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El Mundial 2026 ha comenzado. Junto con la fiesta y la emoción que despierta este tipo de certámenes deportivos, también aparece la sombra de lo que se conoce en inglés como sportswashing. Es decir, una estrategia con la cual algunos gobiernos buscan mejorar su reputación a través del deporte. Canadá, Estados Unidos y México son los países anfitriones de este Mundial 2026. Sin embargo, estos dos últimos se encuentran en el centro de la atención debido a las reiteradas denuncias de violaciones de derechos humanos registradas en sus territorios y documentadas por diversas ONG. "Violación sistemática de derechos humanos" Juanita Goebertus, directora para las Américas de Human Rights Watch, lamenta la situación interna que atraviesa Estados Unidos: "Es lamentable que en este contexto, siendo Estados Unidos una de las tres sedes, pues se esté dando un escenario de violación sistemática de derechos humanos en contra de comunidades migrantes, muchas de las cuales han sido detenidas arbitrariamente, deportadas abusivamente en violación de sus derechos", dice a RFI. Asimismo, subraya que este certamen debería servir como un catalizador para que la comunidad internacional ejerza presión sobre el Gobierno mexicano con el fin de resolver y prevenir las desapariciones forzadas de personas: "Debería ser una oportunidad para que los distintos países del mundo se unieran en torno al llamado, para que las autoridades mexicanas desplieguen muchísimos más esfuerzos para la búsqueda de las personas desaparecidas, y para poner en marcha una política de seguridad y justicia efectiva", afirma Goebertus. "Querer lavar la imagen" Fernando Segura Trejo, doctor en Sociología, analiza los antecedentes históricos del sportswashing y cómo esta práctica se repite en diferentes países a través del tiempo: "Hay reiterados ejemplos, desde la Alemania nazi, podemos ir a la Argentina dictatorial de 1978 con el Mundial, podemos ir a las críticas que se le hicieron a Catar, un país con leyes tan severas y con tradiciones tan diferentes a las que estamos acostumbrados en Occidente", detalla. "En México tenemos un antecedente muy triste también, que fueron las Olimpiadas de 1968. Unas semanas antes hubo una matanza, la matanza de Tlatelolco, donde se mataron vilmente a estudiantes que protestaban, y las Olimpiadas sirvieron justamente para mostrar una imagen de un México en paz y en orden, cuando hubo una matanza de cientos de estudiantes unas semanas antes", recuerda asimismo. "En este momento se está volviendo a repetir una situación de querer lavar la imagen. Se repite en México y se repite en Estados Unidos también. Bueno, en Estados Unidos, yo diría que ni siquiera hay un esfuerzo por lavar la imagen. Es decir, es tan descarado la política migratoria, los abusos", denuncia. El especialista concluye afirmando que la sociedad mexicana es consciente del uso político que se le da a este tipo de acontecimientos, y que a pesar de que la población celebra el Mundial, muchos ciudadanos consideran que no era el momento para que el país acogiera este torneo.
El Mundial 2026 ha comenzado. Junto con la fiesta y la emoción que despierta este tipo de certámenes deportivos, también aparece la sombra de lo que se conoce en inglés como sportswashing. Es decir, una estrategia con la cual algunos gobiernos buscan mejorar su reputación a través del deporte. Canadá, Estados Unidos y México son los países anfitriones de este Mundial 2026. Sin embargo, estos dos últimos se encuentran en el centro de la atención debido a las reiteradas denuncias de violaciones de derechos humanos registradas en sus territorios y documentadas por diversas ONG. "Violación sistemática de derechos humanos" Juanita Goebertus, directora para las Américas de Human Rights Watch, lamenta la situación interna que atraviesa Estados Unidos: "Es lamentable que en este contexto, siendo Estados Unidos una de las tres sedes, pues se esté dando un escenario de violación sistemática de derechos humanos en contra de comunidades migrantes, muchas de las cuales han sido detenidas arbitrariamente, deportadas abusivamente en violación de sus derechos", dice a RFI. Asimismo, subraya que este certamen debería servir como un catalizador para que la comunidad internacional ejerza presión sobre el Gobierno mexicano con el fin de resolver y prevenir las desapariciones forzadas de personas: "Debería ser una oportunidad para que los distintos países del mundo se unieran en torno al llamado, para que las autoridades mexicanas desplieguen muchísimos más esfuerzos para la búsqueda de las personas desaparecidas, y para poner en marcha una política de seguridad y justicia efectiva", afirma Goebertus. "Querer lavar la imagen" Fernando Segura Trejo, doctor en Sociología, analiza los antecedentes históricos del sportswashing y cómo esta práctica se repite en diferentes países a través del tiempo: "Hay reiterados ejemplos, desde la Alemania nazi, podemos ir a la Argentina dictatorial de 1978 con el Mundial, podemos ir a las críticas que se le hicieron a Catar, un país con leyes tan severas y con tradiciones tan diferentes a las que estamos acostumbrados en Occidente", detalla. "En México tenemos un antecedente muy triste también, que fueron las Olimpiadas de 1968. Unas semanas antes hubo una matanza, la matanza de Tlatelolco, donde se mataron vilmente a estudiantes que protestaban, y las Olimpiadas sirvieron justamente para mostrar una imagen de un México en paz y en orden, cuando hubo una matanza de cientos de estudiantes unas semanas antes", recuerda asimismo. "En este momento se está volviendo a repetir una situación de querer lavar la imagen. Se repite en México y se repite en Estados Unidos también. Bueno, en Estados Unidos, yo diría que ni siquiera hay un esfuerzo por lavar la imagen. Es decir, es tan descarado la política migratoria, los abusos", denuncia. El especialista concluye afirmando que la sociedad mexicana es consciente del uso político que se le da a este tipo de acontecimientos, y que a pesar de que la población celebra el Mundial, muchos ciudadanos consideran que no era el momento para que el país acogiera este torneo.
¿Qué oculta realmente el gobierno bajo sus instalaciones más vigiladas?En este episodio de Frecuencia Paranormal, compartimos el estremecedor testimonio anónimo de un militar activo con más de 20 años de servicio en México.Esta persona nos revela uno de los secretos más oscuros del gobierno mexicano, algo que nos lleva al 2 de octubre de 1968: La Masacre de Tlatelolco.Según su sargento, cientos de cuerpos de la matanza de Tlatelolco fueron trasladados en camiones de volteo a un Campo Militar. En el que hoy en día ocurren muchos fenómenos paranormales. Algo que indica que todas esas almas atrapadas intentan salir de la tierra...
¿Qué oculta realmente el gobierno bajo sus instalaciones más vigiladas?En este episodio de Frecuencia Paranormal, compartimos el estremecedor testimonio anónimo de un militar activo con más de 20 años de servicio en México.Esta persona nos revela uno de los secretos más oscuros del gobierno mexicano, algo que nos lleva al 2 de octubre de 1968: La Masacre de Tlatelolco.Según su sargento, cientos de cuerpos de la matanza de Tlatelolco fueron trasladados en camiones de volteo a un Campo Militar. En el que hoy en día ocurren muchos fenómenos paranormales. Algo que indica que todas esas almas atrapadas intentan salir de la tierra...
