Picnic

China Product


Etymology

Hunt Picnic by Franois Lemoyne, 1723

The first usage of the word is traced to the 1692 edition of Origines de la Langue Franaise de Mnagehich mentions 'pique-nique' as being of recent origin; it marks the first appearance of the word in print. The term was used to describe a group of people dining in a restaurant who brought their own wine. For long a picnic retained the connotation of a meal to which everyone contributed something. Whether picnic is actually based on the verb piquer which means 'pick' or 'peck' with the rhyming nique meaning "thing of little importance" is doubted; the Oxford English Dictionary says it is of unknown provenance. The word does not come from any racist origin, as a false rumor spread mostly via the internet suggests. crushed ice machines

The word picnic first appeared in English in a letter of the Gallicized Lord Chesterfield in 1748 (OED), who associates it with card-playing, drinking and conversation, and may have entered the English language from this French word. The practice of an elegant meal eaten out-of-doors, rather than a harvester worker's dinner in the harvest field, was connected with respite from hunting from the Middle Ages; the excuse for the pleasurable outing of 1723 in Lemoyne's painting (illustration, left) is still offered in the context of a hunt. home ice shaver

Usage ice shaving machine

A typical picnic setup on the ground with picnic basket and red plaid sheet.

In British and American English, the phrase "no picnic" is used to describe a difficult or trying situation or activity. For example, "Driving in rush hour traffic is no picnic."

In established public parks, a picnic area generally includes picnic tables and possibly other items related to eating outdoors, such as built-in grills, water faucets, garbage containers, and restrooms.

Related historical events

After the French Revolution in 1789, royal parks became open to the public for the first time. Picnicking in the parks became a popular activity amongst the newly enfranchised citizens.

Early in the 19th century, a fashionable group of Londoners formed the 'Picnic Society'. Members met in the Pantheon on Oxford Street. Each member was expected to provide a share of the entertainment and of the refreshments with no one particular host. Interest in the society waned in the 1850s as the founders died.

From the 1830s, Romantic American landscape painting of spectacular scenery often included a group of picnickers in the foreground. An early American illustration of the picnic is Thomas Cole's The Pic-Nic of 1846 (Brooklyn Museum of Art) In it a guitarist serenades the genteel social group in the Hudson River Valley with the Catskills visible in the distance. Cole's well-dressed young picnickers have finished their repast, served from splint baskets on blue-and-white china, to stroll about in the woodland and boat on the lake.

A picnic in front of the Orangerie Kassel, Germany, c. 2003

The image of picnics as a peaceful social activity can be utilised for political protest too. In this context, a picnic functions as a temporary occupation of significant public territory. A famous example of this is the Pan-European Picnic held on both sides of the Hungarian / Austrian border on the 19 August 1989 as part of the struggle towards German reunification.

In the year 2000, a 600-mile-long picnic took place from coast to coast in France to celebrate the first Bastille Day of the new Millennium. In the United States, likewise, the 4 July celebration of American independence is a popular day for a picnic. In Italy the favourite picnic day is Easter Monday.

Cultural representations of picnics

Perhaps the most famous depiction of a picnic is Le djeuner sur l'herbe, painted by Edouard Manet in 1862.

"A book of verse beneath the bough,

A loaf of bread, a jug of wine, and thou

Beside me singing in the Wilderness

Ah, wilderness were paradise enow!"

mar Khayyam , in his 12th century Rubaiyat

The active Canadian children's health association Pediatric Investigators Collaborative Network on Infections in Canada carry the acronym PICNIC

The Wind in the Willows, by Kenneth Grahame begins with a boating picnic enjoyed by Rat and Mole that exemplifies an English tradition:

"The Rat brought the boat alongside the bank, tied it up, helped awkward Mole safely ashore, and swung out the picnic basket. The Mole begged to be allowed to unpack it all by himself. He took out all the mysterious packets one by one and arranged their contents, gasping 'Oh my! Oh my!' at each fresh surprise."

In literature

From Charles Dickens' The Mystery of Edwin Drood: "...Miss Twinkleton (in her amateur state of existence) has contributed herself and a veal pie to a picnic." (Project Gutenberg Entry: )

In Jane Austen's novel Emma at the Box Hill picnic which turned out to be a sore disappointment, Frank Churchill said to Emma: "Our companions are excessively stupid. What shall we do to rouse them? Any nonsense will serve..." (Project Gutenberg Entry: )

In Fernando Arrabal's Picnic in the Field the young and inexperienced soldier Zepo is visited unexpectedly by his devoted parents. Despite the war setting they have a cheerful picnic together.

The novel Roadside Picnic by Boris and Arkady Strugatsky, which was written in 1972, was the source for the film Stalker (1979) by Andrei Tarkovsky. The novel is about a mysterious "zone" filled with strange and often deadly extraterrestrial artifacts, which are theorized by some scientists to be the refuse from an alien "picnic" on Earth.

No Picnic on Mount Kenya, by Felice Benuzzi recounts the attempt of three Italian prisoners of war during the Second World War to reach the top of Mount Kenya.

In art

Le djeuner sur l'herbe (Manet, 1862)

"Le Djeuner sur l'Herbe" (1865-1866), often referred to as "The Picnic" or "The Luncheon on the Grass" in English, was one the earliest works of Manet.

In film

The film Picnic, which is based on the Pulitzer Prize winning play by William Inge, was a multiple Oscar winner from 1955. Since then the film has been remade twice, once in 1986 and again in 2000, but neither subsequent version received much acclaim.

With Picnic at Hanging Rock (1975), Peter Weir constructs a film of haunting mystery. Three girls and one of their teachers on a school outing mysteriously disappear. The only one that is later found remembers almost nothing.

Baji on the Beach, Gurinder Chada (1993). The German version of the film is titled Picknick on the Beach. Nine Indian women of various ages flee from their everyday life into a joint excursion to the English resort town of Blackpool. A rather unharmonious journey because conflicts between generations raise emotions to a fever pitch.

Blissfully Yours, a film with a picnic in a jungle.

Picnickers are used to illustrate the scale of one metre in the film Powers of Ten.

The Office Picnic (1973) is a dark comedy set in an Australian Public Service office. It was written and produced by film maker Tom Cowan, who is now famous for his work on the series Survivor.

In music

In 1906, the British composer John William Bratton wrote a musical piece originally titled "The Teddy Bear Two Step". It became popular in a 1908 instrumental version renamed "Teddy Bears Picnic", performed by the Arthur Pryor Band. The song regained prominence in 1932 when the Irish lyricist Jimmy Kennedy added words and it was recorded by the then popular Henry Hall (and his BBC Dance Orchestra) featuring Val Rosing (Gilbert Russell) as lead vocalist, which went on to sell a million copies. The Teddy Bears' Picnic resurfaced again in the late 1940s and early 1950s when it was used as the theme song for the Big Jon and Sparkie children's radio show. This perennial favorite has appeared on many children's recordings ever since, as well as being the theme song for the AHL's Hershey Bears hockey club. lyrics and audio from the BBC

"Stone Soul Picnic", by Laura Nyro (released in 1968) It was a major hit for the group The 5th Dimension. cover version by Swing Out Sister

"Malcolm's X-Ray Picnic" was a moderate hit for the indie-pop group Number One Cup.

References

^ Mary Ellen W. Hern, "Picnicking in the Northeastern United States, 1840-1900", Winterthur Portfolio 24.2/3 (Summer - Autumn 1989), pp. 139-152.

^ "Etymology of Picnic". snopes.com. http://www.snopes.com/language/offense/picnic.asp. Retrieved 2009-12-07. 

^ The German Picknick , nor part of lord Chesterfield's cultural sphere, may simply be a parallel borrowing from French pique-nique.

^ English picnics are described in Georgina Battiscombe, English picnics, (London: Harvill Press) 1949; there is also a National Trust Book of Picnics, 1982.

^ Mary Ellen W. Hern, "Picnicking in the Northeastern United States, 1840-1900", Winterthur Portfolio 24.2/3 (Summer - Autumn 1989), pp. 139-152, illus. fig. 1.

^ Austin Chronicle article A Loaf of Bread, a Jug of Wine - The simple but elegant art of picnic pairing published APRIL 22, 2005 says "But what constitutes the Perfect Picnic? Some sandwiches you throw together or grab and go? An elegant plate of poached salmon accompanied by a fruit and cheese platter? A couple of dogs on a grill? Each of these menus has its charms, but it doesn't get any better than the outdoor dining menu devised by Omar Khayyam in his 12th century The Rubaiyat."

^ "The Mystery of Edwin Drood by Charles Dickens - Project Gutenberg". Gutenberg.net. 1996-06-01. http://gutenberg.net/etext/564. Retrieved 2009-12-07. 

