5. CREATIVE ASSETS AND PROGRAMMES
INFRASTRUCTURE OF CULTURAL CONSUMPTION
The city of San Cristóbal de Las Casas was included by the Mexican Secretary of Tourism in the Pueblos Mágicos program in 2003 due to its architectural constructions and socio-cultural manifestations. In 2010, the city received recognition in the category of Diversification of the Mexican Touristic Product, at which time it consolidated the denomination of “El Más Mágico de los Pueblos Mágicos” (The Most Magic of the Magic Towns).
The craftspeople of the region of the highlands of Chiapas sell much of their wares within the city of San Cristóbal de Las Casas. In the streets and plazas one can find indigenous craftspeople wandering on foot and occupying stalls in the open-air market of Santo Domingo to market the arts and crafts typical to their communities. Many buildings house shops, which offer textiles and ceramics, fused with international styles of dress and household usages to create entirely distinct products. Whether in their traditional form or in a contemporary version, the crafts of the diverse living cultures of Chiapas convert the commercial center of the city into an inimitable multi-cultural mélange.
The crafts and folk arts of the people of Chiapas are simultaneously in contact with ancient traditions and constantly being exposed to fresh, diverse, and thriving ideas and innovations. Thus can be witnessed a progressive transformation in the city, as the craftspeople assume the roles of protagonists in the mobilization of the artesian spirit of the community and its transformation. Alternately, another group, the non-artesian, forms the audience, observing the change from a static viewpoint, like spectators of the dynamic reality that is created daily from thread, clay, and color, while they lag behind; this metamorphosis brings with it the knowledge that there is an ongoing educational formation and that the quality of innovation is taking place by socially creative learning processes. As such, the improvement of artistic contexts and relations is constant. And so, knowledge and creativity, as expressed and shared, have become fundamental to creatively solving daily problems and broadening the productive capabilities of the people of the community.
Some of the principal urban, architectural, cultural, and touristic attractions of the city are the eight long-established libraries, ten spaces dedicated to special events and conventions, sixteen museums and exhibition centers, eleven art galleries, two theaters for cinema and projection, and more than 60 shops specializing in crafts. As well, there is ample infrastructure to accommodate tourism, including more than 35 registered tour guides, some of whom are fluent in English, French, Italian, Dutch, and German, among other languages.[1]
The craftspeople of the region of the highlands of Chiapas sell much of their wares within the city of San Cristóbal de Las Casas. In the streets and plazas one can find indigenous craftspeople wandering on foot and occupying stalls in the open-air market of Santo Domingo to market the arts and crafts typical to their communities. Many buildings house shops, which offer textiles and ceramics, fused with international styles of dress and household usages to create entirely distinct products. Whether in their traditional form or in a contemporary version, the crafts of the diverse living cultures of Chiapas convert the commercial center of the city into an inimitable multi-cultural mélange.
The crafts and folk arts of the people of Chiapas are simultaneously in contact with ancient traditions and constantly being exposed to fresh, diverse, and thriving ideas and innovations. Thus can be witnessed a progressive transformation in the city, as the craftspeople assume the roles of protagonists in the mobilization of the artesian spirit of the community and its transformation. Alternately, another group, the non-artesian, forms the audience, observing the change from a static viewpoint, like spectators of the dynamic reality that is created daily from thread, clay, and color, while they lag behind; this metamorphosis brings with it the knowledge that there is an ongoing educational formation and that the quality of innovation is taking place by socially creative learning processes. As such, the improvement of artistic contexts and relations is constant. And so, knowledge and creativity, as expressed and shared, have become fundamental to creatively solving daily problems and broadening the productive capabilities of the people of the community.
Some of the principal urban, architectural, cultural, and touristic attractions of the city are the eight long-established libraries, ten spaces dedicated to special events and conventions, sixteen museums and exhibition centers, eleven art galleries, two theaters for cinema and projection, and more than 60 shops specializing in crafts. As well, there is ample infrastructure to accommodate tourism, including more than 35 registered tour guides, some of whom are fluent in English, French, Italian, Dutch, and German, among other languages.[1]
COSMOVISION IN CRAFTS AND POPULAR CULTURE OF THE HIGHLANDS OF SAN CRISTÓBAL DE LAS CASAS
Crafts, the production of textiles, gemstones and semi-precious stones, pottery and ceramics, and woodwork, are all represented by invaluable pieces of work, wrought by uncountable hours of the lives of their creators. Of all that occurs during the process of craftsmanship in connection with the objects and workspaces and of how craft skills confer status, responsibilities, citizenship on occasions, and identity is difficult to overestimate. There is a proper culture of crafts and folk art that is tied to the foundational myths of each social group, which interacts in common spaces, each in its own particular manner. In their arts is reflected the interior world of the society that it also contains, including their preoccupations, their inner dialogues of coexistence, and it is all manifested through the diversity of voices that come to life on a lathe, on loom, in wood, or in ceramic.
In the history of humanity and before it was that education, training, culture, and art were concepts, objects, subjects of study, as well as manifestations of the expression of man and woman of a culture of a collective of diverse beings in communication, there was only the use and expression of thought and acting in a way that amplified perception of possible realities.
When a being recognizes itself as part of a whole and is unable to mark the difference between that which surrounds them and themselves, they become the natural world, they are in the shadow of animism, and they begin to give birth to things that will only much later be recognized and understood as art. The human being then, in this interior recognition with all that surrounds, establishes connections with reality through the representation of that environment. The primitive being assists the cave to render a daily scene of the hunt as part of an experience, painting the animal as faithfully as possible while in his interior he conceives that the life of his creation will become truth and, as he interprets it, he searches for nature within himself. It is so that the nature of objects come to life and that understandings of reality are rendered, in colors, in strokes, designs, and styles of elaborating textiles, from the identity that they protect, conserve, and dream of at each new awakening.
In the hands of the craftspeople of the highlands of Chiapas are cultivated the expressions of the multi-ethnic identity of the region. From them, the complexity of addressing their condition in a socio-contextual and multi-factorial model that naturally legitimizes the cultural diversity of their artistic expressions is resultant. In order to conserve these models of expression, the protection of their crafts is promoted and the refinement of the practice is stimulated.
In the cultural exchange of knowledge with other identities, and in their fusion and interpretation, it is indispensable to consider the changing of paradigms between the producer and the consumer as separate entities, with systems of thought that are completely opposite one another. We can speak of the prosumer, a fusion of producer and consumer, to create an important paradigm shift in the conception of the productive system of a social group and the role of producers as they encounter the consumption of their cultural richness. It is the empowerment of their own production and consumption. By this, we can recognize the importance of diffusing their works by putting them into the digital commercial network through the consolidation of the links to the web-based market between cultural producers and the international market.
A 2005 UNESCO report recognized that the creation of a culture allied with technology contributes to the continuous creative circulation of information and knowledge, thinning the social division that has separated cultural producers and cultural consumers.[2]
The cosmovision of a culture contains its ideas, its aspirations, its relational complexities, as unseen but palpable. These ideas that cannot really be viewed are intuited cerebrally in areas of great perfusion of oxygen, where the immaterial of a culture is all of its vital richness, which ignites the cities to vital and fluid action.
Existence in San Cristóbal de Las Casas is woven delicately at each node of diverse relations and the resultant fabric can be exuberant, the promise of the blooming of society through its self/driven empowerment. The immaterial culture of our region is the collective cosmovision of many cultures. Generating economic wealth from this diverse variety as a collective is the ideal.
In the history of humanity and before it was that education, training, culture, and art were concepts, objects, subjects of study, as well as manifestations of the expression of man and woman of a culture of a collective of diverse beings in communication, there was only the use and expression of thought and acting in a way that amplified perception of possible realities.
When a being recognizes itself as part of a whole and is unable to mark the difference between that which surrounds them and themselves, they become the natural world, they are in the shadow of animism, and they begin to give birth to things that will only much later be recognized and understood as art. The human being then, in this interior recognition with all that surrounds, establishes connections with reality through the representation of that environment. The primitive being assists the cave to render a daily scene of the hunt as part of an experience, painting the animal as faithfully as possible while in his interior he conceives that the life of his creation will become truth and, as he interprets it, he searches for nature within himself. It is so that the nature of objects come to life and that understandings of reality are rendered, in colors, in strokes, designs, and styles of elaborating textiles, from the identity that they protect, conserve, and dream of at each new awakening.
In the hands of the craftspeople of the highlands of Chiapas are cultivated the expressions of the multi-ethnic identity of the region. From them, the complexity of addressing their condition in a socio-contextual and multi-factorial model that naturally legitimizes the cultural diversity of their artistic expressions is resultant. In order to conserve these models of expression, the protection of their crafts is promoted and the refinement of the practice is stimulated.
In the cultural exchange of knowledge with other identities, and in their fusion and interpretation, it is indispensable to consider the changing of paradigms between the producer and the consumer as separate entities, with systems of thought that are completely opposite one another. We can speak of the prosumer, a fusion of producer and consumer, to create an important paradigm shift in the conception of the productive system of a social group and the role of producers as they encounter the consumption of their cultural richness. It is the empowerment of their own production and consumption. By this, we can recognize the importance of diffusing their works by putting them into the digital commercial network through the consolidation of the links to the web-based market between cultural producers and the international market.