En esta nueva cápsula , Gibran y Christian abordan por primera vez a Herbert Marcuse, a partir de la compilación de textos sobre psicoanálisis y filosofía (editada en español por Materia Oscura, y disponible en inglés en los Collected Papers). Una conversación sobre por qué Marcuse —tan famoso como poco leído— sigue siendo urgentemente actual.Recorremos su biografía (Berlín, Heidegger, el exilio, la nueva izquierda, el "Marx-Mao-Marcuse" del 68) y su sorprendente vínculo con México: su llegada vía las traducciones de Juan García Ponce, su visita a la UNAM en 1966, el desencuentro que nunca ocurrió con Erich Fromm, y hasta la sombra que su pensamiento proyecta sobre el 68 mexicano y Tlatelolco.Lo que atraviesa el episodio:• La disputa con Erich Fromm y el "ala derecha del psicoanálisis": cómo el revisionismo neofreudiano convirtió el análisis en un dispositivo de adaptación• Por qué para Marcuse las categorías psicoanalíticas ya son, en sí mismas, categorías sociales y políticas• La tesis central de La obsolescencia del psicoanálisis (1963): lo obsoleto no es Freud, sino el individuo sobre el que se construyó la teoría• Del individuo al "átomo social": el encogimiento del yo, el debilitamiento de las facultades críticas y la acumulación de energía destructiva• El principio de rendimiento, el plus de represión y la posibilidad de una sublimación no represiva• Eros como pulsión de vida y la idea de una "nueva sensibilidad" que afecte la dimensión biológica de la existencia• La sociedad sin padre: cómo la autoridad social anónima sustituye la función paterna, leída junto a Lacan (1938), Horkheimer y Paul Federn• Resonancias contemporáneas: narcisismo, identidad a rajatabla, el fenómeno sionista y Recalcati ("el hombre sin inconsciente")• Para qué sirve hoy un análisis: ¿liberación o paliativo adaptativo?Dónde leer los textos:Herbert Marcuse, Psicoanálisis, política y filosofía — Editorial Materia Oscura (Chile). En inglés: Marcuse, Collected Papers (volumen sobre psicoanálisis), disponible en PDF.Referencias mencionadas:• J. Lacan, "Los complejos familiares en la formación del individuo" (1938)• M. Horkheimer, "Autoridad y familia" y "Las enseñanzas del fascismo" (1950)• T. W. Adorno, "El problema de la familia" (1955)• Documental: El hipopótamo de Marcuse y la revolución en el paraíso#Marcuse #TeoríaCrítica #Psicoanálisis #EscuelaDeFrankfurt #Freud #CríticaDeÉpoca
Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe
Miguel is joined by Alexander Aviña — associate professor of Latin American and Mexican history at Arizona State University and author of Specters of Revolution: Peasant Guerrillas in the Cold War Mexican Countryside — for a deep conversation where fútbol and imperialism collide. First, Alexander breaks down Mexico's World Cup-hosting history, linking the 1970 tournament to the 1968 Tlatelolco massacre and 1986 to the 1985 Mexico City earthquake and public jeering of PRI presidents, while noting protests during 1986 and Sócrates' solidarity gestures as Maradona worked his magic on the pitch. They compare those political tensions to the upcoming 2026 tournament. Alexander and Miguel also break down the younger, Liga MX and Euro club-heavy Selección Nacional Mexicana roster, what home-field advantage at Azteca could mean, and why FIFA's hyper capitalist grip on this tournament — from displaced vendors and street workers in Mexico City to $30,000 World Cup final tickets in the US — has both Miguel and Alexander feeling less excited about this World Cup than any before.Miguel and Alexander also dig into the CNN and New York Times reporting on CIA-linked assassination operations targeting cartel figures on Northern Mexican soil, asking whether the line between intelligence sharing and outright foreign intervention has already been crossed. They also break down Mexico's Ministry of Public Education, reversing its plan to end the school year early for the World Cup, the US State Department's announced review of all 53 Mexican consulates and the far-right conspiracy theory behind it, and the broader Trump administration push to install a right-wing political order across Latin America — from Venezuela to Cuba to Mexico.Lastly, Miguel and Alexander discuss the contradictions of being a politically conscious Fútbol fan: rooting hard for El Tri while critiquing the mega-event capitalist FIFA machine hosted in the imperial core. Links:* Specters of Revolution by Alex Aviña* Cursed? Always let down? Whatever the truth, Mexican support is unconditional -The Athletic * Mexico agrees to host Iran at World Cup instead of US - BBC Sport * U.S. and Mexican Officials Deny C.I.A. Had Lethal Role in Mexico Operation - New York Times * State Department reviewing all Mexican consulates in U.S. as tensions grow - CBS News * Ministry of Education Backtracks; Social Pressure Derails Plan to End School Year Early - Mexico Solidarity Media * President Sheinbaum Calls on US Ambassador to Limit Himself to Bilateral Coordination & Collaboration - Mexico Solidarity Media * Anti-Fascist Football Coalition Website Miguel Garcia and Comrade E produced this episode. The Sports As A Weapon Podcast is part of the @Anticonquista Media Collective. Subscribe to the ANTICONQUISTA Patreon and follow ANTICONQUISTA on YouTube, Instagram, and Facebook.All the video episodes are on the ATICONQUISTA YouTube, and listen/subscribe to the Sports As A Weapon Podcast on Spotify, Apple Podcasts, Amazon Music, Deezer, or wherever you get your podcasts.Follow us on:Twitter/X: @sportsasaweaponFacebook: fb.com/sportsasaweaponpodcastInstagram: @sportsasaweaponpodcastUpScrolled: @SportsAsAWeaponYouTube: @SportsAsAWeaponBlueSky: @sportsasaweapon.bsky.socialVisit our website: www.sportsasaweapon.com
