Podcasts about Huasteca

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Series 3, Episode 7 of Artery features Florentina Manuel Martínez with Michele A. Feder-Nadoff and Claudia Rocha Valverde Florentina Manuel Martínez is a textile artist originally from the state of Veracruz, in the municipality of Chicontepec, in the community of Ateno. She is a Náhuatl language speaker. Currently she is living in Tamaletom (the municipality of Tancanhuitz, in the state of San Luis Potosí, México). Florentina is married to a Tének flyer man of Tamaletom. (Tének is an Indigenous group of Mexico and flying refers to the traditional ritual dance of prehispanic origins.) Florentina has lived in Tamaleton for 18 years and has learned much about the Tének culture. Michele A. Feder-Nadoff is an artist and anthropologist whose practice and research is concerned with the meaning of making [https://mfedernadoff.academia.edu]. Her longterm ethnography in Santa Clara del Cobre, Michoacán, México began in 1997 initiated by her apprenticeship with a master coppersmith, Maestro Jesús Pérez Ornelas. This led to her founding the non-profit Cuentos Foundation, becoming a Fulbright Scholar and cultural anthropologist, PhD, El Colegio de Michoacán. Her critical aesthetics integrates onto-epistemology, performance, and phenomenology with multimodal and collaborative methods designed to decolonize education, art and anthropology. Her artwork is included in private and public collections worldwide. Recent publications include her edited volume, Performing Craft in Mexico: Artisans, Aesthetics and the Power of Translation, 2022, Lexington (Bloomsbury Press), her monograph An Anthropology of Making in Santa Clara del Cobre: Presence of Absence, 2024, Palgrave, and numerous book chapters and articles. She is the assistant editor of the Journal of Embodied Research and an independent scholar, translator, curator, video-producer, lecturer and a multimodal workshop facilitator. Claudia Rocha Valverde, PhD in Art History is a professor and investigator at El Colegio de San Luis (COLSAN) in the Social Sciences and Humanities Research Center in Mexico. [https://scholar.google.es/citations?user=aZ-M7XMAAAAJ&hl=es] Currently, Claudia is the academic liaison of the CASA COLSAN Xilitla Project. Her fieldwork is in the region of Huasteca in the state of San Luis Potosi, where she has carried out research on contemporary traditions of pre-Hispanic origins. In particular, she has specialized in how the knowledge of Indigenous Nahua and Tének women is manifested in the history and symbolism of their clothing, which they wear today in ceremonial contexts related to the concept of Madre Tierra, Mother Earth, which reflects the natural environment in which they live. For more (and the Spanish version) click here Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

Se reportan 58 incendios forestales activos, 9 en áreas naturales protegidas: Conafor  La Secretaría de Seguridad Federal  tiene un área que  baja cuentas en redes que buscan incorporar a jóvenes en actividades ilícitas: SheinbaumZelenski y Trump mantendrán conversación telefónica    Más información en nuestro podcast

Dicen que todo comenzó en Tamaulipas, pero lo que pocos saben es que esta historia se extiende mucho más allá... El Monstruo de la Huasteca ha dejado su sombra en varios estados de México, y las preguntas siguen multiplicándose. Acompáñame, junto a Dafne Silva, host de Se Regalan Sustos, a desentrañar los oscuros secretos de este caso. Lo que descubrirás podría cambiar todo lo que pensabas saber. Redes sociales de invitada: https://www.instagram.com/nenukadoo https://youtube.com/@seregalansustos #casoscriminales #crime #debate #misterios #misterio #criminalminds #méxico #facts #hechos #podcast #criminalmente #criminal #criminalesmexicanos #crimestories Learn more about your ad choices. Visit megaphone.fm/adchoices

La iconografía que se pinta en los cántaros o comitl son elementos característicos del territorio: los caminos, los animales del agua, las aves, las flores, los cerros y el sol, así como los mitos y leyendas, constituyen parte de este territorio llamado la Huasteca. La alfarera Feliciana Ávila nos platica sobre los elementos que se plasman en la superficie de los cántaros y el significado que tienen mientras se entrelazan con dos narraciones propias de esta región: el mito del nacimiento del sol y la leyenda el cerro Postectli. Esta cápsula, producción de David Martínez, forma parte de la serie colectiva "Historias sonoras de artes y creación comunitaria" como parte del Fondo para la Producción Radiofónica Comunitaria Canto de Cenzontles 2024. ¡Les invitamos a escuchar estas producciones y difundirlas en sus medios y redes! Descárgalas en www.cantodecenzontles.org/fondo2024

La identidad de la Huasteca baja veracruzana se encuentra plasmada en cada son tradicional, cada ritual y cada fiesta. En esta cápsula, el señor Moisés Cruz Martínez, violinista del Trío Moderación Cultural, nos cuenta a detalle el significado de algunas de las fiestas y tradiciones realizadas en la región y nos comparte los sones que tocan en ellas. Esta cápsula, producción de Yoltlajtoli Radio, forma parte de la serie colectiva "Historias sonoras de artes y creación comunitaria" como parte del Fondo para la Producción Radiofónica Comunitaria Canto de Cenzontles 2024. ¡Les invitamos a escuchar estas producciones y difundirlas en sus medios y redes! Descárgalas en www.cantodecenzontles.org/fondo2024

