Portable Collections Program Mexican Folk Art Table of Contents Checklist: What’s in the Case? –––––––––––––––––––––––––––––––––––––––– 1 Information for the Teacher: –––––––––––––––––––––––––––––––––––––––––– 2 What Can You Do to Prepare Before the Case Arrives? How to Handle Museum Objects Teaching Students How to Look at Museum Objects About Mexican Folk Art Information about the Objects in the Case Activities to Do with Your Students: –––––––––––––––––––––––––––––––––– 7 1. What Can Objects Tell Me? 2. Make an Ojo de Dios 3. Create a Protective Symbol and Pattern 4. Weave on a Loom 5. Make a Mask 6. Weave a Basket 7. Make Hot Chocolate Resources and Reference Materials: ––––––––––––––––––––––––––––––––––– 14 Vocabulary Words Correlations with New York State Learning Standards Where to Find Out More about Mexican Culture in New York City Bibliography and Web Resources ■ CHECKLIST: WHAT’S IN THE CASE? ■ What’s in the Case? Objects Figure of the Virgin of Guadalupe (Santo) Jaguar Mask Chocolate Stirrer (Molinillo) Ceramic Owl Maracas Straw Ornaments (Panicua) Copper Bowl Huichol Man’s Bag (Bolsa) Straw Bead Necklace Books and Resources Ancona, George. Viva Mexico!: The Folk Arts. New York: Benchmark Books, 2002. Garza, Carmen Lomas. Family Pictures/Cuadros de Familia. San Francisco: Children’s Book Press, 1990. Winter, Jeannette. Josefina. New York: Harcourt Children’s Books, 1996. “Putomaya Presents Mexico” Audio CD “Flickering Lights: Days of the Dead” Video MEXICAN FOLK ART 1 Mexican Folk Art Image DVD ■ INFORMATION FOR THE TEACHER ■ What can you do to prepare before the case arrives? Ask your students to bring an art project they have made in the past to share with the class for a show and tell. If two or more children bring similar objects, you may want to point out the differences between them to show how they are still unique. You may want to lead the students’ presentations by asking them some of the following questions: • What is it? • How did you make it? • Does it have a practical use or is it for decoration? • Did you make it for yourself or for someone else? How to Handle Museum Objects Learning to handle objects from the Museum’s permanent collection with respect can be part of the educational experience of the case. Please follow these guidelines in handling objects in the case: • Paint, feathers, fur and fibers are especially fragile and should be touched as little as possible. Remember that rubbing and finger oils can be damaging. • Students may handle the objects, carefully, under your supervision. • Do not shake objects or the plexiglass cases they are housed in. • Hold objects with two hands. Hold them by the solid part of the body or by the strongest area rather than by rims, edges or protruding parts. • Temperature differences, direct sunlight, and water can be very harmful to certain objects. Please keep the objects away from radiators and open windows, and keep them secure. Teaching Students How to Look at Museum Objects Learning about a group of people by examining the objects they make is much different from learning about those people by reading about them in a book. Objects have the power to fascinate people with their mere physical presence. Holding an object in their hands forms a tangible link between your students, the folk artist who made it, and the artist’s homeland. This sense of physical connection makes it easier for students to think concretely about the ideas and concepts you introduce to them in your lessons. Objects also have the power to tell us about their origins and purpose, provided we are willing to look at them in detail and think about what those details mean. Encourage your students to examine an object carefully, touch it gently and look closely at its design and decoration. Have them describe its shape, size, color, and decorative designs. Ask them questions about what they see, and what that might tell them. For example: • How was the object made? What tools did the artist need? • What materials did the artist use? Where might he or she have gotten those materials? • How is the object decorated? What might the decorations mean? • What does the object tell you about the person or people who made it? MEXICAN FOLK ART 2 ■ INFORMATION FOR THE TEACHER ■ About Mexican Folk Art What is Folk Art? Historical Background of Mexican Folk Art Folk art is the art of the common people. It expresses their loves, fears, desires, and dreams. It often evokes images or stories from their daily lives, their religions, and their ancient myths, as well as their imaginations. Folk art encompasses everything from woodcarving to textiles to pottery and metalwork. It includes objects made purely for decoration as well as those with a practical purpose that have been designed in a pleasing manner. Artists often make folk art by hand, using skills passed down from generation to generation and raw materials found near their homes. However, new technology and materials have encouraged folk artists to modify some traditional methods of production. For example, some weavers have begun to substitute synthetic fibers for the wool they used previously. Many potters now use mechanized kilns instead of traditional ovens to fire their clay objects. In talking about folk art in Mexico, it is important to realize that terms like “the common people” can be hard to define. Mexico is a diverse nation, home