Dissident performative interventions in public spaces.

All human beings have a spatial dimension. This condition is intimately linked to our collective ways of thinking, feeling and acting in the world; it is for this reason that the public spaces we inhabit and transit as part of our daily lives constantly become scenarios in dispute, not only in their territorial dimensions, but also in their symbolic ones. We can well say that the act of intervening a public space is, in turn, a struggle to win a place in the collective thought.

The selection of photographs shown here exemplifies the way in which diverse civil society actors reclaim public space through physical and symbolic interventions that represent dissidence against the established order of modern societies. The tactics employed are multiple and range from graffiti and the painting of murals, to the use of technology to project messages on walls, the representation of the body and the installation of objects in places reappropriated from symbols.

The interventions shown here transform spaces of power into dissident spaces, in some cases in a fleeting manner, such as the intervention with an audiovisual projector at the National Palace in Mexico City; in others, reconfiguring institutionalized uses and meanings in a transcendental way, as in the case of the Glorieta de las y los desaparecidos in Guadalajara. Some other interventions become dissident traces that travel through the city, such as the feminist stencil on a public transportation vehicle, while some become memorials that remain in the streets, emphasizing the need for justice. In any case, such interventions convey the neglected claims of usually stigmatized minorities or invisible groups demanding rights.

Creatively, these actions tend to deconstruct the hegemonic signs of different public spaces, official emblems, buildings that symbolize the power of government forces, and colonial monuments. The images shown below are a brief reminder that, in the face of injustice, inequality and subjugation, social groups will always have symbolic resources to occupy a place in that spatial condition that is inescapable for us.

We dedicate this gallery in memory of Rogelio Marcial†, magazine collaborator.

Walls speak

Sofia Ron Weigand, Santiago, Chile. November 2019.

Interventions in Santiago de Chile in the 2019 "social outburst" protests.

Mother praying for her daughters

Cristofer Yair Uribe VergaraMexico City, Mexico. September 18, 2000.

Photo taken outside the CNDH on República de Cuba street, Colonia Centro.

Vigil for Victoria from Tijuana

Benelli Velázquez FernándezTijuana, Mexico. April 2, 2021.

Victoria Salazar, a woman refugee in Mexico from El Salvador, was murdered by members of the Tulum police in March 2021. After her murder, there were demonstrations by feminist collectives and migrant rights activists, who demanded justice from various points of the Mexican Republic. A vigil was held at the border wall in Playas de Tijuana to commemorate Victoria's life and dignity. During the event, Victoria's face was projected on the obelisk that delimits the border between Mexico and the United States.

Pink bike for Isabel

Favia Lineli Lucero MontoyaCiudad Juarez, Mexico. January 31, 2020.

Cycling and feminist collectives placed a pink bicycle at the site where Isabel Cabanillas, artist and activist, was murdered during the early hours of January 18, 2020. Isabel used as a means of transportation a bicycle similar to the one installed; on the day of her feminicide she was being transported on it.

Death to the male

Karen Muro ArechigaMexico City, Mexico. February 2020.

Outside of some classrooms in the unam signs and banners were put up with legends addressing illegal and free abortion. One reads that the unam does not protect women, but represses them.

Respect for the uterus of others...

Adrian Enrique Garcia MendozaEnsenada, Mexico. September 30, 2020.

Intervention made during the 2020 feminist march in the Plaza de las tres cabezas.

Genocida: neither forgiven nor forgotten!

Yllich Escamilla SantiagoMexico City, Mexico. June 10, 2021.

In the framework of the 50th anniversary of the massacre of June 10, 1971, also known as Halconazo, the house of former President Luis Echeverría was part of the protest to demand justice.

Flowers against oblivion

Thania Susana Ochoa ArmentaMexico City, Mexico. March 8, 2021.

As part of the International Women's Day march, the National Palace was covered with metal fences. In response, feminists created a memorial for victims of femicide.

"Fora Bolsonaro"

Marcia CabreiraSão Paulo, Brazil. July 3, 2021.

Bolsonaro and other politicians of his government represented as convicts in the march for Bolsonaro's impeachment. The broken syringe represents the alleged corrupt practices of the government in the purchase of vaccines against the covid-19.

We are all immigrants

Ana de la CuevaNew York, USA. January 2017.

Women's March in New York, part of the women's rights movement and protests against Donald Trump. It was the largest protest since the mobilization against the Vietnam War in the 1960s and 1970s.

Do not forget their names

Jessica Trejo GomezMexico City, Mexico. March 2021.

Intervention at the National Palace, venue of the Generation of Equality Forum, to make the names and lives of women visible to the federal government.

The human rights of women over the rights to culture

Leonardo Rebollar RuelasColima, Mexico. August 16, 2021.

In the center of Colima is located the rehabilitation of a building formerly used as the state government palace. During the 8M protests, a protective wall was erected to demand women's human rights in the face of femicides and cases of disappearances.

Deported artists presenting the Playas de Tijuana Mural Project

Juan Antonio del Monte MadrigalTijuana, Mexico. July 2021.

Deported artists (Chris Cuauhtli, Tania Mendoza, Javier Salazar and José Ávila), coordinated by artist-academic Liz Santana, offer a speech in Tijuana after painting on the border wall their faces and QR codes with their deportation stories as a form of visibilization and resistance against the hardening of immigration policies.

Ungovernable

Malely Linares SánchezMexico City, Mexico. March 8, 2019.

Symbolic act in the march #8M.

Madero under siege

Yllich Escamilla SantiagoMexico City, Mexico. August 1, 2020.

The government of Mexico City locked up the statue of Francisco I. Madero, by Javier Marín, preventing it from being used in feminist protests against gender violence.

Memory clothesline

Reyna Lizeth Hernández MillánNezahualcoyotl, Mexico. March 8, 2020.

The collective Vivas en la Memoria installed and marched with a clothesline of embroidered canvases, where the feminicides of localities of the periphery such as Neza, Ecatepec, Chimalhuacán were recorded.

Traffic circle of the missing and the disappeared

Santiago Bastos, Guadalajara, Mexico. May 5, 2018.

The Glorieta de Niños Héroes in Guadalajara is located at the end of the busy Paseo de Chapultepec. When the disappearances began to be an overwhelming issue for many families in Jalisco, this traffic circle was one of the places chosen to end marches and hold rallies. The base of the monument to the motherland was continuously filled with posters, until in 2018 the one you see in the photograph appeared. Since then, that is the Glorieta de las y los Desaparecidos, to all intents and purposes.

Monumenta intervened

Malely Linares SánchezMexico City, Mexico. March 8, 2019.

Symbolic act at the #8M March

We want to be free; free and without fear

Priscilla Alexa Macias MojicaTijuana, Mexico. August 08, 2021.

Women in defense of the right to decide gather at Mexico's "Las Tijeras" monument to commemorate the arrival of the green tide in Mexico.

Images of the Conquest in Tlacoachistlahuaca, Guerrero

Carlo Bonfiglioli

Carlo Bonfiglioli He completed his undergraduate studies at the National School of Anthropology and History (1993) and his master's degree (1995) and doctorate at the Universidad Autónoma Metropolitana (1998). He is the author of two individual books -Pharisees and Matachines in Sierra Tarahumara, 1995 y Cuauhtémoc's epic in Tlacoachistlahuaca2004-, coordinator of six collective books -Conquest dances in contemporary Mexico (1996); The Northwest routesvol. 1 (2008), vol. 2 (2008), vol. 3 (2011); Reflexivity and otherness. Case studies in Mexico and Brazil1 (2019) and vol. 2 (in process) - and author of more than 50 scientific articles. He has taught several courses and directed theses at the Graduate School of Anthropology and Mesoamerican Studies at the University of California at Berkeley. unam. He has coordinated two interinstitutional and interdisciplinary projects: the first on a systemic perspective of Northwest Mexico and the second on American indigenous ontologies. His current field of research points to a "Rarámuri theory of shamanism". He has twice received the Bernardino Sahagún Award (1994 and 1999).

orcid: 0000-0001-7797-6181

photo 1

Bob SchalkwijkTlacoachistlahuaca, Gro. December 1994.

The author of this essay with don Pedro Ignacio Feliciano (†), a rocket maker, principal ("tatamandón"), "man of taste" and a great connoisseur of local indigenous customs. Throughout the 5 years that the research lasted, he was one of the main interlocutors and transmitters of knowledge about the dance that is the subject of this essay.

photo 2

Carlo BonfiglioliAcatepec, Gro. November 1995.

Don Pedro Ignacio Feliciano and Don Bartolo recalling and reconstructing the spread of the Danza de la Conquista from the plains to the mountains.

photo 3

Carlo BonfiglioliTlacoachistlahuaca, Gro. November 1994.

Don Gildardo (Lalo) Díaz, bricklayer, musician, dancer and first dance teacher in Tlacoachistlahuaca. For three decades, Don Lalo was one of the main protagonists in the diffusion of the Danza de la Conquista in the Montaña region.

photo 4

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 7, 1994.

The Dance of the Conquest of Mexico is performed on December 7 and 8, the eve and feast day of the Immaculate Conception, the patron saint of the town. With the participation of the dancers, the statuette of the Virgin is offered flowers, prayed to and watched over until dawn. In the photo, a prayer dancer and two companions.

photo 5

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 7, 1994.

At the beginning of the night, a small group of people, accompanied by a couple of musicians and a cantor who intones some sacred songs, goes to the church to request the delivery of the crown and the statuette of the Virgin; eas the family of the butler. In the photo, Zenaida de Grandeño, steward of the Octave, carries the image of the Immaculate Conception on the Vigil day of her feast.

photo 6

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 6, 1994.

In the days prior to the feast, the dancers visit and dance in the patios of the homes of the faithful where the vigil will be held for the statuette, the crown of the Virgin or those who will offer flowers and candles for her feast.

photo 7

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 6, 1994.

A moment of fellowship in one of the houses where candlelight vigils are held.

photo 8

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 1994.

On the Saturdays prior to the party, in addition to rehearsing the dance, it is also necessary to prepare the locus choristicusThese tasks are basically coordinated by the principals, who have to find people to do them. These tasks are basically coordinated by the principals, who have to look for people to do them.

photo 9

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 1994.

Preparation of church decorations.

photo 10

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 1994.

Preparation of church decorations.

photo 11

Carlo BonfiglioliTlacoachistlahuaca, Gro. November 1994.

In addition to the Danza de la Conquista, the Danza de las Malinches is also danced in the patronal feast, whose choreographic development deals with the cult professed to the Virgin by the "bando de los Mexicanos", that bando that in the pro-Hispanic variants of the Danza de la Conquista is presented as the people converted to the Catholic religion. From an analytical point of view, this dance can be considered as a dance fugue of colonial origin of the genre of the Conquest of Mexico. In the photo, a rehearsal of the Danza de las Malinches, at the side of the town's church.

photo 12

Carlo Bonfiglioli, TlacoachistlahuacaNovember 1994.

Rehearsal of the Dance of the Conquest. The "corpse" of the emperor Moctezuma is loaded on a petate and carried, at a funeral march pace, to the place of his burial.

photo 13

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 7, 1994.

Parallel to the Dance of the Conquest of Mexico, another dance related to this dance genre is performed: the Dance of the Malinches. In the photo, female members of the latter in the dance performed in the house of the mayordomo on the day before.

photo 14

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 7, 1994.

Monarco (Dance of the Malinches) in the dance of the eve.

photo 15

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 7, 1994.

Detail of the paraphernalia (bells hung on a leather patch) of the Dance of the Malinches.

photo 16

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 7, 1994.

Dance of the Malinches: detail of the paraphernalia (bells hanging from a leather patch).

photo 17

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 7, 1994.

Monarcos, Negritos and two other members of the Danza de las Malinches.

photo 18

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 7, 1994.

Musicians of the Danza de las Malinches playing at the eve dance.

photo 19

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 7, 1994.

Musician of the Danza de las Malinches playing at the eve dance.

photo 20

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 7, 1994.

Musicians of the Danza de la Conquista de México playing during a rehearsal in an enramada.

photo 21

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 7, 1994.

Rest and meal for the musicians on the occasion of a wreath-collecting dance in front of the house of the family in charge of watching over the wreath.

photo 22

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 7, 1994.

Musicians from Huehuetónoc, a town that is part of the municipality of Tlacoachistlahuaca, come down to the municipal capital on the day of the festival to offer their music to the patron saint of the town.

photo 23

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 7, 1994.

photo 24

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 7, 1994.

photo 25

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 7, 1994.

Along with Moctezuma and Cortés, Cuauhtémoc is one of the main male protagonists of the dance. With respect to his plume, it is said that "deserves rooster feather". to symbolize that Cuauhtémoc is as brave as a fighting rooster, in a region where cockfighting is very common. However, some dancers prefer to put ostrich feathers to emphasize prestige and nobility.

photo 26

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 7, 1994.

In 1995 the dancer who played Moctezuma wore a plume of rooster feathers despite the fact that the characteristics of this character are treachery and cowardice.

photo 27

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 7, 1994.

The dancer played by Captain Cortés, in 1994. While the chromatic variety -which coincides so much with the tastes of the place (reflected, for example, in the traditional clothing of the Amuzgo women)- is a prerogative of the Mexican side's clothing, that of the Spaniards is characterized by being uniform and tends to be dark.

photo 28

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 7, 1994.

Captain Grijalva.

photo 29

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 7, 1994.

Spanish soldier.

photo 30

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 7, 1994.

Spanish soldiers.

photo 31

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 7, 1994.

La Malinche with the two Negritos.

photo 32

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 7, 1994.