Huasteca Viento de Son - 28 de diciembre 2024 by Radiotelevisión de Veracruz

Huasteca Viento de Son - 21 de diciembre 2024 by Radiotelevisión de Veracruz

Huasteca Viento de Son - 14 de diciembre 2024 by Radiotelevisión de Veracruz

Huasteca Viento de Son - 7 de diciembre 2024 by Radiotelevisión de Veracruz

Le origini della petenera sono avvolte nel mistero:si ipotizza una origine ebraica, oppure che fosse nata a Paterna de la Ribera, in provincia di Cadice, o che fosse il nome di una cantaora mitica, di cui in realtà non si sa nulla. Esploriamo un po' la storia, per capire meglio. I flamencologi lavorano oggi parecchio sulle emeroteche per verificare storicamente che cosa sia successo, relativamente alla presenza del flamenco. La prima volta in assoluto in cui si parla di Petenera fu a Città del Messico, il 6 gennaio 1823, parlando di uno spettacolo al Teatro Coliseo. Si è anche trovata una petenera scritta, del 1827, sempre petenera messicana.Ci sono due studiosi che hanno investigato tanto sulla petenera americana: Lenica Reyes Uñiga, messicana che ha scritto sulla petenera la tesi per il suo dottorato in etnomusicologia, e José Miguel Hernandez Jaramillo, etnomusicologo sivigliano, che gestisce un bellissimo podcast, "Sonidos olvidados". Altro studioso importantissimo è Faustino Nuñez, che ha ricaercato nella stampa indicazioni sulla petenera. In Spagna si comincia a parlare della petenera nel 1826 a Cadice, quando entrò a far parte del repertorio di pionieri danzatori come Luis Alonso,  che ballava "la petenera, il son di Veracruz", il son “jarocho”, cioè di Veracruz, Messico. E nel 1827 Lázaro Quintana, nipote anche del cantaor delle origini El Planeta, cantava la petenera americana o veracruzana. Per la prima volta nel 1844 si parla di una petenera gaditana, a Cuba, come spettacolo di danza: per la prima volta si parla di una petenera gaditana e non di petenera americana. Logicamente Cadice è il maggiore porto sull'atlantico in Spagna, e quindi le novità culturali entravano in SPagna da lì, quindi la prima petenera spagnola era per forza gaditana!A metà dell'800 la petenera comincia a comparire nell'elenco dei brani interpretati a Triana durante le feste organizzate in locali pubblici o privati per il divertimento dei ricchi o per intrattenere i primi viaggiatori, solitamente animate da artisti gitani. Nel 1954 la petenera entra in teatro con danzatori professionisti. ed entra sempre pèiù a far parte di serate e spettacoli. La petenera delle origini aveva un ritmo ternario, quello tipico del folklore andaluso in particolare e di quello spagnolo in generale. La petenera che esiste in Messico è un Son, un genere musicale popolare ballabile. La melodia della petenera flamenca è chiarissimamente influenzata dalla melodia tradizionale messicana della zona Huasteca. In Messico la petenera ha varianti regionali, e si riconoscono almeno 4 stili: Jarocho, uno delle coste Grande e Chica di Oaxaca e Guerrero, una canzone istmeña di Oaxaca, e la petenera huasteca, incentrata sul personaggio della sirena.  Ascoltiamo un esempio di come suona la petenera messicana: chi conosce la petenera flamenca sentirà sicuramente la stessa melodia!E' molto probabile che questa melodia nasca in Spagna, come una tonada, e si sia modificata una volta arrivata in America. La forma poetica è quella del romance, componimento poetico spagnolo di origine castigliana, a carattere epico-lirico, in doppi ottonari in assonanza.  Non si può però sapere se alcuni cantes antichi restarono in Spagna e si evolsero verso la petenera o se in Spagna non rimase nulla e tutti i canti andarono in America e lì vennero trasformati. CIò che è certo è che ci sono melodie tradizionalli spagnole in cui si possono ravvisare le origini della petenera. Ti faccio ascoltare una prima melodia, del repertorio sefardita ebraico. Gli ebrei nel 1492 sono stati espulci da Spagna e Portogallo, e alcuni sono arrivati in america. Il brano è cantato in Ladino, la antica lingua ebraica di origine neolatina, molto simile allo spagnolo, parlata teoricamente da circa 200.000 persone al mondo ma poco conosciuta. Il titolo è "A la una yo nassí a las dos me engrandesí". Fa parte del canzoniere ebraico del XV secolo. Ascoltiamo un'altro brano, portato alla luce da Antonio Barberán, direttore della cattedra di flamencologia di Cadice e creatore di un interessantissimo blog, "El callejon del Duende". Al brano Barberán ha posto come titolo "La petenera del Niño Turco", ma il vero titolo sarebbe "Las horas de la vida". Il cantante della registrazione è Haim Effendi, probabilmente la maggiore autorità storica in termini di canto ebraico sefardita. Nato in Tracia, oggi territorio turco, ha vissuto tanto in Egitto e ha viaggiato molto, diffondendo il suo modo di cantare e il suo repertorio. Il brano pubblicato dall'uniersità ebraica di Gerusalemme, grazie alle ricerche del Centro di musica Ebraica. Si sente che è una melodia antica, ma si sente