to more than 100 million people. Approximately onethird of its population is Indian, while less than onetenth is of primarily Spanish descent. The majority of the population is mestizo, meaning it claims both Indian and Spanish heritage. About 89% of the country is Catholic, though many people combine their Christian beliefs with elements of ancient native religions as well. In this cultural melting pot, some people of Indian heritage have chosen to maintain a way of life similar to that of pre-Conquest days, but others have moved away from their small, rural villages to the larger cities to embrace the modern Mexican lifestyle. This mixture of Indian and Spanish heritage, indigenous (native) and Catholic beliefs, and traditional and contemporary influences combines to make Mexico’s folk art rich in history and meaning. ❑ The Indians of Mexico are believed to be descendants of the first peoples who crossed the Bering land bridge from Siberia to Alaska more than 20,000 years ago and migrated southward into the Americas. Mexico’s first inhabitants arrived sometime before 10,000 B.C.E. By 3,000 B.C.E. they had developed an agricultural society based on maize. Over the next several thousand years, Mexico became home to two of the greatest civilizations in world history: the Maya civilization (300 C.E.–900 C.E.) and the Aztec civilization (1000 C.E.–1521 C.E.). Long before the arrival of Europeans in the Americas, the Maya people independently developed a writing system, accurate solar calendars, and the mathematical concept of zero. They also built giant stone pyramids in the jungles of the Yucatán Peninsula, some of which still stand today. After the fall of the Maya, the Aztecs rose to power, conquering their rivals tribe by tribe until they dominated what is now Central Mexico. Like the Maya, the Aztecs built monumental structures, many of which were dedicated to the gods. Religion was an important aspect of daily life in both of these civilizations. Priests conducted ceremonies and rituals that were based on pleasing the gods, whom they believed controlled the land, sea, sky, animals, plants, and other natural forces. Much folk art produced in Mexico today continues to reproduce objects or designs created by the Maya, the Aztec, and Mexico’s other indigenous peoples. The molinillo and the maracas are objects that the native peoples of Mexico have used for ▲ Words in boldface have been included in the list of Vocabulary Words (see page 19). Many of the themes and images seen in Mexican folk art reflect the influence of developments in Mexican history. They show how Mexico’s indigenous heritage, its great civilizations, and its colonization by Spain have helped shape the art of the common people. MEXICAN FOLK ART 3 ■ INFORMATION FOR THE TEACHER ■ About Mexican Folk Art (continued) hundreds if not thousands of years. The floral motifs on the owl figurine and the animal theme shared by that object and the jaguar mask also demonstrate indigenous influence. Often folk art designs reflect the importance of the natural world in religion and daily life, as shown by the Huichol bag in the case. were forced into conversion. The interaction of Catholicism and indigenous beliefs is another common theme in Mexican folk art, as demonstrated by the santo figure in the case. In 1519 the Spanish conquistador Hernán Cortés arrived in Mexico. He was astounded by the Aztecs’ capital city, Tenochtitlán (which may have been the largest city in the world at that time), and by the golden treasures of their emperor, Moctezuma II. Determined to conquer the Aztecs, Cortés led his Spanish soldiers and a group of warriors recruited from rival tribes in a bloody battle against the Aztecs. Despite their wealth and power, the Aztecs could not withstand the superiority of Spanish weapons or the ravages of European diseases, and their empire fell in 1521. Frustrated by Spain’s oppressive rule, a priest named Miguel Hidalgo (now known as the “father of Mexican independence”) led a revolt against the colonial government in 1810, and after a long, violent struggle, Mexico became an independent country in 1821. Almost a century later, the people of Mexico rebelled against their corrupt national government in a bloody seven-year civil war known as the Mexican Revolution, which ended in 1917 with the writing of a new constitution. For the next 300 years the Spanish ruled Mexico. Wealthy Spanish colonists acquired great estates called haciendas, where Indians labored for very low wages. Catholic priests established missions and preached Christianity with ruthless fervor. Indians were persecuted for their ancient beliefs and many Since that time, much has changed in Mexico. Due to the government’s policies embracing industrialization, more people now work in factories than fields, and more people now live in cities than rural areas. However, even as the nation’s factories churn out everything from clothing to cars, many of its people continue to make beautiful and unique folk art. ❑ Some of the activity pages that follow feature a box containing more information about objects or themes related to that activity. We have included one example below. You may wish to share this information with your students to help them draw connections between the objects and the lives of the people who made them. Folk Art Shows How the Past Lives On in the Present The