Sitio web: https://www.herdez.com.mx/ IG: https://www.instagram.com/herdezmexico/ Tiktok: https://www.tiktok.com/@herdezmexico #Publicidad #Ad #PodemosSerHéroes #HéroesHerdez Hay personas que cambian la historia con fuerza, con inteligencia… y otras simplemente por negarse a rendirse cuando todo les dice que deberían hacerlo. En este episodio especial de Leyendas Legendarias, exploramos historias de héroes reales que hicieron lo imposible gracias a una mezcla de valentía, terquedad y un nivel de locura que raya en lo legendario. Desde un hombre cuya sangre ayudó a salvar millones de vidas, hasta el militar soviético que evitó una guerra nuclear por confiar en su instinto. También conoceremos al conservacionista que entró en una zona de guerra para rescatar animales mientras el mundo se caía a pedazos, al campesino mexicano que vio nacer un volcán en su propia tierra… y al espíritu de resistencia de los Topos de Tlatelolco, quienes demostraron que el heroísmo a veces no viene del gobierno ni de los protocolos, sino de la pura voluntad humana. Una colección de historias absurdamente épicas, profundamente humanas y tan increíbles que parecen ficción… pero no lo son. También puedes escucharnos en Spotify, Apple Podcasts, Amazon Music o tu app de podcasts favorita. Apóyanos en Patreon: https://www.patreon.com/leyendaspodcast Apóyanos en YouTube: https://www.youtube.com/c/leyendaslegendarias/join Visita nuestra página para ver contenido extra: https://www.leyendaslegendarias.com Síguenos: https://instagram.com/leyendaspodcast https://www.tiktok.com/@leyendaspodcast https://twitter.com/leyendaspodcast https://facebook.com/leyendaspodcast #Podcast #LeyendasLegendarias
Sitio web: https://www.herdez.com.mx/ IG: https://www.instagram.com/herdezmexico/ Tiktok: https://www.tiktok.com/@herdezmexico #Publicidad #Ad #PodemosSerHéroes #HéroesHerdez Hay personas que cambian la historia con fuerza, con inteligencia… y otras simplemente por negarse a rendirse cuando todo les dice que deberían hacerlo. En este episodio especial de Leyendas Legendarias, exploramos historias de héroes reales que hicieron lo imposible gracias a una mezcla de valentía, terquedad y un nivel de locura que raya en lo legendario. Desde un hombre cuya sangre ayudó a salvar millones de vidas, hasta el militar soviético que evitó una guerra nuclear por confiar en su instinto. También conoceremos al conservacionista que entró en una zona de guerra para rescatar animales mientras el mundo se caía a pedazos, al campesino mexicano que vio nacer un volcán en su propia tierra… y al espíritu de resistencia de los Topos de Tlatelolco, quienes demostraron que el heroísmo a veces no viene del gobierno ni de los protocolos, sino de la pura voluntad humana. Una colección de historias absurdamente épicas, profundamente humanas y tan increíbles que parecen ficción… pero no lo son. También puedes escucharnos en Spotify, Apple Podcasts, Amazon Music o tu app de podcasts favorita. Apóyanos en Patreon: https://www.patreon.com/leyendaspodcast Apóyanos en YouTube: https://www.youtube.com/c/leyendaslegendarias/join Visita nuestra página para ver contenido extra: https://www.leyendaslegendarias.com Síguenos: https://instagram.com/leyendaspodcast https://www.tiktok.com/@leyendaspodcast https://twitter.com/leyendaspodcast https://facebook.com/leyendaspodcast #Podcast #LeyendasLegendarias
Today, we're talking about how we tell history, and specifically, how the media treats indigenous cultures. We are diving into the recent cultural history of the so-called Aztec Death Whistle. I've wanted to look into this topic for a while, but a recent horror movie about the whistle prompted a discussion on the Aztlantis discord, so I felt the time was right to dive into it. The main question at hand is how and why did the whistle enter popular culture? That indeed is an interesting question. Of all the things attributed to the Aztecs that people would gravitate towards, a whistle associated with death is going to make the list. Right? I mean think of other things that the public associates with the Aztecs – it's disproportionately related to violence and death. Even the explosion of Dia de los Muertos (Day of the Dead) in the last 20 years, while a positive celebration of deceased loved ones, is still about death. Okay, so how did we get here with the whistle? It's useful to note that the Aztec Death Whistle has been known to archeologists since the 19th century. Scholars largely ignored it as a curiosity until 1999 when an archeological discovery in Tlatelolco changed the perception and led to a more serious investigation of the whistle. The site held the remains of an individual clasping a whistle in each hand, and this led to a momentary surge on the topic. We'll get to that later, but first, back to the article.As I was looking around, I found a 2021 article from the Daily Science Journal by Alex Mitchell entitled “The Aztec Death Whistle is History's Reminder That the Aztecs were Terrifying.” The title of this piece says it all (what a goober, this guy). listener comments? Feedback? Shoot us a text!Lignum is a haven for culture, rest, and resistance. We believe in celebrating community and honoring the land that holds us. At our urban “milpa,” we practice indigenous science that respects the natural cycles of the region, and most of our workshops are hosted by indigenous and local experts. Every project we do is grounded in collective memory, creativity, and respect for the land and its people. Order "NEVER WILL IT BE LOST" and get $5 off!Support Lignum: A Cultural Haven in MéridaYour Hosts:Kurly Tlapoyawa is an archaeologist, ethnohistorian, and filmmaker. His research covers Mesoamerica, the American Southwest, and the historical connections between the two regions. He is the author of numerous books and has presented lectures at the University of New Mexico, Harvard University, Yale University, San Diego State University, and numerous others. He most recently released his documentary short film "Guardians of the Purple Kingdom," and is a cultural consultant for Nickelodeon Animation Studios.@kurlytlapoyawaRuben Arellano Tlakatekatl is a scholar, activist, and professor of history. His research explores Chicana/Chicano indigeneity, Mexican indigenist nationalism, and Coahuiltecan identity resurgence. Other areas of research include Aztlan (US Southwest), Anawak (Mesoamerica), and Native North America. He has presented and published widely on these topics and has taught courses at various institutions. He currently teaches history at Dallas College – Mountain View Campus. Find us: Bluesky...
Hoy te cuento diferentes historias sobrenaturales de la audiencia, pero sin duda la que destaca es la que sucede en la plaza de las 3 culturas de tlatelolco, una donde un joven universitario sufre una serie de sucesos extraños mientras vive en un departamento del edificio Chihuahua quedate y descubre esta y otras experiencias aterradoras que te traigo el dia de hoy... ¿Tienes una historia paranormales? Enviamela a mi correo: evidencia.trystan@gmail.com o Unete al grupo de facebook: Try Stan Relatos Comunidad | Facebook Learn more about your ad choices. Visit megaphone.fm/adchoices
Tlatelolco es un lugar marcado por la historia, por sucesos irrepetibles y por la muerte. Imagine entonces, cuantos relatos paranormales nos han llegado a contar, y cuales se han quedado enterrados en la memoria.