che la petenera viene da lì. Altro brano che voglio farti ascoltare è registrato da José de Los Reyes Santos El Negro del Puereto, registrata nella Magna Antologia del Cante Flamenco del 1982. Il padre del Negro era di Paterna de la Ribera. Il brano è un antico Corrido Gitano, "El romance de la Monja" o "Mi madre me metio a monja". Quello che non si sa è se questa melodia sia stata cantata così perché la melodia di questo corrido fosse veramente questa o se sia stato El Negro o se qualcun altro di Paterna de la Ribera abbia messo qeusta melodia, dato che a Paterna c'è un amore particolare veros questo palo. Fatto sta che la melodia è la questa!Parliamo delle origini del nome. Nel dizionario non c'è nulla che possa riportare alle origini di questo nome. Per moltissimo tempo si è fatto riferimento alle tesi di Antonio Machado Alvarez Demófilo, scrittore, antropologo e folclorista spagnolo, padre dei poeti Antonio e Manuel Machado, uno dei maggiori intellettuali in Andalusia nella seconda metà dell'800 e il primo esponente dello studio “scientifico” del flamenco.Nel 1881 esce la sua "Colección de cantes flamencos", pietra miliare nella storia del flamenco: la prima volta in cui ci si avvicina a quest'arte con criteri scientifici antropologici. L'opera tratta delle origini dei cantes e compila letras di vari palos. Demófilo si appoggiò a due cantaores riconosciuti all'epoca, Juanelo di Jeréz e Silverio Franconetti (colui che spinse il flmenco verso il professionismo). La opera di Demofilo è fonte di studio inevitabile.Demófilo afferma che petenera è corruzione del termine paternera. Vero è che gli andalusi distorcono facilmente le parole, e che Petenera suona come Trianera, come aggettivo di un luogo, e in più Juanelo non avrebbe avuto interessi nel mentire.Altra possibile opzione è che Petenera fosse una cantaora, forse di Malaga, forse di Cuba o di Paterna... ma di questo personaggio non ci sono evidenze storiche. Molti, studiosi anche autorevolissimi, del flamenco, la accettano come teoria indiscutibile, ma Juanelo però non era uno studioso, e semplicemente vedeva la realtà dal suo punto di vista. Consideriamo sempre che è difficile cambiare idea quando un parere è molto radicato da molto tempo!Un altro teorico del flamenco, Francisco Rodriguez Marin, aggiunge a quella di Demofilo una teoria mitica, nel 1898: Petenera era una cantaora (avallando le teorie di Juanelo e di Demofilo) molto bella, che seminava intorno a sé donne gelose e uomini innamorati. La teoria si basa sul contenuto di alcune letras, come se fossero verità scientifiche: "quien te puso petenera no te supo poner nombre que te debió de haber puesto la perdición de los hombres" chi ti ha chiamato petenera non ti ha saputo mettere il nome, ti avrebbe dovuto chiamare la perdizione degli uomini. Qualcuno ha persino ipotizzato che Paterna non fosse quella in provincia di Cadice ma in provincia di Valencia. Molto più probabilmente il termine viene etimologicamente dall'America: una regione del Guatemala al confine con il Messico si chiama Petén e il suo aggettivo è proprio petenero. La Spagna ebbe molto a che fare con questa regione perché è la sede della cultura Maya. E appunto in Messico si dà questo nome Petenera a diversi Son. Altra cosa importante da valutare riguardo alla petenera flamenca sono le sue origini ebraiche. A parte le origini musicali che affondano nella tradizione ebraico sefardita, nei brani che abbiamo già ascoltato, abbiamo diverse letras che parlano degli ebrei, la più famosa delle quali è "A donde vas bella judia, tan descompuesta y a a deshoras? Voy en busca de Rebeco que esta en la sinagoga" Dove vai bella ebrea così sconvolta e a questa tarda ora? Vado a cercare Rebeco che è nella sinagogaIl contenuto di questa letra è po' strano: non esistevano più le sinagoghe in Spagna dal 1492 (quindi dovrebbe essere una letra precedente al 1492, ma non ne sono rimaste tracce per secoli), Rebeco è un nome strano, se fosse ebraico sarebbe al femminile, Rebeca, inoltre le donne non andavano alla sinagoga, e tanto meno da sole e in tarda serata. Sembra parlare di una atmosfera molto più recente. Insomma i punti interrogativi sono grandi! D'altra parte nessuna letra ci può dire dove nascano i palos, altrimenti questa letra: En La Habana nací yo debajo de una palmera; allí me echaron el agua cantando la petenera. (Sono nato all'Havaa sotto una palma e lì mi hanno battezzato cnatando la petenera) vorrebbe dire che viene da Cuba La melodia antica era ritmata e piuttosto rapida, ma nel corso del tempo si è flamenchizzata, perdendo la componente ritmica, e rallentando tantissimo. Sono Sabina Todaro, mi occupo di flamenco e danze e musiche del mondo arabo dal 1985. Dal 1990 insegno baile flamenco e Lyrical Arab Dance, un interessante lavoro sull'espressione delle emozioni in danza, a Milano al Mosaico Danza.Ti consiglio di affrontare lo studio di un baile por petenera se vuoi capirte meglio il flamenco!o su