^ "Emma by Jane Austen - Project Gutenberg". Gutenberg.net. 1994-08-01. http://gutenberg.net/etext/158. Retrieved 2009-12-07. 

Further reading

BBC Food Picnic Guide

Urban Legends: Language (Picnic)

Picnic Recipes, Games and Ideas

Picnic Ideas

Snopes.com page debunking false claims of racist etymology

Categories: Meals

Cranberry glass

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antiques.about.com/cs/otherglass/a/aa111400.htm

http://www.laterlife.com/laterlife-family-treasures9.htm

http://www.glass.co.nz/gibruby.htm patio swing sets

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Glass science topics patio swing set

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Fire alarm pull station

China Product


Coded pull stations

In the past, pull stations controlled the entire system. These coded pull stations were much bigger than modern pulls and had a code wheel in them. This was a gear mechanism that was wound up when the station was pulled (and, unlike modern pull stations, the handle did not stay down). The gears would turn a small wheel with a specific number of teeth, which determined the coding. The teeth would push up on a contact, which would open and close a circuit, pulsing the code to the bells or horns. This code was used by building security to determine where the alarm was originating from. Example: a pull station in the fourth floor elevator lobby of an office building has a code of 5-3-1. When the station is pulled, the security officers in the building look up 5-3-1 in a master list of codes. After finding the location of the pull, they check to see if there is a real fire. If there is, they evacuate the building and call the fire department.

Antique Holtzer-Cabot coded pull station. infineon ddr2 ram

System tests could be conducted in one of two ways: In a coded pull station, there is either a test hole on the front (which is usually activated with an allen wrench) or a test switch on the inside. Turning the switch one way causes the notification appliances to sound continuously (or in the case of single-stroke bells, ding once). Turning it the other way and then activating the pull allows a silent test to be done in which the station's mechanical parts are checked to ensure proper function. Once pulled, the station would do at least four rounds of code before resetting itself. Coded pulls were used in new fire alarm systems until roughly the 1970s. Up until the late 1980s and early 1990s, some panels were made with an extra zone to accommodate any existing coded pull stations. Nowadays, coded pull stations are very rare and almost never seen in working fire alarm systems. pc133 ecc ram

Modern pull stations rf keyboard mouse

Many modern fire alarm pull stations are single action and only require the user to pull down the handle. Other fire alarm pull stations are dual-action, and as such require the user to perform a second task before pulling down, such as lifting up or pushing in a panel on the station or shattering a glass panel with an attached hammer. Perhaps the most recognizable pull station is the T-bar style pull. The style is so named because the handle is shaped like the letter "T". This style is manufactured by many companies.

A Simplex single action "T-bar" pull station.

Resetting a fire alarm pull station after it has been operated normally requires building personnel or emergency responders to open the station using a key, which often is either a hex key or a more traditional key. Opening the station normally causes the handle to go back to its original position, allowing the alarm to be reset from the fire alarm control panel after the station has been closed.

In areas where false calls are a problem, pull stations may be covered with a clear plastic cover that sounds a loud tamper alarm when removed, creating focus on the fire alarm. If this is not a sufficient deterrent, the pull handle may be treated with ink, powder, or gel dye which can be used to help identify who pulled the alarm.

Manual call points

An activated Nohmi manual call point in Japan. Telephone jacks are visible beneath the open cover.

In Europe, Australia, New Zealand, and Asia, pull stations are generally not used; instead a manual call point is used, which is usually referred to as an MCP within the fire protection industry, as a "transmitter" in Japan, or as a "break glass" by the UK public. They are used to allow building occupants to signal that a fire or other emergency exists within the building. They are usually connected to a central fire alarm panel which is in turn connected to an alarm system in the building, and often to a local fire brigade dispatcher as well. The first modern MCP arrived in Europe in 1972 and was developed by KAC.

MCPs would historically be printed with FIRE as a title above a glass element, where the element would be glass which would be covered with plastic. This element design would be the old British Standard. The new European Standard, EN 54, says that the title should be the House Flame symbol, and the glass would appear differently. The glass will still be covered with plastic on the printed side.

Previously, the old British standard did not allow hinged covers and plastic resettable elements. Plastic elements must have the same printing as the EN54 glass.

See also

Wikimedia Commons has media related to: Fire alarm pull stations

Fire safety

References

^ "KAC Home Page". Kac.co.uk. http://www.kac.co.uk/final/home.htm. Retrieved 2009-07-16. 

External links

Video demonstrating a coded pull station made by Simplex.

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Fire protection

General

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Fire extinguisher   Fire sand bucket   Fire sprinkler   Gaseous fire suppression   Fire blanket

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Control panel   Heat detector   Pull station   Fire alarm box   Notification appliance   Smoke detector

Categories: Fire detection and alarm | Active fire protectionHidden categories: Articles lacking sources from October 2008 | All articles lacking sources | Articles with limited geographic scope

Ballpoint pen

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History

An authentic "birome", made in Argentina by Br & Meyne

The manufacture of economical, reliable ballpoint pens resulted from a combination of experimentation, modern chemistry, and the precision manufacturing capabilities of 20th century technology. Many patents worldwide are testaments to failed attempts to make these pens commercially viable and widely available. The ballpoint pen went through several failures in design throughout its early stages. It has even been argued that a design by Galileo Galilei (during the 17th century), was that of a ballpoint pen[citation needed]. The first patent on a ballpoint pen was issued on 30 October 1888, to John Loud,, a leather tanner, who was attempting to make a writing implement that would be able to write on the leather he tanned, which the then-common fountain pen couldn't do. The pen had a rotating small steel ball, held in place by a socket. Although the pen could be used to mark rough surfaces such as leather, as Loud intended, it proved to be too coarse for letter writing and was not commercially exploited. mechanical colored pencil

In the period between 1904 and 1946, there was intense interest in improving writing instruments, particularly alternatives or improvements to the fountain pen. Slavoljub Eduard Penkala invented a solid-ink fountain pen in 1907, a German inventor named Baum took out a ballpoint patent in 1910, and yet another ballpoint pen device was patented by Van Vechten Riesburg in 1916. In these inventions, the ink was placed in a thin tube whose end was blocked by a tiny ball, held so that it could not slip into the tube or fall out of the pen. The ink clung to the ball, which spun as the pen was drawn across the paper. These proto-ballpoints did not deliver the ink evenly. If the ball socket was too tight, the ink did not reach the paper. If it were too loose, ink flowed past the tip, leaking or making smears. Many inventors tried to fix these problems, but without commercial success. mechanical colored pencils

Lszl Br, a Hungarian newspaper editor, was frustrated by the amount of time that he wasted in filling up fountain pens and cleaning up smudged pages, and the sharp tip of his fountain pen often tore his pages of newsprint. Br had noticed that the type of ink used in newspaper printing dried quickly, leaving the paper dry and smudge free. He decided to create a pen using the same type of ink. Since, when tried, this viscous ink would not flow into a regular fountain pen nib, Br, with the help of his brother George, a chemist, began to work on designing new types of pens. Br fitted this pen with a tiny ball in its tip that was free to turn in a socket. As the pen moved along the paper, the ball rotated, picking up ink from the ink cartridge and leaving it on the paper. Br filed a British patent on 15 June 1938. colored mechanical pencils

Earlier pens leaked or clogged due to improper viscosity of the ink, and depended on gravity to deliver the ink to the ball. Depending on gravity caused difficulties with the flow and required that the pen be held nearly vertically. The Biro pen both pressurized the ink column and used capillary action for ink delivery, solving the flow problems.

In 1940 the Br brothers and a friend, Juan Jorge Meyne, moved to Argentina fleeing Nazi Germany and on June 10, filed another patent, and formed Br Pens of Argentina. The pen was sold in Argentina under the Birome brand (portmanteau of Br and Meyne), which is how ballpoint pens are still known in that country. Lszl was known in Argentina as Ladislao Jos Br. This new design was licensed by the British, who produced ball point pens for RAF aircrew as the Biro, who found they worked much better than fountain pens at high altitude, as fountain pens were prone to ink-leakage due to the decreased atmospheric pressure.

Eversharp, a maker of mechanical pencils teamed up with Eberhard-Faber in May 1945 to license the design for sales in the United States. At about the same time a U.S. businessman saw a Biro pen in a store in Buenos Aires. He purchased several samples and returned to the U.S. to found the Reynolds International Pen Company, producing the Biro design without license as the Reynolds Rocket. He managed to beat Eversharp to market in late 1945; the first ballpoint pens went on sale at Gimbels department store in New York City on 29 October 1945 for US$12.50 each. This pen was widely known as the rocket in the U.S. into the late 1950s.