Hoy en La Diez Capital Radio nos acompaña la Dra. en Historia de América de la Complutense, Aurora Pérez Miguel. Año 1519- Hernán Cortés fondea 11 naves en la actual Veracruz con sus 500 hombres, 16 caballos y 7 cañones. La leyenda dice que quemó sus naves para obligar a toda la tripulación a seguir adelante en busca de los misteriosos tesoros y pingües beneficios de tan incierta misión. En realidad, no los hundió, sino que los barrenó inutilizándolos para que ninguno de los que apoyaba a Diego Velazquez pudiese regresar a Cuba. A partir de ese momento el avance hacia Tabasco fue fulminante. LA MALINCHE- El cacique de Tabasco se hace entender con Cortés explicando que los aztecas someten a su pueblo y a todos los circundantes a humillaciones, tributos, esclavitud y sacrificios humanos para satisfacer al dios de la guerra Huitzilopochtli, por lo que se muestran contentos de aliarse con el recién llegado. Tlascaltecas, zapotecas, chichimecas, mixtecas… Todos los pueblos sometidos al imperio azteca vieron en los españoles su sueño de liberación, por lo que se unieron desde el primer momento para derrocar al Tirano. Entre los regalos que Cortés recibe en Tabasco se encuentra una joven llamada Malintzin, que habla las lenguas maya y azteca y que muy pronto aprenderá el español. Los soldados la llamarán La Malinche y Cortés, que la amó y la convirtió en su pareja, la llamó Marina al ser bautizada. Ambos dieron a Méjico el mejor regalo de todos los tiempos: su hijo Martín fue el primer mejicano de raza mestiza. EL MESTIZAJE.- A partir de ese momento el mestizaje fue algo que ningún otro pueblo descubridor y/o colonizador hizo nunca, pues ingleses, holandeses, franceses, etc. Llevaron con ellos a sus mujeres y familias, pero no se mezclaron con los nativos (a los que consideraban inferiores) y lo más que hicieron fue tomar concubinas. El mestizaje es el gran triunfo del pueblo español y del pueblo mejicano, así como de otros pueblos donde fue importante la presencia española. Publicidad 3543 En la actualidad hay en Méjico más de 500 etnias diferentes, siendo la nahua la más importante y la que comprende la mayor parte de la población. El término mestizo es complejo pues abarca la unión entre indios y blancos, pero también entre las diferentes etnias y entre nativos y asiáticos o africanos. La Enciclopedia Británica (que ha hecho un estudio pormenorizado con enfoque biológico) considera que se puede simplificar afirmando que el porcentaje de mestizos en Méjico está entre 80 y 90%. El DUQUE DE AHUMADA, DON FRANCISCO JAVIER GIRÓN Y EZPELETA, FUNDADOR DE LA GUARDIA CIVIL, era descendiente directo de Moctezuma II a través de una rama nobiliaria que entroncaba con Pedro de Moctezuma (que murió en 1570). Felipe IV nombró Conde de Moctezuma a su descendiente, Pedro Tesifón en 1624. EL ENCUENTRO (1519). CAIDA DEL IMPERIO AZTECA (1521) Moctezuma era un hombre muy religioso. Su querida hermana Papan le había dicho que el dios Quetzalcoatl, barbado y de piel blanca, que había vivido entre los aztecas tiempo atrás y que se marchó hacia el este (hacia el golfo de Méjico) había prometido volver. Papan le dijo a su hermano que había estado en el más allá y que había visto esas casas flotantes: “Son los hijos del Sol que vienen a nosotros y será castigado aquel que se atreva a levantar su mano contra ellos”. Los emisarios aztecas habían dado rápidas noticias sobre unos seres extraños que bajaban de unas casas flotantes con grandes telas blancas que se hinchaban con el viento. También había otros seres extraños sobre los que se montaban y que echaban humo por sus orificios nasales. Pero lo más aterrador eran unos truenos que escupían por unos tubos negros. Su jefe, blanco y barbado debía ser el mismísimo Quetzalcóatl que regresaba como había prometido. Desde ese momento el caudillo azteca no encuentra reposo pues estaba convencido de que nada se podía hacer frente a las divinidades como ya se había demostrado con el rápido avance de las tropas españolas que iban sometiendo e incorporando a todos aquellos a los que él había sometido. Si el español estaba deseoso de contactar con el poderoso mandatario a quien todos temían no menos era la ansiedad del azteca por enfrentarse a aquel ser cuyo origen divino presumía. Su obsesión por la profecía del retorno de la deidad suprema en la cosmovisión mejicana se vio, acrecentada por algunos presagios - un eclipse de sol, cometas en el cielo-. Tampoco comprendía que la figura divina suprema que había creado el mundo, la fertilidad y la vida tuviese esa extraña e incomprensible ambición por poseer oro que aparte de un puro valor ornamental no tenía ningún interés para los aztecas. Lo consideraban el excremento de los dioses. Tampoco entendían por qué derribaban a sus ídolos e implantaban unos nuevos. Podían haber convivido ambos. A ellos no les hubiera molestado incorporar a su panteón nuevas deidades, pero les parecía cruel e inexplicable su demolición. Dia 8 de Noviembre de 1519.ENCUENTRO. Habiendo avanzado las tropas españolas triunfantes hasta muy cerca de Tenochtitlan entran por la calzada de Iztapalapa. Moctezuma II luciendo sus mejores galas y rodeado por lo más selecto de su corte les hace un recibimiento espectacular. Este es uno de los acontecimientos más fascinantes de la Historia de la Humanidad. Dos seres humanos que representan dos mundos diferentes y desconocidos se enfrentan a un destino nebuloso e incierto. Dos hombres que se miran frente a frente tratando de adivinar lo que hay en el cerebro del contrincante, moviéndose entre las sombras de lo ignoto sin saber cómo reaccionar ante la incertidumbre. Las emociones nacen desde lo más profundo, suscitando diversas reacciones: curiosidad, temor, prepotencia, confianza, paciencia, amor, odio. Abos contendientes se exploran con precaución; desde el principio el azteca trata de demostrar que su entorno, su esfera, su mundo es correcto, está ordenado y se rige por sus leyes. Detrás del español subyace la vieja Europa, la España que es el país más avanzado tecnológica, y culturalmente de occidente. No hay más remedio que adaptarse a las circunstancias y es el español, astutamente, quien se pliega en un principio. 13 Agosto de1521. CAÍDA DEL IMPERIO- Tras una serie de batallas y de asedios se produce la rendición de Tenochtitlán. El duelo a muerte de dos titanes y de dos sociedades tan opuestas toca a su fin. Al igual que el rey moro Boabdil lloró cuando tuvo que abandonar Granada consciente de lo que perdía, así también las lágrimas corrieron por la faz de Moctezuma cuando no tuvo más remedio que renunciar a su microcosmos y entregar el imperio a los españoles. En el palacio de Axayacatl vivían Cortés y Moctezuma (este último recluido). Ambos se reunían con frecuencia, mantenían largas charlas, se entretenían con juegos de azar. El acercamiento entre ambos se fue fraguando con el transcurso de los días pues los dos eran de naturaleza cálida, franca y abierta y aunque las circunstancias les habían enfrentado sus nobles corazones les acercaban y latían con el generoso pálpito de una sólida amistad, hasta tal punto que Moctezuma II en su lecho de muerte pidió a Cortés que cuidara a sus hijos y así lo hizo el español. A su regreso a España se los llevó a la Corte y les introdujo entre la nobleza y logró que se casaran con miembros de la nobleza española. De nuevo el mestizaje se hace patente. EL LEGADO.