Internat
2014
Artwork b y: M Agnes Rod ary riguez
ional Ve n d or Catalog ue
Esperanza Peace and justice Center
25th Annual
Peace Market • Mercado de Paz
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TABLE OF CONTENTS Visiting Artist
Product
Origin
Page 4
Esperanza Tiendita
Baskets, Sandals, Vintage Arte, Bags, Textiles
G.Gunasundari and Chelliah Thankajothi
Papier Mache Dolls Natural Fibre (Palm Leafs)
Chennai, India
5
Guadalupe Vásquez
Zapotec Rugs
Teotitlán del Valle, Oaxaca
6
Martha Santiago Alvarez
Alebrijes (Wood Sculptures)
San Antonio Arrazola, Oaxaca
7
Enedina Vasquez Cruz
Red Clay Sculptures
Santa María Atzompa, Oaxaca
8
Cristina Herrera
Alebrijes (Wood Sculptures)
San Antonio Arrazola, Oaxaca
9
La Red Binacional Niu Matat Napawika
Handcrafted items and clothing
Representing 10 States of Mexico
Jolom Mayaetik
Traditional woven Mayan Huipiles
Highland Region of Chiapas, Mexico
11
Rosarte (Oscar H. Cerón)
3D Papier Mache Structures & designs
San José Alburquerque, San Luis Potosí
12
Natividad Sánchez
Non-traditional use of Rebozo cloth
Tenancingo, Estado de Mexico
13
Teresa Lopéz Jiménez
Silk and Velvet Embroidered Huipiles
Juchitán de Zaragoza, Oaxaca
14
Anna Rooney and Telma Crammer
Holiday Handcrafts
El Salvador
15
Veronica Lorenzo Quiroz
Fine Embroidered Cotton Huipiles & Belts
San Juan Colorado Jamiltepec,
16
Irene Aguilar
Clay Sculptures
Ocotlán de Morelos, Oaxaca
17
Oaxaca, Mexico
10-11
Esperanza International Tiendita
Over the years, the Esperanza has participated as a vendor with the intention of introducing visitors to products that have not yet been able to make a presence at the market. This year, we set out to gather products from other countries who have yet to make an appearance at our Peace Market. For the past 25 years, most of our vendors come to us by way of Mexico, Central America, and some parts of South America until this year! This year the Esperanza Peace and Justice Center presents the International Tiendita (the international little store). For our 25th anniversary, the Esperanza Tiendita has gone global and will be highlighting products from Colombia, Uganda, and Kenya to name a few. Expect to see a variety of products from mochilas sewn together by the Ye’kwana indigenous women in Colombia to Rwenzori baskets woven by women in Uganda, many of them disabled or widowed. Other products include traditional Kangas, otherwise known as Lesos, a traditional cotton fabric used by women and men in the African Great Lakes region including Kenya. As we continue to grow, the International Peace Market aims to diversify and connect communities from around the world. Through the Tiendita, we are able to plant seeds with artisans in hopes that they will be able to one join us at the Peace Market in coming years. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Este año el Centro de Esperanza Paz y Justicia presenta la Tiendita Internacional!Por los años, la Esperanza ha participado como vendedor con la intención de introducir productos diversos desde varios lugares lejanos. Este año, nos propusimos reunir los productos de otros países que aún no han podido realizar una presencia en el mercado. Durante los últimos 25 años, la mayoría de nuestros vendedoreshan llegado a través de México, América Central y algunas partes de América del Sur. Para nuestro 25 aniversario, la Tiendita de Esperanza se ha vuelto global! Este año estaremos destacando algunos productos de Colombia, Uganda y Kenia. De mochilas cosidas por las mujeres indígenas Ye’kwana en Colombia a canastas Rwenzori tejidas por las mujeres en Uganda, muchas de ellas discapacitados o viudas. Otros productos incluyen la Kangas tradicional o conocidas también como Lesos, una tela de algodón tradicionalmente usado por las mujeres y los hombres en la región africana de los Grandes Lagos incluyendo Kenia. A medida que continuamos creciendo, el Mercado de la Paz tiene como objetivo de diversificar y conectar a las comunidades de todo el mundo. A través de la Tiendita, somos capaces de plantar semillas con los artesanos, con la esperanza de que serán capaces de unirse al Mercado de la Paz en el futuro.