Similar pens went on sale before the end of the year in England, and by the next year in most of Europe. Cheap disposable instruments were produced by the BIC Corporation with "Bic" as the tradename (pronounced BiK, not Beak); as with 'Hoover' and 'Xerox', the tradename has subsequently passed into general use. With BIC's expanding product range, the original Bic pen design is now termed the Bic Cristal.

Description

Ballpoint pen rolling over a paper surface, leaving behind a trail of ink.

There are two basic types of ball point pens: disposable and refillable.

Disposable pens are chiefly made of plastic throughout and discarded when the ink is consumed; refillable pens are metal and some plastic and tend to be much higher in price. The refill replaces the entire internal ink reservoir and ball point unit rather than actually refilling it with ink, as it takes special high-speed centrifugation to properly fill a ball point reservoir with the viscous ink. The simplest types of ball point pens have a cap to cover the tip when the pen is not in use, while others have a mechanism for retracting the tip. This mechanism is usually controlled by a button at the top and powered by a spring within the pen apparatus, but other possibilities include a pair of buttons, a screw, or a slide.

Tip of a ballpoint pen highly magnified

Rollerball pens combine the ballpoint design with the use of liquid ink and flow systems from fountain pens;

Space Pens, developed by Fisher in the United States, combine a more viscous than normal ballpoint pen ink with a gas pressurized piston which forces the ink toward the point. This design allows the pen to write even upside down or in zero gravity environments.

Standards

The International Organization for Standardization has published standards for ball point and roller ball pens:

ISO 12756

1998: Drawing and writing instruments Ball point pens Vocabulary

ISO 12757-1

1998: Ball point pens and refills Part 1: General use

ISO 12757-2

1998: Ball point pens and refills Part 2: Documentary use (DOC)

ISO 14145-1

1998: Roller ball pens and refills Part 1: General use

ISO 14145-2

1998: Roller ball pens and refills Part 2: Documentary use (DOC)

ISO 14145-1938 is when the pen was invented

Ballpoint pens in everyday life

Ballpoint pens are ubiquitous in modern culture. While other forms of pen are available, ballpoint pens are certainly the most common and almost every household is likely to have several. The fact that they are cheaply available and convenient to use means they are often to be found on desks and also in pockets, handbags, purses, bags and in cars almost anywhere where one could conceivably need to use a pen. Ballpoint pens are often provided free by businesses as a form of advertising printed with a company's name, a ballpoint pen is a relatively low cost advertisement that is highly effective (customers will use, and therefore see, a pen on a daily basis). Businesses and charities may also include ballpoint pens in direct mail mailings in order to increase a customer's interest in the mailing.

Some people, also create art on themselves with the pens; this is sometimes known as a ballpoint tattoo. Due to this, and to ballpoints widespread use by schoolchildren, all ballpoint ink formulas are non-toxic, and the manufacturing and content of the ink is regulated in most countries.

Ballpoint pen art

Ballpoint pen drawing

File:Ballpen Drawing(3).jpg

Ballpoint pen drawing

In recent years, the ballpoint pen has become a popular medium for professional artists as well as amateurs. The instrument offers immediacy of results with little or no preparation required, along with portability and relative low price. Point size and ink characteristics such as lightfastness and opacity are considerations in choosing a make and model of pen. Contemporary artists working in ballpoint pen include Juan Francisco Casas and New Yorkased Lennie Mace. Other artists, like Rezo Kaishauri, use ballpoint pens as part of their mixed media technique.

Characteristics of ballpoint pens

Pentel R.S.V.P. ballpoint pens.

Compared to rollerball and fountain pens, ballpoints require more pressure to write. Ballpoints lack the free flowing supply of ink that other types have, requiring the writer to apply more pressure to the page. As a result, the ballpoint pens are less likely to leak. Their robustness makes them suitable where a firm press is required, namely for carbon copy-type forms where a layer of carbon paper transfers the writing, but not the ink, to subsequent copies. In such use other types of pens may over time get damaged beyond usability.

They have difficulty writing on surfaces with low adherence (such as plastics, shiny surfaces, and wet or oily surfaces). Due to the pen's reliance on gravity to coat the ball with ink, most ballpoint pens cannot be used to write upside down; however, there are special pens that do work upside-down.

References

^ "How does a ballpoint pen work?". Engineering. HowStuffWorks. 19982007. http://science.howstuffworks.com/question683.htm. Retrieved 2007-11-16. 

^ GB Patent No. 15630, 30 October 2008

^ Herend - A porceln-arany csoda

^ Space Pen, Bullet Pen, Personalized Pens from Fisher Pen

^ ISO 12756:1998 - Drawing and writing instruments - Ball point pens and roller ball pens - Vocabulary

^ ISO 12757-1:1998 - Ball point pens and refills - Part 1: General use

^ ISO 12757-2:1998 - Ball point pens and refills - Part 2: Documentary use (DOC)

^ ISO 14145-1:1998 - Roller ball pens and refills - Part 1: General use

^ ISO 14145-2:1998 - Roller ball pens and refills - Part 2: Documentary use (DOC)

^ discusses using ballpoint pens to create temporary tattoos, and also the danger of using them to create permanent ones

^

^ How Ballpoint Pens Work

See also:

Gel pen

External links

Wikimedia Commons has media related to: Ballpens

Synosphre , ballpoint drawing,

Biro Art - Doodles with a ball point pen.

SCHNEIDER - The history of the SCHNEIDER ballpoint pens.

Rare photo-realistic drawings done in ball-point (birodrawing.co.uk)

A history of the ballpoint pen.

Dennis Carlisle, Ball point pen artist.

Eric Bostrom's gallery (has come up with some blending techniques, as well)

Did Biros really revolutionise writing? - BBC News - October 24, 2006

RichardInk.com - Modern independent pen maker and pen information blog

Writing Instrument Manufacturers Association

Founder of an American folk art program called Ball Point Pen Art. Jerry Stith has been introducing what a ballpoint pen can do as an art medium by publishing 800 artists, 153 video's and 5,440 drawings.

- Allan Barbeau Colored ballpoint pen Drawing.

Categories: Hungarian culture | Hungarian loanwords | Hungarian inventions | Pens | Argentine cultureHidden categories: All articles with unsourced statements | Articles with unsourced statements from May 2008

Case Unclosed

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List of episodes

2008 Episodes

October

Ozone Disco.

Alaala ng Ozone (Memories of Ozone)

On March 18, 1996, 161 people died in the Ozone Disco Tragedy. Some others that the victims are unidentified and the owner became responsible for what happened. Directed by Adolfo Alix Jr.

Yaman ni Yamashita (Yamashita's Treasure)

One of the most controversial treasures of all time. Some of the treasures of General Tomoyuki Yamashita still exists. The discovery of the Golden Bhudda by Roger Roxas in 1971 that leads him to his death. Directed by Tata Illenberger.

Bakas ng Karahasan (Trace of Violence): The Chiong Murder Case

On July 16, 1997, sisters Marijoy and Jacqueline Chiong was kidnapped by unidentified persons in Cebu. Marijoy's body was found the next morning while Jacqueline is not yet found until now. Some of the suspects came from some prominent families in Cebu. Directed by Milo Tolentino.

The Hultman-Chapman double-murder case

On July 13, 1991, Maureen Hultman, Roland John Chapman and Jussi Leino were shot by Claudo Teehankee, Jr., son of former Supreme Court Chief Justice Claudio Teehankee, Sr. It also became controversial when Teehankee was released from jail. Directed by Raya Martin.

Lihim ng 1897 (The Secret of 1897)

On May 10, 1897, Andres Bonifacio, known as the Supreme leader of the Katipunan together with his brother Procopio was killed at Mount Buntis in Maragondon, Cavite after a military trial. Some say that Emilio Aguinaldo was responsible for the killings. Directed by Paul Morales.

November

The Nida Blanca Murder Case

On November 7, 2001, actress Nida Blanca was found dead in a building in Greenhills. Philip Medel, Jr. said that her husband Rod Strunk was the mastermind, but he made a big mistake. Strunk died in the United States in an accident.

Kapatiran hanggang Kamatayan (Death in the Fraternity) (literally, Fraternity Until Death)

Cris Mendez was killed by hazing by some of the members of the Sigma Rho Fraternity. Lenny Villa suffered that same fate in 1991. But the case is still in court. Directed by Rica Arevalo.

Desaparecidos

During the Marcos administration, many activist were kidnapped but up until now, not yet found, even their remains. Some were killed during the Arroyo administration. Directed by Alvin Yapan.

Vizconde massacre

On June 30, 1991, Estrelita, Carmela and Jennifer Vizconde were killed inside their house in Paraaque. At first, some of the suspects were acquitted. After four years, Jessica Alfaro became responsible for re-opening the case. But Hubert Webb, son of then-Senator Freddie Webb was not in the Philippines when the murder occurred. Directed by Mark Shandii Bacolod.