- ORGULLO. La huella española en Méjico fue decisiva. Quizá lo más sobresaliente fue-junto al mestizaje-, la lengua, la religión, la cultura, la educación, la sanidad y las LEYES DE INDIAS, que constituyen un hito en la historia de la humanidad. Los Reyes Católicos, en especial la Reina Isabel (que se involucró personalmente) dieron gran importancia a que en su reino no hubiera esclavos, sino súbditos, y a tal efecto hicieron promulgar un conjunto de normas, ordenanzas y decretos con el fin de gobernar los territorios de ultramar a fin de cuidar la evangelización de los mismos. La primera Ley fue la REAL PROVISIÓN (1500). La hizo promulgar la Reina Isabel prohibiendo la esclavitud y reconociendo la dignidad humana de los indios. En 1512 el Rey Fernando profundizó en este tema con la promulgación de las LEYES DE BURGOS y en 1542 el Emperador Carlos I insistió con las NUEVAS LEYES DE BARCELONA. Estas leyes son los textos legales más importantes de la historia del imperio español, ejemplo y lección magistral para todas las naciones que conquistaron tierras en el nuevo mundo y solo obligados por la competencia geopolítica promulgaron alguna leve normativa en favor de los indígenas mucho tiempo después, sobre todo los portugueses. El legado español comprendió áreas extensas. Ya durante la conquista y años posteriores el cuidado sanitario de españoles e indígenas fue prioritario. Se mencionan solo algunos HOSPITALES como ejemplo: Hospital de Jesús (1521-24): Fue el primero del nuevo mundo, auspiciado por Cortés y bajo el cuidado de la Orden de San Juan de Dios; Hospital de San Lázaro (1521-24), fundado por el Dr. Pedro López y también por iniciativa de Cortés; Hospital Real de los Naturales (1532-33), fundado por el franciscano Pedro de Gante; Hospital de San Juan de Letrán (1535), que fue el primer hospital de Puebla; Hospital de Bethlem (1535), en Perote (Veracruz). Entre las IGLESIAS merecen destacarse: la Ermita del Rosario en Antigua (Veracruz) (1523-24) erigida por los franciscanos, bajo orden de Hernán Cortés, que es la más antigua de Méjico y marcó el inicio de la evangelización en el continente; Capilla de San José de Tlatenalco en Cuernavaca (1523-25), auspiciada por Hernán Cortés; Iglesia de la Inmaculada Concepción (Coyoacán, 1540). Muchas de estas iglesias albergan el oro que se extrajo del territorio. UNIVERSIDAD: La Real y Pontificia Universidad de Méjico fue la primera. Se proclamó por Cédula Real el 21 de septiembre de 1551 y se inauguró el 25 de enero de 1553 bajo patrocinio del rey Carlos I. Antes de esta Universidad existieron otras instituciones que ejercían las labores de estudios superiores, como el Colegio de Santa Cruz de Tlatelolco (1536), donde estudiaba la nobleza indígena o el Real Colegio de San Nicolás Obispo (1540). LA MÚSICA.- En la sociedad nahua formaba parte de sus vidas. Desde las rutinas matutinas hasta los más sagrados rituales, desde la celebración de los ciclos agrícolas hasta las celebraciones festivas….la música, los cánticos y las danzas eran parte integrante de la vida de los aztecas. Además de ser una expresión de su propia cultura y de sus tradiciones estaba íntimamente ligada a la espiritualidad y a la conexión con la naturaleza Los frailes se dieron cuenta muy pronto de la poderosa herramienta que tenían en sus manos para vehiculizar todo ese potencial hacia la evangelización y desde el principio se canalizaron estas emociones. En las iglesias se cantaban tanto los himnos traídos desde España como los cánticos indígenas debidamente adaptados. Se alternan los sonidos de los órganos de las iglesias con flautas de cáñamo, las guitarras con las caracolas. Los instrumentos no mueren, algunos se renuevan, otros se transforman. Los frailes no acaban con la cultura musical local, sino que la incorporan. Cruz y guitarra para la evangelización. ORGULLO.- Año 2026- Este puede ser un buen año para enterrar definitivamente la ponzoñosa LEYENDA NEGRA que nos ha envenenado durante siglos. El orgullo por la gesta americana de su viaje a la luna, y el orgullo del pueblo español por la mayor epopeya de la Historia. La obra de España en América en general y de Méjico en particular debe ser reivindicada con todos los honores. El cineasta José Luis López Linares está realizando una labor encomiable a través de sus películas- documentales: “la primera globalización”; Hispanoamérica, canto de vida y esperanza” y We the Hispanos. A partir de aquí se impone una toma de conciencia a todos los niveles para defender sin complejos el impresionante legado español, el perdurable valor del mestizaje, de la lengua, de las Leyes de Indias, de la religión, de la cultura …. Si, hay que defender nuestra historia porque somos lo que fuimos y seremos lo que somos y por encima de todas las consideraciones históricas está el espíritu de hermandad que imbuimos en los pueblos americanos semilla fundamental para incrementar la amistad, y el respeto y fomentar la cooperación internacional, la paz y el desarrollo mutuo.
Hola Mextalkers! En este episodio hablamos sobre el movimiento estudiantil de 1968, una de las etapas más importantes y trágicas de la historia moderna de México. Te contamos cómo comenzó, qué pedían los estudiantes y qué ocurrió el 2 de octubre en Tlatelolco. Una historia de lucha, protesta y memoria que no se olvida.VIVE LA SEGUNDA EXPERIENCIA MEXTALKER! MÁS INFORMACIÓN AQUÍ
Octavio Irineo Paz Lozano fue un poeta, ensayista y diplomático mexicano ganador del premio Nobel de literatura en 1990 y el premio Cervantes en 1981, Nació en Ciudad de México el 31 de marzo de 1914 y murió allí mismo el 19 de abril de 1998. Obras destacadas:Poesía: Piedra de sol (1957): uno de sus poemas más emblemáticos, basado en el calendario azteca.Libertad bajo palabra (1949): antología que reúne gran parte de su poesía inicial. Ensayo: El laberinto de la soledad (1950): un análisis profundo de la identidad mexicana.El arco y la lira (1956): reflexión sobre la naturaleza de la poesía.Sor Juana Inés de la Cruz o las trampas de la fe (1982): ensayo biográfico-literario sobre la gran poeta novohispana. Temas recurrentes: La identidad mexicana. El tiempo, el amor, el lenguaje y la soledad. Diálogos entre la tradición occidental y oriental. La crítica de la modernidad. Fue embajador de México en la India (1962–1968), país que influyó mucho en su obra. Renunció al cargo en protesta por la masacre de Tlatelolco en 1968.
Hey! Únete a este canal para acceder a sus beneficios:https://www.youtube.com/channel/UC6ovKbWpg3jEsvisKXPbEwQ/joinTlatelolco Y Vidas Pasadas | Historias De Subs | Cuéntamelo De Nuevo 250Canal de Berny: @bhruy Banda de Polo: @losdiosesmusik Twitch de Polo https://www.twitch.tv/elcasinogamer97¡Disfruten este episodio!_________________________________________________________________________ Recuerden seguirnos en las redes sociales como Geeks Supremos. Twitter: https://twitter.com/GeeksSupremos Instagram: https://www.instagram.com/geekssuprem... Spotify: https://open.spotify.com/show/7FkvYOW... Anchor: https://anchor.fm/geekssupremosFacebook: https://https://www.facebook.com/GeeksSupremosGrupo de Face: https://www.facebook.com/groups/276372618378578Youtube: @GeeksSupremos Correo para mandar historias: historiasgeekssupremos@gmail.com___________________________________________________________________________Redes de Los Dioses MusikSpotify: https://open.spotify.com/track/3PvRzV...Instagram: https://www.instagram.com/losdiosesmu...TikTok: https://www.tiktok.com/@losdiosesmusik Youtube: @losdiosesmusik Apple Music: https://music.apple.com/mx/artist/los...
Secretaría de Salud reporta 8 muertes por sueros vitaminadosAvanza declaración anual con devoluciones rápidasMujeres protestan en Cuba por sancionesMás información en nuestro Podcast#grc
Refuerzan vigilancia en Templo Mayor y Tlatelolco Buscan hacer obligatorio el pago digital en gasolinerasTrump anuncia medidas para bajar precio de gasolinaMás información en nuestro podcast#grc
Octavio Irineo Paz Lozano fue un poeta, ensayista y diplomático mexicano ganador del premio Nobel de literatura en 1990 y el premio Cervantes en 1981, Nació en Ciudad de México el 31 de marzo de 1914 y murió allí mismo el 19 de abril de 1998. Obras destacadas:Poesía: Piedra de sol (1957): uno de sus poemas más emblemáticos, basado en el calendario azteca.Libertad bajo palabra (1949): antología que reúne gran parte de su poesía inicial. Ensayo: El laberinto de la soledad (1950): un análisis profundo de la identidad mexicana.El arco y la lira (1956): reflexión sobre la naturaleza de la poesía.Sor Juana Inés de la Cruz o las trampas de la fe (1982): ensayo biográfico-literario sobre la gran poeta novohispana. Temas recurrentes: La identidad mexicana. El tiempo, el amor, el lenguaje y la soledad. Diálogos entre la tradición occidental y oriental. La crítica de la modernidad. Fue embajador de México en la India (1962–1968), país que influyó mucho en su obra. Renunció al cargo en protesta por la masacre de Tlatelolco en 1968.