Mexican women: the Malinche and King Xochitl.

photo 33

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 7, 1994.

The long and repeated phase of combats and battles within the dance speaks to us, in particular, of the physical and moral qualities of Mexicans: bravery, stoicism, patriotism, that is, the legacy that the ancient Mexicans have left to the Mexicans of today. In photo, scenes of an individual combat.

photo 34

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 7, 1994.

Scenes of individual combat.

photo 35

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 7, 1995.

The capture of Moctezuma by Captain Alvarado who, upon apprehending him, declares the following: "We have already defeated the Monarch, that Mexican king today I will make him prisoner until the Cortez empire". In addition to surrendering, Monarca also loses his dignity: "[...] O Castilian emperor, now I will be your vassal, I will give you my region and throne and all that you ask of me: a quantity of gold and my many fine houses, if you leave me free to govern my city, I will be constant in serving you and I will gladly obey you. I promise you, generous one, that I will comply with whatever you command, I promise you, great lord, on my word of honor".

photo 36

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 7, 1995.

On the "Iztapalapa bridge" Moctezuma bids farewell to Cuauhtémoc: "O valiant Cuahutémoc, example of great courage, they are already taking me prisoner because of a betrayal. Malinche betrayed me, that accursed woman, for her sake I am being taken away never to return".

photo 37

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 7, 1995.

Moctezuma is taken to jail. Descending from the Iztapalapa bridge, Alvarado leads Monarca across the bridge; the Mexicans remain lined up on one side of the bridge. There, Marina says goodbye to Moctezuma: "O husband of my life, you are already being taken prisoner, [...] great sadness is in my soul, goodbye dear husband ".

photo 38

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 7, 1995.

Moctezuma is taken to jail: a hiding place made of sticks and palm leaves.

photo 39

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 8, 1994.

Upon surprising Moctezuma by handing over the palace to Cortés, Cuauhtémoc decides to kill his emperor uncle with a stone: "Ha! King Moctezuma that happens with what I see, I confuse you and I do not believe it to see you in the power of the Spaniards, when you have always been astonishment of the opponents.". Before his death, Moctezuma praises Cuauhtémoc and accepts, "admired"their luck.

photo 40

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 8, 1994.

The death of Moctezuma by the hand of Cuauhtémoc.

photo 41

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 8, 1995.

After being captured and tortured by the Spaniards, Cuauhtémoc decides to sacrifice his life to hide the treasure of the Mexicans from Cortés: "[...]. I have done what I could in defense of my honor, I did not want to sell my town like Moctezuma, the traitor, did"..

photo 42

Carlo Bonfiglioli, TlacoachistlahuacaGro. December 8, 1995.

Death of the king of Tacuba, Mandil.

photo 43

Carlo BonfiglioliTlacoachistlahuaca, Gro. December 8, 1995.

The Queen begs Cortés to let her take care of her husband's corpse; Cortés denies her permission. The Queen is furious, offends Cortés, threatens him and declares war; she wants him dead: "[...]". I warn you: I will never be satisfied until I see you shattered into so many huge pieces. My flaming heart burns only with fury. [...] today I will tear out your heart with my sword and spear of honor, which is poisoned by fury, that to avenge the treason the Queen asks the Queen to fight with you, and by the strength of my courage, you will remain dead, Spaniard.". Cortés replies: "Better escape I'll get for not fighting with women.".

"Altars tacheros": random mini-ethnographies of everyday (religious) life.

Alejandro Frigerio

Alejandro Frigerio D. in Anthropology from the University of California at Los Angeles. He previously received a B.A. in Sociology from the Universidad Católica Argentina (1980). He is currently a Senior Researcher at the conicet (Consejo Nacional de Investigaciones Científicas y Técnicas) based at the Instituto de Investigaciones de la Facultad de Ciencias Sociales of the Universidad Católica Argentina and as a professor in the Master's program in Social and Political Anthropology of the Universidad Católica Argentina. flaccid. Coordinates the network diverse (Religious Diversity in Argentina). He was president of the Association of Social Scientists of Religions in Mercosur and organizer of the first three Conferences on Religious Alternatives in Latin America. He was Paul Hanly Furfey Lecturer of the Association for the Sociology of Religion (USA).

orcid: 0000-0003-0917-3103

image 1

Alejandro FrigerioBuenos Aires. February 25, 2015 (left) and July 20, 2017 (right).

Red ribbons and rosaries.

image 2

Alejandro Frigerio, Buenos Aires. April 9, 2019.

Medal of Our Lady (of the Miraculous Medal), rosary, red Neapolitan horns and Turkish amulet against the evil eye.

picture 3

Alejandro Frigerio, Buenos Aires. March 23, 2016.

Pope Francis' calendar on the sun visor; a red and a purple ribbon, a rosary, a Neapolitan horn and a "Protect my Car" ribbon of Our Lady hang from the mirror.

Picture 4

Alejandro Frigerio, Buenos Aires. November 16, 2018 (left) and February 5, 2013 (right).

On the left: little horns, red ribbon of Our Lady of Lujan, rosary, two unidentified medals. On the right: ribbon of St. George "Protect my way".

image 5

Alejandro Frigerio, Buenos Aires. April 23, 2014.

Protect my car" ribbons. Stall on the sidewalk of St. George's Church, on the feast of St. George.

Picture 6

Alejandro FrigerioBuenos Aires. April 23, 2009.

Pendants of feng–shui with Catholic saints and red ribbons. Stall on the sidewalk of the church of St. George, on his feast day.

image 7

Alejandro FrigerioBuenos Aires. June 3, 2013.

Magnet of Our Lady of Schoenstatt, patroness of cab drivers, holy card of Our Lady of the Rosary and a crucifix.

image 8

Alejandro Frigerio, Buenos Aires. December 10, 2015.

San Expedito feng-shui.

Picture 9

Alejandro Frigerio, Buenos Aires. August 7, 2017.

Pendants feng-shui in a stall on the sidewalk of the church of San Cayetano, on the feast day of that saint.

Picture 10

Alejandro FrigerioBuenos Aires. April 8, 2013.

Virgin of Huachana and Lord (Christ) of Mailín.

Picture 11

Alejandro Frigerio, Buenos Aires. March 27, 2017.

On the mirror: ribbon and holy card of the Gauchito Gil, two unidentified medals, rosary, magnet that says "bon voyage" with two religious figures and photo of the son (upper left corner). In the center: teddy bear of River Plate and below it two holy cards (San Expedito, which is reflected in the glass and an unidentified saint). Outside the image there were also four other holy cards (shown in figure 16) and a pendant. feng-shui with an unidentified saint.

Picture 12

Alejandro Frigerio, Buenos Aires. October 25, 2018.

Hanging in the mirror: Gauchito Gil feng-shuiThere is also a ribbon of the Virgin of Luján with River Plate's coat of arms and, on the back side, a ribbon of San La Muerte (photo below). There are holy cards in at least three places in the car: San Cayetano and San Expedito (left door), Sacred Heart of Jesus and Virgin of Peace of Medjugorje on the speedometer, Virgin of Luján and Virgin Desatanudos on the air conditioner.

Picture 13

Alejandro Frigerio, Buenos Aires. February 27, 2018.

St. Cajetan stamp on the sun visor. Hanging from the mirror: red ribbon "Bless my car", medal of the Yin YangCura Brochero medal on the back (not very visible in the photo) and medal of Our Lady of the Miraculous Medal.

Picture 14

Alejandro FrigerioBuenos Aires. February 23, 2015.

Tape "Recuerdo de Luján" with the Virgin of Luján and Gauchito Gil

Picture 15

Alejandro FrigerioBuenos Aires. March 21, 2020.

Stampitas of Jesus and San Cayetano; two rosaries and one San Expedito feng-shui hang from the mirror. At left, the poster for the miniseries with actor Robert Powell starring as Jesus.

Picture 16

Alejandro Frigerio, Buenos Aires. June 2, 2014.

St. Expeditus notebook, holy cards of Jesus (Robert Powell) and Pope Francis and giant die.

Picture 17

Alejandro Frigerio, Buenos Aires. March 27, 2017.

Stamps of Jesus (inspired by actor Robert Powell), Pope Francis, St. Expeditus and St. George hooked above the door.

Picture 18

Alejandro Frigerio, Buenos Aires. October 23, 2015.

Notebook of San Expedito, holy cards of Jesus, Pope Francis and Our Lady of Mount Carmel.

Picture 19

Alejandro Frigerio, Buenos Aires. September 29, 2015.

Framing the window, Pope Francis between eight holy cards of saints and virgins. Above the mirror, holy cards of Pope Francis, Our Lady of Lujan and St. Cajetan. Outside the photo, hanging from the mirror, a pendant of St. Expeditus. feng-shui.

Picture 20

Alejandro FrigerioBuenos Aires. March 11, 2015.

Stampitas of St. Expedito, St. Cajetan, Pope Francis, Virgin and three children. In the mirror, pendant feng-shui of the Virgin of Luján. To the side, on the door, stamp of the Gauchito Gil (out of the photo).

Picture 21

Alejandro FrigerioBuenos Aires. November 5, 2011.

Pendants feng-shui of the Virgin of Luján and San Cayetano. Chuspa (little bag) with bills (probably from Alasitas?) and a little angel hanging from the ceiling. Strollers, images of the children among Catholic holy cards (and one of the Gauchito Gil).

Picture 22

Alejandro Frigerio, Buenos Aires. July 11, 2017.

Stamps of Our Lady of Peace from Medjugorje and St. Cajetan intermingled with photos of children.

Picture 23

Alejandro Frigerio, Buenos Aires. December 29, 2018.

Photos of children, holy cards reflected in the glass and stuffed animals. Hanging from the mirror: red ribbon "Recuerdo del Gauchito", rosaries and unidentified medals.

Picture 24

Alejandro FrigerioBuenos Aires. November 28, 2014.

Christ of the Miracles of Lima and the Lord of Canchapilca

Picture 25

Alejandro Frigerio, Buenos Aires. June 8, 2014.

Lord of Luren with "chauffeur's prayer".

Picture 26

Alejandro FrigerioBuenos Aires. August 18, 2013.

Peruvian pendant of the Virgin of the Gate, rosary and photo of the image enthroned in the Cathedral of La Plata, Argentina.

Picture 27

Alejandro Frigerio, Buenos Aires. March 25, 2015.

Catholic symbols and Alasitas elephant in sight.

Picture 28

Alejandro FrigerioBuenos Aires. July 19, 2013.

Dreamcatcher, St. Expeditus Ribbon and Turkish eye against the evil eye.

Picture 29

Alejandro Frigerio, Buenos Aires. October 26, 2015.

Hanging from the mirror, a Turkish eye against the evil eye. On the left, a pendant with a symbol of the feng-shui. On the right, peeking through the sun visor, a holy card of the Virgin of Luján. Hanging from the edge of the left sun visor, a pendant. feng-shui with Chinese coins.

image 30

Alejandro Frigerio, Buenos Aires. October 19, 2015.

Red ribbon and hexagram.

image 31

Alejandro Frigerio, Buenos Aires. September 20, 2014.

Unidentified medal and symbol of the Yin Yang.

image 32

Alejandro Frigerio, Buenos Aires. August 13, 2017.

Red Ribbon and Buddha of Abundance feng-shui.

image 33

Alejandro Frigerio, Buenos Aires. October 8, 2014.

Two pendants feng-shui of animals, Ganesh in bronze image and tattooed on the driver's arm.

image 34

Alejandro FrigerioBuenos Aires. February 27, 2014.

Chinese goddess Kuan Yin pendant with unidentified symbol.

imagen 35

Alejandro FrigerioBuenos Aires. May 28, 2014.

Turkish eye (Nazar) with evil eye and red ribbon.

image 36

Alejandro FrigerioBuenos Aires. August 27, 2013.

Posters referring to Jesus and notebook with names of those who prayed with the driver, or for whom they are going to pray in the church. Outside the photo, a banner that says "my help comes from Jesus".

image 37

Alejandro Frigerio, Buenos Aires. May 25, 2018.

Cross hanging from mirror, video of two evangelical pastors (probably Peruvian) on cell phone.

image 38

Alejandro Frigerio, Buenos Aires. November 19, 2019.

Rosary, St. George holy card and ribbons with Ogun colors.

image 39

Alejandro Frigerio, Buenos Aires. February 25, 2015.

Ribbon with image of St. George and Ogun colors "give us your protection".

image 40

Alejandro FrigerioBuenos Aires. April 29, 2013.

Ogun/St. George necklace hanging from the board, rosaries and ribbons of St. Expeditus hanging from the mirror, pendants feng-shui of the same saint hooked to one end of the right sun visor.

image 41

Alejandro FrigerioBuenos Aires. March 11, 2014.

Two rosaries, medal and necklace (Ogun's guide).

image 42

Alejandro FrigerioBuenos Aires. November 1, 2011.

Pendant of San La Muerte, necklaces of Exú (left). Stamps of Exú, Pomba Gira, Sacred Heart of Jesus, Oiá and Ogún (right).

image 43

Alejandro Frigerio, Buenos Aires. December 22, 2016.

Stamps of the Virgin, Juan Diego, San Jorge, San Cayetano, Virgen del Rosario, Virgen de Luján, San Cristóbal and Virgen de Salta.

image 44

Alejandro Frigerio, Buenos Aires. July 17, 2015.

Stamp of Pope Francis.

image 45

Alejandro FrigerioBuenos Aires. August 15, 2013.

San Expedito in pendant version feng-shuiThe other two are: a holy card of Pope Francis and St. Mark of Leon. Outside the photo, others of St. George, St. Mark and a Virgin.