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A BRIEF HISTORY OF THE PEACE MARKET • MERCADO DE PAZ The roots of the Esperanza Peace Market began as a small fund raising market in which local community members would donate broken folk art pieces, vintage records, and miscellanous items in hope of raising funds to support the work of the Esperanza. In our first year, almost 12 community groups mostly made of up of activists working with international social justice movements particpated in the market with not only art pieces but with literature and books on a variety of social justice issues. Over the years, the Esperanza opened its doors to other groups who looked for alternative spaces and moments to raise funds to support their own work in the community. In the tradition of open-air markets of indigenous communities from all over the world, the Peace Market strives to emphasize themes of community, peace, social justice, ecological sustainability, and cultural diversity. The Peace Market offers consumers an alternative to commercialized shopping through access to one-of-a-kind handmade goods. Now in its 25th year, the Peace Market-Mercado de Paz of the Esperanza Peace and Justice Center graciously welcomes the following international artisans to the San Antonio community. These recognized artisans offer truly rich experiences through their creations. Our sincerest thanks to everyone for supporting us for the past 25 years.
G.Gunasundari
and
Chelliah Thankajothi
Origen/Origin: Chennai, India
This year, we welcome with the help of San Antonio’s Sister City program our most distant travelors from the city of Chennai in India. History is etched in every corner of the city of Chennai. While the city was the seat of power for many South Indian kingdoms through the ages, the documented history of the city began in the colonial times when the British stepped on the shores of Chennai and settled with the establishment of Fort St. George in1644. Chennai played a theatre of battle between the British, and the French colonial forces and also the kingdom of Mysore. G.Gunasundari specializes in the making of papier mache dolls, a traditional form of art that one sees everywhere in the streets of Chennai. Many artisans in India create the dolls as a way to represent the rich Indian cultural heritage with each region known for its typical dolls. Raw materials used to make the dolls are not very expensive and are easily available. The main process involves the making of moulds with plaster of paris and cement. The dolls are then sun dried and baked. Later they are spray painted, while the jewelery and face are done by hand. Chelliah Thankajothi works with natural fibres such as palm leaves and screw pine. By employing this naturally eco-friendly craft, artisans such as Chelliah are able to create products such as baskets, boxes, floor mats, carpets furniture, bags, trays, office accessories, personal accessories, kitchen accessories, bins, laundry bins, blinds, cushions / cushion covers, and CD boxes 5
Guadalupe Vásquez Origen/Origin: Teotitlán del Valle, Oaxaca. Teotitlán en la lengua Náhuatl significa “tierra de dioses”, teotl, “dios”, calli “casa” y titlán, “entre” (entre la casa de Dios). En Zapoteco, Xaguixe significa “al pie del monte”. Guadalupe Vásquez, la hija mayor de Don Isaac Vásquez proviene de esta comunidad. Este taller se ha caracterizado por su innovación por el uso de tintes naturales tales como cochinilla, añil, zacapal y nogal. Además sus diseños prehispánicos plasmados en telares de lana hacen unos tapetes increíbles. La familia Vásquez con sus tapetes plasman obras rupestres como también de grandes pintores como Francisco Toledo, Rufino Tamayo y Diego Rivera. ******* Teotitlán del Valle, Oaxaca, in Nahuatl means “Land of the gods”, Teotl “God”, Calli “House” and Titlán “Within” (Within the land of the Gods). In Zapotec, Xaguixe means “at the foot of the hills”. Guadalupe Vásquez eldest daughter of Isaac Vásquez comes from this community. The Vásquez workshop is characterized by its innovation due to its use of natural dyes such as cochineal, indigo, zacapal, and walnut. In addition, their pre-hispanic designs, captured through the woolen looms, result in incredible rug weavings. The Vásquez family capture folk imagery as well as the work of great painters such as Francisco Toledo, Rufino Tamayo, and Diego Rivera.
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Martha Santiago Álvarez Origen/Origin: San Antonio Arrazola Xoxocotlan, Oaxaca.