December

Dacer-Corbito murder case

On November 24, 2000, PR man Bubby Dacer and his driver Emmanuel Corbito were kidnapped and were found dead four days after. P/Col. Glenn Dumlao, one of the accused, named former Po/Supt. Cezar Mancao and former S/Supt. Michael Ray Aquino as the brains behind the crime. Mancao and Aquino were members of Presidential Anti-Organized Crime Task Force or PAOCTF, headed by then Gen. Panfilo Lacson. Directed by Charlie Bebs Gohetia.

Ang Pagkawala ni Geraldine Palma (The Disappearance of Geraldine Palma)

On August 16, 2007, the body of Geraldine Palma, a seven year-old girl was found in North Harbour packed in a luggage. Some say that the nanny is responsible for her death. But there are speculations that the body found is not Geraldine Palma's. Directed by Jay Abello.

Magsaysay plane crash

On March 17, 1957, an airplane crashed at Mount Manunggal in Cebu. One of those who were killed by the crash is President Ramon Magsaysay. Speculations say that it was an accident while some claim it was a sabotage. Nestor Mata is the sole survivor in the crash. Directed by Sigrid Andrea P. Bernardo.

Case Unclosed: Balik Tanaw"

This episode was the year-end special, showing three previous episodes of the show: "Yaman ni Yamashita", "Lihim ng 1897" and "Magsaysay Plane Crash".

2009 Episodes

January

Gregorio del Pilar.

Yearend Special

This episode was the Part 2 of the year-end special, showing nine previous episodes of the show: "Alaala ng Ozone", "Kapatiran hanggang Kamatayan", "Desaparecidos", "Hultman-Chapman Double Murder Case", "Dacer-Corbito Murder Case", "Nida Blanca Murder Case" "Vizconde Massacre", "Ang Bakas ng Karanasan: The Chiong Murder Case" and "Ang Pagkawala ni Geraldine Palma".

Gregorio del Pilar: Bayani o Berdugo? (Gregorio del Pilar: A Hero or Executioner?)

On December 2, 1899, General Gregorio del Pilar was assissinated after the Battle of Tirad Pass. Directed by Sari Lluch Dalena.

Payatas Tragedy

On July 10, 2000, More than 300 people were buried alive when a mountain of garbage collapsed in Payatas eight years ago. Although almost a decade has passed, no one has been made responsible and punished for what happened until now. Directed by Eli Balce.

RCBC Massacre

On May 16, 2008, Ten lives ended after a group of men robbed the RCBC Light and Science branch in Cabuyao, Laguna in May of last year. Because victims were shot in the head, the case has been dubbed as the bloodiest bank robbery in the history of the Philippines. Directed by Joaquin Pedro Valdes.

Pestao: suicide o murder? (Pestao: suicide or murder?) (substitutely hosted by Ivan Mayrina)

On September 27, 1995, Philippine Navy Ensign Philip Pestao was found dead with a gunshot in his head. It said had he killed himself, but other said that he was murdered. Directed by Maikel Cardoz.

February

ULTRA Stampede (substitutely hosted by Rhea Santos)

On February 6, 2006, 78 people died and 400 people were injured in the stampede at the PhilSports Arena for the first anniversary of the ABS-CBN noontime show Wowowee. Up until now, no one is responsible for the tragic incident. Directed by indie director Anna Isabelle Matutina.

Gumuhong mga Pangarap (Shattered Dreams) (substitutely hosted by Tina Panganiban-Perez)

Education is believed to be the best legacy we can leave our children. So to ensure their children's future, thousands of Filipinos buy educational plans. In April 2005, however, 30,000 parents were alarmed when news broke out that Pacific Plans, Incorporated, one of the largest companies in the pre-need industry, went bankrupt and would not be able to pay for the tuition fees of its planholders. Directed by indie director Sigfried Barros Sanchez.

Lucila Lalu: Chop Chop Lady

Chop-chop. A term coined to describe what is done to easily and inconspicuously dispose of the remains of a murder victim. The term was first used in the Philippines when the dismembered body parts of Lucila Lalu were found in different cities in May of 1967. Directed by Gawad CCP awardee indie director Sandino Magno

Jabidah Massacre

More than a hundred men Brought to the southern part of the Philippines to be secretly trained in guerrilla tactics The year was 1967 and their mission was to infiltrate and invade Sabah, Malaysia. But early in the morning of March 18, 1968, something happened. Directed by Onin Tagaro

March

Plaza Miranda Bombing

August 21, 1983 has gone down in history as the day former Senator Ninoy Aquino was assassinated. But 12 years before Ninoy death, another event happened that left a deep mark in history: the Plaza Miranda Bombing. Directed by Kiri Lluch Dalena.

Flor Contemplacion

Flor Contemplacion, a 42-year old maid was hanged to death for murder. She was accused of killing Delia Maga, another OFW, and her four-year old Singaporean ward. It was a bitter ending for Flor as she was hanged at 6:00 on the morning of March 17, 1995 together with three male drug traffickers. Directed by Jon Red.

Jailbreak

March 14, 2005, 6:30 a.m. A suspected member of the Abu Sayyaf was scheduled to be brought to court for an early hearing. Just as handcuffs were about to be put on him, he grabbed the jail guard's firearm and shot at other prison officers. Other imprisoned members of the Abu Sayyaf immediately got out of their cells, armed themselves and barricaded the second floor of the building at Camp Bagong Diwa in Bicutan where they were incarcerated. Directed by Sasi Casas

Sino ang pumatay kay Ninoy? (Who Killed Ninoy?)

Despite the presence of more than a thousand members of the military and police force on the tarmac when his plane flew in from the United States, despite three armed bodyguards escorting him, someone still found an opportunity to fatally shoot Ninoy Aquino in the head. Directed by Richard Somes

April

Bocaue Pagoda tragedy

On July 2, 1993, during the Bocaue River Festival tragedy struck when around 500 people rode the floating pagoda causing it to sink killing more than two hundred people. The pagoda float was way beyond its capacity. Despite hundreds of lives lost, no one seems to have been made accountable for the tragedies. Directed by J. Pacena

Maricris Sioson: Namatay o Pinatay? (Maricris Sioson: Died or Killed?)

In April 1991 Maricris Sioson, a 22-year-old dancer arrived in the Philippines in a casket. The Japanese government said that she died from hepatitis, but she had burns, bruised and stabbed all over her body. Directed by Benji Garcia

Tara Santelices

It was the night of August 6, 2008 and the birthday of Tara Santelices. She was on her way home to Cainta with her friend, Joee Mejias, when the jeepney they were riding got mugged. Tara was shot in the head after struggling with the mugger over her bag. Directed by Jade Francis Castro

May

Dr. Jose Rizal: Kristo ng Lahing Kayumanggi? (Dr. Jose Rizal: Christ of Brown Race?)

Dr. Jose Rizal is known to be the Philippines' national hero. To some Filipinos, however, he is more than that. They consider Rizal to be the "Kristong Kayumanggi" or the "Brown Christ". Directed by Ruelo Lozendo

A replay of this episodee was aired on January 1, 2010 as part of the 2009 Rizal Day celebrations.

Cochise-Beebom Double Murder Case

On the night of April 25, 1990, UP Law graduate Ernesto "Cochise" Bernabe II and his beautiful girlfriend Anna Lourdes "Beebom" Castaos were abducted outside a restaurant where they planned to have dinner. After 19 years, the prime suspect Rodolfo Manalili was granted Executive Clemency although he was sentenced to double-life imprisonment. Directed by Aloy Adlawan

Ang Pagkawala ni Edgar Bentain (The Disappearance of Edgar Bentain)

Edgar Bentain, a former PAGCOR employee became known as the one who caught then-Vice President Joseph Estrada on cam playing poker with some friends. After many years, he just disappeared. Directed by Martin Cabrera

Wala na si "Neneng" ("Neneng" was Already Gone)

It was in May of 1987 when the death of a young girl, who was given by GMA "Neneng" as a pseudonym, woke the country to the reality of pedophilia. Young Neneng died after a piece of metal that broke off from a dildo rot for several months inside her private part. The dildo was said to have been inserted in Neneng by a foreigner. Directed by Jeyow Evangelista

June

Danyos (Humans rights victims under Marcos dictatorship)

More than two decades have passed since former President Ferdinand Marcos was ousted from power but the shadow of his regime reaches to this day. Directed by Mario AV Guzman

Cherry Hills Tragedy

Every family dreams to have a house of their own. Cherry Hills Subdivision was built for the poor families who cannot afford a house and lot of their own. But to those who bought a property in Cherry Hills Subdivision in Antipolo, tragedy struck. Typhoon Olga was letting out its wrath when a landslide occurred burying 300 houses and more than 50 people in Cherry Hills. Directed by Paolo Herras

Brother Eli, paninirang Puri? (Is Brother Eli a Victim of Slander?)

