entrance

History:
San Francisco Tribal is an association of tribal art dealers from the San Francisco Bay Area. The association is comprised of 13 experts in African art, Oceanic art, Asian art, pre-Columbian art and North American Indian art. The members offer a wide range of high quality sculpture, masks, textiles, ceramics, weapons, shields and jewelry from ancient and traditional cultures and are committed to a standard of excellence and professional conduct.
San Francisco Tribal member dealers guarantee the quality and authenticity of everything they sell. From pre-Columbian to tribal Asian, the dealers have sold important works of tribal art to renowned museums and private collections worldwide. San Francisco Tribal enhances accessibility to this important community and promotes the Bay Area as a major destination for collectors of fine tribal and textile art. To this end, San Francisco Tribal presents tribal art exhibits that showcase the diverse specialties of its members and maintains this website with information about the dealers and the works of art they have for sale.
Participating SFT dealers: Dave DeRoche, Erik Farrow, Joe Loux, Vicki Shiba,
Frank Wiggers, James Willis  
Guest Dealers: Peter-Michael Boyd, Taylor A. Dale, Joshua Dimondstein, Sandra Horn
and Ari Maswell, Mark Johnson, Lewis-Wara Gallery, K.R. Martindale


© Text and image: San Francisco Tribal Show 2011

14 September 2011

American Indian Shell Gorget

American Indian Shell Gorget, ETHNIKKA blog for human culture knowledge
ARTIFACTS AND OBJECTS OF THE WORLD
Name: American Indian shell Gorget
Origin: Northern California, (United States)
Museum: California State Indian Museum, Sacramento, California (United States)
Material: abalone shell
Dimensions: 10.795 x 7.62 cm. (4 1/4 x 3 in.)
Reference code:  BWH-18-AT-1-SL
Age: Pre-contact
Collector: Benjamin Welcome Hathaway, 1881-1959
Digital collection: Press here 
Comments:
A shell gorget is a carved pendant typically worn around the neck and frequently engraved, sometimes highlighted with pigments, and usually pierced. Many gorgets from Northern California tribes were made from the Haliotis or abalone shell, a material used to make many types of beads for jewelry and decoration for women's ceremonial skirts. Traditionally, both men and women wore these types of gorgets for personal adornment. Current regalia makers still use abalone shell as a decorative element.
Shell gorgets were most common in Eastern Woodlands of the United States, during in the Hopewell tradition (200 BCE–500 CE) and Mississippian cultural period (ca. 800–1500 CE); however, tribes from other regions and time periods, also carved shell gorgets. The earliest shell gorgets date back to 3000 years BP. They are believed to have been insignia of status or rank, either civic, military, or religious, or amulets of protective medicine. Due to the placement of the holes in the gorgets, they are also thought to be spinners that could produce whistling sounds.
Lightning whelk (Busycon contrarium) is the most common shell used for gorgets. Other shells, such as the true conch or Strombus, as well as freshwater mussels, are also carved into gorgets. Today, due to environmental causes, harvested lightning whelks are significantly smaller than in pre-contact times. These earlier shells typically ranged from 6 to 12 inches in length.
Harvested off the coasts of Florida and the Gulf of Mexico, the shells were traded through the Eastern Woodlands. This native trade continued into the 16th century.
Gorgets are carved from the penultimate whorl of the shell. A blank is cut or broken out, then ground smooth. Holes for suspension and decoration are drilled, sometimes with a bow drills or chert drills. The gorget forms a concave shape and, when engraved, the interior is polished and decorated.
While most gorgets are circular, some are shaped as rectangles with rounded corners, maskettes, or other novel shapes. An extremely elaborate pendant from Spiro Mounds is shaped as two hands connected by a common beaded bracelet.
Iconography on the shell gorgets comes from the Southeastern Ceremonial Complex (SECC). Extremely common designs include the triskele, coiled rattlesnake, water spider, chunkey player, and birdman, sometimes called a Falcon Impersonator.
There are over 30 pre-contact examples of the Cox Mound gorget style, found in Tennessee and northern Alabama and dating from 1250-1450 CE. The Cox Mound gorget style features four woodpecker heads facing counter-clockwise, a four-lopped square motif, and a cross within a rayed circle. The four-looped square, or guilloche, is considered by some to be a "whirling sun" motif, or a priestly or chiefly litter; by some, the earth held up by cords to the Sky Vault at the four cardinal points; and by others, the path of life with four stages of maturity. Woodpeckers are considered warrior birds among Cherokee and medicine birds that can extract illnesses among Muscogee Creeks. The birds are also sometimes interpreted as the four winds. The rayed circle or sun is interpreted literally, a deity or ancestors, council, and/or sacred fire. The entire design could also illustrate the Yuchi myth of the winds.
A gorget from the Castalian Springs Mound Site in Tennessee features a man holding a mace and severed head. This has been interpreted by some anthropologists as a "flying shaman."
Some agreement can be found in interpreting the cross-in-circle design, which references the sun and the ceremonial fire, fed by four logs aligned to cardinal directions. Another design widely agreed upon is the water spider with a cross-in-circle design on its cephalothorax. The spider gorgets illustrate a traditional story, common to many southeastern tribes from the Atlantic Coast to Missouri, about the water spider bringing fire to humanity.