indigenous (native) peoples of Mexico have used the molinillo to whip up their chocolate beverage for more than a thousand years. Other objects in the case show the influence of Mexico’s pre-Conquest Indian roots, too. For example, the jaguar mask was originally meant to represent an ancient Aztec god. The maracas are also native to the Americas and have been played there since before the arrival of Europeans. The woven bolsa is decorated with ancient symbols sacred to the Huichol people. All of these objects demonstrate how objects and designs from long ago are still used in Mexico today. MEXICAN FOLK ART 4 ■ INFORMATION FOR THE TEACHER ■ Information about the Objects in the Case SANTO Santos (Spanish for "saints") are religious images that Catholic people in Mexico place on small altars in their homes. This santo depicts the Virgin of Guadalupe, the patron saint of Mexico. Catholics believe that the Virgin Mary appeared in Mexico in 1531. It is said that she appeared as a mestiza and spoke to the people in their native language. Word of her appearance convinced many Indians to convert to Catholicism. Today 89 percent of people in Mexico are Catholic, and the feast day of the Virgin, December 12, is celebrated with festivals and parades. CERAMIC OWL This owl figurine was made in the village of Tonalá, Jalisco, one of Mexico's main pottery centers. The artisans there make several different types of pottery (including glazed, slip-painted, and cinnamon-scented pottery). Most of the pottery made in Tonalá shares common decorative themes, such as flowers and animals. Turtles, pigs, cats, fish, and birds are all typical subjects. Like many animal figurines made in Tonalá, this owl has been painted with a floral motif and glazed. COPPER BOWL JAGUAR MASK With its pointed ears, sharp teeth, and whiskers, this mask probably represents el tigre, the jaguar. For centuries, the jaguar has played an important role in the beliefs of the native peoples of Mexico. The Aztecs feared and honored the jaguar, believing it was the animal form of a powerful god. Today in Mexico the jaguar continues to be a vital figure in many dances and festivals, though its role may vary from one village to another. For example, in some celebrations a costumed jaguar figure plays the part of a savage beast stalked and killed by hunters. In other villages cheerful jaguars play the bringers of the harvest, carrying maize or other vegetables as they parade through the town. MARACAS Maracas are a type of rattle or percussion instrument played throughout Latin America and the Caribbean. They are a very old instrument, and were invented by many different Indian groups in South America and the Caribbean. Originally all maracas were made from dried gourds (like these examples), which had long stems for handles and were filled with dried seeds that rattled when the maraca was shaken. Over time people began to make maracas out of wood, clay, or other materials as well, but they kept the original gourd shape. MEXICAN FOLK ART 5 ▲ Made for cooking and other everyday uses, copper bowls and pans like this one come from the town of Santa Clara de los Cobres (or "Saint Clara of Copper"). Santa Clara has been an important copperworking center since 1553. Today more than 300 family workshops there turn copper into a variety of useful and decorative objects. After gathering scrap copper and melting it in a forge, the people hammer it into sheets (which are later formed into objects like this bowl). Flattening the copper requires at least a dozen men, who place the metal on a large, flat stone and take turns hitting it with heavy sledgehammers. The noise of their pounding fills the streets of Santa Clara with a rhythmic, clanging music. ■ INFORMATION FOR THE TEACHER ■ Information about the Objects in the Case (continued) HUICHOL MAN’S BAG (BOLSA) STRAW ORNAMENTS (PANICUA) Known as a bolsa (the Spanish word for “bag”), this shoulder bag is an important part of Huichol men’s traditional wardrobe. Huichol men use bags like this one to carry their daily essentials, and may wear several bags at the same time. A deeply religious people, the Huichol Indians blend their ancient beliefs into every aspect of their lives, including their clothing. Huichol women decorate their brightly colored woven and embroidered garments with figures representing the sun, water, animals, and other forces of nature. These natural elements are sacred to the Huichol people, so the designs on their clothing are meant to act as a sort of prayer and protect the wearer from harm. Braided or woven from wheat straw (or panicua), these small ornaments represent a fish, a bird, and a devil. To make panicua, artisans soften the straw in water and then weave or braid it into many different shapes. Originally they used this method to make straw figures representing religious figures, which they would carry in processions on holidays. Today they also make panicua figures of animals, starbursts, and airplanes, among other things. These panicua are often used as children’s toys, or hung as ornaments at Christmas. CHOCOLATE STIRRER (MOLINILLO) People in Mexico have traditionally used a stirrer called a molinillo to make a chocolate beverage. They combine cocoa powder, water, vanilla, and sugar (or honey) in a narrow clay jug, and whip them into a delicious froth by twirling the molinillo between their palms. Chocolate