Bro. Eli Soriano, the well-known televangelist and leader of Ang Dating Daan was charged of raping a fellow male named Daniel Veridiano. Today, Veridiano is now a member of Iglesia ni Cristo. Directed by Michael Angelo Dangalan

Olalia-Alay-ay Double murder case

Kilusang Mayo Uno leader Rolando Olalia and his driver Leonor Alay-ay met their deaths in November 1986 when members of the Rebolusyonaryong Alyansang Makabansa were said to have killed them to wreak havoc. This was during the term of former President Cory Aquino when coup d' etats were being launched left and right. Directed by Ogi Suhatan

July

Antonio Luna

It was the height of the war between the United States and the Philippines when rumours that Gen. Antonio Luna was going to launch a coup d etat against then President Emilio Aguinaldo. To prevent him from carrying out his alleged plan, soldiers close to the president hacked Gen. Luna to death. Strangely, not one of the soldiers involved in the general death was punished. Directed by Tara Illenberger

PNP's Most Wanted Bong Panlilio

Jose Ma. "Bong" Panlilio was charged for the murder of brother's Albert Gutierrez and Ariel De Castro. Today, he is one of the PNP's Most Wanted criminals with a reward of 5 million pesos and is now posted everywhere around the country. The PNP's search for Panlilio continues up until now. Directed by EJ Salcedo

Marlene Esperat

Marlene Esperat, a former employee of the Department of Agriculture, once dreamed of ridding the government agency she worked for of corruption. But on March 24, 2005, she was forever silenced by a single gunshot. Directed by Ron Bryant

Antipolo Massacre

Something strange happened in Sitio Kulasisi, Antipolo on December 3, 1993. The usually meek Winefredo Masagca went into rage and hacked five people to death. Many thought he was possessed by evil spirits. Directed by Jerrold Tarog

Tara Santelices (Part 2)

Tara Santelices died on July 27, 2009, after struggling to live for almost a year. Directed by Jade Francis Castro

August

Melissa Roxas Story

It was said to be Filipino-American Melissa Roxas worst nightmare: to be allegedly abducted and tortured. According to Melissa's account, the incident happened on May 19, as she said, when soldiers of the Armed Forces of the Philippines accused her of being a member of the New People Army. Directed by Ed Lejano

Didith Reyes, Namatay o Pinatay? (Didith Reyes Died or Killed?)

On December 10, 2008, people were shocked to hear from the news that former 1970s singing star Didith Reyes died. The reports said she had a heart attack. Her only son, Arvey however, thinks otherwise. He believes that the alleged constant beating her mother experienced from her live-in partner Eulogio Disongla may have caused her death. Directed by Earl Bontuyan

Naabong Kalinga (A Care for Children that Turned to Ashes)

On the midnight of December 3, 1998, 28 people are died and many of them are rescued from the fire in the Associacion de Damas de Filipinas Settlement House. But, due to the help of President Joseph Estrada, the Settlement House was reconstructed. Directed by Cris Pablo

Overkill?

On November 7, 2005, a shoot-out was done in Ortigas Avenue according to the Traffic Management Group of the Philippine National Police. Members of the Valle Verde Group, one of the known carnapping groups in Metro Manila were been killed by the police. Directed by Philip Espina

September

Abadilla 5

On June 13, 1996, 5 men were responsible for the ambush murder of Col. Rolando Abadilla in Katipunan Avenue, Quezon City. The suspects became known as the "Abadilla 5". Directed by Borgy Torre III

Ruby Rose Barrameda Story

Ruby Rose Barrameda-Jimenez, sister of former beauty queen Rochelle Barrameda went missing since March 14, 2007. After two years, she was found in a steel case in a drum filled with cement in a sea in Navotas. Directed by Vic Acedillo Jr.

Laban ni Karen Vertido (The Battle of Karen Vertido)

Forty two year old mother and wife Karen Vertido will never forget March 29, 1996. She claims that she was raped by her 60-year old boss, Jose Custodio on that date. Her grief continued when the court found Custodio not guilty of rape. Directed by Pam Miras

Sisig Queen

On April 16, 2008, Apong Lucing Cunanan was found dead inside her own home in Pampanga. Her husband and children suspect robbers came into the house to steal money and jewelry from the family vault and when they found out that she was awake, they killed her. Directed by Hector Macaso

October

Ang Pagragasa ni Ondoy (The Wrath of "Ondoy")

The Philippines was badly hit by typhoon "Ondoy". Metro Manila was heavily flooded, resulting to more than two hundred deaths as of press time. Millions worth of properties were also damaged due to the raging flood water. With these casualties, many still wonder how it happened. What are the measures that should have been done to prevent Ondoy's wrath?

Pyramid Scam

Because they were promised that the company would double their investments, many agreed to put their money in Multitel. Unfortunately, their get-rich-easy plans turned into one of the biggest scam in the country's history. It was called the Multitel Pyramiding Scam. Directed by Arnold S. Argao

The December Shootout

Tragedy struck in a subdivision in Paranaque on December 5, 2008. Jun De Vera and his daughter, Lia was allegedly caught in a crossfire between the police and a gang of criminals. Jun and Lia died. Ten months after their death, Jun's widow Lilian is still crying for justice. She wants to know if there was foul play in the supposedly accidental shooting. Directed by Elfardo

Ang Bakas ng Kahapon ni Lola (The Mark of the Past of the Grandmother)

It's been almost seven decades, but the worst memories of the comfort women from the Japanese Imperial army are still etched in their minds. They filed every possible case against them, but up to now, the government of Japan ignores their plea. Directed by Arnold S. Argao

November

Glorietta Blast

It has been two years, October 19, 2007, since the Glorietta Mall bombing in Makati, but a lot of questions are still left unanswered. What caused the fatal bombing? Was it an accident or an act of terrorism? Directed by Ray Defante Gibraltar

Ramon Pagdanganan Ambush: Sino ang may Sala? (Ramon Pagdanganan Ambush: Who is The Criminal?)

The celebration of Calumpit, Bulacan fiesta two years ago was suddenly cut short when the town former mayor, Ramon onching" Pagdanganan, younger brother of former Governor Obet Pagdanganan was ambushed. He died on the spot. Directed by Elfardo

Walang Bakas, ang Kwento ni Ka Prudencio (No Trace, The Story of Ka Prudencio)

On June 26, 2006, Prudencio Calubid along with his wife were abducted and tortured as they were going home in Samar. They say that they were abducted by the military. Up until now, they are still missing. Directed by Arnold Argao

Bayani nga ba? (Is He Really a Hero?)

Some historians claim that during the last few days, Rizal retracted all his strong views of corruption and abuse of power by the Spanish friars. If proven true, it can be a basis to question Rizal's status as our National Hero. Directed by Arnold Argao

December

Hustisya ni Judge Gingoyon (Justice of Judge Gingoyon)

On New Year's Eve, 2005, Judge Henrick Gingoyon was shot to death in Bacoor, Cavite. Gingoyon is known as the judge in some of the most talked issues in the Philippine. Up until now, the suspect is still unknown. Directed by Ric Reyes

Trahedya sa Perya (Tragedy at the Carnival)

On Christmas Day 2006, the Picardal family went into a carnival in Marikina. But, tragedy strucked to Kimberly and Katherine Picardal. Reyes family was also present in the carnival, but the child was disabled by the tragedy. Both victims of the tragedy, Picardals helps Reyeses for the justice which is still elusive for them. Directed by Arnold Argao

MV Doa Paz Tragedy

December 20, 1987. More than four thousand passengers from the Samar and Leyte provinces boarded MV Dona Paz. They were all hoping to celebrate Christmas in Manila . Halfway to the travel, tragedy struck. Directed by Arnold Argao

Case Update

This episode was the year-end special, showing three previous episodes of the show: "Dacer-Corbito Murder Case", "Ang Pagkawala ni Geraldine Palma" and "Ang Bakas ng Karanasan: The Chiong Murder Case".

2010 episodes

January

The Mayor Resuello Murder Case

On April 28, 2007, San Carlos City, Pangasinan Mayor Julian Resuello was shot dead while attending their town fiesta. Directed by Elfardo

Ballot Snatching

Teachers are said to be modern-day heroes during the election season. But in some cases, such momentous event could also have a tragic ending. It was dawn of May 9, 1995 when two men allegedly snatched the ballots from a group of election officers at Talaga Elementary School in Mabini, Batangas. In the middle of the commotion, Filomena Tatlonghari was shot by unidentified man. Directed by Arnold Argao

The Roger Mariano Murder Case

On July 31, 2004, Radio commentator Roger Mariano, was ambushed by armed men while on his way home. After 6 years, there is no court decision yet on his case. Directed by Arnold Argao

Ang Pagpaslang kay Ernest Santiago (The Murder of Ernest Santiago)

On December 16, 2007, fashion designer Ernest Santiago was found dead in Pagsanjan, Laguna after robbers invaded his house and killed him. After two years, the family of Santiago is still hoping for justice. Directed by Arnold Argao

February

Bakas ng Trahedya (Marks of Tragedy)

In the Part 1 of the special episode, Case Unclosed will revisit the worst tragedies that besieged the nation. Cases of fire, maritime disasters and landslides that took thousands of lives and damaged millions of properties. Has anyone been made accountable for these tragedies?