Huasteca Viento de Son - 30 de noviembre 2024 by Radiotelevisión de Veracruz

Huasteca Viento de Son - 23 de noviembre 2024 by Radiotelevisión de Veracruz

Huasteca Viento de Son - 16 de noviembre 2024 by Radiotelevisión de Veracruz

La gobernadora  del Edomex Delfina Gómez inauguró el balneario "Las Salinas"Aumentan favelas en Brasil actualmente se contabilizan 12 mil 348  Hoy es el día Mundial del Urbanismo ¡Aquí te contamos más!  Más información en nuestro podcast

Huasteca Viento de Son - 9 de noviembre 2024 by Radiotelevisión de Veracruz

IMSS, informa que el 70 por ciento de la población mexicana presenta sobrepeso u obesidad Se reportan 20 lesionados por la volcadura de una camioneta en la Huasteca PotosinaDéficit de energía eléctrica en Cuba  Más información en nuestro Podcast

Huasteca Viento de Son - 2 de noviembre 2024 by Radiotelevisión de Veracruz

Huasteca Viento de Son - 26 de octubre 2024 by Radiotelevisión de Veracruz

Huasteca Viento de Son - 19 de octubre 2024 by Radiotelevisión de Veracruz

CV MESA HUASTECA 19 OCTUBRE 2024, DIA MUNDIAL CONTRA EL CANCER DE MAMA

CV MESA HUASTECA 12 OCTUBRE 2024, CON ING. ALFREDO ZUÑIGA HERVERT DIRECTOR DE LA DAPAS

Huasteca Viento de Son - 12 de octubre 2024 by Radiotelevisión de Veracruz

Huasteca Viento de Son - 5 de octubre 2024 by Radiotelevisión de Veracruz

CV MESA HUASTECA 05 OCTUBRE 2024, CON LIC. LINDA PARRA ESPINOZA

Huasteca Viento de Son - 21 de septiembre 2024 by Radiotelevisión de Veracruz

CV MESA HUASTECA 21 SEPTIEMBRE 2024, CON JOSE ANTONIO OLIVARES MORALES

CV MESA HUASTECA 14 SEPTIEMBRE 2024

Huasteca Viento de Son - 14 de septiembre 2024 by Radiotelevisión de Veracruz

Huasteca Viento de Son - 7 de septiembre 2024 by Radiotelevisión de Veracruz

CV MESA HUASTECA 7 SEPTIEMBRE 2024, CON ROXANNA HERNANDEZ DIPUTADA LOCAL DISTRITO XIV TAMUIN

CV MESA HUASTECA 31 AGOSTO 2024, CON DIRIGENTES DE VOZ Y DIGNIDAD POR LOS NUESTROS

Huasteca Viento de Son - 31 de agosto 2024 by Radiotelevisión de Veracruz

Huasteca Viento de Son - 24 de agosto 2024 by Radiotelevisión de Veracruz

Descubre cómo el presidente Andrés Manuel López Obrador, junto al gobernador de San Luis Potosí, Ricardo Gallardo, y la presidenta electa de México, Claudia Sheinbaum, inauguraron la supercarretera Ciudad Valles-Tamazunchale en la Huasteca. Esta obra, con una inversión de 8 mil millones de pesos, representa un avance crucial en la conectividad y crecimiento económico de la región, beneficiando a 374 mil habitantes y fomentando el turismo y la actividad económica local.

Descubre cómo el presidente Andrés Manuel López Obrador, junto al gobernador de San Luis Potosí, Ricardo Gallardo, y la jefa de Gobierno de la Ciudad de México, Claudia Sheinbaum, inauguraron la carretera Ciudad Valles-Tamazunchale en la Huasteca. Con una inversión de 8 mil millones de pesos, esta obra moderniza 102 kilómetros de vía, promoviendo la conectividad y el desarrollo económico en la región y beneficiando a 374 mil habitantes. ¡No te pierdas este hito histórico!