is made from cacao beans, which are native to the Americas. When the Spanish arrived in Mexico, they saw the Aztecs drinking a chocolate beverage made from ground-up cacao beans, water, honey, vanilla, and red pepper. The Spanish brought chocolate back to Europe, where it became a favorite drink among the wealthy (minus the pepper!). STRAW BEAD NECKLACE The plaited beads on this necklace are made from straw that has been dyed a bright shade of purple-red. Colorful jewelry and other adornments are common among women in Mexico. Gold and silver jewelry has been highly valued there since long before the Conquest, but folk jewelry made from less expensive materials is also very popular. Artisans make earrings, necklaces, and other adornments from a variety of unusual materials, including straw beads, seeds, tiny painted gourds, and even miniature ceramic plates. You can learn more about these adornments and other objects from around the world by visiting our Collections Central Online database at www.brooklynkids.org/emuseum. MEXICAN FOLK ART 6 ACTIVITY 1 What Can Objects Tell Me? Grades: All Related Objects: All What To Do: 1 Create 8 stations in the classroom. 2 Place one object at each station. Objective: This activity is designed to help you to encourage the students to learn about the objects through close observation. Ask them to focus first on the physical properties of the object, using their senses to determine color, smell, texture, etc. NYC Skills Addressed: Making observations; drawing inferences from observations; recording observations and inferences; making cultural connections; exploring ways communities meet their needs; exploring ways raw materials influence lifestyle; using primary sources (authentic artifacts) to explore culture/history; exploring ways in which the past influences the present; exploring the role of technology in culture; and exploring changes in communities over time. Materials Needed: 3 Use the remaining object of your choice and the observation chart to demonstrate how to observe an object closely and record your observations. 4 Remind the students to handle the objects carefully and only in order to learn something about them. 5 Encourage the students to move from station to station to observe the objects. 6 Allow the students to record their observations on the chart individually, or guide them as a group and record the answers on the transparency or chart paper. Discussion Questions: • What kinds of things can you learn about an object just by examining it closely? • What can objects tell you about the people who made them? • Why do you think these objects are called “folk art”? A copy of the “What Can the Objects Tell Me?” observation chart for each student, OR a transparency of the chart and an overhead projector, OR a large piece of chart paper. Tell your students that they can learn a lot about a group of people by examining LITERACY EXTENSION the objects they make. Have them choose one object from the Mexican Folk Art case and write a paragraph about it. Remind them to be sure to describe the Grades 3–5 object and tell what the object “told” them about the people who made it. MEXICAN FOLK ART 7 What can objects tell me? 1 Object What color or colors do you see? Use your senses to observe each object. Look at each object carefully. What kinds of things can we learn about an object just by examining it closely? What do objects tell us about the people who made them? Use this chart to record everything you discover. Describe the shape. MEXICAN FOLK ART What size is it? What does it feel like? What can objects tell me? 2 Object What color or colors do you see? Describe the shape. Writing Activity You can learn a lot about a group of people by examining the objects they make. Choose one object from the Mexican Folk Art case and write a paragraph about it. Be sure to describe the object and tell what the object “told” you about the people who made it. MEXICAN FOLK ART What size is it? What does it feel like? ACTIVITY 2 Make an Ojo de Dios Grades 2–5 Related Object: Huichol Man’s Bag (Bolsa) The Huichol Indians of Mexico weave brightly colored yarn on a simple frame of crossed sticks to make a design called Ojo de Dios or “God’s eye.” Originally, God’s eyes were placed on an altar so that the gods could watch over the praying people and protect them. They are now more often sold in markets. Objective: This activity offers your students the opportunity to practice their counting skills while creating a lovely pattern. NYC Skills Addressed: Making cultural connections; exploring ways communities meet their needs; using primary sources (authentic artifacts) to explore culture/history; exploring ways in which the past influences the present; exploring the role of technology in culture; exploring changes in communities over time; recognizing, extending and creating numeric patterns and patterns with geometric shapes; and recognizing the use of mathematics in other subject areas such as social studies. 