About the California State Indian Museum:
The California State Indian Museum displays exhibits illustrating the cultures of the state's first inhabitants. California's prehistoric population, one of the largest and most diverse in the Western hemisphere, was made up of over 150 distinct tribal groups who spoke at least sixty-four different languages. California Indian population estimates, before the arrival of the first Europeans, were at least 500,000 people.
California Indian cultural items in the museum include basketry, beadwork, clothing and exhibits about the ongoing traditions of various California Indian tribes.  Descendents of the first Californians, tens of thousands of them, still live in California and still cherish and carry on their unique cultural heritage. Indigenous people have donated many photographs of family, friends and memorable times for use in the museum. A section of the museum features a hands-on area, where visitors can try their hand at using Indian tools, such as the pump drill, used for making holes in shell beads and other materials; the mortar and pestle and soap root brush, made from the soap root plant, all used for grinding acorns.
The California State Indian Museum is located in the downtown area of Sacramento at 26th and K Streets.

© Text and image: California State Indian Museum and Wikipedia

13 August 2011

7th Indigenous Cinema and Video Festival of Morelia

Name: 7th Indigenous Cinema and Video Festival of Morelia
Dates: 27th august – 4th September 2011
Entrance fee: free
Place: Teatro José Rubén Romero, Morelia, Michoacán (Mexico)
Webpage: www.fecvi.com
Commentary:
This is the seventh year that the indigenous and video festival for the indigenous tribes of Mexico is held in Morelia, Michoacán.
This year, the films that will compete for the prize are:

1.        Lebenswelt de Elias Brossoise
2.        ¿Zirahuén, un lago en vía de extinción? de Dominique Jonard
3.        La dignidad maya, la rebelión indígena de 1847 de Francisco Alejandro May Esquivel
4.        La epopeya de la princesa 6 mono y el gran guerrero 8 venado de Victor Hugo Ruíz Ortíz
5.        Me parezco tanto a tí de Luna Maran
6.        Jotooky Pesteemple, Jaraneros Mixes de Guichicovi, Oaxaca de Yovegami Ascona Mora
7.        Pichátaro-Tsiri: Historia de San Francisco Pichátaro y sus maíces de Omar Ignacio Muñoz Rivera
8.        Voces de Hoy de María Dolores Arias Martínez
9.        Takeikna, La última fiesta de un Kumiai de César Abraham Solano y Fernando de la Rosa Monroy
10.     Shukuin-Sukuin: Historia de creación de Jaime Enrique Delfín Villafuerte
11.     Tres hilos para bordar de Yuli Rodríguez
12.     Los presagios funestos de Victor Hugo Izquierdo Martínez
13.     El diablo, la lanza y el tambor de Sabdyel Almazán y Omar Flores Sarabia