No te pierdas los directos de lunes a viernes 10 pm Transmitiendo desde Cd Mante Si quieres hacer tu Donación https://www.buymeacoffee.com/miedoscop ⭐️ Únete a nuestras Redes Sociales ⭐️

Hoy le quiero hablar de una exposición que se esta llevando acabo en el Rose Art Museum que se encuentra localizado en la Brandeis Univerisy. Noe Martinez: The Body Remembers /Noe Martinez el Cuerpo Recuerda Es la primera exposición individual del artista indígena mexicano Noé Martínez nacido en Michoacán, México en esta zona de Nueva Inglaterra. En la exposición el aborda la herencia huasteca de su familia en el contexto de las represivas historias coloniales de México, con el fin de resucitar, lamentar y conmemorar su cultura indígena. Con el apoyo de prácticas etnográficas e investigaciones de archivos, Martínez explora estratos interconectados de arte, cuerpo, historia y memoria viva. Esta esta curada por Dr. Gannit Ankori, Henry and Lois Foster Director and Chief Curator of the Rose Art Museum and Professor of Fine Arts and Women's, Gender and Sexuality Studies at Brandeis University, with Guest Curator Circe Henestrosa, Head of the School of Fashion, LASALLE College of the Arts, University of the Arts Singapore. La obra del artista está dividida en tres partes que se relacionan entre sí. La primera que se puede observar se titula La Patria de las Imágenes. Esta se compone de monumentales dibujos en los que el artista articula relatos fragmentados y perdidos de africanos e indígenas esclavizados y traficado por los colonizadores españoles en la región Huasteca. También evoca la discriminación y explotación que los grupos indígenas siguen sufriendo en México actualmente. En el reverso de cada dibujo, inscribe un fragmento de un poema compuesto en su lengua materna, El náhuatl. Lo que nos deja saber el papel central que juega el lenguaje indígena en la preservación de dicha identidad. En la segunda y no necesariamente van en ese orden. Se encuentra una colección de 13 vasijas en cerámica que forman un circulo titulada Mi Cuerpo es un Cementerio y Mi Camino es un Memorial. Cada una de ellas están inspiradas en artefactos precolombinos descubiertos cerca del pueblo natal de su familia. Cada una de estas vasijas adquieren una personalidad distinta para promover la noción que estos recipientes pueden contener almas de las victimas de la trata. Durante la época colonia las personas esclavizadas se intercambiaban por ganado. A veces se intercambiaban 60 personas por una vaca o un caballo. Por último, hay un video Titulado La historia de los Caminos. Durante esté video podemos ver un performance que propone que veamos a el cuerpo como un archivo: un depósito o repositorio de recuerdos del pasado que fluyen hacia el presente. También les quiero decir que los textos están en español y en inglés. Así que les exhorto a que visiten el museo antes del junio 16 de este año y que el museo es completamente gratuito. Muchísimas Gracias y será hasta la próxima

Por otra parte, se reportan múltiples sismos en Jalisco, Baja California y Chiapas, en información de El Esto, equipo mexicano de Gimnasia Rítmica gana medalla de Plata en Portugal, en notas internacionales, Ecuador atenderá desde Guatemala y EU a sus ciudadanos en México. Hosted on Acast. See acast.com/privacy for more information.

Martín Tonalmeyotl es un escritor, poeta y traductor nahua originario de Atzacoaloya, comunidad ubicada en Guerrero, México. En este programa de Radio de Derechos Indígenas de Cultural Survival rememora su infancia, así como reflexiona sobre su acercamiento a la literatura y la importancia de escribir en lenguas originarias; además, da lectura a sus poemas: “A la mar”, “Bajo la noche” y “Migrantes”. ¡Te invitamos a escucharlo! Puede escuchar, descargar y compartir este programa de forma gratuita. Música de introducción: - Burn Your Village to the Ground” de The Halluci Nation. Derechos de autor, propiedad de The Halluci Nation. Usada bajo su permiso. Música de fondo: - “En el cielo, en la tierra” de Erika Valero “Tlazohtiani”. Derechos de autor, propiedad de Erika Valero “Tlazohtiani”. Usada bajo su permiso. - “Danza de los gavilanes”. Producción: Instituto Nacional de Antropología e Historia y Ediciones Pentagrama S.A. de C.V. Disco 3. “Música Huasteca” de la serie fonográfica “Testimonio Musical de México”. Reproducción autorizada por el Instituto Nacional de Antropología e Historia. - “La petenera”. Producción: Instituto Nacional de Antropología e Historia y Ediciones Pentagrama S.A. de C.V. Disco 30, Vol. I “Voces de Hidalgo” de la serie fonográfica “Testimonio Musical de México”. Reproducción autorizada por el Instituto Nacional de Antropología e Historia. Voces: - Martín Tonalmeyotl, escritor y poeta nahua de Guerrero, México. Producción, edición y guión: - Guadalupe Pastrana, nahua, Cultural Survival, México. Imagen: - Colectivo Gusanos de la Memoria. Enlaces: - Descarga libros de poesía en lenguas originarias de México. https://www.gusanosdelamemoria.org/publicaciones Esta es una producción de Radio de Derechos Indígenas. Nuestros programas son gratuitos para escuchar, descargar y difundir.