A 2005 UNESCO report recognized that the creation of a culture allied with technology contributes to the continuous creative circulation of information and knowledge, thinning the social division that has separated cultural producers and cultural consumers.[2]
The cosmovision of a culture contains its ideas, its aspirations, its relational complexities, as unseen but palpable. These ideas that cannot really be viewed are intuited cerebrally in areas of great perfusion of oxygen, where the immaterial of a culture is all of its vital richness, which ignites the cities to vital and fluid action.
Existence in San Cristóbal de Las Casas is woven delicately at each node of diverse relations and the resultant fabric can be exuberant, the promise of the blooming of society through its self/driven empowerment. The immaterial culture of our region is the collective cosmovision of many cultures. Generating economic wealth from this diverse variety as a collective is the ideal.
THEATERS AND CONCERT HALLS.
In San Cristóbal de Las Casas, there exist various halls for concerts, theaters, auditoriums, and small forums, many of which are preserved by means of their cultural utility. The structure and standards of understanding the cultural activity, which they host, are entirely oriented by the creative economy of the population.
An important characteristic of the city is that it is full of cultural activities organized, for the most part, by diverse collectives and cultural groups in cultural spaces that continually bring to the stage concerts and cultural events.[3]
In a formal manner, the city has various spaces where there is a continuous offering of concerts, such as the Zebadúa Theater, founded in 1931 and which has a capacity of 600 persons. It is part of the Casa Diego de Mazariegos, which hosts the assembly of plenary sessions. This theater is equipped with administrative offices, a vestibule, and a modern sound system. Another of the most important halls is the Civic Theater Hermanos Domínguez, inaugurated on the June 24th, 1994. Belonging to the Government of the State of Chiapas, in has everything necessary to host concerts, theatrical productions, dance expositions, conferences, and other events. It has a capacity of 1,024 persons, the seating being distributed 740 in the general audience, 138 in boxes, and 146 in balconies. There is also the Hall of Fine Arts Alberto Domínguez Borras with a capacity of 220 persons, inaugurated in 1974.
An important characteristic of the city is that it is full of cultural activities organized, for the most part, by diverse collectives and cultural groups in cultural spaces that continually bring to the stage concerts and cultural events.[3]
In a formal manner, the city has various spaces where there is a continuous offering of concerts, such as the Zebadúa Theater, founded in 1931 and which has a capacity of 600 persons. It is part of the Casa Diego de Mazariegos, which hosts the assembly of plenary sessions. This theater is equipped with administrative offices, a vestibule, and a modern sound system. Another of the most important halls is the Civic Theater Hermanos Domínguez, inaugurated on the June 24th, 1994. Belonging to the Government of the State of Chiapas, in has everything necessary to host concerts, theatrical productions, dance expositions, conferences, and other events. It has a capacity of 1,024 persons, the seating being distributed 740 in the general audience, 138 in boxes, and 146 in balconies. There is also the Hall of Fine Arts Alberto Domínguez Borras with a capacity of 220 persons, inaugurated in 1974.
CALENDAR OF FESTIVALS IN THE CITY.
As in most Mexican cities, throughout the year there are celebrations full of color and folkloric activities such as:
· March-April Semana Santa (All Saints Week)
· March-April. "Feria de la Primavera y de la Paz" o “Fiesta Grande” (Fair of Spring and of Peace or the Great Festival). This festival takes place during the week of Easter with diverse cultural events, such as the gastronomic exhibition, the parade of allegoric floats, the nomination of the Queen of Spring and of Peace, and the traditional serenade of the city.
· 31st of March. “Aniversario de La fundación de la ciudad” (Anniversary of the founding of the city). Various activities, exhibitions, and events.
· June. Fiesta Corpus Christi (Festival of Corpus Christi) An exhibition of traditional sweets.
· 16-25 July. “Fiesta de San Cristóbal” (Festival of Saint Christopher). This is the festival of the patron saint of the city and of travelers. There is a tradition that professional drivers form a parade and adorn their vehicles to mount, in caravan, El Cerrito (The Little Hill), on top of which is the Temple of El Cerrito or Saint Christopher, overlooking the city, where they and their vehicles are blessed.
· August. “Expo Internacional del Ámbar” (International Amber Exposition). This event hosts craftsmen from around the world and their fine sculptures elaborated from amber.
· October. “Festival Internacional Cervantino Barroco” (International Festival of Baroque Cervantes). There are diverse cultural activities, such as Jazz, Trova, and symphonic concerts, a book fair, marimba music, and craft exhibitions.
· 2nd of November. “Día de muertos” (Day of the Dead). Tribute is paid to the deceased by their families in the belief that on this day their souls return to coexist with the living. UNESCO declared this event a Master Work of oral and intangible heritage in 2003.
· 12th of December. Celebrations of the Virgin of Guadalupe, patron saint of Mexico.
Historic Center. In the historic center are located many important temples and ex-convents, each of which manifests fairs and celebrations in accordance with the following calendar: July 16th, Festival of the Virgin of Carmen, July 25th, Festival of Saint Christopher the Martyr, August 4th, Festival of Saint Dominic of Guzman, October 4th, Festival of Saint Francis of Asis, November 21st, Festival of the Virgin of Charity, and December 6th, Festival of Saint Nicolas Tolentino.
· March-April Semana Santa (All Saints Week)
· March-April. "Feria de la Primavera y de la Paz" o “Fiesta Grande” (Fair of Spring and of Peace or the Great Festival). This festival takes place during the week of Easter with diverse cultural events, such as the gastronomic exhibition, the parade of allegoric floats, the nomination of the Queen of Spring and of Peace, and the traditional serenade of the city.
· 31st of March. “Aniversario de La fundación de la ciudad” (Anniversary of the founding of the city). Various activities, exhibitions, and events.
· June. Fiesta Corpus Christi (Festival of Corpus Christi) An exhibition of traditional sweets.
· 16-25 July. “Fiesta de San Cristóbal” (Festival of Saint Christopher). This is the festival of the patron saint of the city and of travelers. There is a tradition that professional drivers form a parade and adorn their vehicles to mount, in caravan, El Cerrito (The Little Hill), on top of which is the Temple of El Cerrito or Saint Christopher, overlooking the city, where they and their vehicles are blessed.
· August. “Expo Internacional del Ámbar” (International Amber Exposition). This event hosts craftsmen from around the world and their fine sculptures elaborated from amber.
· October. “Festival Internacional Cervantino Barroco” (International Festival of Baroque Cervantes). There are diverse cultural activities, such as Jazz, Trova, and symphonic concerts, a book fair, marimba music, and craft exhibitions.
· 2nd of November. “Día de muertos” (Day of the Dead). Tribute is paid to the deceased by their families in the belief that on this day their souls return to coexist with the living. UNESCO declared this event a Master Work of oral and intangible heritage in 2003.
· 12th of December. Celebrations of the Virgin of Guadalupe, patron saint of Mexico.
Historic Center. In the historic center are located many important temples and ex-convents, each of which manifests fairs and celebrations in accordance with the following calendar: July 16th, Festival of the Virgin of Carmen, July 25th, Festival of Saint Christopher the Martyr, August 4th, Festival of Saint Dominic of Guzman, October 4th, Festival of Saint Francis of Asis, November 21st, Festival of the Virgin of Charity, and December 6th, Festival of Saint Nicolas Tolentino.
CALENDAR OF FESTIVALS OF THE TRADITIONAL BARRIOS.
In addition to the festival of the historic center, each barrio has its own festivals and traditions.[4]
· BARRIO MEXICANOS. The temple of this barrio is dedicated to the Assumption of the Virgin. Every year the transit (the physical death), the assumption (the elevation to heaven), and the Coronation (as queen of all creation) of the Virgin Mary are celebrated on August 13th, 15th, and 18th.
· BARRIO SAN ANTONIO. The temple of this barrio is dedicated to Saint Anthony of Padua. The festival starts with the reception of Saint Diego de Alcalá, who comes on official visit from his temple. An altar is arranged and he stays for a novena or nine days. Those who attend to view the patron saint have the opportunity receive the holy water, dyed with rosewood and perfumed with incense, set out for the public.
· BARRIO EL CERRILLO. The temple is dedicated to Our Father of the Transfiguration. Starting on August 6th, a novena is celebrated in the patron's honor and residents attend mass on all Sundays.
· BARRIO CUXTITALI. The temple is dedicated to the Sweet Name of Jesus. On January 2nd a devotion attributed to Saint Bernard of Sena, missionary and Franciscan preacher, is celebrated, which over time has come to include a parade of allegoric floats along the principal streets of the neighborhood.
· BARRIO GUADALUPE. The temple is dedicated to the Virgin Mary of Guadalupe. The day of the festival is December 12th and Maintines and a novena are observed. The principal avenue, known as Real de Guadalupe, is adorned from the city center to the church and a fair takes place for a few weeks. It is traditional on December 10th for fathers to take their sons dressed as Juan Dieguitos in traditional costume. During the novena, the church is visited by torch-bearers, who come from various points in the country, running a relay race for hundreds of kilometers, dressed in representations of the Virgin and often in sandals or barefoot.
· BARRIO SANTA LUCIA. The temple is dedicated to the Virgin of Saint Lucia the Martyr. Its festival is celebrated in her honor on December 13th.
· BARRIO SAN DIEGO. The temple is dedicated to Saint Diego of Alcalá. The festival begins with the official visit of Saint Anthony, as with the visit of Saint Diego to the temple of Saint Anthony in June. On the previous Sunday, the vestments are changed in "La Tradicional Mudada" (The Traditional Transfer). The festival is celebrated on November 13th and a traditional white bread, skewered with laurel branches, is distributed.