Ang mga Kontrobersya ng Kasaysayan (The Controversies of History)

In the Part 2 of the special episode, Case Unclosed will revisit again the Controversies of the History and Showing the Episodes are the following: "Antonio Luna", "Gregorio del Pilar, Bayani o Berdugo?", "Bayani nga ba?", "Lihim ng 1897", "Yaman ni Yamashita", "Desaparecidos", "Plaza Miranda Bombing" and "Magsaysay Plane Crash".

Karahasan laban sa mga Kababaihan (Violence against Women)

In the Part 3 of the Special episode, Case Unclosed will revisit again the stories of violence against Wwmen and showing the episodes are the following: "Nida Blanca Murder Case", "Sisig Queen", "Ruby Rose Barrameda Story", "Lucila Lalu: Chop-chop Lady" and "Didith Reyes: Namatay o Pinatay?".

Awards & Recognition

Public Attorney's Office Awards

2009 Best Public Affairs show

Volunteers Against Crime and Corruption

2009 Outstanding TV Program

References

See also

List of Philippine television shows

List of programs broadcast by GMA Network

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Late night programs

I-Witness Reporter's Notebook Kandidato Born to Be Wild OFW Diaries

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Art Angel Happy Land Ka-Blog! Wish Ko Lang Kapuso Mo, Jessica Soho Imbestigador

Special programs

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Categories: Philippine television series | GMA News and Public Affairs

Mexican handcrafts and folk art

China Product


Definition of Mexican folk arts and crafts

Wood and fiber crafts for sale at the municipal market in Ptzcuaro.

Mexican handcrafts and folk art is a complex collection of items made with various materials and fashioned for utilitarian, decorative or other purposes, such as wall hangings, vases, toys and items created for celebrations, festivities and religious rites. These arts and crafts are collectively called rtesana in Mexican Spanish. This term was invented in Spanish during the 20th century to distinguish merchandise made by traditional methods versus those made by industrial/assembly line methods. The word is also used to promote traditional products to tourists and as a source of Mexican national identity. Mexican artesana has its foundations in the crafts of the many pre-Hispanic cultures within the country, but 500 years of European influence has transformed it into a mixture of the two and unique to Mexico. Most artesana produced here shows both European and native influences in the crafting, the design or both. graters ice cream

Artesana can be defined as those items created by common people, using traditional methods which are well-founded in the past. Most artisans do not have school-based training in their craft, but rather learn it through formal or informal apprenticeship. The term ommon people for Mexico generally applies to people native to rural areas and those outside the upper and middle classes. spoon and fork set

For Mexico, artesana is heavily tied to national identity as well as indigenous identities, and this idea is often played out in movies and television in the country. From the early 20th century to the present day, Mexican folk art has inspired famous artists such as Diego Rivera, Rufino Tamayo, Jos Clemente Orozco, Fernndez Ledezma, Luis Nishizawa and many others. Miguel Covarrubias and Salvador Novo defined true Mexican artesana as a blending of European and indigenous traditions, with items produced for domestic consumption, mostly for the Mexican middle class. This definition best applies to the production of pottery, leatherwork, textiles and toys. This definition is founded in the early post-Mexican Revolution era when artists and intellectuals were concerned with creating a native identity for Mexico, which revolved around the concept of estizo or the blend of European and indigenous races. It was even thought by some of its proponents, such as Dr. Atl, that any change in the artesana of Mexico would led to its degradation and of the identity they represent. horn spoon

Most of the artesana produced in Mexico is ordinary things made for daily use, but they are still considered artistic because most contain decorative details and/or are painted in bright colors for aesthetic purposes. The bold use of colors in crafts and other constructions extends back into pre-Hispanic times. Pyramids, temples, murals, textiles and religious objects were painted or colored ochre red, bright green, burnt orange, various yellows and turquoise. These would be joined by other colors introduced by European and Asian contact, but always in bold tones. Even the production of colors ties into the history of craft making. Red pigment since pre-Hispanic times has made from the cochineal bug, which is crushed, dried and ground to a powder to mix into a liquid base.

Pottery with indigenous design

Design motifs can vary from purely indigenous to mostly European with some other elements thrown in. Geometric designs are prevalent and the most directly connected to Mexico pre-Hispanic past and/or items made by the country remaining purely indigenous communities. Motifs from nature are as popular, if not more so, than geometric patterns in both pre-Hispanic and European-influenced designs. They are especially prevalent in wall-hangings and ceramics. Mexican artesana also shows influence from cultures other than European. Pueblo famous Talavera pottery is a mix of Chinese, Arab, Spanish and indigenous design influences. Lacquered furniture was unknown in Mexico until the Manila galleons brought lacquered wood products here, which local craftsmen copied.

Many Mexican crafts are considered to be of aroque style, with the definition of such as decorative style characterized by the use, and the occasional abuse, of ornaments in which the curved line predominates. This is a result of Spanish Plateresque and Churrigueresque styles being used during the colonial periods and possibly from some highly ornate pre-Hispanic traditions as well.

History

Mural of pre-Hispanic market at the state government palace of Tlaxcala.

By the late pre-Conquest era, the Aztecs had absorbed many of the crafts and trades traditions from the Toltecs, Mixtecs, Zapotecs and the Maya. In some of his writings, Hernn Corts describes the myriad of handcrafted goods available in Tenochtitlan markets such as textiles, feather art, containers made with gourds and objects made of precious metals. Bernardino de Sahagn describes the various items made from the maguey plant, the wide variety of pottery, as well as about the privileged place that artisans held in the native social hierarchy.

In the very early colonial period, the native artisan class was persecuted and was all but destroyed, as many of the designs and techniques they used were linked to pre-Hispanic religious practices, which the Spaniards wanted replaced with Christianity. Conversely, new crafts and new craft techniques were introduced from Europe and often taught to indigenous and mestizo people in missions.

Those crafts that survived the Conquest, such as pottery, were enriched by the new techniques from Europe. New crafts were also brought to Mexico, such as saddlemaking, and naturalized by local artisans, using elements of indigenous designs. However, crafts which did not fit with European lifestyles or tastes, such as like feather mosaics, tended to disappear.

One notable case of the re-establishment of crafts in the early colonial period is the work of Vasco de Quiroga. Quiroga arrived to the newly conquered Michoacn province after Nuo Beltrn de Guzmn had murdered many of the native P'urhpechans, ruined many crops and disrupted the economy. He began to repair the damage by feeding the hungry, founding schools and hospitals and reconstructing the economy. He worked to re-establish the crafts that had existed previously, often introducing new techniques, and to establish new crafts. To avoid competition for the same limited markets, he encouraged each village to specialize in one particular craft or product. He was successful in bringing many native craftsmen back to their work. Quiroga was the first to systematically blend native and Spanish craft techniques as well as organization of labor. Vasco de Quiroga is still honored in the state of Michoacn, especially the Lake Ptzcuaro region, and the state is well-known as a crafts producer.

In time, the crafts redefined themselves, as most of them were dominated by mestizos or those of mixed indigenous and European ancestry. However, tight control was kept on production by the higher classes and government authorities.

Near the end of the colonial period, another member of the clergy was active in promoting the crafts as way to help those in lower social positions in Mexico. In 1803, Miguel Hidalgo y Costilla settled in as the parish priest of Dolores, Guanajuato. Turning over most of his religious duties to a vicar, Hidalgo dedicated himself to commerce, intellectual pursuits and humanitarian activity. He spent much of his time studying literature, scientific works, grape cultivation, the raising of silkworms. He used the knowledge that he gained to promote economic activities for the poor and rural people in his area. He established factories to make bricks and pottery and trained indigenous people in the working of leather. He also promoted beekeeping. He was interested in promoting activities of commercial value to use the natural resources of the area to help the poor. His goal was to make the Indians and mestizos more self-reliant. However, these activities violated policies designed to protect Spanish peninsular agriculture and industry, and Hidalgo was ordered to stop them. The Spanish authority treatment of peasants and the lower classes would be one factor in pushing Hidalgo to begin the Mexican War of Independence with his famous Grito de Dolores. Hidalgo efforts founded the Majolica pottery industry in Guanajuato state.

16th or 17th century Talavera bowl at the Museo de Arte Popular, Mexico City.