México y Canadá acuerdan plan bilateral para fortalecer comercio e inversiónONU pide a Israel frenar registro de tierras en CisjordaniaCarlos Castellanos estrena espacio informativo en Radio Centro NoticiasMás información en nuestro Podcast
In this episode of Money Tales, our guest is Margarita Camarena. Margarita's relationship with money was shaped by two extremes. As a child, she fled Mexico City after the 1985 earthquake, lost her father that same year, and arrived in the U.S. with her family starting from zero. Years later, after earning two degrees from UC Davis, a lifestyle pivot collided with the 2008 financial crisis and led Margarita to bankruptcy. That decision forced her to face the shame and fear that can come with financial collapse, along with the freedom that can follow. With a mother who taught saving and structure and a father who believed life is meant to be enjoyed while you are healthy, Margarita's story is a powerful lesson in balance and in seeing money as an energy that needs to move. Xochitl Xiuh Ollin, also known as Margarita Camarena, is a Mayan Ajq'ij. She is also a craniosacral therapist, Reiki Master Teacher and manual therapist. She is Tenochca-Tlatelolca, born in Mexico City between the ancient twin cities of Tlatelolco and Tenochtitlan. As a child, she learned from her grandparents how to carry life in a holistic way through remedies and healing practices. Their approach to finances was conservative and rooted in respect, as money was understood to be a primary resource for security and for providing a “comfortable elderhood.” These practices were not labeled curanderismo; they were simply a way of life. As an Ajq'ij, Margarita's role is that of a spiritual guide, carrier of time and fire priestess. She conducts many types of fire ceremonies and works with the 20 sacred Mayan energies and the 13 frequencies of life to guide people. She embraces a multidisciplinary practice that includes craniosacral therapy, Indigenous healing arts, Reiki and multidimensional bodywork. She carries the medicines of sacred lineages from the Zapotec, Maya, Toltec and Mexica traditions. She serves communities in San Francisco and throughout the Bay Area. She is also an educator and offers workshops nationwide and in Mexico, sharing teachings in Indigenous healing, bodywork, medicinal astrology, energy work and Reiki. It is her passion to connect people to nature and ancestral lineages through ceremonies in natural settings and through the cultivation of ritual. Her background is in Art and Design. She comes from a lineage of female curanderas and parteras (midwives), as well as male artists and muralists—traditions she has inherited and continues to practice. When Balance Shapes Longevity Margarita's story is a powerful reminder that money is never just about accumulation. It is about balance, resilience and the meaning we assign to our experiences. From rebuilding her life after loss and displacement to making the difficult decision to file for bankruptcy, she shows how moments often framed by fear or shame can become turning points for growth and renewal. By reframing money as an exchange of energy, Margarita invites us to consider how our financial choices intersect with health, purpose and the lives we hope to live over the long term. Her reflections on community, fear and legacy offer a more expansive view of longevity, not just in years lived, but in impact felt. If you're thinking about how to plan while navigating financial setbacks or major life transitions, an Aspiriant advisor can help you evaluate options, restore confidence and build a plan that aligns your resources with your values. Follow Money Tales on Spotify, Apple Podcasts or YouTube Music for more real stories that explore the human side of money and how thoughtful decisions today can shape resilience, renewal and the legacy we leave behind.
Hoy en nuestro canal exploramos los sucesos paranormales más impactantes de México. Acompáñanos con Antonio Zamudio, investigador de la Agencia Mexicana de Investigación Paranormal, quien nos comparte su experiencia de más de 30 años en fenómenos paranormales y su formación en parapsicología y ocultismo en Barcelona. Desde leyendas icónicas como La Llorona, hasta apariciones en sitios históricos como la Plaza de las Tres Culturas, pasando por el Museo Soumaya, la Isla de las Muñecas y relatos de casas embrujadas y carreteras aterradoras. Si te gustan los misterios y lo inexplicable, este video es para ti. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Hoy en nuestro canal exploramos los sucesos paranormales más impactantes de México. Acompáñanos con Antonio Zamudio, investigador de la Agencia Mexicana de Investigación Paranormal, quien nos comparte su experiencia de más de 30 años en fenómenos paranormales y su formación en parapsicología y ocultismo en Barcelona. Desde leyendas icónicas como La Llorona, hasta apariciones en sitios históricos como la Plaza de las Tres Culturas, pasando por el Museo Soumaya, la Isla de las Muñecas y relatos de casas embrujadas y carreteras aterradoras. Si te gustan los misterios y lo inexplicable, este video es para ti. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Informalidad laboral en Durango sube a 52.4% Tianguis del Pulque Navideño 2025 llegará este fin de semana a TlatelolcoEuropa ordena revisar software de vuelo en aviones AirbusMás información en nuestro podcast
Durante años nadie habitó el departamento frente al mío. La puerta estaba sellada y según el conserje, el antiguo inquilino escuchaba voces...
What's it like being accepted into Mexican film school and later direct a film that the country chooses to represent its filmmaking at the Academy Awards? My guest, Pierre Saint-Martin, can speak to that as well as a love for sound design and film noir cinematography.The podcast begins its highlighting of international films nominated for the 98th Academy Awards with WE SHALL NOT BE MOVED (2024), Mexico's selection. The film was directed by an artist who is by turns thoughtful and proud of his work.It can be seen in November at the Portland Latin American Film Festival, among other venues. Follow Pierre on Instagram to keep up with where the film will be screening.The synopsis: "Socorro is a headstrong lawyer obsessed with finding the soldier who killed her brother during the 1968 student massacre in Tlatelolco, Mexico City. This need for justice masks an old guilt that has alienated her sister Esperanza and her son Jorge."In this episode, Pierre and I discuss:the story behind WE SHALL NOT BE MOVED;the stunning story of how he got started in filmmaking;what film school is like in Mexico and what he had to do to get in;his work between film school and WE SHALL NOT BE MOVED;why the film should be seen in theaters, especially because of the sound;what the film's theatrical run was like in Mexico City;Mexico's choice of his film to represent the country for the 2026 Oscars and what he feels about the marketing campaign;what's next for him.Pierre's Indie Film Highlight: SUJO (2024) dir. by Astrid Rondero; Fernanda Valadez; A BRIGHT FUTURE (2025) dir. by Lucía GaribaldiLinks:Follow Pierre On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content
La deuda pública de México llega al 49.9 % del PIBONU condena posibles pruebas nucleares de EUMás información en nuestro Podcast
Clausuran taller mecánico en Apodaca tras video de maltrato animal Evacuan Clínica Denta por amenaza de bomba, en TlatelolcoCae 80% el ingreso irregular de migrantes por la frontera sur de EUMás informaciín en nuestro podcast
En esta ocasión me fui a la Plaza de las tres Culturas, y visitéuna de las primeras iglesias de la Ciudad de México, te invito a conocerla, se trta de la Iglesia de Santiago Apóstol Tlatelolco.