En la Montaña de Guerrero, en México, las niñas y los niños Indígenas están haciendo literatura en sus propios idiomas; más al sur del continente, en Ecuador, las infancias y juventudes están aprendiendo la lengua de sus abuelos y abuelas: el kichwa. ¡Conoce estas experiencias a través de este programa especial de Radio de Derechos Indígenas de Cultural Survival! Puede escuchar, descargar y compartir este programa de forma gratuita. Música de introducción: - Burn Your Village to the Ground” de The Halluci Nation. Derechos de autor, propiedad de The Halluci Nation. Usada bajo su permiso. Música de fondo: - “Peces” de Magara. Derechos de autor, propiedad de Magara. Usada bajo su permiso. - “Danza de los gavilanes”. Producción: Instituto Nacional de Antropología e Historia y Ediciones Pentagrama S.A. de C.V. Disco 3. “Música Huasteca” de la serie fonográfica “Testimonio Musical de México”. Reproducción autorizada por el Instituto Nacional de Antropología e Historia. - “La martiniana”. Producción: Instituto Nacional de Antropología e Historia y Ediciones Pentagrama S.A. de C.V. Disco 11. “Música del Istmo de Tehuantepec” de la serie fonográfica “Testimonio Musical de México”. Reproducción autorizada por el Instituto Nacional de Antropología e Historia. - “Eres” de Aztra. Derechos de autor, propiedad de Aztra. Usada bajo su permiso. - “Cumbas andinas” de Trenzan-DO. Derechos de autor, propiedad de Trenzan-DO. Usada bajo su permiso. Voces: - Martín Tonalmeyotl, integrante del Colectivo Gusanos de la Memoria, México. - Juan Carlos Solano, docente del Instituto Superior Pedagógico Intercultural Bilingüe Quilloac, Ecuador. - Guadalupe Pastrana, nahua, Cultural Survival, México. Producción, edición y guión: - Guadalupe Pastrana, nahua, Cultural Survival, México. Imagen: - Colectivo Gusanos de la Memoria. Enlaces: - Declaración Universal de los Derechos del Niño. https://www.cndh.org.mx/sites/all/doc/Programas/Provictima/1LEGISLACI%C3%93N/3InstrumentosInternacionales/E/declaracion_derechos_nino.pdf www.un.org/es/observances/ending-violence-against-women-day - Convención sobre los Derechos del Niño. https://www.un.org/es/events/childrenday/pdf/derechos.pdf Esta es una producción de Radio de Derechos Indígenas. Nuestros programas son gratuitos para escuchar, descargar y difundir.

An ethnographic study based on decades of field research, Pilgrimage to Broken Mountain: Nahua Sacred Journeys in Mexico's Huasteca Veracruzana (UP of Colorado, 2023) explores five sacred journeys to the peaks of venerated mountains undertaken by Nahua people living in northern Veracruz, Mexico. Punctuated with elaborate ritual offerings dedicated to the forces responsible for rain, seeds, crop fertility, and the well-being of all people, these pilgrimages are the highest and most elaborate form of Nahua devotion and reveal a sophisticated religious philosophy that places human beings in intimate contact with what Westerners call the forces of nature. Alan and Pamela Sandstrom document them for the younger Nahua generation, who live in a world where many are lured away from their communities by wage labor in urban Mexico and the United States. Pilgrimage to Broken Mountain contains richly detailed descriptions and analyses of ritual procedures as well as translations from the Nahuatl of core myths, chants performed before decorated altars, and statements from participants. Particular emphasis is placed on analyzing the role of sacred paper figures that are produced by the thousands for each pilgrimage. The work contains drawings of these cuttings of spirit entities along with hundreds of color photographs illustrating how they are used throughout the pilgrimages. The analysis reveals the monist philosophy that underlies Nahua religious practice in which altars, dancing, chanting, and the paper figures themselves provide direct access to the sacred. In the context of their pilgrimage traditions, the ritual practices of Nahua religion show one way that people interact effectively with the forces responsible for not only their own prosperity but also the very survival of humanity. A magnum opus with respect to Nahua religion and religious practice, Pilgrimage to Broken Mountain is a significant contribution to several fields, including but not limited to Indigenous literatures of Mesoamerica, Nahuatl studies, Latinx and Chicanx studies, and religious studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

An ethnographic study based on decades of field research, Pilgrimage to Broken Mountain: Nahua Sacred Journeys in Mexico's Huasteca Veracruzana (UP of Colorado, 2023) explores five sacred journeys to the peaks of venerated mountains undertaken by Nahua people living in northern Veracruz, Mexico. Punctuated with elaborate ritual offerings dedicated to the forces responsible for rain, seeds, crop fertility, and the well-being of all people, these pilgrimages are the highest and most elaborate form of Nahua devotion and reveal a sophisticated religious philosophy that places human beings in intimate contact with what Westerners call the forces of nature. Alan and Pamela Sandstrom document them for the younger Nahua generation, who live in a world where many are lured away from their communities by wage labor in urban Mexico and the United States. Pilgrimage to Broken Mountain contains richly detailed descriptions and analyses of ritual procedures as well as translations from the Nahuatl of core myths, chants performed before decorated altars, and statements from participants. Particular emphasis is placed on analyzing the role of sacred paper figures that are produced by the thousands for each pilgrimage. The work contains drawings of these cuttings of spirit entities along with hundreds of color photographs illustrating how they are used throughout the pilgrimages. The analysis reveals the monist philosophy that underlies Nahua religious practice in which altars, dancing, chanting, and the paper figures themselves provide direct access to the sacred. In the context of their pilgrimage traditions, the ritual practices of Nahua religion show one way that people interact effectively with the forces responsible for not only their own prosperity but also the very survival of humanity. A magnum opus with respect to Nahua religion and religious practice, Pilgrimage to Broken Mountain is a significant contribution to several fields, including but not limited to Indigenous literatures of Mesoamerica, Nahuatl studies, Latinx and Chicanx studies, and religious studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/native-american-studies

