Enhanced by numerous photographs, Southern Arizona Folk Arts shows how people from many cultures have made the desert a place of celebration. In helping to define a way of life, it serves as a practical handbook to Southwestern life-styles as encountered in southern Arizona, while offering the scholar's perspective on their diverse sources and contributions.
Enhanced by numerous photographs, Southern Arizona Folk Arts shows how people from many cultures have made the desert a place of celebration. In helping to define a way of life, it serves as a practical handbook to Southwestern life-styles as encountered in southern Arizona, while offering the scholar's perspective on their diverse sources and contributions.
"O'odham artist Michael Chiago Sr.'s paintings provide a window into the lifeways of the O'odham people. This book offers a rich account of how Tohono O'odham and Akimel O'odham live in the Sonoran Desert now and in the recent past"--
. . . we move to the town of Aconchi on the Río Sonora, where the mission church once contained a life-sized crucifix with a black corpus, known both as Nuestro Señor de Esquipulas . . . and El Cristo Negro de Aconchi . . . So describes well-known and beloved folklorist James S. Griffith as he takes us back through the decades to a town in northern Sonora where a statue is saved—and in so doing, a community is saved as well. In Saints, Statues, and Stories Griffith shares stories of nearly sixty years of traveling through Sonora. As we have come to expect through these journeys, “Big Jim”—as he is affectionately known by many—offers nothing less than the living traditions of Catholic communities. Themes of saints as agents of protection or community action are common throughout Sonora: a saint coming out of the church to protect the village, a statue having a say in where it resides and paying social calls to other communities, or a beloved image rescued from destruction and then revered on a private altar. A patron saint saves a village from outside attackers in one story—a story that has at least ten parallels in Sonora’s former mission communities. Details may vary, but the general narrative remains the same: when hostile nonbelievers attack the village, the patron saint of the church foils them. Griffith uncovers the meanings behind the devotional uses of religious art from a variety of perspectives—from artist to audience, preservationist to community member. The religious artworks transcend art objects, Griffith believes, and function as ways of communicating between this world and the next. Setting the stage with a brief geography, Griffith introduces us to roadside shrines, artists, fiestas, saints, and miracles. Full-color images add to the pleasure of this delightful journey through the churches and towns of Sonora.
Folklorist Jim Griffith has transformed his popular PBS series, "Southern Arizona Traditions" into an engaging book. He takes the reader on a journey through the folklore and traditional cultures of southern Arizona and northern Sonora in Mexico (the region known as the Pimeria Alta, or upper land of the Pimas). Experience the vibrant arts, music, religion, culinary traditions, places, and people of the region.
Arts as intimate as a piece of needlework or a home altar. Arts as visible as decorative iron, murals, and low riders. Through such arts, members of Tucson's Mexican American community contribute much of the cultural flavor that defines the city to its residents and to the outside world. Now Tucson folklorist Jim Griffith celebrates these public and private artistic expressions and invites us to meet the people who create them. Josefina Lizárraga learned to make paper flowers as a girl in her native state of Nayarit, Mexico, and ensures that this delicate art is not lost. Ornamental blacksmith William Flores runs the oldest blacksmithing business in town, a living link with an earlier Tucson. Ramona Franco's family has maintained an elaborate altar to Our Lady of Guadalupe for three generations. Signmaker Paul Lira, responsible for many of Tucson's most interesting signs, brings to his work a thoroughly mexicano sense of aesthetics and humor. Muralists David Tineo and Luis Mena proclaim Mexican cultural identity in their work and carry on a tradition that has blossomed in the last twenty years. Featuring a foreword by Tucson author Patricia Preciado Martin and a spectacular gallery of photographs, many by Pulitzer prize-winning photographer José Galvez, this remarkable book offers a close-up view of a community rich with tradition and diverse artistic expression. Hecho a Mano is a piñata bursting with unexpected treasures that will inspire and inform anyone with an interest in folk art or Mexican American culture.
The region once known as Pimer’a AltaÑnow southern Arizona and northern SonoraÑhas for more than three centuries been a melting pot for the beliefs of native Tohono O'odham and immigrant Yaquis and those of colonizing Spaniards and Mexicans. One need look no further than the roadside crosses along desert highways or the diversity of local celebrations to sense the richness of this cultural commingling. Folklorist Jim Griffith has lived in the Pimer’a Alta for more than thirty years, visiting its holy places and attending its fiestas, and has uncovered a background of belief, tradition, and history lying beneath the surface of these cultural expressions. In Beliefs and Holy Places, he reveals some of the supernaturally sanctioned relationships that tie people to places within that region, describing the cultural and religious meanings of locations and showing how bonds between people and places have in turn created relationships between places, a spiritual geography undetectable on physical maps. Throughout the book, Griffith shows how culture moves from legend to art to belief to practice, all the while serving as a dynamic link between past and future. Now as the desert gives way to newcomers, Griffith's book offers visitors and residents alike a rare opportunity to share in these rich traditions.