· BARRIO SAN RAMON. The temple is dedicated to Saint Ramon Nonato. The festival is celebrated on August 31st.
· BARRIO LA MERCED. The temple is dedicated to the Merciful Virgin and Just Judge. The traditionally flamboyant festival is celebrated on September 24th, on which day there is a dance of the Moors and Christians, which forms a colorful parade. A troupe of masked dancers attends allegoric floats ornamented in various styles.
· BARRIO TLAXCALA. The temple is dedicated to the Virgin of Ocotlán. The festival is celebrated on August 18th with the Coronation of the Virgin.
· BARRIO MEXICANOS. The temple of this barrio is dedicated to the Assumption of the Virgin. Every year the transit (the physical death), the assumption (the elevation to heaven), and the Coronation (as queen of all creation) of the Virgin Mary are celebrated on August 13th, 15th, and 18th.
· BARRIO SAN ANTONIO. The temple of this barrio is dedicated to Saint Anthony of Padua. The festival starts with the reception of Saint Diego de Alcalá, who comes on official visit from his temple. An altar is arranged and he stays for a novena or nine days. Those who attend to view the patron saint have the opportunity receive the holy water, dyed with rosewood and perfumed with incense, set out for the public.
· BARRIO EL CERRILLO. The temple is dedicated to Our Father of the Transfiguration. Starting on August 6th, a novena is celebrated in the patron's honor and residents attend mass on all Sundays.
· BARRIO CUXTITALI. The temple is dedicated to the Sweet Name of Jesus. On January 2nd a devotion attributed to Saint Bernard of Sena, missionary and Franciscan preacher, is celebrated, which over time has come to include a parade of allegoric floats along the principal streets of the neighborhood.
· BARRIO GUADALUPE. The temple is dedicated to the Virgin Mary of Guadalupe. The day of the festival is December 12th and Maintines and a novena are observed. The principal avenue, known as Real de Guadalupe, is adorned from the city center to the church and a fair takes place for a few weeks. It is traditional on December 10th for fathers to take their sons dressed as Juan Dieguitos in traditional costume. During the novena, the church is visited by torch-bearers, who come from various points in the country, running a relay race for hundreds of kilometers, dressed in representations of the Virgin and often in sandals or barefoot.
· BARRIO SANTA LUCIA. The temple is dedicated to the Virgin of Saint Lucia the Martyr. Its festival is celebrated in her honor on December 13th.
· BARRIO SAN DIEGO. The temple is dedicated to Saint Diego of Alcalá. The festival begins with the official visit of Saint Anthony, as with the visit of Saint Diego to the temple of Saint Anthony in June. On the previous Sunday, the vestments are changed in "La Tradicional Mudada" (The Traditional Transfer). The festival is celebrated on November 13th and a traditional white bread, skewered with laurel branches, is distributed.
· BARRIO SAN RAMON. The temple is dedicated to Saint Ramon Nonato. The festival is celebrated on August 31st.
· BARRIO LA MERCED. The temple is dedicated to the Merciful Virgin and Just Judge. The traditionally flamboyant festival is celebrated on September 24th, on which day there is a dance of the Moors and Christians, which forms a colorful parade. A troupe of masked dancers attends allegoric floats ornamented in various styles.
· BARRIO TLAXCALA. The temple is dedicated to the Virgin of Ocotlán. The festival is celebrated on August 18th with the Coronation of the Virgin.
POLICIES AND MECHANISMS OF SUPPORT OF ARTISTS AND CULTURAL PROFESSIONALS.
The City Council of San Cristóbal de Las Casas recognizes the high potential for touristic development by means of cultural stimulation, but that before being utilized as such, the cultural aspects should be understood through a thorough municipal program that is comprehensive in its approach to and stimulus of “la cultura, el turismo y el desarrollo” (the culture, the tourism, and development) of San Cristóbal (this is precisely the motto of the Municipal Administration).[5] As such, its implicit objectives are to distinguish and discern between culture understood as a way of life, which should be safeguarded, and culture, which is reinforced by social and governmental institutions. As well, culture, as understood as an artistic manifestation, can be appreciated and consumed in diverse forms and agents, such as is the case for the tourist or visitor who acquires a finely-worked piece of amber or a textile garment made by indigenous hands.[6]
In consideration of the aforementioned, the City Council, in their 2012-2015 Development Plan, poses the following policies and activities to be carried out in order to stimulate culture:
· Development of programs of artistic activities in barrios, neighborhoods, and rural and indigenous communities, also scenic interventions and new
resources for plazas, buildings, and houses.
· Guarantee of a broad and diverse cultural offering through local and global finance networks.
· Strengthening of the Municipal Institute of Culture of San Cristóbal de Las Casas.
· Development of the programs of street cinema, street theater, lectures, classical music in barrios, neighborhoods, and indigenous communities.
· Implementation of the Municipal Book Fair.
· Promotion of art exhibitions in public spaces with adequate access for the whole population, while enhancing international exchange.
· Creation of a Festival of Cinema and Video for the City for the care of water as a resource, similar to the Ibero-American Festival of Peace.
· Development of a broad program of festivals on commemorative dates within the municipal territory, similar to the Festivals of
Baroque Cervantes,
Spring Fair, All Saints Week, etc.
· Effect of exchanges of craftspeople and artistic representations of the municipality, while enhancing trade networks.
· Elaboration of a program of cultural restoration, conservation, and maintenance.
· Stimulation of the acquisition and improvement of cultural spaces and public furniture (benches and such) in communities.
· Establishment of conventions of use of public and cultural spaces between artists and the municipality in the interest of diversity, avoiding
monopolies or hoarding of the same.
· Accompaniment in the creation of creative industries and linking them with nurturing organizations and collectives.
· Design of a cultural agenda and historic routes, which enhance the offering of fairs and festivals. Restoration of cultural spaces (theaters,
pedestrian streets, plazas, etc.). Comprehensive information and signing of monuments and routes, including museums, cultural and
historic monuments and
locations, and areas of eco-touristic and cultural interest.
· Broadening of the educational programs, with specialization in culture and development, through international cooperation amongst the
population and academies of the region.
· Formation of pedagogical methodologies through art for human development.
· Support of the management of cultural projects.
· Creation of a center of creative contact between cultural creators, producers, partners, and investors, a hub or commercial epicenter, which
optimizes
and catalyzes relations with the international community.
· Organization of forums for artistic reflection on the culture of San Cristóbal amongst impresarios, managers, artists, producers, and spectators.
· Promotion of the perfection of their discipline by artists, similar to Ibero-American exchange among artists.
· Generation of a network of exchange between academics and professionals.
· Promotioin of the birth of community interventions "paradas por La Paz" (contemplations of peace).
· Promotion of the inclusion of art in a formal manner in the programs of human development.
· Inauguration of a research center in the market of cultural assets with an international certificate program in the professional artistry and
trades of the highlands of Chiapas.
A creatively focused and thriving community is one that strives to weave a diverse and appealing social fabric, having as its goal the dynamic and creative habitation of its spaces. If this goal accompanies economic growth, the city enhances the overall quality of life.
The fomentation of cultural and experiential tourism is a social investment which protects the identity and forms of expression of the community. Activating cooperatives, capacitating them in the strengthening and broadening of networks, and opening spaces for cultural dialogue are appropriate modes for forming and preserving new creative industries.[7]
In consideration of the aforementioned, the City Council, in their 2012-2015 Development Plan, poses the following policies and activities to be carried out in order to stimulate culture:
· Development of programs of artistic activities in barrios, neighborhoods, and rural and indigenous communities, also scenic interventions and new
resources for plazas, buildings, and houses.
· Guarantee of a broad and diverse cultural offering through local and global finance networks.
· Strengthening of the Municipal Institute of Culture of San Cristóbal de Las Casas.
· Development of the programs of street cinema, street theater, lectures, classical music in barrios, neighborhoods, and indigenous communities.
· Implementation of the Municipal Book Fair.
· Promotion of art exhibitions in public spaces with adequate access for the whole population, while enhancing international exchange.
· Creation of a Festival of Cinema and Video for the City for the care of water as a resource, similar to the Ibero-American Festival of Peace.
· Development of a broad program of festivals on commemorative dates within the municipal territory, similar to the Festivals of
Baroque Cervantes,
Spring Fair, All Saints Week, etc.
· Effect of exchanges of craftspeople and artistic representations of the municipality, while enhancing trade networks.
· Elaboration of a program of cultural restoration, conservation, and maintenance.
· Stimulation of the acquisition and improvement of cultural spaces and public furniture (benches and such) in communities.
· Establishment of conventions of use of public and cultural spaces between artists and the municipality in the interest of diversity, avoiding
monopolies or hoarding of the same.
· Accompaniment in the creation of creative industries and linking them with nurturing organizations and collectives.
· Design of a cultural agenda and historic routes, which enhance the offering of fairs and festivals. Restoration of cultural spaces (theaters,
pedestrian streets, plazas, etc.). Comprehensive information and signing of monuments and routes, including museums, cultural and
historic monuments and
locations, and areas of eco-touristic and cultural interest.
· Broadening of the educational programs, with specialization in culture and development, through international cooperation amongst the
population and academies of the region.
· Formation of pedagogical methodologies through art for human development.
· Support of the management of cultural projects.