Martha Santiago pertenece a la asociación “EcoAlebrijes”. Donde las familias realizan hermosos alebrijes de madera. Éstos son tallados y elaborados por mujeres y hombres quienes trabajan la pintura con una gran maestría. Su artesanía hace que los alebrijes tengan una armonía totalmente familiar. Desde hace nueve años, la asociación EcoAlebrijes se ha dedicado a la conservación y reforestación del Árbol de Copal del cual dependen para realizar su artesanía. Por esta razón le dieron el nombre a su asociación EcoAlebrijes, donde logran su propósito de unir dos funciones: la ecología y la sustentabilidad económica. La asociación tiene el propósito de hacer llegar las piezas directamente al comprador, así dando un precio justo al artesano y obteniendo un beneficio directo a las familias. De esta manera también trabajan por evitar la emigración a los Estados Unidos de sus compatriotas. ******* Martha Santiago Álvarez belongs to an association called “EcoAlebrijes” where families focus on the creation of wood carvings and paintings known as alebrijes. In the association, the men carve figurines out of wood and the women paint the fine details onto the carved pieces. Since each piece is made by hand, the pieces retain a familial harmony. For the last nine years, EcoAlebrijes has worked towards the conservation and reforestation of the Copal tree whose Wood is used in the making of the alebrijes. The name of the association derives from this inspiration to combine ecology and economic sustainability. The association aims to reach the consumer directly and retain the fair trade price for the artisan pieces and thus encourage community members to make a living in their homes and not immigrate to the United States.
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Enedina Seferina Vásquez Cruz Origen/Origin: Santa María Atzompa, Oaxaca. Enedina ha seguido la tradición ceramista heredada de su padre, un maestro de la técnica del empestillado. De su madre aprendió el modelaje, como hacer cazuelas, apaxles, macetas, y ollas que le ayudan a dominar diferentes formas de moldear el barro. Con su esposo aprende la técnica del vidriado con una especialidad en miniaturas. Al adquirir todas estas habilidades trasmitidas por sus seres queridos, ella logra desarrollar un estilo propio. Enedina ha logrado durante estos años ganar premios y reconocimientos a nivel nacional y internacional; por mencionar algunos, El Galardón Pantaleón Panduro que se realiza en Tlaquepaque Jalisco. También forma parte de la publicación del libro de los Grandes Maestros del Arte Popular de Latinoamérica y además en la publicación Artes de México, Arqueología Mexicana. ******* Enedina continues her family tradition of sculpting clay figures, which she learned through her father, a master teacher. From her mother, Enedina learned to mold dishes, apaxtles, pots, and pans that helped her master different forms of molding clay. With her husband, Enedina also works with miniature-glazed pieces. By acquiring all these skills through the help of her loved ones, Enedina was able to develop her own unique style of art and now shares that art with her beloved ones. Through the years, she has been able to gain international and national distinction with awards. Enedina is also included in the book, Los Grandes Maestros del Arte Popular de Latinoamérica, which highlights the various master artisans of Latin America, and the Artes de Mexico Archeological publication.
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Cristina Petronila Herrera Antonio Origen/Origin: San Antonio Arrazola, Oaxaca
La familia de Cristina labora a diario en algún aspecto de la producción de alebrijes: el trabajo de removerle la corteza al árbol de copal, buscarle cuál imagen es la que guarda adentro, luego la escultura de la madera y al fin la pintada. Todos tienen un papel que desempeñar en este taller familiar. Los detalles inmaculados que forman parte de cada diseño provienen de manos diestras, muchas veces hasta trabajando con pinceles con el ancho de sólo unos tantos bellos. ******* Each day, Cristina’s family gathers to work on each different aspect of the alebrije production. The different stages include: de-barking the copal tree, figuring what shape lies within the bark, to the sculpting and painting. -Everyone in the family has a role. The pristine details on each design demonstrate skillful training with artisans often working with paintbrushes just a few hairs thick.