An ethnographic study based on decades of field research, Pilgrimage to Broken Mountain: Nahua Sacred Journeys in Mexico's Huasteca Veracruzana (UP of Colorado, 2023) explores five sacred journeys to the peaks of venerated mountains undertaken by Nahua people living in northern Veracruz, Mexico. Punctuated with elaborate ritual offerings dedicated to the forces responsible for rain, seeds, crop fertility, and the well-being of all people, these pilgrimages are the highest and most elaborate form of Nahua devotion and reveal a sophisticated religious philosophy that places human beings in intimate contact with what Westerners call the forces of nature. Alan and Pamela Sandstrom document them for the younger Nahua generation, who live in a world where many are lured away from their communities by wage labor in urban Mexico and the United States. Pilgrimage to Broken Mountain contains richly detailed descriptions and analyses of ritual procedures as well as translations from the Nahuatl of core myths, chants performed before decorated altars, and statements from participants. Particular emphasis is placed on analyzing the role of sacred paper figures that are produced by the thousands for each pilgrimage. The work contains drawings of these cuttings of spirit entities along with hundreds of color photographs illustrating how they are used throughout the pilgrimages. The analysis reveals the monist philosophy that underlies Nahua religious practice in which altars, dancing, chanting, and the paper figures themselves provide direct access to the sacred. In the context of their pilgrimage traditions, the ritual practices of Nahua religion show one way that people interact effectively with the forces responsible for not only their own prosperity but also the very survival of humanity. A magnum opus with respect to Nahua religion and religious practice, Pilgrimage to Broken Mountain is a significant contribution to several fields, including but not limited to Indigenous literatures of Mesoamerica, Nahuatl studies, Latinx and Chicanx studies, and religious studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

An ethnographic study based on decades of field research, Pilgrimage to Broken Mountain: Nahua Sacred Journeys in Mexico's Huasteca Veracruzana (UP of Colorado, 2023) explores five sacred journeys to the peaks of venerated mountains undertaken by Nahua people living in northern Veracruz, Mexico. Punctuated with elaborate ritual offerings dedicated to the forces responsible for rain, seeds, crop fertility, and the well-being of all people, these pilgrimages are the highest and most elaborate form of Nahua devotion and reveal a sophisticated religious philosophy that places human beings in intimate contact with what Westerners call the forces of nature. Alan and Pamela Sandstrom document them for the younger Nahua generation, who live in a world where many are lured away from their communities by wage labor in urban Mexico and the United States. Pilgrimage to Broken Mountain contains richly detailed descriptions and analyses of ritual procedures as well as translations from the Nahuatl of core myths, chants performed before decorated altars, and statements from participants. Particular emphasis is placed on analyzing the role of sacred paper figures that are produced by the thousands for each pilgrimage. The work contains drawings of these cuttings of spirit entities along with hundreds of color photographs illustrating how they are used throughout the pilgrimages. The analysis reveals the monist philosophy that underlies Nahua religious practice in which altars, dancing, chanting, and the paper figures themselves provide direct access to the sacred. In the context of their pilgrimage traditions, the ritual practices of Nahua religion show one way that people interact effectively with the forces responsible for not only their own prosperity but also the very survival of humanity. A magnum opus with respect to Nahua religion and religious practice, Pilgrimage to Broken Mountain is a significant contribution to several fields, including but not limited to Indigenous literatures of Mesoamerica, Nahuatl studies, Latinx and Chicanx studies, and religious studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

An ethnographic study based on decades of field research, Pilgrimage to Broken Mountain: Nahua Sacred Journeys in Mexico's Huasteca Veracruzana (UP of Colorado, 2023) explores five sacred journeys to the peaks of venerated mountains undertaken by Nahua people living in northern Veracruz, Mexico. Punctuated with elaborate ritual offerings dedicated to the forces responsible for rain, seeds, crop fertility, and the well-being of all people, these pilgrimages are the highest and most elaborate form of Nahua devotion and reveal a sophisticated religious philosophy that places human beings in intimate contact with what Westerners call the forces of nature. Alan and Pamela Sandstrom document them for the younger Nahua generation, who live in a world where many are lured away from their communities by wage labor in urban Mexico and the United States. Pilgrimage to Broken Mountain contains richly detailed descriptions and analyses of ritual procedures as well as translations from the Nahuatl of core myths, chants performed before decorated altars, and statements from participants. Particular emphasis is placed on analyzing the role of sacred paper figures that are produced by the thousands for each pilgrimage. The work contains drawings of these cuttings of spirit entities along with hundreds of color photographs illustrating how they are used throughout the pilgrimages. The analysis reveals the monist philosophy that underlies Nahua religious practice in which altars, dancing, chanting, and the paper figures themselves provide direct access to the sacred. In the context of their pilgrimage traditions, the ritual practices of Nahua religion show one way that people interact effectively with the forces responsible for not only their own prosperity but also the very survival of humanity. A magnum opus with respect to Nahua religion and religious practice, Pilgrimage to Broken Mountain is a significant contribution to several fields, including but not limited to Indigenous literatures of Mesoamerica, Nahuatl studies, Latinx and Chicanx studies, and religious studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