1 August 2011

Mexican pozole

WORLD RECIPES 
Pozole (from the Nahuatl word potzolli, which means "foamy") is a ritually significant, traditional pre-Columbian soup or stew from Mexico. Pozole was mentioned in Fray Bernardino de Sahagún's "General History of the Things of New Spain" circa 1500 CE. It is made from nixtamalized cacahuazintle corn, with meat, usually pork, chicken, turkey, pork rinds, chili pepper, and other seasonings and garnish. Vegetarian and vegan versions also exist. After colonization by the Spaniards, the ingredients of pozole changed, but the staple corn remained. It is a typical dish in various states such as Sinaloa, Michoacán, Guerrero, Jalisco, Morelos, México and Distrito Federal.
Since corn was a sacred plant for the Aztecs and other inhabitants of Mesoamerica, pozole was made to be consumed on special occasions. The conjunction of corn (usually whole hominy kernels) and meat in a single dish is of particular interest to scholars because the ancient Mexicans believed the gods made humans out of cornmeal dough. According to research by the National Institute of Anthropology and History and the Universidad Nacional Autónoma de México, on these special occasions, the meat used in the pozole was human. After the prisoners were killed by having their hearts torn out in a ritual sacrifice, the rest of the body was chopped and cooked with corn. The meal was shared among the whole community as an act of religious communion. After the conquest, when cannibalism was banned, pork became the staple meat as it "tasted very similar", according to a Spanish priest.

Ingredients (serves 4 to 6 people)
FOR THE SOUP
  • Pork shoulder or roast -- 1 1/2 to 2 pounds
  • Canned or fresh hominy, rinsed -- 2 to 3 cups
  • Garlic -- 3 to 5 cloves
  • Ground cumin -- 2 teaspoons
  • Salt -- 2 teaspoons
  • Water or stock -- 6 cups
FOR THE GARNISHES
  • Cabbage or iceberg lettuce, shredded
  • Onion, finely diced
  • Radishes, thinly sliced
  • Limes, cut into wedges
  • Avocado, diced
  • Cilantro, chopped
  • Oregano, dried
  • Chile piquín, ground
How to prepare it:
Add the pork, hominy, garlic, cumin, salt and stock or water to a large pot. Bring to a boil over medium-high heat, and then reduce heat to low and simmer for 1 1/2 to 2 hours, or until the meat is very tender.
Remove the pot from heat. Take the pork from pot and set aside to cool. When cool enough to handle, remove the meat from its bones and shred it with your hands.
Add the meat back to the pot and simmer for another 10 to 15 minutes. Adjust seasoning and serve with little bowls of your choice of garnishes so each dinner can garnish his or her own serving.
Variations
Pozole varies according to region, but the above recipe is the most basic and is known as pozole blanco, or white pozole. It is popular in Guadalajara.
Pozole Rojo (Red pozole): This variation is popular in Michoacán and Jalisco States. It is the same as the above recipe, but dried chiles are added. Remove the stems and seeds from 3 to 5 ancho or guajillo chiles. Mix them with a little of the hot liquid from the stewpot and soak for 20 to 30 minutes until soft. Puree in a blender and strain through a sieve into the stew for the last 30 to 45 minutes of cooking.
Pozole Verde (Green pozole): Popular in Guerrero State. Follow the above recipe. Toast 1 cup of shelled pumpkin seeds (pepitas), and then puree the seeds in a blender with 1 to 2 cups of canned or fresh cooked tomatillos, a chopped jalapeño, a couple of leaves of lettuce, a few sprigs of chopped cilantro and a little liquid from the stewpot. Strain through a sieve into a hot skillet and boil rapidly for about 5 minutes to cook down a little. Stir into the stew for the last 20 to 30 minutes of simmering.
Many recipes call for a mixture of chicken and pork. First simmer a whole chicken until the meat is tender. Remove the chicken, cool, remove the meat from its bones and shred. Set the chicken meat aside and continue with the above recipe, adding the pork to the chicken broth you just made. Add the shredded chicken back in to the pozole along with the shredded pork.
Large batches of pozole are often made for special occasions, and the addition of a pig's head and pig's feet add immeasurably to both the flavor and texture of the final dish.
Sometimes a raw egg is stirred into the stew just before serving.