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La Red Binacional Niu Matat Napawika (representando 10 estados - representing 10 states) El nombre Niu Matat Napawika origina de tres idiomas indígenas Mexicanos: el Zapoteco, Náhuatl y Rarámuri y significa Mujeres Trabajando Unidas. La Red une a varias organizaciones lideradas por mujeres de 10 estados diferentes de México: Chiapas, Chihuahua Distrito Federal, Estado de México, Hidalgo, Michoacán, Nuevo León, Oaxaca y Puebla. Unidas a través de sus raíces indígenas, las mujeres se empeñan en preservar sus culturas a través de el intercambio comercial de productos entre México y los Estados Unidos. Actualmente, La Red esta compuesta de 3,000 artesanas, 26 empresas sociales y son apoyadas por 11 organizaciones de desarrollo social. En México hay pocas organizaciones comerciales binacionales representadas por mujeres que viven en regiones pobres. En 2006, la Red Binacional Niu Matat Napawika inicia con el propósito de mejorar la economía de la mujer artesana Mexicana. Construyen una unión entre varios grupos indígenas para lograr una diversidad cultural junto con su belleza, a través de la comercialización de la artesanía Mexicana. La Red trabaja con un sentir profundo de respeto hacia los derechos de la mujer y su participación en el desarrollo social. Luchan por que haya equidad entre los géneros dentro de comunidades indígenas y en el mundo entero. La visión de La Red es de conformar una red internacional de organizaciones de mujeres Mexicanas compuesta de familias y empresas socialmente conscientes que permiten la disponibilidad de precios justos por servicios de alta calidad. Algunos de los medios por los cuales elaboran sus bellezas son: tejidos, rebosos, huipiles, fajas, canastos de sotol y palma, muñecas tradicionales, bordados varios y pintura en barro. ******* The name Niu Matat Napawika originates from three indigenous Mexican languages: Zapoteco, Náhuatl and Raramuri and means Women Working Together. La Red (Network) links together various womenoperated organizations from 10 different states of Mexico: Chiapas, Chihuahua Distrito Federal, Estado de México, Hidalgo, Michoacán, Nuevo León, Oaxaca y Puebla. United by their indigenous roots, the women seek to preserve their cultures through the comercial exchange of products between Mexico and the United States. La Red is currently made up of 3,000 artisan women, 26 social enterprise companies and are supported by 11 social development organizations. In Mexico, there are very few bi-national commercialization organizations that are represented by women that live in poor regions. In 2006 the creation of the bi-national network Niu Matat Napawika began with the purpose to better Mexican women artisan’s economy. They have built a union between various indigenous groups to achieve cultural diversity and beauty through the commercialization of Mexican hand crafts. La Red works with a deep sense of respect of women’s rights, and works towards equity between the genders within indigenous communities and the world as a whole. The vision of the La Red is to consolidate an international network of Mexican women organizations, developed by families and socially conscious businesses that make fair prices available for quality service. Some of the mediums through which they create beauty are: weavings, shawls, blouses, belts, woven baskets of sotol and palm, traditional dolls, various embroidery work and painting on clay. 10
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Jolom Mayatik COOP Origen/Origin: Chiapas, Mexico Sponsored by: Fuerza Unida
Jolom Mayaetik (“Maya Weavers” in Tzotzil) is a cooperative of indigenous women textile artisans in the region of Los Altos de Chiapas created in the mid-80s, making it one of the first craft organizations in that area. The Cooperative Jolom Mayaetik is currently comprised of two hundred and thirty-six members. All of which are indigenous women artisans belonging to the two majority ethnic groups in the state of Chiapas: Tzotzil and Tzeltal. These women are residents of eleven communities in the municipalities of Chenalhó, Pantelhó, San Andrés Larráinzar, Oxchuc and Chamula. Jolom Mayaetik specializes in the production of textiles with traditional symbology, using manufacturing techniques of indigenous women. These traditions stem from the native Mayan culture of the area. Beyond a successful cooperative, Jolom Mayaetik is a space for the participation of its members to discuss different issues affecting their communities and their lives. The Cooperative Jolom Mayaetik has created, for its members, an additional source of income for themselves and their families. Through the utilization of their own abilities, the skills of textile manufacturing are passed down from generation to generation. The income that the artisans of Jolom Mayaetik obtain from selling their clothes through the Cooperative has had a significant impact on the domestic economy, thus improving the conditions of life for themselves and their families. ********************* Jolom Mayaetik (“Tejedoras Mayas” en lengua tzotzil) es una