Śiva in the streets of India: invocations, prayers and transformations

Arturo Gutierrez del Angel

He is a professor-researcher in the Anthropological Studies Program of El Colegio de San Luis. Member of the National System of Researchers (sni) since 2008. His research has focused on mythology, religions and rituals. He has specialized in visual anthropology, particularly in the relationship between photography, plastic and cultural expressions. He has worked with groups from western and northern Mexico, such as the Wixaritari or the Na'ayari. He has published five author's books and six books as co-author, apart from publications in national and international magazines. He has exhibited his photographic work in museums and galleries, and has 20 photo exhibitions, including those related to Asia, The moment of the Gaze: 5 Asian countries.

orcid: 0000-0002-2974-1991

Greta alvarado

PhD in the Anthropological Studies program at El Colegio de San Luis, Mexico. Research topic: The Sikh diaspora in Mexico [ongoing]. Diploma in Asia, Universidad del Chaco Austral, Argentina (2020). Official Master in Advanced Studies of Art (2015-2017) and Specialist in Art from India. Faculty of Geography and History of the Complutense University of Madrid, Spain. Since 2019 she is a professor of the course India: art and society in the Academic Coordination of Art and in the Department of Art and Culture of the uaslp.

orcid: 0000-0002-7514-7037

Introduction

Kālī, the power of time and eternal night

Arturo Gutiérrez del Ángel. Temple, New Delhi, 2018.

Kālī, Hindu goddess who embodies force and destructive power. It is the supreme night that devours everything that exists. He wears a garland of skulls around his neck. The dead leave a mark that rests in the power of time. She is the beneficent goddess of sleep, Ṥiva's companion. The mighty god, before her, is only a corpse; both recreate the birth and destruction of the universe. They are a nature that is made and undone as it lives and dies. In this image it is observed how the devotees offer coconut shells with a fire inside, while the image of Kālī is pasted on the marble of the wall.

The dancing cobras of the desert

Arturo Gutiérrez del Ángel. Thar Desert in Rajasthan, 2018.

The dancers of kalbelia, folk dance from the Thar desert (northwestern India, Rajasthan state) are characterized by their sensual movements, with a display that expresses mythical passages or messages related to nature. In this image, next to the fire, movements that recall the meandering of a cobra are recreated.

Ardhanārīśvara

Arturo Gutiérrez del Ángel. Mural in Vārāṇasī, 2018.

Ṥiva, as a deity, is a unit, but at the same time it is he and Ṥakti, the feminine energy, concentrating two identities. Seen like this, he is an androgynous named Ardhanārīśvara, that is, the lord whose half is a woman. The image shows its duality that, more than sexual, demonstrates the possibility of a unified power that is concentrated and manifested in these images. The masculine and the feminine are united thanks to the sparks of desire, source of life and creation.

Love offering

Arturo Gutiérrez del Ángel. Hoshiarpur, 2018.

At Hindu weddings in northwestern India, the bride and groom circle Agni, the god of fire, seven times, who devours and digests all the oblations that are presented as offerings to the gods. Through him, the devotees communicate with the inhabitants of the heavenly spheres. Mantras are also chanted and the Brahman (priest) reads passages from holy books. The wedding dress is reddish in color, as it refers to śakti, feminine (menstruation) and solar energy.

Brāhmaṇ in the luminous city of Śiva

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

In this image we see a Brahman sitting on some steps in the city of Vārāṇasī. Next to it there is a solar image, impregnated with saffron color, whose rays illuminate a prayer in Sanskrit that invites us to greet and invoke the god Sūrya, the Sun. In the Mahābhārata it is narrated that the brightness of this star on earth was violent ; Therefore, Viśvakarman, the architect, cut an eighth of its rays from the solar star, fragments with which he created Ṥiva's trident (Daniélou, 2009: 149).

Ritual prayer

Arturo Gutiérrez del Ángel. Rajasthan, 2018.

Garlands of flowers are sold outside the temples so that the devotees can offer them to the gods. The venerated god, seeing and smelling them, succumbs to their spell and comes to listen to the requests of the faithful. In the image we see a woman from Rajasthan who wears a veil with which she covers her face from the sun and protects her face from the gazes of passersby.

Invocation to Gaṇeśa

Arturo Gutiérrez del Ángel. Rajasthan, 2018.

In the temples different rituals are celebrated. The picture shows a Hindu wedding in a temple in Rajasthan. The bride and groom, families and devotees are seen leaving offerings to Gaṇeśa, the elephant-headed god. The aim is that with his trunk he helps future spouses to eliminate the obstacles that may arise in his new life as a couple.

The sound of worship

Arturo Gutiérrez del Ángel. Jaipur, 2018.

Pictured is an urban musician in the labyrinthine streets of Jaipur, India. He plays a stringed instrument called ravanahatha; its name comes from the king of Sri Lankā, Rāvaṇa, who is said to have used it to worship Ṥiva (Daniélou, 2009: 166). The songs tell stories related to the gods and their adventures.

The presence of If you

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

In the image we see Ṥiva sitting on the tiger's skin carrying a trident, an instrument that recalls the three actions of the universe: creation, destruction and conservation, and a damaru, an hourglass-shaped drum that has boleadoras at the ends and that when shaking the handle produces a heavenly sound. The snake around his neck is the dominance of desire. The blue brushstrokes on the neck indicate the residues of a poison that he drank so that it would not mix with the elixir of immortality. The goddess Gaṅgā springs from the hair of the god, and is the manifestation of the river Ganges that descends to earth.

Steps to eternity

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

When one walks among the ghāṭs1 From the city of Vārāṇasī, on the steps leading to the Ganges River, he meets different deities. In the image he is seen prostrate on the stairs a Ṥiva in his phallic invocation (liṅga-yoni), and the largest orange image on the wall is Hánuman, the monkey god, and the smallest is Gaṇeśa. The bone-colored figure is Durgā, a goddess who rides a tiger or a lion. He has several arms in which he wields weapons that were given to him by some gods to annihilate a asura (demon) called Mahiṣa.

Devotee of If you

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

The sādhus they generally inhabit Vārāṇasī and are devotees of Ṥiva. They are ascetics who adopt penance and austerity as a way of life. In this way they achieve enlightenment and eternal happiness.

Deity in transit

Arturo Gutiérrez del Ángel. Rajasthan, 2018.

As if they were moving altarpieces, buses, taxis, floats, shop signs, etc., narrate different passages from Hindu mythology. On the upper plate we can see a protective amulet: the image of the goddess Durgā, one of the avatars of the consort of Ṥiva.

Maheśvara, the great god

Arturo Gutiérrez del Ángel. Shree Durgiana Tirath, Amritsar, 2018.

This enclosure is dedicated mainly to the goddess Durgā, and it is also known by the name of the temple of silver, due to the color of some doors. Here devotees worship Ṥiva, especially on Mondays (somavāra), day dedicated to this god. The sculpture shows him in a state of meditation that supposes unity with everything that exists; he stands above all gods, he is the great god, Maheśvara, with the serpent coiled around his neck. On the left side is his trident and his damaru. The devotees have left garlands of flowers on his body as offerings.

Veneration and daily life

Arturo Gutiérrez del Ángel. Rajasthan, 2018.

Local markets or shops are among the favorite places for Ṥiva to be present. We see that this outlet is called "Shiba" and sells everyday items such as vests and underpants. Thus, this god materializes in the most unexpected and everyday places: the myth creates a memory ploy for the wanderers.

Purification

Arturo Gutiérrez del Ángel. Khajuraho, 2018.

In traditional Indian architecture, stairways are built that end, or begin, in a lake or fountain. They are particularly attractive to pilgrims who visit them, drink the waters and immerse themselves in them. In the image we see two pilgrims on some steps washing their clothes and taking a bath in Khajuraho, India.

Ethereal flowers

Arturo Gutiérrez del Ángel. Rajasthan, 2018.

The various components of the offerings correspond to the elements of existence: water when the deity is washed, fire in oil lamps, air in incense, earth in the aroma of perfumed oils and flowers, ethereal element. Thus, the preferred offerings of the deities are coconuts and flowers, particularly marigold garlands (Tagetes erecta), which are often sold outside the temples. In the image you can see a devotee who goes to the temple and first buys a flower necklace to leave at the feet or hang from the neck of some deity.

Between life and death

Arturo Gutiérrez del Ángel. Rajasthan, 2018.

On a foggy morning in Vārāṇasī, on the bank of the Ganges, various activities are carried out such as washing clothes in local laundries, the barber shaving the hair of the deceased's relatives in mourning and the boats from which they are thrown the ashes of the dead.

Transformations of If you in mumbai

Arturo Gutiérrez del Ángel. Mumbai, 2018.

In the image you can see an urban temple dedicated to the liṅga-yoni, the phallic form of Ṥiva and the vagina that represents Ṥakti, the feminine energy. On the yoni we can see a cosmic egg, another of the forms of Ṥiva. On one side of the sculpture is Nandin, the bull that serves as a vehicle for the phallic god.

The three essences of the universe

Sacred cavity

Greta Alvarado. New Delhi, 2018.

In the image you can see a curious niche in the streets of New Delhi. In the center you can see a painting with Ṥiva, Pārvātī and their son Gaṇeśa. On the left side, the goddess Durgā with weapons in her multiple hands. On the right side, Sarasvati, goddess of knowledge; Lakṣmī, goddess of fortune and Gaṇeśa, the elephant-headed god who removes obstacles. There is also a liṅga-yoni decorated with flowers.

The golden embryo

Arturo Gutiérrez del Ángel. Ajmer, 2018.

Brahmā is a bearded sovereign with his four heads pointing to the cardinal points. This god is attributed the creation of the Universe, the creative principle or the golden embryo (Hiraṇia-garbha). In Ajmer it is related that the devotees stopped worshiping him because he lied to Ṥiva, told him that he had reached the summit of the liṅga. Knowing that it was not true, Ṥiva pronounced a curse on him. Except in some temples, such as Ajmer, hardly anyone would present offerings to him.

The dream of the world

Sergio T. Serrano Hernández. Archaeological Survey of India Museum, Mumbai, 2016.

When Viṣṇu sleeps on water, he dreams, creates and preserves the world. While Ṥiva is the destroying principle, Viṣṇu is the principle of continuation, it is the symbol of perpetual life.

Phallic worship

Sergio T. Serrano Hernández. Ellorā Cave, Aurangābād, 2016.

Phallic form of Ṥiva known as ῡrdhvaliṅga, an erect penis that indicates continence and the rise of semen within the body. It is located on the yoni, the vulva, feminine energy. Devotees lay offerings of flowers, oil lamps, and rupees, the Indian currency.

Abode of the gods

Arturo Gutiérrez del Ángel. Khajuraho, 2018.

The image shows an ancient stone engraving that is the plan or sketch of a temple, and within it a liṅga-yoni. It is what we consider a reduced model of the universe.

Divine seduction

Consecration

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

Devotee making an offering with holy water from the Ganges river, leaves and flowers, to a liṅga-yoni protected by kuṇḍalinī, a serpent that is the source of spiritual energies.

Ancient footprints

Arturo Gutiérrez del Ángel. Khajuraho, 2018.

In some of the Khajuraho temples we see ancient footprints, traces of a missing body: a body that leaves the memory in the detailed sculpted feet.

"Break them skulls"

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

The stalls where different items for cremations are sold are called "skull breakers"; they are found on the banks of the Ganges River in Vārāṇasī. This name comes from the times when a phase of the funeral ritual consisted of breaking the skull of the deceased so that his soul was released; at present the skull fracture has been replaced by that of a coconut. Several stalls sell floral offerings, cloths to cover the dead, and coconuts.

Gods guarding a portico

Arturo Gutiérrez del Ángel. Temple of Durgiana. Amritsar, 2018.

In the relief of the doors the contours of Ṥiva and Durgā are observed, in an embossing technique. In the upper frieze is Nara-siṃha, half man and half lion, avatar of Viṣṇu, emptying the intestines of a demon named Hiraṇya-kaṥipu (covered with gold). Brahmā is seen on the left and Ṥiva on the right.

The phallic god: transfigurations and invocation

The line of fire

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

On the bank of the river Ganges we see a ritual with a renewed scenery, in which the gods present in Vārāṇasī, such as Gaṅgā and Ṥiva, are blessed through a ritual called ārtī, which consists of the circular movement of oil lamps with images of snakes, manipulated by ritual specialists. This "show", which takes place every night, is performed mostly for visitors. One of its main characteristics is that extremely striking and abundant resources are displayed in the space: colored lights, sounds, flavors ...

Transfiguration of the liṅga

Arturo Gutiérrez del Ángel. National Museum, New Delhi, 2018.

This piece belongs to the Chola dynasty, from the century xii. It shows the exact moment when, from the depths of the cosmic ocean, a huge liṅga on fire. Brahmā mounted on his goose and flew into the sky to see how far the liṅga, while Vishnu turned into a wild boar to dive and find the origin. However the liṅga it continued to grow towards both extremes. Some time later, one side of the li sega opened and Ṥiva emerged as the supreme force of the universe.

Video 1

Mukhaliṅga

Arturo Gutiérrez del Ángel. National Museum, New Delhi, 2018.

Mukhaliṅga it is a phallic form of Ṥiva with five faces of the god; the fifth face is usually invisible, as it is only seen through inner understanding. One of the faces looks upwards, the others towards the four cardinal points. Ṥiva is the ruler of the five spatial directions, each face has a distinctive color: pearl, yellow, cloud, white and red. In some villages, during the winter months they are wrapped in woolen cloth to heat the semen (subtle energy) that is stored there.