5 Keep on wrapping the yarn behind each end, over that end and the next, and around behind that one, then over that end and the next and behind that one. Always be sure that the yarn lies next to (but never on top of) the yarn in the previous round. After the first few rounds, you will see the woven pattern of the “eye” beginning to form. 6 When you have an “eye” in one color of yarn, you can cut the yarn, tie on another color, and continue weaving. Make sure that the knot joining the two colors stays in the back. 7 Keep weaving the Ojo de Dios until you are about 1/2 inch from the ends of the sticks. Cut the yarn, leaving approximately a 7-8” tail. Tie the tail in a knot in back. If you have bells for decoration, attach one to each of the four ends. 3 2 4 Materials Needed: • • • • • 2 craft sticks or popsicle sticks per student Scissors Pencils 1-3 different rolls of yarn in bright colors Bells for decoration (optional) 1 What To Do: 1 Cross the sticks at the center. Tie them together with the end of a piece of yarn to make an X, but don’t cut the yarn. Tie the yarn IN BACK of the 2 crossed sticks. 2 With the pencil, number the ends of the sticks 1-4. 3 Bring the yarn to the front between ends 3 and 4. Pull the yarn over ends 3 and 2, and bring it to the back between ends 2 and 1. Wrap it behind end 2 and bring it to the front again between ends 2 and 3. Pull it over ends 2 and 1, and wrap it behind end 1. 4 Pull the yarn over ends 1 and 4 and wrap it behind end 4. Pull it over ends 4 and 3 and wrap it behind end 3. This is one complete round. Always lay the yarn next to (NOT on top of) the yarn already in place. Discussion Questions: • Why do you think the Huichol people call this object a God’s eye? • What do you think they wanted to be protected from? • Where will you keep your Ojo de Dios for protection? MEXICAN FOLK ART 10 ACTIVITY 3 Create a Protective Symbol and Pattern Grades 3–5 Related Object: Huichol Man’s Bag (Bolsa) Objective: This activity offers your students the opportunity to research Huichol images and patterns in order to design their own protective image and repeat it to form a Huichol-style pattern. The children will also write about their image and its protective powers. NYC Skills Addressed: Collecting information from primary sources; demonstrating through art and writing an understanding of traditions celebrated by different cultures around the world; making cultural connections; exploring ways communities meet their needs; exploring ways raw materials influence lifestyle; using primary sources (authentic artifacts) to explore culture/history; exploring ways in which the past influences the present; exploring the role of technology in culture; and exploring changes in communities over time. Materials Needed: • Copies of the “Draw a Protection Symbol” and “Draw a Pattern” worksheets provided on the following pages • Crayons • Additional drawing paper What To Do: 1 If you have Internet access, you and your students may want to visit www.thebeadmuseum.com/huichol to see additional Huichol designs. 2 Discuss the repetition of the patterns on the bags as well as the symbols of protection represented on some of the bags. 3 Allow the children to use the worksheets to create their symbols and patterns. Discussion Questions: • Can you think of something that you might need to have extra special protection from? • What are some things that scare you? • What are some things that you use to make you feel strong and less afraid? Religion in Mexico The santo statue and the Huichol bag each show how religion figures in the daily lives of people in Mexico. About 89 percent of the population is Catholic, so it is not surprising that Christian figures appear in both folk art (such as santos) and a variety of knick-knacks (like t-shirts and candles). The influence of native religions on Mexican culture is not as obvious. The Spanish forced many Indians to convert to Catholicism, though some continued to practice their native religions in secret. However, the Huichol people escaped the Catholic missionaries by moving into the remote mountains of northern Mexico, where they had the freedom to practice their ancient religion. Today they continue to demonstrate their beliefs through their crafts, like the bolsa in the case. MEXICAN FOLK ART 11 Create a Protection Symbol The patterns woven by the Huichol people are usually repetitive images from dreams about nature. The patterns are not only decorative, but are often meant to protect the wearer. Can you think of something that you might need to have extra special protection from? Think of things that might scare you, like nightmares and barking dogs or bullies or too much homework. Draw an image that will protect you from these things, like an eye that’s wideawake or an A+. This is my symbol for protection. This symbol will protect me from: MEXICAN FOLK ART Draw a Pattern Look at the way the patterns below repeat. Try to think of a protection symbol you might like to use. Draw this image as many times as you would like to create a pattern in the spaces below. How many times did you repeat your symbol? MEXICAN FOLK ART ACTIVITY 4 Weave on a Loom Grades 3-5 Related Object: Huichol Man’s Bag (Bolsa) Objective: The Huichol people weave their beautiful bags, clothing, rugs and other textiles on looms. This activity is designed to offer your students the opportunity to try their hands at making textiles using a technique that Mexican artisans have handed down through generations. NYC Skills Addressed: 5 Pass the yarn (the weft) through the warp, going over and under the warp threads in any pattern you desire. You may use one or more colors. When adding a color, leave a long train of yarn so that it can be woven into the cloth with a needle when you finish. 