· Creation of a center of creative contact between cultural creators, producers, partners, and investors, a hub or commercial epicenter, which
optimizes
and catalyzes relations with the international community.
· Organization of forums for artistic reflection on the culture of San Cristóbal amongst impresarios, managers, artists, producers, and spectators.
· Promotion of the perfection of their discipline by artists, similar to Ibero-American exchange among artists.
· Generation of a network of exchange between academics and professionals.
· Promotioin of the birth of community interventions "paradas por La Paz" (contemplations of peace).
· Promotion of the inclusion of art in a formal manner in the programs of human development.
· Inauguration of a research center in the market of cultural assets with an international certificate program in the professional artistry and
trades of the highlands of Chiapas.
A creatively focused and thriving community is one that strives to weave a diverse and appealing social fabric, having as its goal the dynamic and creative habitation of its spaces. If this goal accompanies economic growth, the city enhances the overall quality of life.
The fomentation of cultural and experiential tourism is a social investment which protects the identity and forms of expression of the community. Activating cooperatives, capacitating them in the strengthening and broadening of networks, and opening spaces for cultural dialogue are appropriate modes for forming and preserving new creative industries.[7]
HUMAN RESOURCES, LOCAL CREATORS AND ASSOCIATES.
Among the many artists in the city, their modes and mediums include jazz, painting, plastic arts, drawing, handicrafts, storytelling, musical groups for children, photography, pictographs, workshops, murals, aerography, cinema, child singers, troubadours, marimba players, rock bands, theater groups, classical guitar, revelers, versatile musical groups, orchestras, etc. This list is only partial as there are many more artists, musicians, craftspeople, and cultural agents than can be included in the program .
To see the full list of human resources click here.
To see the full list of human resources click here.
THE BARRIOS OF THE CITY, THEIR CRAFTS AND CRAFTSPEOPLE.
On the subject of crafts, the city of San Cristóbal de Las Casas plays a fundamental role in the development of craftsmanship in the state of Chiapas. Being a touristic corridor and center of trade for the all of the municipalities of the Chiapan highlands, the city has become the most suitable meeting point of the diverse living cultures of the region.
The production of crafts at the local and regional level that are marketed in the city of San Cristóbal de Las Casas comprises a great wealth of handiwork pieces and fine objects from the many branches of crafts and are purchased mainly through national and international tourism.
The barrios of the city have grown gradually from the original North-South and East-West axes of the original settlement, from the Convent of Santo Domingo to the Carmen Temple and from Guadalupe to the Merced, respectively. From those founding days, the barrios have specialized in crafts particular to their districts.[8]
BARRIO MEXICANOS. This neighborhood is distinguished for the produce and colors of the Nahua people, originally from Central Mexico. There crafts include weaving, confectionery, spinning of threads, brick making, and other various crafts and labors. Some of the master craftsmen recognized in Barrio Mexicanos are:
· Francisco Álvarez Montoya. Textile trade. Works in the elaboration of Nahua textile designs, dyes and tints of cotton. Aged 73 years with 63 years in his trade and being of the second generation of craftspeople in his family.
· Gilberto Núñez Cruz. Trade: loom weaving in the Nahua tradition. Works in the dyeing of thread and fabrication of tablecloths, cloth serviettes, curtains, rugs, carpets, bedspreads, guayabera shirts, dresses, and suits for weddings and quinceñeras celebrations, etc. Aged 30 years with 20 years in the trade and of the first generation of craftspeople in the family.
BARRIO SAN ANTONIO. This neighborhood is characterized by the dedication to pyrotechnics. The tradition dates back 150 years and has been carried on by generations of craftspeople in a place called “la galera”. One of the craftsmen recognized in the barrio is:
· José Vallinas Ramos. Trade: mason. Works in all skills related to masonry and construction. Aged 42 year with 17 years in the trade and of the first generation of masons in his family.
BARRIO EL CERRILLO. This neighborhood is distinguished for works in wrought iron, which represents one of the trades inherited from the Spanish. Iron is forged through the use of hammering techniques and the application of extreme heat in order to fabricate useful items such as locks and keys, door knockers and bells with designs of the colonial era, crucifixes, candelabras, and other metalwork that comprise part of the distinctive artistic character of Chiapas. The ironwork of this barrio can be admired throughout the city on windows and their bars, doors and their locks, balconies, lanterns, and the crosses and weather vanes that adorn many roofs. Some of the craftsmen recognized in Barrio El Cerrillo are:
· Carlos Marcelin Gómez. Trade: Balconero (balcony construction). Works in the elaboration of windows, doors, handrails, and gates. Aged 54 years with 30 years in the trade and of the first generation of balconeros in his family.
· Jorge Luis Pinacho Solís. Trade: cabinetmaker. Works in the elaboration of didactic material, crafts, and doors. Aged 43 years with 20 years in the trade and of the first generation of craftspeople in his family.
· Álvaro López Cameras. Trade: Balconero. Works in the elaboration of doors, gates, handrails, stairs, signs, structures, and furnaces. Aged 38 years with 25 years in the trade of the first generation of craftspeople in his family.
· Abelardo Cruz Núñez. Trade: ironwork and forging. Works in the elaboration of ironworks and artistic wrought iron, elaboration of tools, crafts, locks, and keys. Aged 48 years with 35 years in the trade of the third generation of craftspeople in his family.
· Omero León Bermúdez. Trade: ironwork and forging. Works in the elaboration of doors, furniture, and others. Aged 52 years with 35 years in the trade of the second generation of craftspeople in his family.
· Gerardo Ramírez González. Trade: carpenter. Works in the elaboration of tables, chairs, doors, and windows. Aged 62 years with 35 years in the trade of the first generation of craftspeople in his family.
· Sebastián Pérez Intzin. Trade: carpenter. Works in general carpentry. Aged 56 years with 40 years in the trade of the second generation of craftspeople in his family.
· Taller de Leñateros. Trade: recycled paper. Works in the elaboration of recycled paper and cardboard with natural dyes. Aged 38 years with 29 years in the trade and operates a collective of Mayan contemporary artists in Chiapas.
BARRIO CUXTITALI. This neighborhood is characterized by the industries of beef, pork, and their derivatives. The barrio is distinguished for the raising of pigs, butchery, and the elaboration of sausages that have their providence from the Spanish. Some of the craftspeople recognized in Barrio Cuxtitali are:
· Manuel Humberto López Gutiérrez. Trade: butcher. Works in the elaboration and processing of meats. Aged 44 years with 6 years in the trade and of the first generation of craftspeople in his family.
· Francisco Gutiérrez Urbina. Trade: butcher. Works in the slaughter and processing of pork meats. Aged 73 years with 32 years in the trade and of the second generation of craftspeople in his family.
· Juana Ortiz Pérez. Trade: Confectionery. Works in the elaboration of confections. Aged 42 years with 7 years in the trade and of the first generation of craftspeople in his family.
· Doña María. Trade: Confectionery. Works in the elaboration and sale of confections. Of the second generation of craftspeople in his family.
BARRIO GUADALUPE. The craftspeople of this neighborhood are known for the elaboration of wooden toys, such as trucks, boxes, push-toy birds, and puzzles. As well, they create wooden chests of various sizes, painted by hand in many colors and designs. As well as woodwork, this barrio is distinguished for a tradition of saddlery dating back to the 16th century. Many items of dress and household items are made from leather. In Chiapas, saddlery has always been distinguished by the elaboration of leather objects and pieces of utilitarian character. Examples include bags and backpacks, shoes, mountings, and sheaths for machetes, among others. Some of the craftspeople recognized in Barrio Guadalupe are:
· Rodolfo Bermúdez Hernández. Trade: carpenter. Works in the elaboration and repair of doors, windows, furniture, and toys. Aged 47 years with 30 years in the trade of the second generation of craftspeople in his family.
· Guadalupe Méndez. Trade: carpenter. Works in the elaboration and repair of doors, windows, furniture, and toys, as well as with rustic wood stains and finishes. Aged 65 years with 30 years in the trade of the first generation of craftspeople in his family.
· Augusto Burguete. Trade: Saddlery. Works in the elaboration of bags, belts, and sandals. Aged 86 years with 49 years in the trade of the first generation of craftspeople in his family.
· José Antonio Camacho Correa. Trade: furrier or leatherwork. Works in the elaboration, purchase, sale, and repair of leather items. Aged 68 years with 20 years in the trade of the first generation of craftspeople in his family.
· Ramiro Guzmán Sánchez. Trade: carpentry and ironworks. Works in the elaboration of everything to do with carpentry and ironworks, including handrails, doors, and windows. Aged 56 years with 35 years in the trade of the first generation of craftspeople in his family.
· Meza. Trade: carpenter. Works in the elaboration and repair of tables, chairs, furniture in general, and toys. Aged 45 years with 30 years in the trade of the first generation of craftspeople in his family.
BARRIO SANTA LUCIA. Originally, this neighborhood was a crafts center, know for the excellence of the many diverse crafts and constructions. One of the craftsmen recognized in Barrio Santa Lucia is:
· José Jorge Molina Martínez. Trade: pyrotechnics. Works in the elaboration of fireworks. Aged 73 years with 63 years in the trade of the sixth generation of craftspeople in his family.
BARRIO SAN DIEGO. This neighborhood was historically dedicated to the raising and keeping of mules. But, with the passage of time, this trade has disappeared. In the colonial era there was also a small hospital run by the Diegan Fraternal Order, which disappeared more than a century ago. The activities, which now occupy the barrio, are laundry, bakery, and some of the finest culinary artistry in San Cristóbal.