© Text and image: whats4eats.com, Wikipedia

12 July 2011

Aleutian Bentwood Hats

LECTURES
Lecture: Aleutian Bentwood Hats
Speaker: Patty Lekanoff-Gregory
Date: Thursday, 7th July 2011, 12 pm
Place: Anchorage Museum, 625 C Street, Anchorage, Alaska (USA)
Webpage: www.anchoragemuseum.org
Admission: $12
Comments: 
Artist Patty Lekanoff-Gregory explains how to make Unangax (Aleut) bentwood hats and their importance in traditional Aleutian Island culture. Included with admission

About the Patty Lekanoff-Gregory:
O. Patricia Lekanoff-Gregory owns A.L.E.U.T. Tours, operating in Unalaska. She is an expert at making traditional Unangam bentwood visors and hats, and mentors at Camp Qungaayux^, a culture camp sponsored by the Qawalangin Tribe, Unalaska City School, the Ounalashka Corporation and the Alaska Systemic Rural Initiative. Patty has served on the Qawalangin Tribal Council (1994 to 2002), the City of Unalaska Parks, Culture and Recreation Advisory Board (1985 to present), the Aleutian/Pribilof Islands Association, Inc. (1997 to present), the Unalaska Historic Preservation Commission (1994 to present) and has worked with the Aleut International Association with the Aleuts from Bering Island in Russia. She has also served previously on the Unalaska Visitors' Alliance, the Unalaska/Port of Dutch Harbor Convention and Visitors' Bureau, Unalaska Senior Citizens, and the Unalaska Aleut Development Corporation.

© Text and image: Anchorage Museum

8 July 2011

Art of the American Indians Exhibition

Art of the American Indians - ETHNIKKA blog for cultural knowledge
EXHIBITIONS 
Exhibition: Art of the American Indians: The Thaw Collection
Dates:
24 April to 4 September 2011 
Opening times: Tuesday and Wednesday: 11:00 a.m.–5:00 p.m. 
Thursday: 11:00 a.m.–9:00 p.m.
Friday*, Saturday, and Sunday: 11:00 a.m.–5:00 p.m.
Closed Mondays
Place: Chilton Gallery, Dallas Museum of Art, Dallas, Texas (USA)
Entrance fee: $10
 About the exhibition:
In the Dallas Museum of Art’s first Native American exhibition in nearly twenty years, 111 works of art from the renowned Eugene and Clare Thaw Collection of American Indian Art at the Fenimore Art Museum in Cooperstown, New York, will be on view beginning in April 2011 in the Museum’s Chilton Gallery I. Art of the American Indians: The Thaw Collection explores the extraordinarily diverse forms of visual expression in Native North America. Organized by geographic culture areas, the works of art in this exhibition date from well before first European contact to the present, and celebrate the continuing vitality of American Indian art.
This four-venue national exhibition reveals the exceptional variety of Native artistic production, ranging from the ancient ivories and ingenious modern masks of the Arctic to the dramatic sculptural arts of the Pacific Northwest, the millennia-long tradition of abstract art in the Southwest, the refined basketry of California and the Great Basin, the famous beaded and painted works of the Plains, and the luminous styles of the Eastern Woodlands, including the Great Lakes.
Organized by the Fenimore Art Museum, Art of the American Indians: The Thaw Collection opened at the Cleveland Museum of Art in March 2010. Carol Robbins, The Ellen and Harry S. Parker III Curator of the Arts of the Americas and the Pacific, is the curator of the Dallas presentation. Other venues on the national tour include the Minneapolis Institute of Arts, Minneapolis, Minnesota (October 24, 2010–January 9, 2011) and, after Dallas, the Indianapolis Museum of Art, Indianapolis, Indiana (December 4, 2011–February 12, 2012). A 120-page full-color catalogue will accompany the exhibition, which has been made possible by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.