An ethnographic study based on decades of field research, Pilgrimage to Broken Mountain: Nahua Sacred Journeys in Mexico's Huasteca Veracruzana (UP of Colorado, 2023) explores five sacred journeys to the peaks of venerated mountains undertaken by Nahua people living in northern Veracruz, Mexico. Punctuated with elaborate ritual offerings dedicated to the forces responsible for rain, seeds, crop fertility, and the well-being of all people, these pilgrimages are the highest and most elaborate form of Nahua devotion and reveal a sophisticated religious philosophy that places human beings in intimate contact with what Westerners call the forces of nature. Alan and Pamela Sandstrom document them for the younger Nahua generation, who live in a world where many are lured away from their communities by wage labor in urban Mexico and the United States. Pilgrimage to Broken Mountain contains richly detailed descriptions and analyses of ritual procedures as well as translations from the Nahuatl of core myths, chants performed before decorated altars, and statements from participants. Particular emphasis is placed on analyzing the role of sacred paper figures that are produced by the thousands for each pilgrimage. The work contains drawings of these cuttings of spirit entities along with hundreds of color photographs illustrating how they are used throughout the pilgrimages. The analysis reveals the monist philosophy that underlies Nahua religious practice in which altars, dancing, chanting, and the paper figures themselves provide direct access to the sacred. In the context of their pilgrimage traditions, the ritual practices of Nahua religion show one way that people interact effectively with the forces responsible for not only their own prosperity but also the very survival of humanity. A magnum opus with respect to Nahua religion and religious practice, Pilgrimage to Broken Mountain is a significant contribution to several fields, including but not limited to Indigenous literatures of Mesoamerica, Nahuatl studies, Latinx and Chicanx studies, and religious studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

Hoy en Expansión Daily:“El tiempo nos va a dar la razón”, dice Rocío NahleAprueban dictamen de Presupuesto 2024 sin dar más recursos para Guerrero160,000 imágenes creadas con IA: los retos contra la violencia digital en MéxicoCómo es salir a carretera en un auto eléctrico sin infraestructura de cargaDe la Huasteca al Bronx: así suenan las voces de Radio HuayacocotlaDiana Nava, reportera en Expansión, de la mano de los y las periodistas de Expansión, te traen la información que tienes que saber. Leemos sus comentarios en nuestras cuentas de twitter e instagram. Toda la información sobre estos y otros temas están disponibles de forma inmediata en expansion.mx. Nos escuchamos de lunes a viernes, a partir de las 6 de la mañana.

Programa del 29 de Septiembre de 2023

EUA no tiene control sobre la venta de armas: AMLO¿Comes en la madrugada? Podrías tener el trastorno del atracón Reportan abejas africanas en Huasteca de HidalgoEn Texas crearon una máquina capaz de leer la mente Más información en nuestro podcast

On the last episode of our special food-and-family series Juleyka reflects on her experience around parenting and food with Claudia Serrato, a culinary anthropologist who studies how to decolonize food practices. In this inspiring conversation, Claudia shows us how to reclaim the power of the kitchen, strengthen family time by centering food, and honor our hybrid identities through what we eat.Featured Expert: Claudia Serrato is an Indigenous culinary anthropologist, a public scholar, a doctoral candidate, a professor of ethnic studies, an Indigenous plant-based chef, and a food justice activist scholar. She was born and raised in Los Angeles, California predominantly on a P'urhépecha, Huasteca, and Zacateco diet. At an early age, she began to cook alongside her elders, gaining time-tested food knowledge, which she centered in her academic studies, arriving at the conclusion in 2007 that decolonizing the diet was essential to the survival of Indigenous foods and foodways. Since 2014 Claudia has been actively involved in the Native food justice and sovereignty movement. Claudia is also the co-founder of Across Our Kitchen Tables, a women of color culinary hub and event series founded in 2017 that generates and supports socially responsible food-based work by women of color. She holds a Bachelor's degree in Gender, Ethnicity, and Multicultural Studies, a Master's in Mexican American Studies, a second Master's in Anthropology, and is currently completing a Ph.D. in sociocultural anthropology from the University of Washington, Seattle. She is currently a teaching scholar at California Polytechnic University Pomona. Learn more about her work and research here.If you loved this episode, listen to Replicating Family Recipes That Were Never Written Down and Stepping Up from Guest to Host at Family Gatherings.We'd love to hear your stories of triumph and frustration so send us a detailed voice memo to hello@talktomamipapi.com. You might be on a future episode! Let's connect on Twitter and Instagram at @TalkToMamiPapi and email us at hello@talktomamipapi.com. And follow us on Apple Podcasts, Spotify and anywhere you listen to your favorite podcasts.