BARRIO SAN RAMON. The craft representative of this neighborhood is pottery, which is created with clay and worked on a wheel in forms and shapes as specified. Among the earthenware works are cups, plates, and pots. Actually, located in this barrio is one of the most important workshops of the region, which creates well-known crockery, vases, flowerpots, tiles, and paving stones. As well, this barrio is known for its delicious breads, many of which are typical to the region. Also, there is confectionery of various types, including chimbo (an egg yolk bread covered with syrup), cookies, and biscuits, among many others. Some of the craftsmen recognized in Barrio San Ramon are:
· Cristóbal Mandujano Rosas. Trade: Potter. Works in the elaboration of earthenware, crockery, tiles, and paving stones. Aged 54 years with 38 years in the trade and of the fourth generation of craftspeople in his family.
· Luis Isidro Mandujano Rosas. Trade: Potter. Works in the elaboration of earthenware, crockery, and souvenirs. Aged 53 years with 35 years in the trade and of the third generation of craftspeople in his family.
BARRIO LA MERCED. This neighborhood is distinguished for the elaboration of candleholders and decorative candles which are used during the various festivals throughout the city. They are all made entirely by hand with waxes and paraffin of various colors and decorations, including flowers. Many of the designs created in wax are similar to patterns of traditional textiles. Some of the craftspeople recognized in Barrio La Merced are:
· Alicia Trejo Flores. Trade: candle-maker. Works in the elaboration of all kinds of candles for decoration, festivals, and of various colors and aromas. Aged 41 years with 10 years in the trade and of the first generation of craftspeople in her family.
· Luz Elena Castro Luna. Trade: candle-maker. Works in the elaboration flowered candles for sale to the public of various colors and sizes. Aged 88 years with 73 years in the trade and of the second generation of craftspeople in her family.
BARRIO TLAXCALA. This neighborhood produces traditional confections and is also distinguished as being of traders and merchants.
The production of crafts at the local and regional level that are marketed in the city of San Cristóbal de Las Casas comprises a great wealth of handiwork pieces and fine objects from the many branches of crafts and are purchased mainly through national and international tourism.
The barrios of the city have grown gradually from the original North-South and East-West axes of the original settlement, from the Convent of Santo Domingo to the Carmen Temple and from Guadalupe to the Merced, respectively. From those founding days, the barrios have specialized in crafts particular to their districts.[8]
BARRIO MEXICANOS. This neighborhood is distinguished for the produce and colors of the Nahua people, originally from Central Mexico. There crafts include weaving, confectionery, spinning of threads, brick making, and other various crafts and labors. Some of the master craftsmen recognized in Barrio Mexicanos are:
· Francisco Álvarez Montoya. Textile trade. Works in the elaboration of Nahua textile designs, dyes and tints of cotton. Aged 73 years with 63 years in his trade and being of the second generation of craftspeople in his family.
· Gilberto Núñez Cruz. Trade: loom weaving in the Nahua tradition. Works in the dyeing of thread and fabrication of tablecloths, cloth serviettes, curtains, rugs, carpets, bedspreads, guayabera shirts, dresses, and suits for weddings and quinceñeras celebrations, etc. Aged 30 years with 20 years in the trade and of the first generation of craftspeople in the family.
BARRIO SAN ANTONIO. This neighborhood is characterized by the dedication to pyrotechnics. The tradition dates back 150 years and has been carried on by generations of craftspeople in a place called “la galera”. One of the craftsmen recognized in the barrio is:
· José Vallinas Ramos. Trade: mason. Works in all skills related to masonry and construction. Aged 42 year with 17 years in the trade and of the first generation of masons in his family.
BARRIO EL CERRILLO. This neighborhood is distinguished for works in wrought iron, which represents one of the trades inherited from the Spanish. Iron is forged through the use of hammering techniques and the application of extreme heat in order to fabricate useful items such as locks and keys, door knockers and bells with designs of the colonial era, crucifixes, candelabras, and other metalwork that comprise part of the distinctive artistic character of Chiapas. The ironwork of this barrio can be admired throughout the city on windows and their bars, doors and their locks, balconies, lanterns, and the crosses and weather vanes that adorn many roofs. Some of the craftsmen recognized in Barrio El Cerrillo are:
· Carlos Marcelin Gómez. Trade: Balconero (balcony construction). Works in the elaboration of windows, doors, handrails, and gates. Aged 54 years with 30 years in the trade and of the first generation of balconeros in his family.
· Jorge Luis Pinacho Solís. Trade: cabinetmaker. Works in the elaboration of didactic material, crafts, and doors. Aged 43 years with 20 years in the trade and of the first generation of craftspeople in his family.
· Álvaro López Cameras. Trade: Balconero. Works in the elaboration of doors, gates, handrails, stairs, signs, structures, and furnaces. Aged 38 years with 25 years in the trade of the first generation of craftspeople in his family.
· Abelardo Cruz Núñez. Trade: ironwork and forging. Works in the elaboration of ironworks and artistic wrought iron, elaboration of tools, crafts, locks, and keys. Aged 48 years with 35 years in the trade of the third generation of craftspeople in his family.
· Omero León Bermúdez. Trade: ironwork and forging. Works in the elaboration of doors, furniture, and others. Aged 52 years with 35 years in the trade of the second generation of craftspeople in his family.
· Gerardo Ramírez González. Trade: carpenter. Works in the elaboration of tables, chairs, doors, and windows. Aged 62 years with 35 years in the trade of the first generation of craftspeople in his family.
· Sebastián Pérez Intzin. Trade: carpenter. Works in general carpentry. Aged 56 years with 40 years in the trade of the second generation of craftspeople in his family.
· Taller de Leñateros. Trade: recycled paper. Works in the elaboration of recycled paper and cardboard with natural dyes. Aged 38 years with 29 years in the trade and operates a collective of Mayan contemporary artists in Chiapas.
BARRIO CUXTITALI. This neighborhood is characterized by the industries of beef, pork, and their derivatives. The barrio is distinguished for the raising of pigs, butchery, and the elaboration of sausages that have their providence from the Spanish. Some of the craftspeople recognized in Barrio Cuxtitali are:
· Manuel Humberto López Gutiérrez. Trade: butcher. Works in the elaboration and processing of meats. Aged 44 years with 6 years in the trade and of the first generation of craftspeople in his family.
· Francisco Gutiérrez Urbina. Trade: butcher. Works in the slaughter and processing of pork meats. Aged 73 years with 32 years in the trade and of the second generation of craftspeople in his family.
· Juana Ortiz Pérez. Trade: Confectionery. Works in the elaboration of confections. Aged 42 years with 7 years in the trade and of the first generation of craftspeople in his family.
· Doña María. Trade: Confectionery. Works in the elaboration and sale of confections. Of the second generation of craftspeople in his family.
BARRIO GUADALUPE. The craftspeople of this neighborhood are known for the elaboration of wooden toys, such as trucks, boxes, push-toy birds, and puzzles. As well, they create wooden chests of various sizes, painted by hand in many colors and designs. As well as woodwork, this barrio is distinguished for a tradition of saddlery dating back to the 16th century. Many items of dress and household items are made from leather. In Chiapas, saddlery has always been distinguished by the elaboration of leather objects and pieces of utilitarian character. Examples include bags and backpacks, shoes, mountings, and sheaths for machetes, among others. Some of the craftspeople recognized in Barrio Guadalupe are:
· Rodolfo Bermúdez Hernández. Trade: carpenter. Works in the elaboration and repair of doors, windows, furniture, and toys. Aged 47 years with 30 years in the trade of the second generation of craftspeople in his family.
· Guadalupe Méndez. Trade: carpenter. Works in the elaboration and repair of doors, windows, furniture, and toys, as well as with rustic wood stains and finishes. Aged 65 years with 30 years in the trade of the first generation of craftspeople in his family.
· Augusto Burguete. Trade: Saddlery. Works in the elaboration of bags, belts, and sandals. Aged 86 years with 49 years in the trade of the first generation of craftspeople in his family.
· José Antonio Camacho Correa. Trade: furrier or leatherwork. Works in the elaboration, purchase, sale, and repair of leather items. Aged 68 years with 20 years in the trade of the first generation of craftspeople in his family.
· Ramiro Guzmán Sánchez. Trade: carpentry and ironworks. Works in the elaboration of everything to do with carpentry and ironworks, including handrails, doors, and windows. Aged 56 years with 35 years in the trade of the first generation of craftspeople in his family.
· Meza. Trade: carpenter. Works in the elaboration and repair of tables, chairs, furniture in general, and toys. Aged 45 years with 30 years in the trade of the first generation of craftspeople in his family.
BARRIO SANTA LUCIA. Originally, this neighborhood was a crafts center, know for the excellence of the many diverse crafts and constructions. One of the craftsmen recognized in Barrio Santa Lucia is:
· José Jorge Molina Martínez. Trade: pyrotechnics. Works in the elaboration of fireworks. Aged 73 years with 63 years in the trade of the sixth generation of craftspeople in his family.
BARRIO SAN DIEGO. This neighborhood was historically dedicated to the raising and keeping of mules. But, with the passage of time, this trade has disappeared. In the colonial era there was also a small hospital run by the Diegan Fraternal Order, which disappeared more than a century ago. The activities, which now occupy the barrio, are laundry, bakery, and some of the finest culinary artistry in San Cristóbal.