6 When your cloth is finished, remove the ruler. Cut the warp ends two at a time and tie them together. Continue in this fashion until all the warp ends are tied at this end of the fabric. Repeat this same procedure with the warp ends at the top of the fabric. Making cultural connections; exploring ways communities meet their needs; exploring ways raw materials influence lifestyle; using primary sources (authentic artifacts) to explore culture/history; exploring ways in which the past influences the present; exploring the role of technology in culture; and exploring changes in communities over time. Materials Needed: • • • • Cardboard (one 6” x 8” rectangle per child) Yarn of varied colors Rulers (one per child) Scissors What To Do: 1 Cut notches in the 6” side of the cardboard at 1/2” intervals. 2 Wrap the yarn around the cardboard so that it progresses from one notch to the next. This forms the warp. 3 Tape the ends of the yarn to the back of the cardboard so they do not come loose. 4 Slide a ruler through the warp along the bottom of the cardboard. This will leave enough unwoven warp to tie the ends when the weaving is finished. Discussion Questions: • You can make a piece of material for a Huichol bag on a loom. What other kinds of things do you think might be made looms? • Look at the clothing you are wearing. Who has clothing that shows the crisscrossing lines of thread that make up the material? • Do you think that your clothes were made on a loom? • How else could you make fabric? Folk art as a family production Instead of being mass-produced in large factories, folk art is made by hand by individuals or in family workshops. Many folk artists often learn their craft from their parents. In carving a santo or weaving panicua, they use skills passed down to them through several generations of their family. In turn, the artists teach these skills to their own children. Children help their parents by performing simple tasks like tending fires, soaking straw, or gathering wood or scrap metal. Eventually they may take on the role of apprentices and learn more difficult tasks, such as how to flatten sheets of copper or how to glaze pottery. A family workshop may employ several generations, from children (willing helpers and apprentices) to parents (able artisans) to grandparents (master craftspeople). MEXICAN FOLK ART 14 ACTIVITY 5 Make a Mask Grades 2–5 Related Object: Jaguar Mask What To Do: 1 Take a strip of newspaper and pull it through the paste so that it is covered but not dripping. Put the strip on top of a balloon. Objective: In Mexico, people use papier-mâché to construct masks and animal figures for holidays and festivals like Day of the Dead (a festival during which Mexicans celebrate their ancestors). This activity allows your students to explore mask making and the Mexican custom of celebrating death as a part of life, turning something frightening into something festive. Share and discuss the “Flickering Lights” video with your students in order to illustrate this tradition. 2 Repeat step 1 until you have covered one half of the balloon. Do not cover the whole balloon. 3 Stop for the day to allow the paper strips to dry. 4 Add a second layer of paper strips on top of the first dried layer by repeating step 1. 5 When the second layer is dry, pop the balloon. The layers of paper should hold their shape, forming the mask. 6 Cut two holes for the eyes. NYC Skills Addressed: Making cultural connections; exploring ways communities meet their needs; exploring ways raw materials influence lifestyle; using primary sources (authentic artifacts) to explore culture/history; exploring ways in which the past influences the present; exploring the role of technology in culture; and exploring changes in communities over time. Materials Needed: • Wallpaper paste or flour mixed with water to the consistency of pudding • Large bowls • Scissors • Hole-punch • Paint, fabric, yarn • Newspaper cut into strips • One pre-inflated balloon for each child 7 Add more layers of papier-mâché to the mask to give it strength. Always allow the mask to dry between layers. Remember to leave the eyeholes uncovered. 8 After the last layer of papier-mâché has dried, decorate the mask with paint, fabric or yarn. 9 Attach yarn to the sides of the mask to create tie strings, using the hole-punch to create holes. Discussion Questions: • What are some things that seem scary to you? • How would you change the way it looked so that it was no longer scary? Tell your students that some of the indigenous groups in Mexico believed that LITERACY EXTENSION they could communicate with the spirits by wearing a mask that represented them. Ask them to think of someone or something they would like to be able to Grades 3–5 communicate with, and then complete the “Planning Your Mask” activity page. Papier-mâché Masks and Day of the Dead In Mexico, people make masks out of a variety of materials, including wood, clay, copper, wire mesh, and papier-mâché. Papier-mâché masks are especially common during the Day of the Dead (Día de los Muertos) celebration on November 1–2. On this holiday, people honor their ancestors by decorating graves and cemeteries with flowers. They also build small altars to hold candles, photographs of loved ones, and offerings of flowers and food. Children eat sweet rolls called pan de muerto (“dead man’s bread”) and