© Text and image: Dallas Museum of Art

22 June 2011

Haida Ivory Raven Face

ARTIFACTS AND OBJECTS OF THE WORLD
Name: Haida Ivory Raven Face
Origin: Haida people, Queen Charlotte Islands, British Columbia (Canada)
Museum: Dallas Museum of Art, Dallas, Texas (USA)
Material: Walrus ivory and shell inlay
Reference code: 1977.29.McD
Age: mid-19th century
Comments:
The raven is a ubiquitous figure in the art and mythology of the cultures of the Northwest Coast. Prominent among the legends associated with him is the Box of Daylight, which Raven opened at the beginning of time, thereby flooding the skies forever with sunlight and, in the process, scorching his white feathers black.
While the specific purpose of this handsome carving of walrus ivory remains unclear - it might be a knife handle or perhaps a cup - it most certainly would have conferred considerable esteem upon its owner. Datable on stylistic grounds to the mid-nineteenth century, it is compositionally related to spoons fashioned from horn and to figures carved from argillite.
Both these materials were readily available to the Haida people of the Queen Charlotte Islands off the coast of British Columbia. The tusk of the walrus, however, had to come from Eskimo country several hundred miles to the north, presumably as an object of trade and through several intermediaries. Only then could it have come to the Haida master who, working with tools crafted by native hands from European metal, transformed it into an image of radiant beauty.

© Photos and text: Dallas Museum of Art 

2 June 2011

The Tlapanecs of Mexico

PEOPLES OF THE WORLD
Name: Tlapanec
Living Area: Guerrero State, Mexico
Population: 75.000
Language: Tlapanec (Me'phaa)
Comments:   
The Tlapanec people is an ethnic group indigenous to the Mexican state of Guerrero. Their language, Me'phaa, is a part of the Oto-Manguean language family and its closest relation is the Subtiaba language of Nicaragua. Today Tlapanecs live in the states of Morelos and Oaxaca as well as in Guerrero; there are around 75,000 Tlapanecs in Mexico.
In pre-Columbian times they lived in the isolated mountain area along the Costa Chica region of Guerrero, just southeast of present-day Acapulco. Their territory was called Yopitzinco by the Aztecs who also referred to the Tlapanecs as Yopi. Yopitzinco was never conquered by the Aztecs and remained an independent enclave within the Aztec empire. The main Tlapanec city was Tlapan and the name Tlapanec is the Nahuatl for "Inhabitant of Tlapan".

Known by their: Religion and language
The Tlapanecs explain natural phenomena through myth, like the myth of the creation of the sun (Akha'), the moon (Gon') and the fire god (Akuun mbatsuun'), who all were born on the bank of the river and who were raised by Akuun ñee, goddess of the temazcal sweatbath and patron of the hot/cold duality.
Another important element in their culture is nagualism. When a baby is born it is said that at the same time an animal is born and that that animal is the nahual of the child. No one except the child knows which animal is its nahual because the nahual will only show itself to the child in its dreams.

The name “Me'phaa”, which speakers use for their own language, has recently been promoted by bilingual school teachers and others. (The teachers in the bilingual schools are all native speakers of Me'phaa.) They prefer it to the traditional name “Tlapaneco”, which is derived from Nahuatl, because some consider it to have been a derogatory label. (The form “Me'phaa” is the one used by Malinaltepec speakers; other varieties have slightly different forms of the name, such as “Me'pa” in Acatepec and “Mi'pha” in Tlacoapa.)
Like most groups in southern Mexico, their diet consists chiefly of corn (maize) tortillas, beans, squash, and chilies. At lower altitudes, bananas are also important, and jamaica is used to make a beverage. Coffee is a major cash crop for those living in coffee growing areas. Those who do not live in these areas often emigrate to the north to find work. Wool serapes are woven in one area by the men and in another area by the women.
Early studies classified the Tlapanecan languages with the Hokan stock. More recently, however, there seems to be clear evidence to classify them as Otomanguean.
Like other Otomanguean languages, the Tlapanec languages are tonal. That is, the pitch with which a word is pronounced is so important that, if it is changed, the meaning of the word can change completely. Tones can sometimes be the only indication of grammatical distinctions such as 1st vs. 3rd person. One variety of Me'phaa can have a sequence of as many as four tones on the same syllable.