BARRIO SAN RAMON. The craft representative of this neighborhood is pottery, which is created with clay and worked on a wheel in forms and shapes as specified. Among the earthenware works are cups, plates, and pots. Actually, located in this barrio is one of the most important workshops of the region, which creates well-known crockery, vases, flowerpots, tiles, and paving stones. As well, this barrio is known for its delicious breads, many of which are typical to the region. Also, there is confectionery of various types, including chimbo (an egg yolk bread covered with syrup), cookies, and biscuits, among many others. Some of the craftsmen recognized in Barrio San Ramon are:
· Cristóbal Mandujano Rosas. Trade: Potter. Works in the elaboration of earthenware, crockery, tiles, and paving stones. Aged 54 years with 38 years in the trade and of the fourth generation of craftspeople in his family.
· Luis Isidro Mandujano Rosas. Trade: Potter. Works in the elaboration of earthenware, crockery, and souvenirs. Aged 53 years with 35 years in the trade and of the third generation of craftspeople in his family.
BARRIO LA MERCED. This neighborhood is distinguished for the elaboration of candleholders and decorative candles which are used during the various festivals throughout the city. They are all made entirely by hand with waxes and paraffin of various colors and decorations, including flowers. Many of the designs created in wax are similar to patterns of traditional textiles. Some of the craftspeople recognized in Barrio La Merced are:
· Alicia Trejo Flores. Trade: candle-maker. Works in the elaboration of all kinds of candles for decoration, festivals, and of various colors and aromas. Aged 41 years with 10 years in the trade and of the first generation of craftspeople in her family.
· Luz Elena Castro Luna. Trade: candle-maker. Works in the elaboration flowered candles for sale to the public of various colors and sizes. Aged 88 years with 73 years in the trade and of the second generation of craftspeople in her family.
BARRIO TLAXCALA. This neighborhood produces traditional confections and is also distinguished as being of traders and merchants.
PROFESSIONAL ASSOCIATIONS INVOLVED, ACTIVITIES AND SCOPE
In the city there exist various associations, collectives, and organizations, which support the creation of crafts and folk art. Among these are:
· Aid to Artisans. Production of clothing and household accessories. The group is in involved with craftspeople, embroidery, and they give workshops on the themes of marketing and textile design. More than 400 craftspeople from 11 municipalities are involved and five regular staff is employed. They also give workshops concerning leadership, product development, sales, administration, logistics, and communication.
· Chamuchic. Elaboration of craft accessories. Their profile is the design of textiles, finances, and weaving crafts. They work in various communities of the region, such as San Andrés Larráinzar, Zinacantán, and San Juan Chamula, working with approximately 20 craftspeople and employing four people. They give workshops concerning design, modes of production, and finances.
· Corazón Artesanal. Elaboration of accessories. Their profile is graphic design with craftspeople and weavers of Zinacantán, San Andrés Larráinzar, and Amatenango del Valle with 27 craftspeople involved and a staff of two. They give workshops concerning style, production, and creativity for children.
· El Gato con los Pies de Trapo. Elaboration of shoes and accessories. Their profile is industrial design and embroidery crafts in San Juan Chamula with around 11 craftspeople involved and employing 13 people. They offer workshops on quality control, design, and sales.
· Fundación León XIII. Elaboration of clothes, accessories, and household items. Their profile is law related to crafts of all techniques executed in San Cristóbal de Las Casas and nearby municipalities, with about 400 craftspeople involved. They impart workshops concerning human development, savings, materials banks, skills development, gender, violence, self-esteem, respect, and dignity.
· K’un K’un Talleres de Artes y Oficios. Elaboration of rugs and wool sweaters. Their profile is social anthropology and textile design with weavers and embroiderers of San Juan Chamula and Tenejapa, with about 20 craftspeople involved and 20 employees. They give workshops regarding natural dyes, traditional Mayan design, quality control, and loom skills.
· Lacompré Elaboration of clothes and accessories. Their profile is fashion design and business administration with weavers and embroiderers from San Juan Chamula and Huixtán, with about 36 craftspeople involved and 14 employees. They impart workshops on design and production.
· Malacate. Elaboration of clothes and accessories. Their profile is social anthropology with focus on craftspeople, weavers, and embroiderers of the Municipalities of Zinacantán, Paraje de Nachig, San Juan Chamula, San Andres Larrainzar, Aguacatenango and Aldama with around 20 craftspeople and five employees. They have developed projects with research themes such as “The textile crafts as a medium of cultural transmission and resistance against the process of globalization in the Municipality of Zinacantán Chiapas" 2007-2011 and “The transformation of textile craft in the highlands of Chiapas” 2012- Present. They give workshops and host conferences concerning the textile craft and the project “Malacate Taller Experimental Textil en Universidades” (Malacate Experimental Textile Workshop in Universities), as well as architecture and interior design, in the region and throughout Mexico.
· Maya Kotan. Elaboration of clothes, accessories, and household items. Their profile is textile craftspeople of Oxchuc, with around 12 craftspeople and 7 employees. Workshops themes include design, organization, assertive communication, and women's rights.
· Sna Jolobil. An indigenous organization made up of more than 800 weavers of the highlands of Chiapas, who make woven textiles by hand.
· Jolom Maya Etic. A cooperative of 250 indigenous craftswomen of the Chiapan Highlands.
· J´Pas Joloviletik. Co-founded in 1984 in Chiapas by women representatives from 12 indigenous communities.
One of the most important associations in the city is Centro de Textiles del Mundo Maya A.C., which has developed a innovative and successful scheme of collaboration between craftspeople, the federal and state governments, civic society, and private initiative. Its associates are persons and institutions committed to the Mexican culture, especially Mayan indigenous cultures, and recognized for the seriousness and quality of their labor. They have a team of advisors and collaborators which include some of the most experienced curators and conservators of traditional textiles in Mexico and Guatemala, as well as some of the best museographers, designers, lecturers, managers, and social promoters. They have trained many municipal staff members and offer courses to weavers and the general public.
This group of specialists is led by Lic. Cándida Fernández de Calderón, General Director of Fomento Cultural Banamex A.C[9] and General Director of Centro de Textiles del Mundo Maya, who was prizewinner of the Premio de Museografía Miguel Covarrubias, given annually by the National Institute of Anthropology and History (INAH), for her leadership of this association. The central staff of the association is formed of people from various parts of the country, the State of Chiapas, San Cristóbal de Las Casas, and a number of indigenous Tzotzil and Tzeltal community members. Also contributing are many indigenous weavers and academics, who act as managers, educators, interpreters, researchers, and conservators. As such, the center is formed of people who specialize in the work of the museum, acting as a bridge between cultures and guaranteeing the continuity of their mission.
· Aid to Artisans. Production of clothing and household accessories. The group is in involved with craftspeople, embroidery, and they give workshops on the themes of marketing and textile design. More than 400 craftspeople from 11 municipalities are involved and five regular staff is employed. They also give workshops concerning leadership, product development, sales, administration, logistics, and communication.
· Chamuchic. Elaboration of craft accessories. Their profile is the design of textiles, finances, and weaving crafts. They work in various communities of the region, such as San Andrés Larráinzar, Zinacantán, and San Juan Chamula, working with approximately 20 craftspeople and employing four people. They give workshops concerning design, modes of production, and finances.
· Corazón Artesanal. Elaboration of accessories. Their profile is graphic design with craftspeople and weavers of Zinacantán, San Andrés Larráinzar, and Amatenango del Valle with 27 craftspeople involved and a staff of two. They give workshops concerning style, production, and creativity for children.
· El Gato con los Pies de Trapo. Elaboration of shoes and accessories. Their profile is industrial design and embroidery crafts in San Juan Chamula with around 11 craftspeople involved and employing 13 people. They offer workshops on quality control, design, and sales.
· Fundación León XIII. Elaboration of clothes, accessories, and household items. Their profile is law related to crafts of all techniques executed in San Cristóbal de Las Casas and nearby municipalities, with about 400 craftspeople involved. They impart workshops concerning human development, savings, materials banks, skills development, gender, violence, self-esteem, respect, and dignity.
· K’un K’un Talleres de Artes y Oficios. Elaboration of rugs and wool sweaters. Their profile is social anthropology and textile design with weavers and embroiderers of San Juan Chamula and Tenejapa, with about 20 craftspeople involved and 20 employees. They give workshops regarding natural dyes, traditional Mayan design, quality control, and loom skills.
· Lacompré Elaboration of clothes and accessories. Their profile is fashion design and business administration with weavers and embroiderers from San Juan Chamula and Huixtán, with about 36 craftspeople involved and 14 employees. They impart workshops on design and production.
· Malacate. Elaboration of clothes and accessories. Their profile is social anthropology with focus on craftspeople, weavers, and embroiderers of the Municipalities of Zinacantán, Paraje de Nachig, San Juan Chamula, San Andres Larrainzar, Aguacatenango and Aldama with around 20 craftspeople and five employees. They have developed projects with research themes such as “The textile crafts as a medium of cultural transmission and resistance against the process of globalization in the Municipality of Zinacantán Chiapas" 2007-2011 and “The transformation of textile craft in the highlands of Chiapas” 2012- Present. They give workshops and host conferences concerning the textile craft and the project “Malacate Taller Experimental Textil en Universidades” (Malacate Experimental Textile Workshop in Universities), as well as architecture and interior design, in the region and throughout Mexico.