Se cumplió una semana de la manifestación por los 57 años de la matanza de Tlatelolco, 2 de octubre de 1968, el aniversario más violento de que haya registro
En este episodio especial, El Cocodrilo, conducido por Sergio Almazán, realiza un recorrido nocturno por Tlatelolco para conmemorar los 57 años del movimiento estudiantil de 1968. Entre la Plaza de las Tres Culturas, los edificios y silencios que aún guardan ecos del pasado, se escuchan las voces y testimonios que mantienen viva la memoria de aquella noche trágica del 2 de octubre. Únete a la comunidad de El Cocodrilo en su sitio web y redes sociales: www.sergioalmazan.com X: @salmazan71 https://x.com/salmazan71 IG: @Elcocodrilomvs https://www.instagram.com/elcocodrilomvs/See omnystudio.com/listener for privacy information.
Habla repartidor que se hizo viral tras huir en bicicleta de la Patrulla Fronteriza en Chicago.Piden firman ley para asignar la custodia de menores.Adolescente acusado de asesinatos en primer grado.Acusan a pareja de asesinato capital por muerte de su hijo adoptivo.En Los Ángeles los vendedores ambulantes están bajo amenaza.Celebran marcha conmemorativa por la matanza de estudiantes en Tlatelolco.El 4 de octubre una jueza sentenciará a Sean "Diddy" Combs.Escucha de lunes a viernes el ‘Noticiero Univision Edición Nocturna' con Elián Zidán.
La Cámara de Senadores sí aprobó la reforma a la Ley de Amparo este miércoles pero la hizo retroactiva, algo que contradice a la Constitución. Esto para nada le gustó a Claudia Sheinbaum. La Flotilla Global Sumud fue interceptada el miércoles, y los seis mexicanos que iban a bordo fueron detenidos. Al respecto, Claudia Sheinbaum y la SRE informaron que serán trasladados a un centro de detención mientras se exige su repatriación inmediata. Además… Morena va por aprobar una reforma enviada por Sheinbaum para quitar el fuero a los legisladores; Ayer, en el 57 aniversario de la matanza de Tlatelolco cientos de personas salieron a marchar en la Ciudad de México; Donald Trump dijo que Estados Unidos está en un "conflicto armado" con los cárteles de la droga; En pleno Yom Kippur, un hombre atacó una sinagoga de Manchester, dejando a dos personas muertas; La NFL volverá a México en 2026; Y ya salió “The Life of a Showgirl”, el nuevo álbum de Taylor Swift. Y para #ElVasoMedioLleno… Una planta de tratamiento de aguas residuales en Australia se ha convertido en un verdadero paraíso para cientos de aves. Para enterarte de más noticias como estas, síguenos en redes sociales. Estamos en todas las plataformas como @telokwento. Hosted on Acast. See acast.com/privacy for more information.
La verdadera herencia del 68 será de izquierda o no será. La democracia mexicana es hija parcial de la matanza de Tlatelolco
El articulista inolvidable de MILENIO quiso que el 2 de octubre marcara el día en que se quitara la vida; en su libro último Tlatelolco, aquella tarde, este líder del movimiento del 68 contó su versión de esos momentos negros...
Momentos de suma tensión y situaciones incomodas con final feliz ECDQEMSD podcast episodio 6144 No Se Espanten Conducen: El Pirata y El Sr. Lagartija https://canaltrans.com Noticias del Mundo: Shutdown USA - Otro para Trump - Terremoto en Filipinas - Protestas en Madagascar - Negociaciones por la paz en Gaza - Frankenstein de Guillermo del Toro - RIP Dra Goodall Historias Desintegradas: Libros pesados - No se duerma - Diseño de moda - En el baño del restaurante - Les presento a mi novia - El horror - Mi novia melliza - Ahora es policía - Postpunk que no existe - Un cassette usado de Soda Stereo - Giras interminables - Grupos de covers - El puma de Actopan - Animales de granja - Tlatelolco no se olvida - Ángel de la Guarda dulce compañía y más... En Caso De Que El Mundo Se Desintegre - Podcast no tiene publicidad, sponsors ni organizaciones que aporten para mantenerlo al aire. Solo el sistema cooperativo de los que aportan a través de las suscripciones hacen posible que todo esto siga siendo una realidad. Gracias Dragones Dorados!! NO AI: ECDQEMSD Podcast no utiliza ninguna inteligencia artificial de manera directa para su realización. Diseño, guionado, música, edición y voces son de nuestra completa intervención humana.
El 2 de octubre de 1968 sucedió una de las grandes tragedias de México. Tragedia incierta porque a la fecha no sabemos quién realizó el primer disparo ni cuantas personas murieron. Lo que se sabe es que la masacre de Tlatelolco fue consecuencia de los abusos de un sistema gubernamental infame. Gracias a los archivos y los documentos que retratan ese momento, como los audios que resguarda en su acervo la Fonoteca Nacional, nos es posible recordar ese parteaguas en la historia del México contemporáneo.
Tlatelolco actualmente es una Unidad Habitacional, rodeada de vegetación y del ruido y caos de la Ciudad de México, pero no siempre fue así.En la época prehispánica, se trataba de un mercado bastante importante, mismo en el cual en 1521 se vió azotado por una terrible batalla que dejó una innumerable cantidad de pérdidas humanas.Desde entonces y pasando por la tragedia del 2 de octubre de 1968, este lugar se ha visto envuelto en una enorme cantidad de tragedias, que quizá sean el origen para las multiples leyendas urbanas que hoy se rumoran por la zona.Fantasmas corriendo, gritos de auxilio provenientes de ultratumba e incluso casos atroces de crímen real, son solo algunas de las cosas que rodean a Tlatelolco, una zona que por cierto cuenta con un silencio y una vibra bastantepeculiares para encontrarse en pleno corazón de la Ciudad de México.¿Se tratará de un portal energético o tan sólo son ecos de todos aquellos que han partido de este mundo en sus calles?Este episodio es parte de la celebración de nuestro 6to aniversario como proyecto y es un remake-continuación del primer episodio de este podcast.¡No te lo pierdas y no olvides regalarnos tu like, suscribirte y comentar, eso ayuda muchísimo!YA DISPONIBLE EL CONTENIDO EXCLUSIVO EN PATREON:http://patreon.com/nochesdeterror* Suscripción desde 6 USD para acceder a todo el contenido exclusivo * Si te gusta este podcast y deseas apoyarnos a mejorar nuestro equipo o invitarnos unos tacos puedes apoyarnos en
La presidenta Claudia Sheinbaum hará la propuesta de que se elimine el fuero de senadores y diputados. Legisladores de la Cuarta Transformación reafirmarmon su respaldo a la Presidenta Claudia Sheinbaum y su primer año de gobierno. Como parte de la conmemoración de los 57 años de la matanza estudiantil en la Plaza de las Tres Culturas en Tlatelolco, diversos colectivos llevarán a cabo la megamarcha para recordar a los estudiantes, amas de casa, empleados y obreros que fueron atacados. Hosted on Acast. See acast.com/privacy for more information.