Saffron brushstrokes

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

In the image you see a sādhu resting, and below, on the ghāṭs, there are several liṅgas-yonis and other deities. The saffron color in the clothes of the ascetic and the gods is characteristic in Hinduism, as it is related to fertility and sacrifice.

Tirtha

Arturo Gutiérrez del Ángel. New Delhi, 2018.

The tīrthas they are spaces where you can move from an empirical and sensitive reality to a transcendental one. Their presences go unnoticed by most people, but they are everyday places that have a particular and subjective beauty. Each place is selected as a continent that keeps the figures of the gods and the offerings; They are located at a crossroads, like this small altar, located on a corner between the busy streets of Delhi. The devotees have placed a liṅga-yoni adorned with flowers, an abstract representation of the phallus on the vulva, a creative combination of masculine and feminine forces, as well as Nandin, the bull that guards the image, and various representations of feminine goddesses. Candles and plates with offerings are left for them.

The deed of the Universe

Sergio T. Serrano Hernández. Udayagiri Caves. Orissa, 2016.

Ekamukha liṅga, Ṥiva-faced phallus. It is the visible form of the divine creator and emblem. By worshiping him, you get pleasure and liberation. The earth and the cave are the womb; the stone erect the phallus that fertilizes it. This duality make up a microcosm, the reflection of the deed of the universe.

Video 2

Rudra abhiśeka

Greta Alvarado. Vārāṇasī, 2018.

Rudra abhiśeka, the bath of Rudra (the avatar of Ṥiva as god of storms), consists of a consecration ritual and its devices vary according to particular traditions; can be led by a Brahman (priest) in the temples, or by some devotee who worships the liṅga-yoni which is placed in the tīrthas, sacred places that are marked under a tree, in a corner or a significant cross.

Darshan, a game of glances

Sergio T. Serrano Hernández. Gwalior, Madhya Pradesh, 2016.

Among the streets of the neighborhoods there are some very ingenious temples. Under the tree a liṅga black stone; Eyes have been drawn to indicate that Ṥiva has re-emerged in sculpture. His eyes engage what is called darshan, a game of gazes between the devotee and the deity. On this figure a brass or sheet vessel is hung, in which a small hole is made in the lower part, which is filled with water and milk so that the liquid is continuously dripping on the liṅga. In this way, the male vital liquid is referred to: semen. As we see in the image, in the urban temple there is also a yoni and a snake kuṇḍalinī made of copper, in addition to the trident and Nandin. The passerby, when passing through these street temples, adorns them with floral offerings and rings the bells hanging from the branches of the tree, calling on the god to make sure they have their attention.

Tantra, eroticism and frenzy

Sacred eroticism

Arturo Gutiérrez del Ángel. Khajuraho, 2018.

In the image we see a male figure, considered an allusion to Ṥiva and another, female, which is Ṥakti. Their intertwined bodies represent a microcosm that shows the deed of the world through tantric ritual, a sexual game as a principle of creation performed by the "original couple" and reproduced by humans.

The divine embrace

Arturo Gutiérrez del Ángel. Khajuraho, 2018.

The image shows the divine embrace. The sculptures are a microcosm that combines the playful aspect of creation with eroticized bodies. For the sculptors, each sexual movement was a cause for astonishment that was embodied as an ode to pleasure and creation.

«A you and me that becomes“ yours ”»

Arturo Gutiérrez del Ángel. Khajuraho, 2018.

The bodies sculpted in stone, naked, in unscrupulous sexual positions, playful, embody prakṛti (the feminine) already puruṣa (the masculine), for which they must be understood, as suggested by the great Mexican poet Octavio Paz (2004: 36), as «a you and me that becomes 'yours'».

The unfathomable secret of creation

Arturo Gutiérrez del Ángel. Khajuraho, 2018.

As you look at them, the subtly carved sculpture passages at Khajuraho do not cease to cause amazement; they amaze, admire and above all, arouse a secret excitement accompanied by a set of questions: whose bodies are they? Why do they allude to the graphic of eroticism? Thus, we must look at them with the same admiration and detachment towards nature that possesses the unfathomable secret of creation.

The hymn of the god of love ... (the fiery form of If you)

Arturo Gutiérrez del Ángel. Khajuraho, 2018.

The first call is the invocation of the god (hiṅkāra)
The proposition represents the lutes (prastāva)
Laying with the woman is the hymn of glory (udgītha)
Lying down facing the woman is the chorus (pratihāra)
The climax is the ritual consecration (nidhāna)
Separation is the final hymn (nidhāna)

This is the hymn of the left-hand-god [igneous] (Vāmadeva) made about the act of love (Chāndogya Upaniṣad, 2, 13, I, apud Daniélou, 2009: 304).

Cosmic orgasm

Arturo Gutiérrez del Ángel. Khajuraho, 2018.

Inside each being there are portions of cosmic energies destined to be awakened. Just as the creatures of Ṥiva seduce the Lord to come to meet them, in this case dialogue, certain rituals and meditations awaken that part of the gods within themselves. His presence is the very ecstasy of meditation and the tantric practices that produce ānanda, an experience of happiness, a cosmic orgasm ...

The reflection of If you in the mythological mirror

Fulmination of desire

Arturo Gutiérrez del Ángel Vārāṇasī, 2018.

In the image you can see some sādhus covered with the ashes of cremated bodies. Two carry a blanket that simulates tiger skin. Sometimes Ṥiva is personified sitting on her or wearing a skin of this great cat, mount of the goddess Durgā (avatar of Pārvatī), one of the representatives of ṥakti, feminine energy. By sitting on this skin, the god hunts and conquers desire, that is, he does not give in to sensual temptations.

Nandin, the joy

Nandin, the joy

Arturo Gutiérrez del Ángel. Khajuraho, 2018.

Each deity has an animal that helps him to display the qualities that each one has on the cosmographic scene. The bull Nandin guards the liṅga of black stone on a yoni reddish stone. The devotees have left flowers as offerings. Nandin, like Ṥiva, has the powers of transformation, folding, contraction, multiplicity, and is the vehicle in which the god is transported.

Nandin maṇḍapa (pavilion)

Arturo Gutiérrez del Ángel. Khajuraho, 2018.

The temple room that houses Nandin or other deities is a place full of purity; no one can enter with shoes because otherwise they would be dirtying the room. The gaze on the deity is not free, but the orientation of the temple and the location of the figure make one have to walk in a clockwise direction, leaving the right side of the devotee towards the object of worship; a bow is made and the nose or legs, back or any part of the bull's body can be stroked to receive his blessing.

Vegetable hierophanies

Vegetable hierophanies

Arturo Gutiérrez del Ángel. Khajuraho, 2018.

The tree is the center of the universe and the axis mundi; it is where the diversity of forces found runs: connection of the earthly, the underworld and the celestial plane. They are, as Eliade says, "vegetal hierophanies" where the sacred is revealed through vegetation: the cosmic tree of life that gives rise to the most diverse myths that allude to this twisting of the plot between different planes of empirical existence, but also its opposite (Eliade, 1981: 32). Devotees ring the bells on the tree to get the attention of the gods and make sure their requests are heard. Plastics are tied to the branches that give a bright and multi-colored appearance.

The cosmic tree

Arturo Gutiérrez del Ángel. Durgiana Temple, Amristar, 2018.

The trees are margins that invite us to think about the borders of different realities, between the earthly (microcosmic) reflection of Jambudvīpa, and the sky, like the splendid cosmic tree that is in the center of the mythical Mount Meru. A trident (alluding to a phallic shape) has been fitted into the opening of the trunk. The outline of the cavity has been outlined in gold to emphasize it and indicate the shape of a vulva. Around the trunks, the devotees tie fabrics or threads preferably red, a color linked to ṥakti, the feminine energy, as an offering for a specific request. Inside the cavity are some nascent figures.

Vārāṇasī, the floating city

The mirror of the Universe

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

Vārāṇasī exists because the river Ganges exists; one is the continuation of the other, without one the other does not exist, one thinks of the other and continues in the marine deltas; they are the mirror of the universe and therefore an intermediate cosmos between the celestial and the terrestrial. In the image we observe the greatness of this embrace between an overflowing nature and a humanized image of the city through the ghāṭs.

Vārāṇasī, the floating city

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

The city is a commemoration of Ṥiva, and therefore it is full of temples for him. Some have painted drawings of liṅgas in the dome. One of the main temples is the so-called Kashi Vishvanath, an ode to the phallic form of the god and the destiny of many pilgrims. Ṥiva walked from Kedarnath (in the Himalayas) and settled in the form of a linga at the Kedar temple in Vārāṇasī.

Death permeates all the senses

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

It is said that this city keeps the Universe in motion by the flow of life and death that meet there: life provided by the liṅga de Ṥiva, penis torn from the body of the god who fell in the city; death that permeates all the senses as you walk among the smoking funeral pyres. Everyone wants to die with the dignity that this city gives when it turns to ashes which will feed the dampness of the waters of Gaṅgā and help the universe reproduce. By being cremated in Vārāṇasī, the chain of your karma is broken.

Ghattiya

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

The walker can observe on the bank of the river Ganges some men called ghattiya whose task is to safeguard the belongings of those who decide to dive into the Ganges. In addition, they do a ritual in which they bless you at the end of the ablutions.

Wandering presences and conquerors of death

Conquerors of death

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

In this image we see a sādhu performing ascetic disciplines. Their skin has been rubbed with funerary ashes, which become a component opposed to death, as they are endowed with magical qualities: they make sterile women fertile, or they are amulets that care for the houses of women in labor. On the right side there is a blanket that emulates a tiger skin and a trident, symbols of Ṥiva.

If you wandering

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

In the image you see a sādhu playing the flute. Comb your hair in jaṭāmukuṭa, knots raised in a ponytail, like Ṥiva's image. Decorate your musical instrument with a trident, called triṥūla, which symbolizes the three fundamental tendencies of nature: creation, preservation and destruction. Ṥiva is also called Ṥūlin (the one with the trident). The sadhῡs They say that Ṥiva descended to earth disguised as a yogi, walks around naked and begs for alms. For this reason, it is sometimes said that the god wanders the streets in the form of sādhu.

The last sacrifice

Arturo Gutiérrez del Ángel. Vārāṇasī, 2018.

Cremation is the last sacrifice offered to the gods. The ashes and residues of the dead belong to Ṥiva, and are transported in a boat to be thrown into the Ganges River. Ṥiva is the boatman and at the same time is the boat that takes to the other world. A Ṥiva mantra is recited in the ear of the dead, known as tarati, so that they can swim and obtain salvation.

Bibliography

Daniélou, Alain (2009). Mitos y dioses de la India. Girona: Atalanta.

Eliade, Mircea (1981). Tratado de historia de las religiones. Ciudad de México: Era.

Paz, Octavio (2004). Vislumbres de la India. Barcelona: Seix Barral.

1 The city Vārāṇasī is located on the bank of the Ganges River. In it, there are around eighty-eight points that have stone steps to descend into the water, which are called ghāṭs.

San Juan Huetziatl: a photographic approach to popular religiosity in a stewardship of San Miguel Canoa, Puebla

Ana Isabel Castillo Espinosa

Ana Isabel Castillo Espinosa She has a degree in social anthropology from the Benemérita Universidad Autónoma de Puebla; He is currently pursuing a master's degree at the same institution, where he is conducting research on the devotion of the saints and the cult of blessed souls in San Miguel Canoa, Puebla. His lines of research are the anthropology of religion, funeral rituals and indigenous worldviews. He has collaborated in the projects “San Miguel Canoa: urban town. Sociocultural diagnosis ”(cas-buap) and “M68: citizenships on the move” (unam / ccu-Tlatelolco).

orcid: 0000-0002-2260-5209

image 1

Children Image Loaders

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. January 31, 2020.

The image of the saint is moved to the church of Canoa in a procession accompanied by band music and rocket detonations.

image 2

Procession around the church

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. January 31, 2020.

At the end of the mass there is a procession that surrounds the parish in the opposite direction of the clock, where members of the stewardship, the prosecutors and semaneros, the priest and those attending the Eucharistic celebration participate.

picture 3

The prosecutor guides the procession in Canoa

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. January 31, 2020.

The second prosecutor guides the procession around the parish and stops the vehicular traffic for the participants to pass.

Picture 4

Meeting with Saint John Bosco

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. January 31, 2020.

On their way back to the butler's house, some neighbors come to kiss the image, smoke it, and cross themselves before it.

image 5

The procession arriving at the house of the butlers

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. January 31, 2020.

Female attendance is the majority; The men usually go to the stewardship parties at night, after their work days in the city of Puebla.

Picture 6

The threshold of the party

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. January 31, 2020.

The butler's house is decorated with plastic ornaments and natural elements in yellow and white, as they are the colors that identify the saint. In Canoa, each religious image has specific colors, for example red and green correspond to Saint Michael the Archangel, orange to the Blessed Souls, while the Virgin of Guadalupe is identified with green, white and red.

image 7

Reception of Saint John Bosco

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. January 31, 2020.

The members of the family who remain in the house of the butler arranging the last details of the party go out to greet the saint upon his arrival.

image 8

The Arrival of Aspiring Stewards

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. January 31, 2020.

The mayordomos receive the applicants for the office.

Picture 9

The saint's request

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. January 31, 2020.

The placement and lighting of the wax mark the formal request for the office of mayordomo before the saint.

Picture 10

Presentation of the chiquihuites

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. January 31, 2020.

The presentation of the chiquihuites before the saint gives sacredness to the relationship that will be established with the transfer of the stewardship, since from that moment the incoming and outgoing mayordomos will call each other compadres.

Picture 11

The blessing of the chiquihuites

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. Jan 31, 2020.