cooperativa de mujeres indígenas que son artesanas de textiles de la región de los Altos de Chiapas, constituida legalmente en 1995, cuyos orígenes organizativos se remontan a mediados de los años 80, siendo así uno de los primeros esfuerzos organizativos de artesanas en dicha zona. La Cooperativa Jolom Mayaetik está compuesta actualmente por doscientas treinta y seis mujeres socias (236). Todas ellas son mujeres artesanas indígenas pertenecientes a las dos etnias mayoritarias en el estado de Chiapas: la etnia tzotzil y la etnia tzeltal, residentes en once comunidades enclavadas en los municipios de Chenalhó, Pantelhó, San Andrés Larráinzar, Oxchuc y Chamula, en la región de Los Altos de Chiapas. Jolom Mayaetik se encuentra especializada en la producción de prendas textiles de carácter artesanal basadas en la simbología y técnicas de manufactura tradicional de las mujeres indígenas de la región de los Altos de Chiapas, pertenecientes al tronco cultural maya en la zona. Jolom Mayaetik es no obstante, más allá de una cooperativa exitosa, un espacio para la participación de sus mujeres socias, así como para la organización colectiva en torno a las diferentes problemáticas que afectan sus comunidades y sus vidas. La integración en la Cooperativa Jolom Mayaetik supone para sus socias una fuente adicional de recursos para ellas y sus familias, a través de la realización de un trabajo que parte de la puesta en práctica de habilidades propias, resultado del saber ancestral en la manufactura textil transmitida de generación en generación. Los ingresos que las artesanas de Jolom Mayaetik obtienen a partir de la venta de sus prendas por la Cooperativa tienen un impacto muy significativo en su economía doméstica y con ello en la mejora de las condiciones de vida de ellas y sus familias. 12
Rosarte
Origen/Origin: San José Alburquerque, San Luis Potosi, Mexico Oscar H. Cerón, nació en San José Alburquerque, San Luis Potosí. Su niñez la vivio con sus Abuelos, en maizales, magueyes y cactus en su estado natural. Su afición por el arte empezó como un pasatiempo con el motivo de conocer y hacer Artesanías, en participar con sus amigos en performans y otras expresiones artísticas de innovación, sin despegarse de sus raíces mexicanas. En México, la corriente Arte Objeto, se desarrolló en la década de los setentas y ochentas, algunos artistas lo experimentaron, como una forma de expresión. Se constituyen a manera de collage de estructuras híbridas y tridimensionales. Los objetos simples y cotidianos se aprecian en su calidad estética y no utilitaria que están destinados a un espacio, es una corriente artística identificada como Arte Objeto ******************* Oscar H. Cerón was born in San José Alburquerque, San Luis Potosi. He spent his childhood living with his grandparents among corn fields, magueys, and cactuses. His love for the arts began as a hobby geared towards learning and making art with friends who would then go and participate in shows together. Cerón’s art began an a form of expression and innovation that also retained his cultural Mexican roots. Much of his artistic creation would be described as Arte Objeto (Object Art) a genre that gained prominence in the 1970s & 1980s as a way for artists to experiment with forms of expression. By way of 3 dimensional structural hybrid collages, the arte objeto uses simple everyday ojects and amplifies the natural astetics of those objects.
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Natividad Sánchez
Origen/Origin: Tenancingo, Estado de México, Mexico Natividad Sánchez proviene de la asociación Kuanaua que en Náhuatl significa “un abrazo” así indicando la función de un rebozo acogedor. Los productos de Kuanaua preservan el patrimonio cultural de la región utilizando telas y procesos antiguos mientras incorporan presentaciones novedosas tales como porta celulares, aretes, corbatas,botas y carteras entre otras cosas hechas con tela tradicional del rebozo. La empresa Kuanaua nació con una inversión modesta en 2011 y desde entonces ha seguido expandiendo su producción. Ahora cuentan con un local en el mercado municipal de Tenancingo. La meta de compartir estas elaboraciones innovadoras proviene del deseo de rescatar la identidad cultural de los pueblos Náhuatl-hablantes del Estado de México.
******* Natividad Sanchez comes from the Kuanaua association which translates in Nahuatl to “an embrace”, indicating the origin of the function of a warm shawl otherwise known as rebozo. The products from Kuanaua preserve the cultural heritage of the region by using ancient styled fabrics and traditional processes of the rebozo cloth while incorporating new designs such as cell phone carriers, earrings, ties, and purses among other items made from the traditional rebozo cloth. The company Kuanaua was born through a modest investment in 2011 and since then has continued to expand its production. Now they have their own storefront at the artisanal market in Tenancingo. The desire to share these innovative creations is rooted in the desire to rescue the cultural identity of the Nahuatl speaking communities of the State of Mexico.