© Text and image: Wikipedia, www.sil.org

31 May 2011

BRUNEAF XXI Art Fair

SHOW
Name: BRUNEAF XXI (Brussels Non European Art Fair)
Date and opening times: 8-12 June 2011
Place: Different shops and galleries in Brussels. Office in: 17, Impasse Saint Jacques, Brussels (Belgium)
Contact: Phone: +32 (0)2 514 02 09, Fax: +32 (0)2 514 02 09, info@bruneaf.com
History:
The idea of uniting a handful of primitive antique dealers to tie in with the inauguration of the Ambre gallery and offer the public the first “Non European Art Open Days” at the Sablon first saw the light of day in 1983.
The idea took off and it was a resounding success… the project became firmly established, attracting more and more galleries from both Belgium and abroad over the years.
In 1988, the first modest brochure appeared with details of this constantly expanding forum of antique dealers and only three and a half years later the first catalogue was published, marking the success of this momentary fellowship of antique dealers with one objective in common: to promote the exceptional wealth of primitive art, of which they are the ambassadors.
From 1996 onwards, Brussels antique dealers invited colleagues from abroad to the event. Today, the participation of galleries from France, Italy, Spain, the United Kingdom, the Netherlands and the USA gives Bruneaf a decidedly international touch.
The Brussels Non European Art Fair has become one of the leading events displaying non-European art, covering fields as diverse as African, Oceanic, Indonesian, pre-Columbian, Asiatic and Australian Aboriginal art.
Sculptures, masks, fetishes, weaponry, jewellery, coins, fabrics, traditional objects executed by ethnic groups according to their own particular customs and worked in wood, metal, gold, silver, bronze, ivory or terra cotta - the objects on exhibit are ritual or domestic artefacts, combining shape with ornamental design. Although form always meets practical requirements, it is also testimony of a certain vision of the world. Objets d’art from Africa, Indian or Tibet thus draw on the wealth of the myths which form the collective memory, respecting the aesthetic and symbolic standards of tradition and following in the footsteps of the traditional crafts used by their ancestors.

See list of exhibitors here.

© Text and image: Bruneaf.com

23 May 2011

Cajun crawfish boil


RECIPES – Cajun crawfish boil
Cajuns (in French: les Cadiens or les Acadiens) are an ethnic group mainly living in the U.S. state of Louisiana, consisting of the descendants of Acadian exiles (French-speakers from Acadia in what are now the Canadian Maritimes). Today, the Cajuns make up a significant portion of south Louisiana's population, and have exerted an enormous impact on the state's culture.
While Lower Louisiana had been settled by French colonists since the late 18th century, the Cajuns trace their roots to the influx of Acadian settlers after the Great Expulsion from their homeland during the French and Indian War (1754 to 1763). The Acadia region to which modern Cajuns trace their origin consisted largely of what are now Nova Scotia and the other Maritime provinces, plus parts of eastern Quebec and northern Maine. Since their establishment in Louisiana the Cajuns have developed their own dialect, Cajun French, and developed a vibrant culture including folk ways, music, and cuisine.
The crawfish boil is a celebratory event where Cajuns boil crawfish, potatoes, onions and corn over large propane cookers. Lemons and small muslin bags containing a mixture of bay leaves, mustard seeds, cayenne pepper and other spices, commonly known as "crab boil" or "crawfish boil" are added to the water for seasoning. The results are then dumped onto large, newspaper-draped tables and in some areas covered in spice blends. Also, Cocktail sauce, mayonnaise and hot sauce sometimes used. The seafood is scooped onto large trays or plates and eaten by hand.
Attendees are encouraged to "suck the head" of a crawfish by separating the abdomen of the crustacean and sucking out the abdominal fat/juices.