candies shaped like coffins and skulls. Dancers and musicians wear costumes and papiermâché masks that make them look like skeletons. A whole town may turn out to watch them dance and join in the celebration. MEXICAN FOLK ART 15 Plan Your Mask Some of the indigenous groups in Mexico believed that they could communicate with the spirits by wearing a mask that represented them. Think of someone or something you would like to be able to communicate with. Design a mask that represents someone or something you would like to communicate with. I would like to be able to communicate with __________________________________________________________________________ because __________________________________________________________________. These are the things I would talk about: This is a sketch of my mask: MEXICAN FOLK ART ACTIVITY 6 Weave a Basket Grades 3–5 Related Objects: Straw Ornaments (Panicua), Straw Bead Necklace The straw objects in this case are used for adornment, but Mexican folk artists also have a prominent tradition of weaving functional items such as baskets, mats, tablecloths and hats. They take pride in creating beautiful but practical objects as well as purely decorative ones. Objective: This activity is designed to offer your students an opportunity to weave a small basket using a technique similar to that of Mexican artisans. NYC Skills Addressed: 5 Cut fabric into small circles equal to the size of the circle you drew in the center of the large circle. 6 Tape one end of the raffia to the inner circle. 7 Start weaving the raffia around the wedges- over one wedge, under the next. Make sure the raffia is pushed tightly against itself so that no cardboard shows through. 8 As you weave, pull hard enough on the raffia so that the wedges bend up gently and the sides of the bowl are formed. 9 When you finish weaving, glue the loose end of the raffia down to secure it. 10 To complete the project, glue a fabric circle to the inside center of the bowl. Making cultural connections; exploring ways communities meet their needs; exploring ways raw materials influence lifestyle; using primary sources (authentic artifacts) to explore culture/history; exploring ways in which the past influences the present; exploring the role of technology in culture; and exploring changes in communities over time. Materials Needed: • • • • • • • Cardboard (not too thick, more like poster-board) Scissors Rulers Pencils Raffia or yarn Fabric Glue What To Do: 1 Cut the cardboard into circles 4–6“ in diameter. Discussion Questions: 2 Draw a small circle in the center of the large circle and color it in. • What do you think that people in Mexico might have used a straw basket for? • Where do you think that straw comes from? • Besides the beads, ornaments and your basket, what other things do you think can be woven from straw? 3 Cut an uneven number of wedges down to the smaller circle in the center. 4 Roll small balls of raffia or yarn for each child. Folk Art Can Be Both Beautiful and Useful Some of the objects in the case are made primarily for practical purposes. For example, the copper pots and the molinillo are used for preparing food and beverages, so they are fairly simple and unadorned. The Huichol bag, the mask, and the maracas were all made to be both practical and pleasing to the eye. Some of the objects are meant specifically for decoration and have no other purpose than to be beautiful, such as the clay owl, the straw ornaments and the necklace. MEXICAN FOLK ART 17 ACTIVITY 7 Make Hot Chocolate Grades 2–5 Related Object: Chocolate Stirrer (Molinillo) Objective: This activity offers your students the chance to compare the recipes and tastes of ancient Mayan hot chocolate with a contemporary hot chocolate recipe. Please do not use the molinillo in the case for demonstrations with real hot chocolate. We recommend using a whisk to simulate the use of the molinillo. NYC Skills Addressed: Making cultural connections; exploring ways communities meet their needs; exploring ways raw materials influence lifestyle; using primary sources (authentic artifacts) to explore culture/history; exploring ways in which the past influences the present; exploring the role of technology in culture; and exploring changes in communities over time. • • • • • • Enough water for each child Enough milk for each child Other ingredients from each recipe Whisk Measuring spoons Grater The Spanish word for chocolate is spelled exactly the same way we spell it in English, but in Spanish chocolate is pronounced “cho-co-LAH-tay.” While whisking your hot chocolate, sing this song: Uno, dos, tres–Cho Uno, dos, tres–Co Uno, dos, tres–La Uno, dos, tres–Te Chocolate, Chocolate, Chocolate, Cho! Discussion Questions: • What differences do you notice between the two recipes? • What is the same about the recipes? Which one do you like best? Materials Needed: • Access to a microwave oven or a stove to heat water or milk • Styrofoam or heat resistant cups “PERFECTLY CHOCOLATE” Hot Cocoa MAYAN CHOCOLATE DRINK Courtesy of Hershey’s Kitchens Recipes Ingredients: • 1 oz unsweetened baking chocolate • 1 teaspoon vanilla (optional) • 2/3 cup boiling water • Ground chili peppers (to taste) • Sweeten with honey Ingredients: • 2 tablespoons sugar • 2 teaspoons HERSHEY’S Cocoa • Dash salt • 1 cup milk • 1/4 teaspoon vanilla extract Directions: 1 Grate the unsweetened chocolate into a bowl and cover it with a little of the boiling water. Mash this mixture into a paste. (The chocolate will not totally dissolve and will have a gritty texture; this is normal.) 