The blessing of the chiquihuites endorses the female leadership in the canoe families, headed by the grandmother or the mother, who occupies a central position in the ritual. Women have a relevant position in the social structure of the community, since they preside over most of the sacred actions and social events. In addition, their purchasing power generated from their incorporation to city jobs has allowed them to access the ownership of some mayordomías (despite being widows or single), although they are always accompanied by a male relative.

Picture 12

The toast

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. January 31, 2020.

The circulation of drinks at the end of the delivery of the chiquihuites seals the new bond established between the two families and highlights the acceptance of the applicants who from that moment become the incoming butlers, while the people who held the position that year pass to be the outgoing stewards.

Picture 13

The dance after the petition

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. January 31, 2020.

The chiquihuite dance is a ritual expression of the new bonds established from the stewardship, as it is done in full view of all attendees and only involves the families of the incoming and outgoing butlers.

Picture 14

Arrival at Huetziatl

Ana Isabel Castillo Espinosa, Huetziatl Place, Tlaxcala. February 3, 2020.

The villagers have a very strong bond with the saints and an obligation to venerate them. Upon reaching the Huetziatl spot, they approach the altar, where they cross themselves before the image to thank it for having allowed them to arrive safely. Upon their departure, they do so again to request their protection on the way back to town.

Picture 15

Heating up the food

Ana Isabel Castillo Espinosa, Paraje Huetziatl, Tlaxcala .. February 3, 2020

The mayordomia de San Juan Huetziatl prepares the food that will be offered to the party-goers.

Picture 16

Waiting for mass to begin

Ana Isabel Castillo Espinosa, Huetziatl Place, Tlaxcala. February 3, 2020.

It is intended to carry out the holiday on the holiday corresponding to the commemoration of the promulgation of the Mexican Constitution, so that the inhabitants can attend the coexistence as a family.

Picture 17

The beginning of the mass

Ana Isabel Castillo Espinosa, Paraje Huetziatl, Tlaxcala. February 7, 2017.

During the homily it is expressed that the intention of the Mass is to thank God for the water that supplies the people, the natural resources that the mountain provides and the sustenance that the land provides. In addition, it is requested that the rain be favorable for the crops. The mentions of Saint John Bosco by the priest are specifically related to his role as patron of the youth.

Picture 18

Procession in Huetziatl

Ana Isabel Castillo Espinosa, Huetziatl Place, Tlaxcala. February 3, 2020.

All those attending the festival participate in the procession that runs through the area. On this occasion, the tour is guided by the third prosecutor, who leads the formation, while the first prosecutor remains next to the image of the saint guarding it.

Picture 19

The butlers in the Huetziatl place

Photograph of Ana Isabel Castillo Espinosa, Paraje Huetziatl, Tlaxcala. February 3, 2020.

The procession is the last participation of the outgoing mayordomos as holders of the position. In this act they are accompanied by their closest relatives, who shake and spread petals during the journey.

Picture 20

The priest during the procession of San Juan Huetziatl

Ana Isabel Castillo Espinosa, Huetziatl Place, Tlaxcala. February 3, 2020.

The priest's participation in the ritual is essential. In the event that the parish priest or vicar of Canoa cannot attend, the priests of San Aparicio or San Pablo del Monte are called upon to come to the place to officiate mass. This accounts for the nature of the celebration and the role of the Church as an institution in indigenous communities.

Picture 21

The prosecutor guides the procession in the place

Ana Isabel Castillo Espinosa, Huetziatl Place, Tlaxcala. February 3, 2020.

The women members of the butler who are about to hold the position participate in the procession carrying the flower arrangements. This reproduces the internal logic of the organization and expresses the hierarchy of each of the participants.

Picture 22

The change of stewardships

Ana Isabel Castillo Espinosa, Huetziatl Place, Tlaxcala. February 3, 2020.

The delivery of the images of Saint John Bosco legitimizes the ownership of the position and highlights the role of the saint as an objectifier of the social roles within the organization and the symbolic role attributed to the saints within the collective.

Picture 23

Family eating after mass

Ana Isabel Castillo Espinosa, Huetziatl Place, Tlaxcala. February 5, 2016.

The families move to Huetziatl to take advantage of the holiday, which contributes to reinforcing blood ties within domestic groups, as well as the continuity and reproduction of the ritual in the area.

Picture 24

Delivery of the flower

Ana Isabel Castillo Espinosa, Huetziatl Place, Tlaxcala. February 5, 2016.

The flower (generally white gladiolas) becomes a symbolic object that formalizes a commitment to the deity, since once accepted the subject assumes the responsibility of cooperating for the party of the following year. In addition, it is an element of social distinction, since it is not given to all attendees; It is granted based on a previous evaluation of the subjects based on their constant attendance and references of social behavior in the community.

Picture 25

New members of the stewardship

Ana Isabel Castillo Espinosa, Huetziatl Place, Tlaxcala. February 7, 2017.

Among the settlers, the flowers given as a symbol of integration are considered blessed and are usually placed on their family altars when they arrive at their homes. Although they also function as a financing instrument because with their delivery, the incoming butlers ensure economic cooperation to fulfill their commitment the following year.

Picture 26

The dance of the stewardship of San Juan Huetziatl

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. January 31, 2020.

The established ritual protocol ends with a dance that strengthens the group cohesion of the organization, since only those involved in the celebration of the party participate, in gratitude for the support provided.

Picture 27

The incoming and outgoing butlers dancing with their families

Ana Isabel Castillo Espinosa, Huetziatl Place, Tlaxcala. February 3, 2020.

The dance represents a gratitude for the support received, since the dishes that were used in the food of the party are danced. Thus, the symbolic construct of the celebration of Huetziatl integrates the notions of propitiating and thanking, which is represented with the mass and the dance respectively.

Picture 28

The Canoa music band

Ana Isabel Castillo Espinosa, Huetziatl Place, Tlaxcala. February 7, 2017.

The music band is an important reference in canoeing ritual, as it accompanies all processions of religious images. In addition to this, on the feast of San Juan Huetziatl he interprets sacred music during mass and the joyful rhythms that will generate the festive atmosphere in the place.

Picture 29

Inhabitants of Canoa returning from the Huetziatl place at the end of the festival

Ana Isabel Castillo Espinosa, San Miguel Canoa, Puebla. February 3, 2020.

Some attendees take advantage of this outing to collect stones in the ravine, which will be used for the temazcal bath, or to carry a branch that could serve as a fork to hang clothes in the sun.

image 30

Huetziatl: falling water

Ana Isabel Castillo Espinosa, Huetziatl Place, Tlaxcala. February 3, 2020.

One of the three waterfalls that supply the communities of San Isidro Buensuceso and Canoa.

image 31

Cave of the Malintzin

Ana Isabel Castillo Espinosa, Huetziatl Place, Tlaxcala. February 5, 2016.

Interior of the Malintzin cave, where offerings are still placed for the deity related to rain and water.

Transiting the Spanish-Moroccan border: a visual historical journey

María Isolda Perelló Carrascosa

He is part of the Work team of the Research Group on Migration and Development of the University of Valencia (inmeasure). Doctor in Social Sciences from the University of Valencia, Spain (2015-2019), Research line: Migration, Mobility and Social Change. Thesis co-supervised by the University of Valencia (Spain) and El Colef (Tijuana, Mexico). Master in Development Cooperation, specializing in Co-development and Migratory Movements (2011-2013). Research lines: irregular migration, border control migration policy, detention and deportation procedures, and the role of civil society in the field of humanitarian aid and defense of human rights on the borders of Mexico-United States and Spain -Morocco.

orcid: 0000-0002-3682-0356

Sergio Torres Gallardo

Superior Technician in Fallero Artist and Construction of Scenographies (2013-2015). Extraordinary National Award and of the gva (2014-2015), Professional Family of Arts and Crafts. Assistant Technician in Image and Sound (1990-1995).

Between fortifications and walls: the border cities of Ceuta and Melilla in the western Mediterranean

The natural frontier

Sergio Torres. Ceuta, 2014

After the waters of the Strait, the Moroccan coast can be seen to the left; in the center, Cádiz, and to the right, Gibraltar. Ceuta has occupied throughout history within the field of international communications a privileged position in the passage of the Strait of Gibraltar. Located off the coast of Cádiz and the bay of Algeciras, from which it is separated by a distance of 14 kilometers, it is made up of the Almina peninsula (at the tip of which is Mount Hacho, which joins the mainland by a isthmus), in addition to the island of Perejil and smaller islets (Vilar, 2003: 274).

The viewpoint of Africa

Sergio Torres. Ceuta, 2014

Panoramic view of the Isthmus of Almina and Mount Hacho (left), from the Mirador Isabel ii. To the right Morocco. With an area of 19.48 km2 (Procesa, Sociedad Pública de Desarrollo de Ceuta, 2013: 4), Ceuta is currently the only European city located in northern Africa (Vilar and Vilar, 2002). During a long period of a thousand years, its geographical location as a city open to the Atlantic Ocean and the Mediterranean Sea attracted the settlement of different civilizations.

Ceuta watches over the Strait

Sergio Torres. Ceuta, July 2014

Torre Vigía de la Punta de Sauciño, located in the Hacho Enclosure, dating back to the century xviii. Since the beginning, Ceuta has been militarized in some way and has been the subject of numerous war disputes.

The wall and the moat

Sergio Torres. Royal Moat, Bastion of the Flag and Plaza de Armas of the monumental complex of the Walls, Ceuta, 2014

With a Christian-Byzantine past, subjected to the Muslim conquest in the century viii and the Portuguese Reconquest in the century xv, the border began to be drawn during the Middle and Modern Ages for the defense of a space that depended on the armament and fortification system that was available in the territory (Vilar and Vilar, 2002; Gómez-Barceló, 2009). Proof of this is the Revellín del Ángulo de San Pablo, a century-old construction xviii located at the northern end of the wall. It was in the mid-1990s that migrants and refugees who crossed the border irregularly were massively concentrated, which led to serious altercations with the local population.

Melilla la Vieja

Sergio Torres. Melilla Fortress, August 2014

The history of Melilla is linked to that of Ceuta; It has witnessed numerous historical events: the city founded by the Phoenicians, annexed by the Roman Empire and conquered by the Carthaginians, remained under Byzantine and Muslim rule, until it became part of the Spanish Crown in 1556. It was also the territory of the Protectorate (1913-1956) and later witness of the military uprising that gave rise to the bloody Spanish Civil War (1936).

Coast defense

Sergio Torres. Desnarigado Fort, Ceuta, 2014

Formerly this fort served to guard a cove near Ceuta, which was a regular meeting place for corsairs who came from Morocco. One of these pirates, the Desnarigado, gave his name to both the cove and the fortress. This enclosure was used by the Arabs and from 1415 by the Portuguese, and was modified in 1693. The current castle was built in the century xix. During the Protectorate it was dismantled, and in 1936 it was dismantled, although with the African campaigns of the ii World War returned to military activity (Defense Culture Portal, no date).

The maritime corridor of the Strait

Sergio Torres. Monte Hacho, Ceuta, 2014

In the image you can see a military powder magazine guarded by a turret. In the background to the right is the Rock of Gibraltar. Ceuta and Melilla constitute an essential point for the control of irregular migration that comes from Africa within the Spanish defense network, despite the fact that they are not part of the intergovernmental military alliance of the North Atlantic Treaty (NATO), to which Spain ratified its membership in 1986 (Juan Carlos Rois Alonso, Colectivo Utoía Contagiosa, personal communication of October 13, 2015).

The securitization of immigration control on the Spanish-Moroccan border

The forbidden zone I

MY Perelló. Breakwater of Benzú, Ceuta, 2014

From the Benyunes-Benzú turret they see them and intercept them in the water, before they pass. They try to pass from the top. But at night, the thermals and the Integrated External Surveillance System (Yes go) detect them.
Alfonso Cruzado, Head of Communication of the Civil Guard Command in Ceuta, personal communication of September 10, 2014

The forbidden zone II

MY Perelló. Ceuta border fence and its ring road, September 10, 2014

The fence is a support element […] that allows 6 or 7 minutes from when the intrusion is detected or activated in the system, so that the patrols can access to the point, and avoid passing through a place that is not enabled for it.
Alfonso Cruzado, communication manager of the Civil Guard, personal communication of September 10, 2014

The forbidden zone III

MY Perelló. Ceuta fence, September 10, 2014

The concertina, once you press it, remains wrinkled like an accordion. For this reason, when the immigrants go to jump it, they usually wear a lot of clothes and use cardboard, because the closure of the concertinas is not fixed, but corrugated.
Alfonso Cruzado, communication manager of the Civil Guard, personal communication of September 10, 2014

The border of Tarajal I

Sergio Torres. Ceuta, 2014

Section of the border fence corresponding to the “Arroyo de las Bombas”, located next to the Tarajal polygon. The road around the fence is 8 kilometers long.

Living with the fence

Sergio Torres. Border fence, Benzú sector, Ceuta, 2014

Benzú is a district to the northwest of Ceuta of great archaeological importance. In the upper part of the image is the García Aldave Mount Ceutí, known as Tortuga Mount. In the upper right part is the Mount Yebel Musa or Dead Woman, belonging to the Moroccan territory of Benyunes.

The Dead Woman and the fence

Sergio Torres. Benzú Beach, Ceuta, 2014

This is the maximum approach distance allowed to the fence if you do not have authorization from the Spanish Civil Guard.

The mist

Sergio Torres. Benzú Beach, Ceuta, 2014

The Levante wind is one of the moments used by migrants of sub-Saharan origin who are hidden in the forest camps near the Benyunes land pass, to try to access the Spanish coasts through small boats.