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Teresa López Jiménez Origen/Origen: Ixtaxochitl, (now Juchitán de Zaragoza), Oaxaca, Mexico. Doña Teresa aprendió el bordado por medio de su madre, que ella a su vez lo aprendió de su mamá. Teresa es muy orgullosa de su tradición, su cultura y de su lengua materna, el Zapoteco del Istmo. Doña Teresa se distingue por sus bordados realizados de una manera extraordinaria. Además de hacer bordados tradicionales y el punto de cruz, ha creado una técnica para embellecer la tela y los huipiles regionales. Lleva ya 40 años realizándolos. Teresa trabaja dentro de un taller familiar donde realizan estas hermosas prendas. Doña Teresa ha participado en diferentes ferias, exposiciones, nacionales e internacionales y además ha recibido reconocimientos por su trabajo artesanal. ******* Teresa Lopéz originates from Ixtaxochitl which in Zapotec means “The Place of Flowers”. Now, that region is known as Juchitán de Zaragoza, Oaxaca in the Isthmus of Tehuantepec. At an early age, Teresa learned the art of embroidery from her mother who in turn learned it from her mother. As a leading female figure, Teresa feels very proud of her Zapotec culture, traditions, and her native tongue. Her marvelous hand embroidered designs distinguish her work. In addition to her traditional embroidery and cross-stitching, Teresa has created a unique embellishment technique for the fabric and her regional Huipiles. For almost 40 years Teresa, together with family members, has created unique, one of a kind pieces. Her merchandise travels regionally to various fairs and expositions both international and national, while also receiving numerous recognitions for her artisanal work. 15
Anna Rooney Origen/Origin: El Salvador.
and
Telma crammer
Ana was born and lives in El Salvador. She has always been very creative, and works a variety of arts and crafts, home decoration and design. She has been very active in the peace process in El Salvador, and has used her art work in support of this during the wars of the 80’s and 90’s and for culture of peace now present. Some examples of her work include hand painted wood “Angels” used as Christmas decorations, small wreaths with a mirror as part of the “Muñeca quitapenas” (Worry Dolls), decorative burlap bags, small wallets made with materials from Guatemala, small colorful baskets, a framed picture with crewel embroidery, handpainted match boxes, and custom beaded jewelry. Telma was also born in El Salvador. She enjoys sewing, a skill her mother taught her when she was a child. Telma used her art in support of the peace process during the wars in Central America and now supports the culture of peace in El Salvador. She is a grandmother and has worked to support the education of older adults. Telma work includes aprons, Day of The Dead bags, jewelry, towels hand embroidered with a spanish stitch and beaded christmas ornaments. Ana nació y vive en El Salvador. Ella siempre ha sido muy creativa, y trabaja una variedad de artes y artesanías, decoración del hogar y el diseño. Ella ha sido muy activa en el proceso de paz en El Salvador, y ha utilizado su trabajo de arte en apoyo de esto durante las guerras de los años 80 y 90 y para la cultura de la paz ahora presente. Algunos ejemplos de su trabajo incluyen madera pintado a mano los “Angeles” utilizados como adornos de Navidad, coronas de flores pequeñas con un espejo como parte de las “muñecas quitapenas”, bolsas de arpillera decorativos, pequeños monederos hechos con materiales procedentes de Guatemala, pequeñas canastas de colores, un cuadro enmarcado con bordado crewel, cajas de cerillas pintadas a mano, y la joyería con cuentas personalizadas.
Telma también nació en El Salvador. Ella disfruta costurar, una habilidad que su madre le enseñó cuando era un niño. Telma utiliza su arte para apoyar el proceso de paz durante las guerras en América Central, y ahora es compatible con la cultura de paz en El Salvador. Ella es una abuela y ha trabajado para apoyar la educación de los adultos mayores. El trabajo de Telma incluye delantales, bolsas de Día de Los Muertos, joyas, toallas de mano bordada con una puntada español, y adornos de Navidad. 16
Verónica Lorenzo Quiroz Origen/Origin: San Juan Colorado Jamiltepec, Oaxaca, Mexico. Verónica proviene de la cultura mixteca, de la comunidad llamada Mixteca Baja de la Costa Chica de Oaxaca. Ella menciona orgullosamente que su idioma maternal es el Mixteco y su lengua adoptiva es el Español. Su ramo artesanal de huipiles y textiles son teñidos con el tan especial color púrpura, ancestral y mágico. La manera de obtenerlo es de un caracol encontrado en la costa de esta región. Los demás colores son también obtenidos de tintes naturales, como el añil, cochinilla, nogal, zacapal y otras mas plantas. Actualmente Verónica es representante del grupo de artesanas tejedoras de telar de cintura llamado Jiñi Ñuu. Ella ha logrado conseguir apoyo para diferentes grupos de artesanos tales como obtener materia prima, y así mejorar sus talleres y tratar de evitar que su gente emigré a los Estados Unidos. Ella también ayuda rescatar el algodón coyuche Mexicano, único en el mundo por su color prieto. Este color natural y con la combinación del color marrón lo hace muy preciado. Cuentan que los reyes de España mandaban a confeccionar sus atuendos de gala con la combinación de estos materiales.