Bienestar inicia entrega de apoyos a familias afectadas por lluvias Asesinan a jefe del sector Tlatelolco en intento de asalto en Chalco Explosión por gas provoca colapso parcial de edificio en el Bronx, NY,EU Más información en nuestro podcast
El 19 de septiembre de 1985 la Ciudad de México despertó con una de las peores tragedias de su historia: un terremoto que dejó miles de muertos y marcó para siempre la memoria del país. Historias ocultas, héroes anónimos y secretos que el gobierno intentó callar… y que todavía hoy siguen persiguiéndonos. #2017 y #2022 Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.
En este episodio nos sumergimos en uno de los momentos más intensos y dolorosos de la historia de México: el movimiento estudiantil de 1968. les hablaremos de cómo comenzaron las marchas, qué exigían los estudiantes, cómo reaccionó el gobierno y cuál fue el camino que llevó a la terrible noche del 2 de octubre en Tlatelolco. Entre ideales, represión, esperanza y tragedia, revisamos cómo estos hechos marcaron para siempre la memoria colectiva del país y dejaron huella en la lucha por la justicia y la democracia en nuestro bonito México.recuerden que gracias a movimientos como estos es que nos podemos manifestar hoy en dia, y externar siempre la respondabilidad de vigilar a la democracia y a los derechos humanos para cerificar su cumplimiento. y si no se esta cumpliendo, hacerlos valer mediente la accion. Dale laik, suscribete y picale a la campanita para poder ver todos nuestros episodios, andaleeeeee. ✨️
El 2 de octubre de 1968 quedó marcado en la memoria de México como uno de los episodios más oscuros de nuestra historia moderna: la masacre de Tlatelolco. En este capítulo de Historia para Tontos repasamos el contexto de los Juegos Olímpicos, el movimiento estudiantil, las marchas, los cantos de protesta y el clima político del país bajo Gustavo Díaz Ordaz. Hablaremos de cómo el gobierno respondió con represión, de las víctimas que aún hoy exigen justicia y de cómo este día sigue siendo un símbolo de lucha, memoria y resistencia en México. Dale laik, suscribete y picale a la campanita para poder ver todos nuestros episodios, andaleeeeee... ✨️
Inicia la veda de pesca del cangrejo azul en Veracruz Profepa rescata especies exóticas en predio irregular de PachucaSubmarino chileno llega a Bahía de Banderas en visita conjunta con la Marina mexicanaMás información en nuestro podcast
Cada 25 de julio, la Iglesia Católica celebra a Santiago Apóstol, patrono de España y de los viajeros. Esta fecha también tiene un profundo significado histórico para México, en 1526, en el antiguo islote de Tlatelolco, los franciscanos, encabezados por Fray Bernardino de Sahagún y el propio Hernán Cortés, colocaron la primera piedra del que sería uno de los primeros templos católicos en América: el Templo de Santiago. Han pasado cinco siglos desde aquel momento fundacional. En este episodio de El Cocodrilo, Sergio Almazán nos lleva por un viaje al corazón de Tlatelolco para descubrir la historia de este emblemático templo, testigo de la fusión de dos mundos. Únete a la comunidad de El Cocodrilo con Sergio Almazán en su sitio web y redes sociales: www.sergioalmazan.com X: @salmazan71 https://x.com/salmazan71 IG: @ElcocodriloMVS https://www.instagram.com/elcocodrilomvs/See omnystudio.com/listener for privacy information.
Veracruz suspende traslado de ganado por caso de gusano barrenador Clara Brugada anuncia rehabilitación de 90 edificios en TlatelolcoCruz Roja Altata detiene operaciones tras asesinato de paramédicoMás información en nuestro Podcast
México negocia con EU para evitar aranceles del 30 % a partir del 1 de agostoClara Brugada anuncia inversión histórica para transformar TlatelolcoPanamá y EU inician ejercicios conjuntos para proteger el Canal de PanamáMás información en nuestro Podcast
Read OnlineThen the angel said to her, “Do not be afraid, Mary, for you have found favor with God. Behold, you will conceive in your womb and bear a son, and you shall name him Jesus.” Luke 1:30–31Today we celebrate five successive apparitions of our Blessed Mother to Juan Diego, who was an Indian convert to the faith. Early in the morning of December 9, 1531, Juan was traveling to the town of Tlatelolco where he intended to attend a catechism class and the holy Mass. However, on his way, as he passed by the Tepeyac Hill, he was gifted by the vision of a bright light and heavenly music. As he gazed upward with wonder and awe, he heard a beautiful voice calling him. As he moved toward the voice, he saw the glorious Mother of God standing in youthful appearance in heavenly splendor. She said to him, “I am your merciful Mother…” She further revealed to him that she wanted a church built on that spot and that Juan was to go and tell this to the Bishop of Mexico City.Juan did as our Lady asked, but the bishop was reluctant to believe. But once again, the Mother of God appeared to Juan and asked him to return to the bishop with her request. This time the bishop asked for a sign, and Juan reported this to the Mother of God. She said a sign would be provided, but Juan was prevented from receiving that sign, since he needed to attend to his sick uncle.However, after two days, on December 12, 1531, Juan was once again traveling to the church in Tlatelolco to ask the priest to come and attend to his dying uncle. But this time Juan had taken a different route so as to avoid delay from his heavenly visitor. But this time our Blessed Mother came to him and said, “It is well, littlest and dearest of my sons, but now listen to me. Do not let anything afflict you and be not afraid of illness or pain. Am I not here who am your Mother? Are you not under my shadow and protection? Are you not in the crossing of my arms? Is there anything else you need? Do not fear, for your uncle is not going to die. Be assured…he is already well.”As soon as Juan heard this from his heavenly visitor, he was overjoyed and asked for a sign to give to the bishop. The Mother of God directed him to the top of the hill where he would find many flowers that were in bloom completely out of season. Juan did as she said, and upon finding the flowers, he cut them and filled his outer cloak, his tilma, with them so he could bring them to the bishop as the sign requested.Juan then made his way back to Bishop Fray Juan de Zumarraga, the Bishop of Mexico City, to present him with the flowers. To the surprise of all, as he opened his tilma to pour forth the flowers, there appeared on his tilma the image of the very woman who had appeared to him. The image was not painted; rather, every thread of this simple and coarse cloak had changed color to create the beautiful image. That same day, our Blessed Mother had also appeared to Juan's uncle and miraculously cured him. Though these miraculous events have become embedded into the fabric of Mexican culture, the message is far more than cultural in significance. “I am your merciful mother,” she said! It is our Blessed Mother's deepest desire that all of us come to know her as our mother. She wants to walk with us through the joys and sorrows of life as any loving mother would. She wants to teach us, lead us and reveal to us the merciful love of her divine Son. Reflect, today, upon the miraculous actions of the Mother of God. But reflect, especially, upon her motherly love. Her love is a pure mercy, a gift of the deepest care and compassion. Her only desire is our holiness. Speak to her this day and invite her to come to you as your merciful mother.My most merciful mother, I love you and invite you to pour forth upon me your love. I turn to you, this day, in my need, and I trust that you will bring me the abundant grace of your Son, Jesus. Mother Mary, O Virgin of Guadalupe, pray for us who turn to you in our need. Saint Juan Diego, pray for us. Jesus, I trust in You.Source of content: catholic-daily-reflections.comCopyright © 2024 My Catholic Life! Inc. All rights reserved. Used with permission via RSS feed.Featured image above: Our Lady of Guadalupe, via Wikimedia Commons
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