The steel trap

Sergio Torres. Valla de Melilla, August 15, 2014

Crowning the first fence (the one that faces the Moroccan side), are the fearsome concertinas. In April 2015, the construction works of another fence with concertinas were completed, which was separated from the Melilla side by a five-meter-deep pit (sjm, 2016, pp. 21-22). In May 2019, the Spanish Ministry of the Interior established that this system, which has caused a large number of mutilations over the years, should be replaced by rotating cylinders. It is estimated that in 2020 the works will be completed (El pueblo de Ceuta, 2019).

After the jump

Sergio Torres. Valla de Melilla, August 15, 2014

Operator performing maintenance tasks and placing the "anti-climbing net" after several massive jumps were recorded in the previous days. The fence on the Spanish side is inclined 10º towards the Moroccan side to avoid being climbed. Nowadays in Melilla it is very difficult for them to get to jump the fence, due to the strong repression and surveillance of the Moroccan auxiliary forces, as well as the legalization of "hot returns", so that the most common form of Attempted irregular entry is in boats and boats.

The border of Tarajal II

Sergio Torres. Ceuta, July 8, 2014

Security perimeter before the fence. In this place, on February 6, 2014, the events of “the Tarajal Tragedy” took place, in which fifteen people of sub-Saharan origin were killed when they tried to swim across the border fence of the breakwater, due to containment actions. exercised by Spanish border agents.

The beach of tragedy

Sergio Torres. Tarajal border crossing and breakwater fence, Ceuta, July 2014

Such events led to the opening of a judicial case promoted by various civil society organizations, which was dismissed on October 30, 2019. In it, 16 civil guards were charged with the alleged crimes of homicide due to serious negligence resulting in death and denial of assistance, filing those of injuries and prevarication. Annually the "Marches of Dignity" are held in his memory (cear, 2020).

Malians on the Ceuta border

Sergio Torres. Benyunes, Morocco, August 22, 2014

“The future for me is to survive, because living is a risk. […] I currently have a plan and […] is that I am going to ride on the sea to go to Europe. […] He is not the first to leave his life in the sea. There are many for many years. […] There are dangers you have to face. There are obstacles, but it takes ten times more courage and ten times more anger to get there ”.
Spokesperson for Malian migrant group from Benyunes camp, personal communication, August 22, 2014

Between Bangladesh and Cameroon

Sergio Torres. ceti from Ceuta, July 18, 2014

In the Centers for Temporary Stay of Immigrants (ceti) of Ceuta and Melilla, where the first reception is given to migrants and refugees, people of different nationalities (with their respective customs) have to live together in a situation of emotional stress.

The role of the psychologist here is very important, because when they arrive, they are euphoric […], but when they realize that Ceuta is not the peninsula and that going through is not so easy, they come down.
Germinal Castillo, Spokesperson for the Ceuta Red Cross, personal communication of September 9, 2014

The long wait

Sergio Torres. Ceuta, July 28, 2014

Viewpoint located next to the slope of the road that led to the ceti of Ceuta. It was common to see them sitting at sunset watching the waters of the Strait, just as dinner time was approaching.

Lights and shadows at the Ceuta fair

Sergio Torres. Ceuta, August 6, 2014

During the city's patron saint festivities, sub-Saharan residents of the ceti later enter the center, although the National Police activated a special operation to prevent, with the dismantling of the attractions, trying to cross to the peninsula hidden in the trucks of the fairgrounds.

Syrian refugee camp

Sergio Torres. Plaza de los Reyes, Ceuta, July 11, 2014

Mohamad Ali Mahmoud (center) and Ahmad Hussein (right), Kurdish refugees.

[…] The first days we had a lot of problems with the police, because they harassed us. […] The war started so long ago, and they don't help us… it's a shame. Because unhcr It only intervenes to grant political asylum and has only recognized ten people. We only want to leave Ceuta to cross the Peninsula. We just want peace and freedom.
Mohamad Ali Mahmoud, personal communication, July 13, 2014

In the middle of the road

Sergio Torres. ceti from Melilla, August 14, 2014

Cameroonian resident of ceti of Melilla. With the arrival of Syrian refugee families, the center became so overcrowded that they had to place triple bunks outside the rooms.

The shops in the sun

Sergio Torres. ceti from Melilla, August 14, 2014

Red Cross tents with bunk beds. It was not allowed to take images of the barracks, where there were overcrowded situations.

The same sky for everyone

Sergio Torres. Tangier, Morocco August 1, 2014

Cathedral of Our Lady of Lourdes in Tangier. In the background, the Mohamed Mosque v. Migration management is also done from a humanitarian approach, in which the Catholic Church plays a relevant role, through the action of the different religious orders, for the protection and promotion of the human rights of migrants and refugees in transit. .

The holy feast of Ramadan: prayer and fasting at the border

Ceuta, multicultural city

Sergio Torres. Mosque on Avenida de Africa in Ceuta, July 4, 2014

In this city, the present coexists with its colonial past, as do the veils, the djellabas, the mosques and the Christian churches, or the Hindu temple and the Jewish synagogue. In the same way, different religious festivals are celebrated such as the procession of the Virgin of Africa, Ramadan, the feast of Ganesh (a joyous tradition in which this deity is strolled by a retinue of faithful through the streets among songs and flowers. to his sanctuary) or Hanukkah (with the ancient custom of lighting the lights at the door of the synagogue during winter).

Ramadan breakfast

Sergio Torres. El Morro, Ceuta, July 5, 2014

Breakfast to break the fast before dawn, offered by the Entre Dos Mares hotel. Chuparquía (Chebakia) is a traditional Moroccan Ramadan sweet, like harira soup, which act as a powerful restorative. The soup is usually accompanied by a boiled egg.

Purification of the soul

Sergio Torres. Ceuta, July 8, 2014

Sandals of the faithful at the entrance of the mosque.

The loyals

Sergio Torres. Ceuta, July 8, 2014

Mosque of the Benzú Ibn Ruchd Cultural Association.

Fishermen at sunset

Sergio Torres. Ceuta, July 5, 2014.

The muezzin called for prayer. That day the fast ended at 9:47 p.m., when the bustle of the streets began to be heard from all corners.

Larache reborn in Ramadan

Sergio Torres. Larache, Morocco, July 22, 2014

This coastal city on the Moroccan Atlantic is the reflection of a colonial city in decline, although during Ramadan, it regains all its splendor. Currently, it continues to be one of the exit points for the boats used by Moroccan migrants seeking to reach Spanish territory.

Prayer time in El Tarajal

Sergio Torres. Ceuta, Tarajal beach, July 8, 2014.

When we got to the beach that is located at the Tarajal border crossing, there were two men who were performing minor ablution before the prayer. They began to wash their hands and feet in the small fountains for bathers. Later, with a simple cardboard, they faced the sea to make their prayers. This is a quiet beach, but access to the border fence that reaches the sea is not possible. The posters of No passing that the Spanish authorities like so much dissuade you from crossing it on foot.
Field Journal Notes, July 8, 2014

The transfer of goods at border crossings

Tarajal Border Pass

Sergio Torres. Ceuta, July 2014

When Morocco became independent from Spain, customs was transferred to Ceuta, but the African country never accepted the existence of a commercial border, nor Spanish sovereignty over the autonomous cities of Ceuta and Melilla.

The reception of Moroccan taxi drivers

Sergio Torres. Tarajal border crossing, Morocco, July 2014

Taxi rank, just outside the Tarajal border. After the war with Morocco, Ceuta became the port of entry to the neighboring country. In addition, in 1918 a railway line that reached Tetouan was inaugurated, but it was cut after the independence process, although direct buses with the Ceuta-Castillejos-Tetuán and Tangier itinerary were maintained until 1975. When Franco died, this service it also ceased to exist. Now these journeys have to be made by taxi or in your own vehicle.

Panoramic view of the Príncipe Alfonso neighborhood

Sergio Torres. Ceuta, 2014

Image taken from the Mirador de Isabel ii. The neighborhood is considered not only a major source of poverty, but also of crime and jihadist terrorism. It is precisely there where the mafias dedicated to drug trafficking operate, in addition to the networks for the sale of false documentation and vehicles for migrant smuggling, whose activity is favored by its proximity to the Tarajal border crossing.

Roundabout of the neighborhood of the Prince

Sergio Torres. Ceuta, 2014

The neighborhood's bad reputation is motivated by the controversy and hype that politicians and the media give it […]. They have always been rebels. […] They have started with the eastern issue of jihadism. They caught ten bullshitters, who are not really terrorists or anything. They are people who… that there is no work and there is nothing. There is no social investment here to get them off the street. The other comes and goes to pray and they tell him, look, what they are doing to the Muslims. They're brainwashing him and getting him. […] The people in the center don't know anything. This is independent: from the gate of the field up and down. These people on one side are a world and those on the other, another world. The one in the center knows from the Prince what they hear in the TV, even if they are from Ceuta.
Reduan Mohamed, volunteer in Citizen Education, personal communication, July 15, 2014

The minaret

Sergio Torres. Ceuta, 2014.

The City Council had planned to invest 20 million euros from 2014 to 2020 to promote its urban regeneration. The proliferation of mosques and centers of worship was linked to the radicalization of young Muslims in the neighborhood, which has made border surveillance and police measures extreme, especially criminalizing this sector of the population.

The Biutz border crossing

Sergio Torres. Ceuta, July 2014

In the morning, the National Police agents prevented access and the taking of images in this restricted area, where pedestrian carrying of goods took place.

Tarajal industrial estate outside of business hours

Sergio Torres. Ceuta, July 2014

“Atypical trade” or smuggling activities were carried out in this polygon near the Prince, until its indefinite suspension in October 2019.

Porters forming a row

Sergio Torres. Ceuta, 2014

An average of 6,000 to 8,000 women porters crossed the border daily through the Biutz pass, collecting goods in the Polígono del Tarajal, to cross it again with heavy bundles (Fuentes-Lara, 2018, pp. 83-84).

Porter woman accompanied by a blind person

Sergio Torres. Ceuta, July 2014

Most of the porters are widowed women, disowned, with family responsibilities and very poor. The end of the porting has meant that their situation worsens, due to the lack of governmental alternatives. Many of the porters come from rural areas of the Wilaya of Tetouan, and they have to make a living as best they can in the informal sector.

Vendor of prickly pears (tunas) with the typical berber costume

Sergio Torres. Tetouan, Morocco, July 2014

In the vicinity of the Medina of the capital of the Wilaya Tetuaní, groups of women of the Amazigh ethnic group tend to concentrate (Alonso-Meneses, 1997) who live from street vendors.

On a route through the countryside

MI Perelló and Sergio Torres. Tetouan, Morocco, July 2014

In these places, it is common to see people on the side of the roads selling fruit and vegetables.

Preparing the race by pushing

Sergio Torres. Ceuta, 2014

The National Police carried out the tasks of surveillance of an atypical business that took place in deplorable working conditions and offered damaging images. Avalanches were frequent, causing deaths.

The gathering

Sergio Torres. Polígono Industrial del Tarajal, Ceuta, July 2014

The porters, known as “mules”, received a commission per bale of € 5 to € 10, depending on what they loaded on them, which required them to make several trips on the same day (Fuentes-Lara, 2018, pp. 83 -84). In the warehouses they packed blankets, sneakers, sportswear, etc. When the agents of the National Police allowed them to pass, they started running shouting towards the warehouses, to be the first to load the goods.

Porter looking for a position

Sergio Torres. Ceuta, 2014

In February 2017, the Tarajal border crossing was opened ii to carry out the porting, through which some 3,000 people came to transit daily until it was unilaterally closed in October 2019 by Morocco (Europa Press, 2019).

His whole life behind his back

Sergio Torres. Polígono del Tarajal, Ceuta, July 2014

To the right of the image, very old Berber porters women and another one on crutches.

Chinatown border crossing

Sergio Torres. Melilla, 2014

The suspension of the shipment reached the commercial customs of Melilla, although in February 2020 it was reactivated (Ceuta al día, 2020).

Beni Enzar border crossing

Sergio Torres. Melilla, 2014

The state of alarm decreed in the countries by the 2020 coronavirus pandemic, forced the exceptional closure of all borders between countries (García, 2020).

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Aziza, Mimoun (2011). “Une frontière européenne en terre marocaine. Analyse des relations transfrontalières entre Nador et Melilla”, en Natalia Ribas Mateos (ed.), El río Bravo mediterráneo: Las regiones fronterizas en la epoca de la globalización. Barcelona: Bellaterra, pp. 307-321.

Comisión Española de Ayuda al Refugiado (cear) (2020, 6 de febrero). “Caso Tarajal: 15 muertes y seis años de impunidad”, cear. Recuperado de https://bit.ly/3bA4vtS, consultado el 17 de septiembre de 2020.

Europa Press (2019, 9 de octubre). “España suspende indefinidamente el porteo peatonal de mercancías hacia Marruecos desde Ceuta”, Europa Press. Recuperado de https://bit.ly/3fRPEOJ, consultado el 17 de septiembre de 2020.

Fuentes-Lara, Cristina (2018). “Las mujeres porteadoras y el comercio irregular en la frontera de Ceuta”, en Xavier Ferrer-Gallardo y Lorenzo Gabrielli (ed.), Estados de excepción en la excepción del Estado. Ceuta y Melilla. Barcelona: Icaria Más Madera, pp. 73-94.

García, Luis (2020, 13 de marzo). “Marruecos cierra la frontera con España tras suspender las conexiones por mar y aire”, La Vanguardia. Recuperado de https://bit.ly/2T71Mla, consultado el 17 de septiembre de 2020.