· Maya Kotan. Elaboration of clothes, accessories, and household items. Their profile is textile craftspeople of Oxchuc, with around 12 craftspeople and 7 employees. Workshops themes include design, organization, assertive communication, and women's rights.
· Sna Jolobil. An indigenous organization made up of more than 800 weavers of the highlands of Chiapas, who make woven textiles by hand.
· Jolom Maya Etic. A cooperative of 250 indigenous craftswomen of the Chiapan Highlands.
· J´Pas Joloviletik. Co-founded in 1984 in Chiapas by women representatives from 12 indigenous communities.
One of the most important associations in the city is Centro de Textiles del Mundo Maya A.C., which has developed a innovative and successful scheme of collaboration between craftspeople, the federal and state governments, civic society, and private initiative. Its associates are persons and institutions committed to the Mexican culture, especially Mayan indigenous cultures, and recognized for the seriousness and quality of their labor. They have a team of advisors and collaborators which include some of the most experienced curators and conservators of traditional textiles in Mexico and Guatemala, as well as some of the best museographers, designers, lecturers, managers, and social promoters. They have trained many municipal staff members and offer courses to weavers and the general public.
This group of specialists is led by Lic. Cándida Fernández de Calderón, General Director of Fomento Cultural Banamex A.C[9] and General Director of Centro de Textiles del Mundo Maya, who was prizewinner of the Premio de Museografía Miguel Covarrubias, given annually by the National Institute of Anthropology and History (INAH), for her leadership of this association. The central staff of the association is formed of people from various parts of the country, the State of Chiapas, San Cristóbal de Las Casas, and a number of indigenous Tzotzil and Tzeltal community members. Also contributing are many indigenous weavers and academics, who act as managers, educators, interpreters, researchers, and conservators. As such, the center is formed of people who specialize in the work of the museum, acting as a bridge between cultures and guaranteeing the continuity of their mission.
EDUCATIONAL PROGRAMS AND INSTITUTIONS RELATED TO THE CREATIVE SECTOR
San Cristóbal de Las Casas, known as the cultural capital of Chiapas and one of the most important cultural touristic destinations in the Mayan world, is home to 20 universities or educational institutions, both public and private, including: Universidad Autónoma de Chiapas, Universidad Intercultural de Chiapas, Universidad Mesoamericana, Universidad de los Altos de Chiapas, Universidad San Marcos, Universidad Vasconcelos, Centro de Estudios Profesionales del Grijalva, Centro de Estudios Universitarios San Cristóbal, Universidad de México, Universidad Meridional, Universidad Pedagógica Nacional, Universidad de Ciencias y Deportes de Chiapas, Instituto de Estudios Superiores Manuel José de Rojas, Universidad Autónoma de Chapingo, Centro de Estudios Universitarios de Chiapas, Instituto de Artes Culinarias Parmentier, Gourmand Expertise Gastronómica Internacional, Escuela Superior de Educación Física, Escuela Normal de Licenciatura en Educación Primaria “Lic. Manuel Manuel Larráinzar”, and Escuela Normal Experimental “Fray Matías Antonio de Córdova y Ordoñez”.
From these educational institutions are offered 19 Educational Programs, distributed in 9 Bachelors degrees, 7 Masters, and 3 Doctorates related to the theme of Crafts and Folk Arts.
As well, specialized in the themes of trades and crafts, there exists the Escuela Taller de Artes y Oficios (Technical School of Arts and Trades)[10],which offers various workshops concerning masonry, surfacing and stucco, pottery, carpentry, ironwork, and installations.
As part of the Centro de Textiles del Mundo Maya A.C., there is an area of Educative Services, in charge of training public participants, scholastic groups of all levels, teachers, at-risk groups, and communities of craftspeople free of charge. They offer guided visits, workshops and courses in the sensibility of textile arts, and diverse cultural, artistic, and academic activities, as well as round tables, forums, colloquies, conferences, and book presentations. As an association, they also have outreach at forums, fair, and festivals.
During the year 2013, the ex-Convent of Santo Domingo registered a total of 29,297 visitors. Also, 4,146 persons attended guided tours and 2,189 attended workshops, and more are expected this year. The area of research of this institution is the cataloging of the collections and the exhibition of the artifacts of the on-site museum. The institute also offers the consultation services of specialists in textiles and embroidery and gives access to examine exemplary items of these ancient crafts in the effort to preserve traditional techniques and designs, and as a source of inspiration to contemporary artists.[11]
As well, various associations and NGOs have developed research projects related to Crafts and Folk Arts. For example, MasDEDOS BAZAR has participated in studies, such as “El textil desde la Tradición Maya” (Textiles from the Mayan Tradition) by Lic. Pedro Meza; “Moda Zinacantán: Diagnóstico de los Cambios Sociales Exhibidos en la Indumentaria Indígena de Los Altos de Chiapas” (Zinancantán Styles: Diagnosis of the Exhibited Social Changes in the Indigenous Outfits of the Highlands of Chiapas) by anthropologist Walter Morris; “Diseño Textil y Mercado: ¿Opción de Desarrollo?’” (Textile Design and Market: Development Options?) by M.A. Marta Turok. Also, the foundation Aid to Artisans Mexico has presented the results of their creative workshops in 11 municipalities of Chiapas.
From these educational institutions are offered 19 Educational Programs, distributed in 9 Bachelors degrees, 7 Masters, and 3 Doctorates related to the theme of Crafts and Folk Arts.
As well, specialized in the themes of trades and crafts, there exists the Escuela Taller de Artes y Oficios (Technical School of Arts and Trades)[10],which offers various workshops concerning masonry, surfacing and stucco, pottery, carpentry, ironwork, and installations.
As part of the Centro de Textiles del Mundo Maya A.C., there is an area of Educative Services, in charge of training public participants, scholastic groups of all levels, teachers, at-risk groups, and communities of craftspeople free of charge. They offer guided visits, workshops and courses in the sensibility of textile arts, and diverse cultural, artistic, and academic activities, as well as round tables, forums, colloquies, conferences, and book presentations. As an association, they also have outreach at forums, fair, and festivals.
During the year 2013, the ex-Convent of Santo Domingo registered a total of 29,297 visitors. Also, 4,146 persons attended guided tours and 2,189 attended workshops, and more are expected this year. The area of research of this institution is the cataloging of the collections and the exhibition of the artifacts of the on-site museum. The institute also offers the consultation services of specialists in textiles and embroidery and gives access to examine exemplary items of these ancient crafts in the effort to preserve traditional techniques and designs, and as a source of inspiration to contemporary artists.[11]
As well, various associations and NGOs have developed research projects related to Crafts and Folk Arts. For example, MasDEDOS BAZAR has participated in studies, such as “El textil desde la Tradición Maya” (Textiles from the Mayan Tradition) by Lic. Pedro Meza; “Moda Zinacantán: Diagnóstico de los Cambios Sociales Exhibidos en la Indumentaria Indígena de Los Altos de Chiapas” (Zinancantán Styles: Diagnosis of the Exhibited Social Changes in the Indigenous Outfits of the Highlands of Chiapas) by anthropologist Walter Morris; “Diseño Textil y Mercado: ¿Opción de Desarrollo?’” (Textile Design and Market: Development Options?) by M.A. Marta Turok. Also, the foundation Aid to Artisans Mexico has presented the results of their creative workshops in 11 municipalities of Chiapas.
RECOGNIZED AND HIGHLIGHTED PERSONS IN THE CREATIVE SECTOR
Locally, there exist and have existed various professors and recognized persons for their labors and track records, among whom we may single out:
· Manuel Larráinzar Piñero (1809-1884) Born in San Cristóbal de Las Casas, politician and diplomat, to whom is attributed the achievement of definitive accords with Guatemala with respect the Soconusco region and its annex by Mexico.
· Alberto Domínguez Borraz (1913-1975) Native of San Cristóbal de Las Casas, he was a splendid composer who was declared a favorite son of Chiapas. Some of his most famous songs are Perfidia, Frenesí, Humanidad, Hilos de Plata, and Eternamente.
· Abel Domínguez Borraz (1902- 1987). A Mexican musician and composer, born in San Cristóbal de Las Casas and died in Mexico City. He was a founding partner of the Society of Mexican Authors and Composers.
· Jorge Paniagua Herrera Historian de San Cristóbal.
· Armando Montoya Cameras
· Humberto Gutiérrez Díaz.
· José Suasnávar Hidalgo.
· Pedro Meza, Cooperative Sna Jolobil. Premio Nacional en Artesanías (National Prize for Crafts).
Marimba Musicians of San Cristóbal. Marimba de Hermanas Díaz y Hermanos Díaz. Recognized in Malaysia, France, Italy, Denmark, the United States, and Guatemala.
In addition to the aforementioned, various craftspeople have been recognized for their work. For example, in 2002, as part of the Feria Internacional de Diseño, Artesanía y Regalo (FIDAR) (International Fair of Design, Crafts, and Gifts), sponsored by the Fondo Nacional de Fomento a las Artesanías (FONART) (National Fund for the Fomentation of Crafts), the Cooperative Sna Jolobil S.C., of San Cristóbal de Las Casas, Chiapas, won the first UNESCO Prize for Crafts for Latin America and the Caribbean 2002.[12]
In the fourth concourse of handcrafted toys “Raíz de Chiapas 2012”, organized by Fondo Nacional para el Fomento de las Artesanías (FONAR) (National Fund for the Training of Craftspeople) and the Secretary of Social Development (SEDESOL) of the federal government from year to year, [13]
· In the area of “Fibras vegetales” (Natural Fibers), the third prize was given to Mario Jacinto Hernández López from San Cristóbal de Las Casas, the second place went to Reinaldo Muñoz Rodríguez, and the first prize was awarded to Rudy Alfonso López López from San Cristóbal de Las Casas.