After the Mexican War of Independence, the crafts guilds that had regulated manufacture through the colonial period were abolished. Since anyone could call themself a craftsman, product quality deteriorated badly, especially in pottery, foreign products entered the country freely and industrialization began to take hold. To help stop the socio-economic deterioration of artisans, brotherhoods, cooperatives and professional organizations were founded. However, indigenous artists generally did not join these associations, and they remained within their own socioeconomic organizations.

The status of native crafts remained precarious and were further depreciated during what is now known as the Porfirato, or the long rule of President Porfirio Daz from the 1880s to 1910. Not only crafts, but just about everything native to Mexico was nearly discarded in favor of French-style and modernization.

The Porfirato was ended by the Mexican Revolution. Near the end of the Revolution, there was a desire on the part of artists, intellectuals and politicians to define and promote a national Mexican identity. Part of this effort was aimed at Mexico crafts tradition. A number of Mexican intellectuals and artists, including Dr. Atl and Adolfo Best Maugard, were fascinated in folk art. Convinced of its importance, they began to write about the subject, and since then numerous books about the topic have been published. President Alvaro Obregon was interested in promoting Mexican crafts outside of Mexico. A group of academics and artists interested in folk art was commissioned to form the first collections of these for public display. This group included Gerardo Murillo, Javier Guerrero, Ixca Faras, Roberto Montenegro and Gabriel Fernndez Ledezma.

The centennial of the end of the Mexican War of Independence in 1821 prompted two major exhibitions of Mexican folk art, one in Mexico City and the other in Los Angeles. These were conceived of by Roberto Montenegro and Jorge Enciso, with help from Xavier Guerrero, Adolfo Best Maugard and Gerardo Murillo or Dr Atl. At this time period, Dr Atl published a two-volume work called "Las artes populares de Mxico" (Folk arts of Mexico) which became an authority on the subject. This survey included discussions on pottery, fired-clay earthenware, toys, silverwork, goldwork, feather mosaics, basketry, textiles, wood objects, folk religious paintings called ex-votos as well as other folk art expression such as theater, poetry and printmaking.

In the 1920s, upper class homes were still mostly arranged in European style, with the middle and lower classes adorning their homes with crafts such as serapes from Oaxaca. During the 1920s and 1930s, Mexican artists and academics such as Diego Rivera, Adolfo Best Maugart and Frida Kahlo promoted Mexican folk arts and crafts as well as foreigners such as Francisca Toor and William Spratling. Diego Rivera and Frida Kahlo encouraged linked Mexican identity with indigenous crafts, with Frida adopting indigenous dress as her look.

Folk art did have significant influence on the fine arts in Mexico during these decades, which can be seen in paintings by Frida Kahlo, Mara Izquierdo, Roberto Montenegro and others. One particular influence was the use of bold colors. Artesana was depicted as a phenomenon of the masses, with the aim of promoting Mexican national identity. Despite the support for artesana by many of Mexico elite, foreign collectors, critics and gallery owners in the first decades of the 20th century, the pieces themselves were never considered true art. They were considered to be examples of native intuition, genius and tradition but not individual talent. For most of the 20th century, what had mostly been discussed about Mexican artisana is its collective meaning, especially identifying it with various ethnic groups. This anonymity assured that such expressions would remain somewhat inferior to rue art, and its creators called artisans and not artists.

Barro negro (black clay) and majolica ceramics in San Bartolo Coyotepec, Oaxaca.

From 1920 to 1950, Mexico was the third largest producer of handcrafts, behind Japan and China, with the support described above. However, this support did not lead to major museum collections or higher valuations on the work being produced. Some crafts did not benefit from being associated with the new myth of Mexican identity. One in particular is waxcrafting, as it is mostly associated with Catholic religious items and motifs. Today, only a handful of people still work with wax and for all intents and purposes, the craft is dead in Mexico. The glorification of crafts and national icons, archetypes and prototypes in the first half of the 20th century had some negative effects. Certain images such as the China Poblana, rural scenes, charros etc,began to appear almost ubiquitously on products artisans were making. The promotion of Mexican artesana was accepted earlier by foreigners than by Mexicans themselves. Very few examples of crafts from the early 20th century survive and most of the best collections of it are in North American or European hands.

Native Mexican appreciation of their own crafts would be helped near the mid century, in part because of the popularity of films by Emilio l Indio Fernndez and Gabriel Figueroa. Eventually, even homes in the exclusive Lomas de Chapultepec neighborhood of Mexico City would have some touch of o mexicano (Mexican-ness) in their dcor. At the end of the 1940, governor of the State of Mexico Isidro Fabela created the first museum dedicated to Mexican folk arts and crafts in Toluca. Later Mexican president Miguel Alemn Valds inaugurated the National Museum of Popular Arts and Industries, naming Fernando Gamboa as curator. Gamboa organized an exposition in Europe with great success. Adolfo Lpez Mateos created a trust to promote Mexican arts and crafts called the Banco Nacional de Fomento Cooperativo which was transformed into the current Fondo Nacional para el Fomento de la Artesanas (FONART) by Luis Echeverra. Various states organized similar support structures, including Casas de Artesanas which are state-run store selling handcrafted merchandise. A private initiative by Banamex supports a large number of artists and arranges expositions where some of the best crafts to be found can be seen and bought.

Huichol bead mask in process

In 1940, the Primer Congreso Indigenista Interamericano took place in Ptzcuaro, giving rise to the Instituto Indigenista Mexicano. In the 1950s, this institute, along with INAH created the Patronato de las Artes e Industrias Populares, which played an important part in the protection and promotion of Mexican handicrafts. During the same decade, the first socio-economic studies of these craft traditions took place, with the aim of establishing economic policies in their regard. In 1969, the first Congreso Nacional de Artesana took place in Mexico City, which led to the creation of the Consejo Nacional par alas Artesanias, with a store named the Palacio de las Artesanas. Later the Direccion General de Arte Popular and the Fondo Nacional para el Fomento de la Artesanias were created. These would be later replaced with the Direccin General de Culturas Populares and within this entity is the Departamento de Artesanas. Next was established the Junta de Fomento de Artesanos, which published a magazine called Semanario Artstico. To promote Mexican made products, the group organized the Juntas Patriticas, which has one objective as the exclusive consumption by it members only of folk art and crafts from Mexico. Many of these organizations have recognitions, awards and events related to artesana including a national prize the Premio Nacional de Arte Popular (National Folk Art Award).

With the rise of intellectual and formal institutional interest in artesana came also an ebb of interest in the Mexican populace. Much of this was due to the rise of the middle classes in Mexico between 1950 and 1980 who showed a preference for mass-produced items and the desire to be part of a progressive, national culture, rather than a local traditional one. By the end of this period, artesana was considered to be nothing more than a collection of curiosities. Cheap imitations of Mexican crafts, especially those connected to religion, began to arrive to Mexican markets from North America and Asia, devolving into kitsch, such as images of Christ with optical illusions to make him look like he is blinking. True folk images such as exvotos were no longer made or made for tourists or collectors, not as true religious expression.

Interest in the latter part of the 20th century would be concentrated among academics, collector/xperts and tourists. Among the artisans themselves, there has been some movement since the 1970s to break from the tradition of anonymity to having the individual talents recognized as artists. Some who have managed to do this include Roberto Ruiz, who specializes in works made from bone, Teresa Nava who makes maquettes, Teodoro Torres who makes lead figures and many more. In each of these cases, the artists individual talents are part of the value of the works made.

The tourism industry and foreign interest are now an essential part of keeping the Mexican artesana tradition alive. However, mass production of imitations are often sold to tourists.

Export

Crafts/souveniers market at Janitzio Island, Michoacn

Mexican artesana is sold to foreigners in two ways. The first is to tourists, as Mexican handmade items is part of what makes the country attractive to foreign visitors. The second is through exports. Mexican artesana is widely sold outside of Mexico, especially through the Internet. However, there is no single marketing entity or corporation whose business is to export Mexican artesana in general. Exporting is mostly done by investments in a particular crafts by particular people, rather than a large scale promotion of Mexican crafts in general.

One example involves smaller enterprises and cooperatives attracting foreign investment and opportunities to sell their wares abroad. One such cooperative, headed by Nurith Alvarez Cravioto, in Hidalgo State consists of rural poor, many of whom have sent men to the United States to work, and ex-convicts who cannot find employment. They needed an investment of almost $10,000 USD to build workshops and buy equipment. They were unsuccessful getting money from the Hidalgo or Mexican federal sources. However, their case was well known enough that a state politician mentioned them to the secretary of the Japanese embassy in Mexico. The cooperative made a sales pitch to the Japanese embassy, which agreed to fund the cooperative. This effort is hoped to lead to the ability to export the cooperative products to Japan.