Gómez-Barceló, José Luis (2009). “El siglo xix”, en vvaa, Historia de Ceuta. De los orígenes al año 2000, vol. 2, pp. 118-209.

El pueblo de Ceuta (2019, 9 de mayo). “Interior da luz verde a sustituir las concertinas por cilindros rotatorios”, El Pueblo de Ceuta. Recuperado de https://bit.ly/2zGti2a, consultado el 17 de septiembre de 2020.

Ceuta al día (2020, 13 de febrero). “Mientras la frontera de Ceuta sigue bloqueada, vuelve el porteo en Melilla”, Ceuta al Día. Recuperado de https://bit.ly/3cFGX8k, consultado el 17 de septiembre de 2020.

Portal de Cultura de Defensa (sin fecha). “Fuerte de Desnarigado (Ceuta)”, en Ministerio de defensa. Fortificaciones, Área Cultural. Recuperado de https://bit.ly/3byrVju, consultado el 17 de septiembre de 2020.

Procesa, Sociedad Pública de Desarrollo de Ceuta (2013). “Datos Básicos. Datos de situación y localización”, en Anuario Estadístico. Ciudad Autónoma de Ceuta 2013”. Recuperado de https://procesa.es/estadisticas/?sec=14, consultado el 17 de septiembre de 2020.

Servicio Jesuita a Migrantes – España (sjm) (2016). Sin protección en la frontera. Derechos Humanos en la Frontera Sur: entre Nador y Melilla. Recuperado de http://goo.gl/2MsDKN, consultado el 17 de septiembre de 2020.

Vilar, Juan (2003). “La frontera de Ceuta con Marruecos: Orígenes y conformación actual”, Cuadernos de Historia Contemporánea, núm. extraordinario, pp. 273-287. Recuperado de http://goo.gl/Yg1OFO, consultado el 17 de septiembre de 2020.

Vilar, Juan y Mª José Vilar (2002). Límites, fortificaciones y evolución urbana de Ceuta (siglos XV-XX) en su cartografía histórica y fuentes inéditas. Ciudad Autónoma de Ceuta: Consejería de Educación y Cultura, Archivos y Museos.

COVID-19 under the lens

Lto call covid-19 under the lens offers unpublished situations that were captured by photographs taken during the pandemic caused by the covid-19 (from March to August 2020). The editorial team of Encartes wanted to leave a visual memory of the havoc, movements and innovations that it brought in its wake and launched an open photography contest. The selected photos show us new situations generated by confinement, such as the faces of two elderly women who look at the street from their windows, or the Parisians coming out to the balconies to applaud the heroes of health, or the office worker who converts his bed on desk.

The fear of contagion instituted the use of antibacterial gel as a human exchange currency, instituted the mask not only as a sanitary garment, but even as gadget trendy, or turned into a humorous mask, as seen in the Joker's enigmatic smile. It was even installed as a new intimate garment that is washed and ironed daily like the others.

The pandemic brought in its wake new landscapes of desolation even in the squares and in the centers of the cities with the greatest human concentration. He imposed relationships with "healthy distance" to such a degree that it disrupted face-to-face interactions, virtualizing not only work but also intimate relationships and birthday parties, or turning the celebration of the mother into a procession of cars. It was also imposed in the closure of the temples, although the faithful continued to seek the blessing of the Virgin behind the bars. The healthy distance affected the way of living and experiencing everyday space and time, causing long lines to do the supermarket, or introducing new journalistic distances to interview the pressing official health sources. The covid-19 will not be forgotten, the photographs also show the popular creativity capable of converting the threatening virus into a harmless and colorful piñata that can be beaten to pieces at a children's party.

Images we see, beliefs we do not know

Faith and the miracle at home

She is our mother and must be at home

Reina and Goyo Hernández. 35 years. Domestic workers, originally from the state of Hidalgo. Photograph by Renée de la Torre, Zapopan, March 7, 2018

Reina is married to Gregorio (Goyo) and has three young children (the oldest is eight years old, one is five and the other is ten months old). In the neighborhood department where they live, in the center of Zapopan, they have set up a small altar. This began when they were given a calendar with images of the Virgin of Guadalupe. They cut out the image of the Virgin and decided to take it to the Basilica of Zapopan to bless it. The process was simple, they just sprinkled it with the holy water that they found inside the temple. I asked him if doing so devoted to the image, and without hesitation he replied:

"Of course, before it was just a photograph, now it is the Virgin of Guadalupe."

Today its small altar is dedicated to the Virgin of Guadalupe, because Reina considers that "she is our Mother and should be at home." Other religious articles have been added to the image of the Virgin, including a Bible, which they do not usually read but which was a gift from her wedding.

I tell him what I feel, what I bring, what hurts me, what doesn't hurt ...

Mrs. Blanca, 64 years old, housewife, originally from Los Reyes, Michoacán. Photograph of Rafael T. Corro, Guadalajara, Jal. 2018.

For me to make my personal prayer with him daily, to make my personal prayer with him daily is about having a dialogue with him. I tell him what I feel, what I bring, what hurts me, what doesn't hurt me, my rush and that is daily. Getting up, the first thing I do is thank him because he already let me dawn, he already let me see the light of a new day that I say "Lord, you have already given me the license to dawn and take one more step towards you", because I wake up to live it today but it is one more step that I take towards the final game, if you understand me. Then I wake up comfortable, happy, happy and I say "Lord, this day I promise you everything I will do with love, for you and for you" and if I am going to live today as if it were the last of my life, enjoy it , enjoy it, be happy, happy, happy, because tomorrow I don't know if it will dawn or after a while I will leave, if you understand me? And it is what I, sometimes I wear, I arrive and I stay there with him for a while, I pray, talk and it is daily, of my daily devotion.

If you are already baptized, God already recognizes you as his son

Donato Hernández, 35 years old, originally from Hidalgo, cashier in Oxxo. Photograph by Renée de la Torre, Zapopan, March 7, 2018.

What does the baptism of the Christ Child consist of?

“In taking him to the church to listen to the word of God during Holy Mass and already at the end of the Mass they already bless him, it is already like a symbol of baptism. He is like a child, if he is not baptized he is not yet a creature, but if he is already baptized, God already recognizes him as his son. He is already part of the family of God. "

I respect and love them and I feel like they protect me

Blanca, a 64-year-old housewife, originally from Los Reyes, Michoacán. Photograph by Rafael T. Corro, Guadalajara, April 25, 2018.

The saint of my devotion is the Sacred Heart of Jesus. I've always had faith in him. With the Sacred Heart of Jesus, I feel like I am very protected by him. What is Jesus, is himself. They are my ideas, the Sacred Heart of Jesus and the Virgin Mary, for me, because I respect and love them and I feel that they protect me.

Many miracles have been done to me

María Trinidad García Escobar. Housewife. 60 years old, originally from Mexico City. Photograph of Rafael T. Corro, Guadalajara, Jal. April 26, 2018.

For the Glory of the Lord, I am a Minister of the Eucharist, so I need to be in constant prayer. I like having the altar because for me it is like a sign that Christ is present there, and well, I don't know, maybe my faith and what I decide to do, because seeing the image deepens me a little.

In my house, my entire family is Catholic, and from my childhood my parents taught me this faith and we have continued. We are a very united family and when we can we all join in prayer. When not, then I am obliged to pray in the morning and at night.

I have Christ and the Virgin. They have done many miracles for me. I know that for many people it is something well, perhaps, that does not make sense, but for me it does, they have worked many miracles for me. I have received many thanks; Just yesterday I had the happiness of verifying that the Holy Mary was with me, because a scorpion bit me and nothing happened to me, nothing. And I was praying the rosary, so I have the full conviction that Mary is the intercessor before Jesus so that nothing happens to us.

If the first miracle was done by God for his mother, then what can he deny her?

Hortensia Ramírez Sandoval. Housewife, 70 years old. Originally from Autlán, Jalisco. Photograph of Anel Salas, Guadalajara, Jal. May 28, 2018.

I pray to the Virgin because I know that she is the Mother of God and I know that mothers ask their children, and if the first miracle was done by God for their mother, then what can he deny her… I think nothing. However, when I go to sleep, I try to pray an Our Father, because I think that there is a lot of who we are and a lot of what we are not, because that prayer is very strong and it is very difficult to fulfill.

For me the main image is that of Christ, I have that on my bedroom door

Hortencia Ramírez Sandoval. Housewife Age: 70 years. Originally from Autlán, Jalisco. Photograph of [anonymous], Guadalajara, Jalisco May 28, 2018.

I have the Child God and I worship him every day he is born; to say something, we change his clothes, which is traditional, but my husband has a lot of faith in San Judas Tadeo, my father had a lot of faith in San Martín Caballero, hence why I have it, and the Lenten candle, they say that it is very good to have it, I have many, not as much as I would like ... well I wanted to put together the four candles for when they are needed because I do want them to put candles for me; I mean, I want them to put candles at my wake.

I take the candles every Glory Saturday to bless, because they are all blessed, and I keep them inside that display case, that is, I keep them, and since there are many I don't have to be constantly lighting them because they don't run out. That is the one that I turn on the most, because there it is, but I tell you, I keep them, I buy them, they bless them.

My God, take care of me from the bad things on the street, protect me

Lucia, tamale merchant, 67 years old. Originally from the Atemajac neighborhood. Photograph by Renée de la Torre, Colonia Tepeyac, Zapopan, August 19, 2019.

I get up: "Thank God sir for letting me live", I cross myself, when I go out the door I cross myself, I say: "My God, take care of me from the bad things that are in the street, protect me", in the morning; At night I pray to go to sleep and I pray to my children, I bless them, I bless my house and I go to sleep, I thank God: “Thank you, great Lord, for letting me get dark, and in charity I ask You let me wake up in your grace and service and without offending you, amen ”. That is my prayer.

I do not allow any toys to be taken from me, because they are hers

Lucia, tamale merchant, 67 years old. Originally from the Atemajac neighborhood. Photograph Renée de la Torre, Colonia Tepeyac, Zapopan, August 19, 2019.

In that little box, behind the bear, there is a small urn of a dead man, of a little boy who died to my daughter. He is eight years old now, but I am going to take him to bury because I want to take him to the temple. That is why I have that little altar, and her toys for the child, that is why I do not allow any toys to be taken from me because they are hers (her granddaughter).

Eight years old there; yes, they are toys for the baby. And I want to take him to holy land, I'm just waiting for my daughter's order, I have holy water there.

For me religion is a matter of faith

Dolores, 57 years old, Zapopan. Photograph by Renée de la Torre, Zapopan, March 7, 2018.

I know that it is an image x, I know that it is made by men, I know that it is nothing divine to say something, but I think that your faith makes you respect, because for me religion, nobody saw anything, we know nothing, we know what has been read, but who made the books? The man, but man is to kill himself, so for me religion is a matter of faith, I know that there is a God, because, well, there must be something supernatural or superior so that we can believe, so that we can live, and I feel that there is a God because there are many things that have no explanation.

It appeared next to the well, and then I knew it was the Virgin of the Well

Photograph by Renée de la Torre, Oaxaca, April 21, 2018.

This image appeared one morning in a miraculous way. The funny thing is that it appeared next to the well, with its damp stain. From that day on I began to receive blessings. I gained him faith. Now the neighbors even come to pray to him. Later I learned that it was the Virgen del Pozo, a Cuban image. Since then I have set up his altar for him and every time I have problems I pray to him and he helps me.

Nobody resists something so beautiful, it is irresistible, right?

Elena Mendez de la Peña, stylist and ghostwriter. Photograph by Renée de la Torre, Guadalajara, April 2, 2019.

My mother had a Child Jesus, and when she died, she did not touch me. So I commissioned an ex-boyfriend to buy me one in Madrid. I took him to bless. Then we would take him to San Juan de Dios to buy him some clothes. Then people knelt down and crossed themselves in passing. There we really understood how strong we have. In other words, my son was very young, he said: “Oh mom! Have you seen? People recognize the Child Jesus ”.

Every year on February 2, I invite friends to dress the boy. In fact, she has her godmother in a dress and we do all the ritual as it was customary before. Well, we make something to eat, I put a blanket on it to give the child to the comadre. We clean the child with a little oil like a baby's, and then we dress him. He has shoes, he has underwear, he has long shorts. All those super anti-religion, anti-priest people, everything, but nobody resists something so nice; It's irresistible, right?

Next to the child I put holy water that I always have for when someone comes who has a problem and wants to pray with me, then people don't pray, but they ask you, they send me little messages. And they ask you: “oh, I have a problem, they are going to operate on my mother, my child is sick or I cannot get pregnant; oh, pray, don't be gacha ”, then they ask me to pray for them. For that I have a little notebook where I put people with problems in a little list. Some don't come, that is, there are people who don't necessarily know where I live or anything, but I always tell them: "I'm going to put you on the list."

Miraculous images. Neighborhood chapels

She hears me, and when I ask her for something she always fulfills me

Rosendo Plasencia, captain of the Grupo de Danza Ritual Azteca Hermanos Plascencia, 70 years old. Photograph by Renée de la Torre, Guadalajara, May 2015.

Twenty years ago, a Franciscan came to her house and gave it to her, complete with pilgrimage outfit. And it turned out that the Virgin has been very miraculous. The altar has its candles lit, and its bouquets of flowers. It is the dancers who are in charge of bringing her flowers and light to keep the Virgin happy. Rosendo says that he has a very special relationship with the Virgin: “she hears me, and when I ask her for something she always fulfills me. Sometimes when we are rehearsing the choreographies of the dance in the street, the black clouds that threaten rain are seen, I ask the Virgin to stop the rain so that I can continue with the rehearsal, and it is impressive how the clouds are moving away from the sky".