************ Verónica is of the Mixtec culture of the Lower Mixteca of the Chica Coast of Oaxaca and proudly declares Mixtec as her native language with Spanish as her adoptive one. She specializes in Huipiles and textiles made with the color purple, a very special color, making the pieces ancestral and magical. Artisans in this region obtain the color purple through a special seashell found in the coast of this specific region. The rest of the colors used are also obtained naturally such as indigo, cochineal, walnut, and zacapal. Veronica represents her artisanal group of back strap loom weavers called Jiñi Ñuu. With this group, Veronica helps other artisans obtain raw material which then help improve their workshops. Through these better-equipped workshops, the artisanal groups hope to persuade their indigenous comrades to not immigrate to the United States. Veronica and her group also work to rescue the Mexican coyuche cotton, the only one of its kind in the world because of its unique dark beige color. Stories claim that the kings of Spain would request this color alongside brown cotton to be used for their royal attire. 17
Doña Irene Aguilar Origen/Origin: Ocotlán de Morelos, Oaxaca, Mexico
Doña Irene aprendió la escultura de barro de su madre, Doña Isaura Alcántara aunque ha creado su propio estilo a través de su espíritu alegre. Irene es una ceramista heredera de una larga tradición creando figuras de mujeres con trajes tradicionales, catrinas, nacimientos, vendedores de frutas, músicos diablitos, sirenas, Nuestra Señora de Guadalupe y otras piezas mas. Irene logra crear estas piezas de su imaginación donde captura las actividades cotidianas de los pueblos con sus costumbres y tradiciones populares. Doña Irene pertenece a las famosos hermanas Aguilar. Ella ha obtenido varios premios y reconocimientos nacionales e internacionales y una ves mas estará presente al ya tradicional Mercado de Paz de 2013. ******* Doña Irene, master ceramist, learned her craft from her mother Doña Isaura Alcántara. Despite this early mentorship, Irene gradually developed her own style by way of her cheerful spirit. A ceramic artist, Irene specializes in the tradition of creating figures of native women, catrinas, nativity scenes, fruit vendors, devilish musicians, mermaids, Our Lady of Guadalupe and other highly praised pieces. Irene creates all her pieces from pure imagination by capturing activities from the daily routine of nearby villages with their customs and ancestral traditions. Doña Irene belongs to the famous Aguilar sisters. She has received numerous prizes, national and international recognition, and has participated in the Peace Market for many years. We look forward to her lively character and delicious mole every year!
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The people of Esperanza dream of a world where everyone has civil rights and economic justice, where the environment is cared for, where cultures are honored and communities are safe. The Esperanza advocates for those wounded by domination and inequality – women, people of color, queer people, the working class and poor. We believe in creating bridges between people by exchanging ideas and educating and empowering each other. We have learned that to participate fully in democratic civic life, individuals must be culturally grounded, confident of their own voices, and certain of the value of their contributions. Art and culture give us this grounding. They connect us to our histories and plant the seed for our self-worth. Moreover, we have learned the importance of cross-cultural understanding. From our parents and grandparents, from our sisters and brothers throughout the world, from our teachers and children, we have learned that social and political divisions cannot be bridged without accurate and respectful cultural understanding. Through artistic creation and cultural expression, previously silenced groups and isolated individuals have come to new understandings of themselves, each other, and the world. We believe it is vital to share our visions of hope…
we are esperanza. 922 San Pedro, San Antonio TX 78212 esperanza@esperanzacenter.org voice: 210.228.0201
fax: 1-877-327-5902
www.esperanzacenter.org