Another community in Hidalgo called Axhiquihuixtla makes ceremonial masks of sculpted wood. Sculptor Javier Astora found the community and bought their masks. They masks wound up at a gallery called Biddingtons in New York where they fetched prices of up to 350 dollars each, in comparison to the 250 pesos (roughly $25) they normally sold for.

Maintaining the tradition

Man decorating leather with stitching

As in the past, most handcrafted products produced in Mexico are still consumed domestically in everyday family life, especially items such as clothes, kitchen utensils and the like, as well as ceremonial and religious objects. Much of what the world knows as Mexican craft was promoted in the 1920s and is considered luxurious, with Talavera pottery as an example. Tradition survives in the production of many of these products. Only five percent of Mexico artisans employ innovative methods in production, design and promotion with success. 65% continue making their crafts with little, if any, differences from their ancestors and 30% are somewhere in between.

Many organizations and government programs exist to help craftspeople and promote the production of artsana. Many art schools in Mexico have classes in certain crafts and the Instituto Nacional de Bellas Artes y Literatura has a Crafts School. In Puebla, artists such as Juan Soriano, Vicente Rojo Almazn, Javier Marn, Gustavo Prez, Magali Lara and Francisco Toledo were invited to help redesign the decoration of the ceramics produced there (but not the production techniques), which they did by adding human forms, animals and others to the traditional images of flowers and curved designs.

Stoneware plate with modern wave design at the Museo de Arte Popular in Mexico City

The intervention of artists in the design process has been criticized by experts such as anthropologist Victoria Novelo, who claims that many of these artists nterfere in the craft process by introducing ideas even though they have no studies in the cultural traditions behind these crafts. She also claims that many college-educated designers believe that with innovative designs, they can help the artisan get out of poverty, without knowing why the artisan is poor in the first place.

Despite organizations and institutions, most Mexican artisans are impoverished with little access to quality materials or designs, because of lack of cultural knowledge. Artisans also must compete with goods manufactured in large factories and copies of Mexican artesania imported from places like China. This keeps prices down, and the time it takes to make authentic artesana puts the Mexican craftsmen at an economic disadvantage. This is one reason why younger generations have less interest in the craft tradition.

Types of folk arts and crafts in Mexico

Talavera washbasins with traditional designs

Handcrafts in Mexico vary widely from materials used, techniques and employ and styles preferred. The most prevalent of Mexico crafts is ceramics/pottery. Ceramics was considered one of the highest art forms during the Aztec Empire, with the knowledge of making pottery said to have come from the god Quetzalcoatl himself. Pre-Hispanic pottery was made by coiling the clay into a circle then up the sides, then scraping and molding the coiled work until the coils could no longer be detected. The Spanish introduced the potters wheel and new glazing techniques. Majolica glazed pottery was introduced by the Spanish. Puebla in particular is renowned for its variety of Majolica, which is called Talavera. One distinctive feature of this city is that many kitchens and buildings are decorated with intricately detailed Talavera tiles. Tiles are a subset of ceramic pottery and were used extensively in colonial-era Mexico. These tiles were first fired at a low temperature, then hand-painted with intricate designs, then fired at a high temperature to set the glaze. These are still made, but most decorative tiles used in Mexico are factory-made. Unglazed pottery is still made, but generally it is for decorative purposes only, and copies the designs of pre-Hispanic cultures.

Silver jar with bird handle at the Museo de Arte Popular, Mexico City

Metalworking in Mesoamerica, especially of silver, gold and copper, was highly advanced when the Spanish arrived. Gold was inlaid into copper and metals were hammered to paper thinness and cast using the lost wax method. Some copper and iron tools where produced, but pre-Hispanic metal craft was dominated by jewelry and ornaments. The Spanish introduced new techniques such as filigree work, where tiny threads of metal are strung together to make jewelry. During the colonial period, indigenous peoples were forbidden to work with precious metals. Today, ancient designs have been revived with Taxco being the center of silversmithing. Silverwork is now one of Mexico's major exports. Copper work is particularly abundant in Michoacn. A traditional hammered copper object is a large vessel in which pork fat is rendered or sugar caramelized for making candies. Every year during the month of August Santa Clara del Cobre holds a copper festival.

Mayan woman weaving with a backstrap loom

Many different fibers are twisted, knotted and woven into textiles and objects. Materials include rushes, reeds, thread, plastic string and rope as well as many more. Historically, fibers were dyed using pigments created from plants and animals. Synthetic dyes have replaced natural ones for many craftspeople, but there still are some, especially in Oaxaca state that still use traditional dyes. Woven materials in Mexico started with basketry and mat-making. The agave plant was an important source of fibers and thread and is still used to day for thread and paper. Cotton was also used, spun into thread by itself or combined with feathers or animal fur to provide warmth. Very traditional Mexican women still spin their own thread, which are made from cotton or wool and can be very fine or very coarse. Textiles have long history of tradition. Brightly colored embroidered designs on female garments can identify tribe, age, and marital status of the wearer. Woven textiles were known to pre-Hispanic cultures for hundreds of years before the arrival of the Spanish, using a back-strap loom fastened between a tree and the weaver back. The Spanish introduced the treadle loom, which can make larger pieces of cloth.

Weaving is a craft practiced by men, women and children in Mexico and just about every fiber available is crafted into utilitarian objects such as placemats, baskets, hats and bags. Many of the materials used are left in their natural color but some can be dyed vivid colors. In addition, plastic fibers are beginning to be used.

Cut paper banner for Dia de Muertos with mole poblano theme

Paper is both made and used to make crafts in Mexico. Paper-making is a skill that goes back to pre-Hispanic times. The bark of two trees are primarily used, that of the morus or mulberry family for white paper and that of the ficus or fig family for darker varieties. Traditionally, the bark was cut and scraped by men, but the making the paper itself was done by women. The process begins by washing the bark, then boiling it with ashes. It is then rinsed and beaten until the fibers knit together, then dried in the sun. Banderolas, or cut-paper banners, are hung in the streets for special occasions.

Leatherwork in Mexico is closely tied to the charro/vaquero, or cowboy tradition, focusing on the creation of saddles, belts and boots. However, leatherwork can also be seen in seat covers, such as those on equipale chairs and as lampshades. Leatherwork is traditionally decorated with flowing patterns using the labor-intensive punch and tool method and colored with dye or varnish.

Parquetry furniture for sale at Ixcateopan de Cuauhtmoc, Guerrero state

The palaces and noble home of the Aztecs had ornate furniture. Entire pieces of hardwoods would be carved into benches and tables, and other items. Furniture was inlaid with gold and some covered in animal skins. A kind of shellac or lacquer existed in pre-Hispanic Mexico and was used in many ceramics. The Mendocino Codex mentions it as a kind of waterproof oil extracted from a worm called xe and mixed with oil from the prickly poppy seed or Mexican sage seed and pigments, which resulted in a paint. After the Conquest, the Spanish demanded European style furniture, which was usually made by indigenous craftsmen. As colonial Mexico was Spain gateway to Asia, oriental techniques such as parquetry and other types of inlay became common as well. The state of Michoacn is a major producer of handcrafted furniture, which can be simply varnished or stained or painted in bright colors.

Decorated skull made of sugar for Day of the Dead

Ceremonial objects are produced in every region of the country in all different shapes, sizes and colors, whose sole purpose is to celebrate saints and holidays and honor the dead. One of the major holidays for artesana is Day of the Dead. Objects are created to decorate houses and create frendas (altars to the deceased) such as candy skulls, decorated skeletons, many of which are dressed to imitate professions such as doctors. Large quantities of flowers and other plant matter to create decorations for ofrendas and for graves. There is also a special burnished black pottery which is used for objects related to the Day of the Dead. Another major holiday for crafts is the Christmas season, where sales of piatas peak and ornate nativity scenes are constructed in homes. For Palm Sunday, intricate crosses are woven from palm fronds. In some places in Mexico during Holy Week, large papier-mch effigies of Judas Iscariot are ritually burned. For the feast days of patron saints, cut paper banners are strung over roads and hung in windows.

Mexican traditional style toys for sale in Oaxaca

Mexican handcrafted toys are mostly miniature representations of things in life, such as birds, furniture, mermaids, bullfighting scenes, carts and much more, made with materials on hand such as bulrush, wood, cloth, clay and lead. They were mostly made for children of the Mexican underclasses. They are considered artistic not because of originality but rather the ingenuity of creating something special from practically nothing. These toys, most of which that survive are from the 19th and early 20th century are increasingly valued by collectors but are in disdain among the general Mexican populace. Since the 1950s, with the influence of movies and television, most children stopped wanting these types of toys for mass products produced abroad and based on what they see in media. Most toys sold to tourists now are cheaply made imitations of what used to be common.

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Categories: Arts and crafts | Arts in Mexico