It was where the oratory burned down, but nothing happened to San Miguel

Altar of the Pineda family, shell dancers. Miguel Angel Pineda, captain of the shell dance Señor San Miguel. Photograph by Renée de la Torre, Mexico City, November 1, 2005.

When my grandfather left the pulquería, he found the headless saint and picked him up and took him home. The next day some children, who were in the street playing soccer, picked up the head. My father liked to go chatting, and on Sunday he went to the store and found his head. They sold it to him for 20 or 50 cents in those days. Then he ordered to restore the saint and there begins the dance to Señor San Miguel. In the thirties they gave my grandfather the skeleton of General Medina (he refers to the skull), because they did not follow the tradition of burying him. That skeleton is preserved by my father and makes it the basis of Señor San Miguel. The first oratory was on Calle de Pintores, in the Morelos neighborhood, that's where the oratory was burned, but nothing happened to San Miguel. Later we moved to the street of Typography, and already in the 60s my parents came to the current house, where the oratory continues. He is the main Saint of our altar, to which we offer our dances and prayers, for this reason the banner of the dance group is dedicated to Saint Michael the Archangel. He is very miraculous, and he has saved us from many problems. This is the first year that we dressed him as an Aztec warrior, as he always dressed as a Roman soldier, but if he is our patron saint, he must already dress like us.

There are people who say: ah, Santa Muerte is bad; the bad ones are the people

Miguel Ángel Lemus, 30 years old. Guardian of the Santa Muerte Temple, Las Juntas neighborhood. Photograph by Anel Salas. Guadalajara, Tuesday, July 3, 2018.

Oh yes, in my mother's house he had a holy death and he promised to make him his temple, he did it, he knows what he would do, but more for him and from there came the devotion of the people, people from others came places, there were already more people there in that temple and they already came for the same thing, and it is the first temple they made in Guadalajara.

I consider myself one hundred percent Catholic because I believe in God, I believe in the Virgin, I believe in the angel of death, for me he is the angel of death because he was the creator, the angels and the angel of death, That is why if there were no death, Adam and Eve would not be, that is my criterion then, that is, we would not be here.

Yes, well, here come people who pray to him sometimes, they cross themselves and leave so they don't see that there is a bad vibe or anything, do you understand me? Because there are people who say: ah, Santa Muerte is bad, the bad ones are people, that is true.

The blessing of business

These images are blessed and thus they bless my little shop

Grocery store in Chapala, photo by Renée de la Torre, June 15, 2017.

All the images that I have on my altar have been given to me by the neighbors, who are my clients. They go on pilgrimages to the Shrines, and although I can't go because I have to be taking care of the business, they do it for me. They bring them to me as gifts and I place them there, because these images are blessed and thus bless my little shop.

I ask him about the business, because there is a good sale and that he take care of the place

Ana, “la Patrona”, merchant from the Abastos market, 61 years old, originally from Sahuayo, Michoacán. Photography: Anel Salas, Guadalajara, June 26, 2018.

Ana, who is called "the Patron" and attends a winery in the Abastos market, set up her altar to continue her family tradition: "I have the Virgin because she is the same one they have in my house. And to San Judas because he is the miraculous saint for businessmen ”.

Every day she is in charge of cleaning the altar and every two days she changes the flowers in the vase. Only at Christmas and on the day of the Virgin do the lights turn on. The workers leave him fruits as offerings. And in the morning they all cross each other when they come to work and offer him the day.

“Well, at the beginning of the day we all crossed ourselves. I ask him about the business, because there is a good sale and that he take care of the premises. I have a lot of faith in him, you can see that he is the saint who helps with money and business matters. "

The Child Doctor is very miraculous, I do believe, I do have a lot of faith; I have asked him and he has granted me

Manuel and Angelica Flores Leos, Santa Tere neighborhood, sale of handicrafts. Photography: Anel Salas, Guadalajara, November 27, 2018.

We dressed him as a dancer for October 12, the day of the carrying of the Virgin of Zapopan, and we dressed him as a dancer again for December 12, we dressed him as an indito.

I gave the Doctor Child to my mother, because she was always very devout; she told me that she had done a very great miracle for her. I sent it to a man who sold fruit outside a hospital that is for women, through the imss clinic, and one day we passed by and he was working with a Christ, so he showed us photos of what he was making and showed us the Child Doctor, and you notice it is going to be strange to see a Child Doctor like this, because of his expression; Here people come and say: "How great, that Child just needs to talk, I have never seen such a beautiful child", and there are no people who do not suck him, people come, they leave him money, a child left him one day A car.

One day a lady came from Spain looking for a doctor, and she came by and came back and said: “I felt that someone spoke to me; what a beautiful child, can I tell you something? " And I said: "sure…." He told me: "I have my daughter very seriously ill, but hopefully God and the Child will do the miracle for me." Some time passed, about a month and a half, and the lady came back and said: “I have come to thank you, my daughter was about to have her baby and she had already told us that the baby was not going to be saved and my daughter was going to live the 20% and was no longer going to have children. I come to thank you because my grandson and my daughter are well, I come from Spain just to thank you ”.

I do believe, I do have a lot of faith, I have asked him and he has granted me, I am not saying that he is everything, he is just a medium.

I could no longer go to mass ...

Don Pedro, mechanical workshop, Photograph by Anel Salas, Guadalajara, February 8, 2019.

Don Pedro is a Catholic, but due to his knee problems he can no longer go to Mass, but he says that he does use to pray there, praying his rosary. Devotee of San Judas Tadeo and author of the altar, he had the ideas to accommodate the images that the patron had forgotten at the back of the workshop. Now it is usually a place where neighboring devotees of Saint Jude Thaddeus usually go to cross themselves and entrust themselves.

The temple you bring

José Luis, loader of the Abastos market, 52 years old. Photograph by Anel Salas, Guadalajara, June 25, 2018.

With my altar I continue the tradition of my hometown. There it was customary to take the saint and watch him all night, as if he were a dead man. I dedicate it to San Judas Tadeo because he is the holiest of saints.

I don't need to go to Mass with the priests. It is that you bring the temple. Jesus said: I am going to build the temple in three days, and they ignored it, right? Because it took 40 years to build the temple but he was not referring to the temple under construction, the temple is made by all the people, on the third day How much crowd did it have?

Sales are doing very well, we can't complain

Lupita, 27 years old, merchant. Photograph by Renée de la Torre, Oaxaca, April 21, 2018.

The painting of the Virgen de la Soledad and the blessing of the business with the image of San Martín Caballero, patron of merchants, were put by the owner of the groceries to favor daily sales. Look at what it says: “God bless my business, my work and my clients. Then I put the lucky kitten on him and I put flowers on him to make him happy. We are doing very well in sales, we cannot complain ”.

This is a rough neighborhood

Altar in a canteen, San Juan de Dios neighborhood.Photography Renée de la Torre, Guadalajara, June 20, 2019.

Each figure of San Judas Tadeo that we have placed on the counter we have put it for each one of our neighborhood companions who have killed. This is a rough neighborhood. Although the people here know and respect us.

The Virgin of Guadalupe is never short of flowers. San Juditas is not offered flowers

Flower market, Mezquitán, photograph by Anel Salas, Guadalajara, Jalisco, February 7, 2019.

"The Virgin of Guadalupe never lacks flowers, if they are withered the day comes and we change them, but she always has flowers."

And do they also put flowers on Saint Jude?

“No, San Juditas is not offered flowers. But to the Virgin yes; his day, December 12, we do adorn him. "

Protection on the street or on the corner

As he could not go out, it was better to bring the Virgin here and set up an altar

Chapala, Jalisco 2017. Photography: Renée de la Torre.

My husband got sick and was very delicate. He wanted to go to the Basilica to ask the Virgin for his health. So, I thought that since I couldn't go out, it was better to bring the Virgin here and set up an altar for her. And since then she's there and we don't have to travel to be with her.

To protect us daily

Photograph of Renée de la Torre, Chapala March 26, 2018.

This street became very unsafe. Out here marijuana used to gather. That is why I placed the image of the Virgin, to protect us every day.

This place is respected. People want it. It belongs to everyone

Virgin of Guadalupe in the Atemajac neighborhood, interview with Don Antonio, 70 years old, retired Photograph by Renée de la Torre, Sunday, January 13, 2019.

For twenty years the colony has become very dangerous, but this place is respected. People want it. It belongs to everyone. The image was blessed by the parish priest and the neighbors usually gather to celebrate it on the day of the dead at night and on December 12, the day of the Virgin. The neighbors organize to pray to him and even music bands bring him. The priest also assists in coordinating the prayers. I remember there used to be a boy who sold peanuts on the corner. Two houses away a drug dealer lived. One day they came looking for him. They did not find it. And he was able to flee. He has not returned and no one knows where he is. The owner of the land tried to remove the altar, but the neighbors organized and defended the place. No one can remove it, it belongs to everyone.

It is a community space

Ofelia, a neighbor of Tlaquepaque, Jalisco. Photograph by Anel Salas, September 17, 2018.

He was blessed by the priest, and look, it is a community space and they made meetings so that one day some would sweep, another day others would water and keep him clean. Now they no longer want to come here to put the ashes; But even so, many people come in the afternoons, they begin to pray their rosary, they pray to them there alone, gentlemen get out of the truck, they begin to pray there, they say their novenas, there is a man who when he sees a lot of garbage, he removes it with his stand up and then he pulls me over here and says: "sir, I left the garbage there," because now there was a lot of garbage with the Virgin.

The bark fell off and the figure of the Virgin appeared on the trunk

Chapel of the Virgin of Guadalupe, in the Constitution, Guadalajara. Photograph by Anel Salas Sunday, March 3, 2019.

It is known as the Chapel of the Virgin of Guadalupe. It was assembled eight years ago, as a result of a man hitting a truck in the tree; when he backed out, he took out his truck and the bark fell off and the figure of the Virgin appeared on the trunk, and he came out as if nothing, that is, nothing happened to him. In gratitude, the injured man came and made his altar, because nothing happened to him, although they say that he knocked down several posts from there ...

Every day a lot of people go to work and stop. Sometimes they go in the cars and they stay standing there, as if they say a prayer and they already leave, and they continue on their way. In general, people respect the place of the Virgin, and it gives a little security to the block, because people are already very crazy here.

The priest refuses and has not come to bless her. Once we were at mass, he said that he used money for what the church does and scolded us: "instead of taking it there to the virgin of the tree, bring it to me here."

In you we put all our hope. You are our life and consolation

Mrs. Ortiz, 53 years old, housewife and mother of the deceased. Photograph Renée de la Torre, San Miguel neighborhood, Chapala, March 26, 2018.

We placed the Virgin and Saint Juan Diego to pray for the soul of our son, who died very young from cancer. We wanted comfort, it was very hard. We put it so that Our Lady can protect us every day. To protect the images, we build their nichitos for them. We plant nopales and roses to create the landscape of their appearance. Thus the neighbors remember daily the miracle of Our Mother, who always accompanies us and protects us as we walk.

Here they beat him to death

Cenotaph of the band Los Tepehuas in Chapala. Mary (neighbor), 35 years old, domestic worker. Photograph Renée de la Torre, Chapala, March 16, 2018.

In the neighborhood of San Miguel in the town of Chapala, Jalisco, an altar was built as a cenotaph on the site where Jesús Melchor was brutally murdered, who lost his life in a fight between two territorial gangs, that of Derrumbes against that of Tepehua. A neighbor tells:

“Here they beat him to death, they disfigured his face for wanting to enter the neighborhood of the others. They left him unrecognizable and threw him into the corner that marks the boundary between the two bands ”. This occurred in 2009. And it was the first violent death as a result of fights between neighborhood gangs. At first, this place became the meeting point for the Tepehua gang, where they attended to sell and consume marijuana. The neighbors spoke with the mothers of the young people and negotiated to place an image of the Virgin of Guadalupe and another of San Judas Tadeo on an altar protected by a fence. In 2013, three other young drug victims died, whose names are also inscribed in the cenotaph. In 2018 they put the names of another five young people.

“Jesús Melchor's mother is in charge of keeping clean and watering the flowers that accompany the altar. The mothers of the neighborhood gather to pray and celebrate each anniversary of their deceased children at this altar. "

The use of the scarf as an identifier of causes and mobilizations in Latin America

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EncartesVol. 7, No. 14, September 2024-February 2025, is an open access digital academic journal published biannually by the Centro de Investigaciones y Estudios Superiores en Antropología Social, Calle Juárez, No. 87, Col. Tlalpan, C. P. 14000, México, D. F., Apdo. Postal 22-048, Tel. 54 87 35 70, Fax 56 55 55 76, El Colegio de la Frontera Norte, A. C.., Carretera Escénica Tijuana-Ensenada km 18.5, San Antonio del Mar, No. 22560, Tijuana, Baja California, Mexico, Tel. +52 (664) 631 6344, Instituto Tecnológico y de Estudios Superiores de Occidente, A.C., Periférico Sur Manuel Gómez Morin, No. 8585, Tlaquepaque, Jalisco, Tel. (33) 3669 3434, and El Colegio de San Luis, A. C., Parque de Macul, No. 155, Fracc. Colinas del Parque, San Luis Potosi, Mexico, Tel. (444) 811 01 01. Contact: encartesantropologicos@ciesas.edu.mx. Director of the journal: Ángela Renée de la Torre Castellanos. Hosted at https://encartes.mx. Responsible for the last update of this issue: Arthur Temporal Ventura. Date last modified: September 25, 2024.