· In the area of “Juguetes de hierro cobre bronce, hojalata y plomo” (Toys of iron, copper, bronze, tin, and lead), the third prize was given to Gerardo Hermosillo Flores, the second place went to Cristóbal de Jesús Hermosillo Flores, and the first prize was awarded to Sergio Arturo López Morales, all three from San Cristóbal de Las Casas.
· In the area of “Instrumentos musicales” (Musical instruments), the third prize was given to Mercedes López Pérez, from San Cristóbal de Las Casas, and the second place went to Reinaldo Hernández Hernández, also from San Cristóbal de Las Casas.
· In the area of “Papel y cartonería” (Paper and cardboard), the third prize was given to José Maximiliano Gutiérrez Martínez from San Cristóbal de Las Casas.
· In the classification “Varios”” (Various), which included toys of bone, horn, shell, coconut, coral, and gum, third place was awarded to Javier Hernández López from San Cristóbal de Las Casas.
· In the final section of prizes, “Nuevos diseños” (New Designs), the winners were Raymundo López Pérez in third, Pascual López López with second, and first prize went to Cristina Hernández Hernández. All three are native to San Cristóbal de Las Casas.
In 2013, the XVI Amber Expo took place in San Cristóbal de Las Casas with the intention of recognizing the work of the craftspeople that work with amber. The winner of the best piece was Manuel Pale Hernández from San Cristóbal de Las Casas.[14]
Also in 2013 the Secretary of Social Development (SEDESOL), through the National Fund for the Fomentation of Crafts (FONART), the State Government of Chiapas, through the State Council for Culture and Arts and the Institute Marca Chiapas, and the Regional Union of Chiapas of Popular Cultures, and City Council of Chiapa de Corzo organized an awards ceremony of the 5th State Concourse for Folk Toys of Chiapas. They received a total of 171 pieces from 140 participants from places such as Amatenango del Valle, Ocosingo, San Juan Chamula, La Trinitaria, Copainalá, San Andrés Larráinzar, Tecpatán, San Fernando, Ocozocoautla, Chiapa de Corzo, and San Cristóbal de Las Casas, among others.
In addition, the potter Cristóbal Mandujano Rosas from Barrio San Ramón was recognized with an award for pottery in the State Concourse of Chiapan Craftspeople, organized by the General Absalón Castellanos Domínguez and the state government.
· Manuel Larráinzar Piñero (1809-1884) Born in San Cristóbal de Las Casas, politician and diplomat, to whom is attributed the achievement of definitive accords with Guatemala with respect the Soconusco region and its annex by Mexico.
· Alberto Domínguez Borraz (1913-1975) Native of San Cristóbal de Las Casas, he was a splendid composer who was declared a favorite son of Chiapas. Some of his most famous songs are Perfidia, Frenesí, Humanidad, Hilos de Plata, and Eternamente.
· Abel Domínguez Borraz (1902- 1987). A Mexican musician and composer, born in San Cristóbal de Las Casas and died in Mexico City. He was a founding partner of the Society of Mexican Authors and Composers.
· Jorge Paniagua Herrera Historian de San Cristóbal.
· Armando Montoya Cameras
· Humberto Gutiérrez Díaz.
· José Suasnávar Hidalgo.
· Pedro Meza, Cooperative Sna Jolobil. Premio Nacional en Artesanías (National Prize for Crafts).
Marimba Musicians of San Cristóbal. Marimba de Hermanas Díaz y Hermanos Díaz. Recognized in Malaysia, France, Italy, Denmark, the United States, and Guatemala.
In addition to the aforementioned, various craftspeople have been recognized for their work. For example, in 2002, as part of the Feria Internacional de Diseño, Artesanía y Regalo (FIDAR) (International Fair of Design, Crafts, and Gifts), sponsored by the Fondo Nacional de Fomento a las Artesanías (FONART) (National Fund for the Fomentation of Crafts), the Cooperative Sna Jolobil S.C., of San Cristóbal de Las Casas, Chiapas, won the first UNESCO Prize for Crafts for Latin America and the Caribbean 2002.[12]
In the fourth concourse of handcrafted toys “Raíz de Chiapas 2012”, organized by Fondo Nacional para el Fomento de las Artesanías (FONAR) (National Fund for the Training of Craftspeople) and the Secretary of Social Development (SEDESOL) of the federal government from year to year, [13]
· In the area of “Fibras vegetales” (Natural Fibers), the third prize was given to Mario Jacinto Hernández López from San Cristóbal de Las Casas, the second place went to Reinaldo Muñoz Rodríguez, and the first prize was awarded to Rudy Alfonso López López from San Cristóbal de Las Casas.
· In the area of “Juguetes de hierro cobre bronce, hojalata y plomo” (Toys of iron, copper, bronze, tin, and lead), the third prize was given to Gerardo Hermosillo Flores, the second place went to Cristóbal de Jesús Hermosillo Flores, and the first prize was awarded to Sergio Arturo López Morales, all three from San Cristóbal de Las Casas.
· In the area of “Instrumentos musicales” (Musical instruments), the third prize was given to Mercedes López Pérez, from San Cristóbal de Las Casas, and the second place went to Reinaldo Hernández Hernández, also from San Cristóbal de Las Casas.
· In the area of “Papel y cartonería” (Paper and cardboard), the third prize was given to José Maximiliano Gutiérrez Martínez from San Cristóbal de Las Casas.
· In the classification “Varios”” (Various), which included toys of bone, horn, shell, coconut, coral, and gum, third place was awarded to Javier Hernández López from San Cristóbal de Las Casas.
· In the final section of prizes, “Nuevos diseños” (New Designs), the winners were Raymundo López Pérez in third, Pascual López López with second, and first prize went to Cristina Hernández Hernández. All three are native to San Cristóbal de Las Casas.
In 2013, the XVI Amber Expo took place in San Cristóbal de Las Casas with the intention of recognizing the work of the craftspeople that work with amber. The winner of the best piece was Manuel Pale Hernández from San Cristóbal de Las Casas.[14]
Also in 2013 the Secretary of Social Development (SEDESOL), through the National Fund for the Fomentation of Crafts (FONART), the State Government of Chiapas, through the State Council for Culture and Arts and the Institute Marca Chiapas, and the Regional Union of Chiapas of Popular Cultures, and City Council of Chiapa de Corzo organized an awards ceremony of the 5th State Concourse for Folk Toys of Chiapas. They received a total of 171 pieces from 140 participants from places such as Amatenango del Valle, Ocosingo, San Juan Chamula, La Trinitaria, Copainalá, San Andrés Larráinzar, Tecpatán, San Fernando, Ocozocoautla, Chiapa de Corzo, and San Cristóbal de Las Casas, among others.
In addition, the potter Cristóbal Mandujano Rosas from Barrio San Ramón was recognized with an award for pottery in the State Concourse of Chiapan Craftspeople, organized by the General Absalón Castellanos Domínguez and the state government.
REFERENCES
[1] To see a full list, visit: http://sancristobalcreativecity.weebly.com/directory-of-cultural-infraestructure.html
[2] UNESCO, Towards knowledge societies, 2005. (Quoted from: Fonseca Reis, Ana Carla, Economía creativa como estrategia de desarrollo : una visión de los países en desarrollo / organización São Paulo : Itaú Cultural, 2008. 277 p. , p. 33)
[3] Consult: http://www.agendasancristobal.com/#!conciertos/c1mwy
[4] For more information about the barrio festivals, consult: http://sancristobalcreativecity.weebly.com/traditional-neighborhoods-barrios.html
[5] Visit the official web page of the City Council of San Cristóbal de Las Casas: http://sancristobal.gob.mx/
[6] Municipal Development Plan 2012-2015, http://sancristobal.gob.mx/download/PLANASUBIR.pdf,p. 84
[7] Quintero Sánchez, Aldo, Document of the design " Barrios Mágicos" which pertains to the strategy " Lo mejor de San Cristóbal está en su gente" R. Made for Comunittas, in his role as director Aldo Quintero/ last date of revision 23rd of January 2014/ adaptation of the program " pueblos mágicos " proposal of the Secretary of Municipal Economic and Social Developmentl".
[8] Jiménez Paniagua, José, La guía del visitante, San Cristóbal de Las Casas, 1994 .
[9] Consult: http://fomentoculturalbanamex.org/
[10] For more information about Lic. María Teresa Paula Bortoni de la Fuente. Director of the Escuela Taller de Artes y Oficios de San Cristóbal de Las Casas. http://escuelatallerdeartesyoficios.blogspot.mx/
[11] For information about Alejandra Mora Velasco. Director of Centro Textil del Mundo Maya. http://www.fomentoculturalbanamex.org/ctmm/
[12] This article can be seen at: http://www.cronica.com.mx/notas/2002/36389.html
[13] This article can be seen at: http://sintesis.mx/articulos/3928/fonart-premia-a-ganadores-del-concurso-de-jugueteria-artesa/chiapas
[14] This article can be seen at: http://pendulodechiapas.com.mx/metropoli/15896-inaugura-mvc-expo-ambar-2013-en-san-cristobal-de-las-casas