Ingredients:
  • 2 heads garlic, unpeeled
  • 5 bay leaves
  • 2 (3 ounce) packages dry crab boil
  • 1 tablespoon liquid shrimp and crab boil seasoning
  • salt and pepper to taste
  • 3 large oranges, halved
  • 3 large lemons, halved
  • 2 large whole artichokes
  • 15 red potatoes, washed
  • 30 pieces baby corn
  • 2 large onions, sliced
  • 2 (16 ounce) packages mushrooms, cleaned
  • 1/2 pound fresh green beans, trimmed
  • 2 (16 ounce) packages smoked sausage, cut into 1/2 inch slices
  • 4 pounds live crawfish, rinsed
How to prepare it:
Fit a large (5 gallon) pot with a strainer insert, and fill half full with water.
Add the garlic, bay leaves, dry and liquid crab boil seasonings, salt, pepper, oranges, lemons, artichokes, and potatoes.
Bring to a boil over high heat, then reduce to a simmer, and cook for 20 minutes.
Stir in the corn, onions, mushrooms, and green beans; cook 15 minutes more.
Stir in the sausage; cook 5 minutes more.
Add the crawfish, return mixture to boil, then simmer until the crawfish shells turn bright red and the tails pull out easily, about 5 minutes.
Test for doneness by peeling a crawfish.
Be sure not to overcook, or crawfish will become tough.
Remove strainer basket from the pot and drain.
Serve crawfish hot, Louisiana-style, spread over a picnic table covered with newspapers.

© Text and image: Allrecipes.com, wikipedia

20 May 2011

Tribal Art Auction at Zemanek-Münster

Auction: 65th Tribal art auction
Date: 28 May 2011
Preview: 21 to 27 May, 10 to 20h, and 28th May, 9 to 13:30h
Place: Auctionhouse Zemanek-Münster, Hörleingasse 3-5, Würzburg, (Germany)
Catalogue: http://www.tribal-art-auktion.de/downloads/catalogue173.pdf
Comments:
65th Tribal art auction
About Zemanek-Münster:
The Zemanek-Münster art auction house in Würzburg has been involved with African art since the beginning of the nineties and it has become Europe's only auction house that specializes exclusively in non-European art.
The company started in 1978 as a small and distinguished antique shop for European art in Würzburg. Its first art auction was held seven years later, initially in rented rooms. In addition to their premises in Würzburg, Zemanek-Münster had been running art auctions for many years in Miltenberg (Frankfurt am Main) and following the reunification of Germany in 1989 in Dresden, the provincial capital of Saxony. In 1992 Zemanek-Münster moved into their premises in the Hörleingasse, Würzburg, an old blacksmith's shop in former times. In the summer of 2007 the auction house was renovated to provide more exhibition space and a new glass roof also considerably improved presentation.
In 1990 Zemanek-Münster was already reacting to emerging changes on the arts market. In 1991 the company started to specialise in non-European art with the separation of the Africa collection belonging to the late artist and great collector Joachim Schlotterbeck, who died in 2007.
The family run company today has eight full-time employees, who are art historians and ethnologists for European art and non-European art. The extended team also includes photographers, layouters and other enthusiastic employees. Their professional qualifications, academic application and the dedication with which auction catalogues are compiled have gained them a high degree of customer trust. The company is now widely regarded for its integrity, reliability and fairness in dealings with bidders and consignors all over the world.
These constant high standards have led to the success of this small, family-run company at an international level. In addition, amicable relationships with both customers and employees and a warm and welcoming atmosphere all form part of the Zemanek-Münster company philosophy and have proved a decisive factor in the success of the art auction house. The future is also in safe hands: David Zemanek, the older son, who grew up surrounded by art and is a qualified art-ethnologist himself, will take over in the future.