2 Add the rest of the water and vanilla and beat with a mixer (such as an egg beater/electric mixer, not the molinillo) until frothy. Directions: 1 Mix sugar, cocoa and salt in large mug. 2 Heat milk in microwave at HIGH (100%) for 1–1/2 minutes or until hot. 3 Gradually add hot milk to cocoa mixture in mug, stirring until well blended. 4 Stir in vanilla. 3 Add the chili peppers. 4 For a more authentic drink, let the mixture cool and then beat until frothy and drink MEXICAN FOLK ART 18 ■ RESOURCES AND REFERENCE MATERIALS ■ Vocabulary Words Correlations with New York State Learning Standards Aztec: a highly advanced civilization that flourished in Central Mexico from 1000 C.E. to 1519 C.E. cacao: a tree native to the Americas; its yellow seeds are used to make cocoa and chocolate. Conquest: a historical term referring to the European (and particularly Spanish) conquest of the Americas from the 15th to the 17th century. conquistador: a soldier or explorer who helped Spain conquer the native peoples of the Americas from the 15th to the 17th century (literally, Spanish for “conqueror”). forge: a furnace in which metal is heated and shaped. gourd: a fruit (often inedible) with a hard rind that can be dried or hollowed out and used to make containers, utensils, or ornaments. hacienda: a large estate belonging to a wealthy Spanish colonist. Huichol: an Indian tribe native to northern central Mexico. indigenous: native to a certain place; often used to refer to native peoples. kiln: a special oven or furnace used for firing (baking) pottery. The activities included in this guide meet the following New York State academic and performance standards for elementary students (K–5): The Arts Standard 1: Students will actively engage in the process that constitutes creation in the arts Standard 2: Students will be knowledgeable about, and make use of, the resources available for the creation of art. Standard 3: Students will respond to, and analyze works of art. Standard 4: Students will understand the cultural contributions of the arts. Social Studies Standard 2: History • Students will explore the lifestyles, beliefs, traditions, rules, laws and social/cultural needs and wants of people during different periods in history and in different parts of the world • Students will view historic events through the eyes of those who were there, as shown in their art, writing, music and artifacts. Standard 3: Geography • Students will investigate how people depend on and modify the physical environment. Standard 4: Economics • Students will explore some ways individuals and groups attempt to satisfy their basic needs and wants by utilizing scarce resources. maize: a variety of corn. Math Maya: a complex civilization that ruled the Yucatán Peninsula region of southern Mexico from 300 C.E. to 900 C.E. Mathematical Reasoning mestizo: a person of mixed Indian and Spanish heritage. motif: a design or decorative theme. Patterns and Functions ELA (English Language Arts) Speaking, Listening and Viewing: • The student participates in group meetings in which the student displays appropriate turn-taking behaviors, offers opinions and solicits another’s opinion, responds appropriately to comments and questions, supports own opinion and expands on the responses of others. MEXICAN FOLK ART 19 ■ RESOURCES AND REFERENCE MATERIALS ■ Where to find out more about Mexican culture in New York City You can supplement your unit on Mexican Folk Art with a trip to the Brooklyn Children’s Museum. We have several school programs related to Mexican culture. See our school program brochure for details. You can learn more about art and culture in modern Mexico at the following museums: ■ Learn more about the ancient peoples of Mesoamerica and see some of their art and artifacts at the following museums: ■ American Museum of Natural History Central Park West at 79th Street, Manhattan 212-769-5100 www.amnh.org Brooklyn Museum El Museo del Barrio 1230 Fifth Avenue (at 104th Street), Manhattan 212-831-7272 www.elmuseo.org 200 Eastern Parkway, Brooklyn 718-638-5000 www.brooklynmuseum.org National Museum of the American Indian ■ One Bowling Green, Manhattan 212-514-3700 www.nmai.si.edu (Check their online exhibition schedule to see what is on display in New York, and look for their annual Día de los Muertos celebration in early November.) 484 Broome Street (between Green and Wooster Streets), Manhattan 212-925-699 See art and objects from the Conquest and colonization of Latin America and Mexico at: ■ You can get Aztec-style chocolate at the following restaurants: Mariebelle Lunetts et Chocolat 25 Prince Street (at Mott Street), Manhattan 212-925-8800 The Hispanic Society of America City Bakery 613 W. 155th Street (at Broadway), Manhattan 212-926-2234 www.hispanicsociety.org 3 West 18th Street, Manhattan 212-366-1414 (City Bakery also hosts an annual Hot Chocolate Festival. Check out www.hotchocolate-festival.com for updated information.) MEXICAN FOLK ART 20 ■ RESOURCES AND REFERENCE MATERIALS ■ Bibliography & Web Resources The following books and websites have provided valuable source material for this guide and may also help you to enrich your experience with the objects in the case. • De Paola, Tomie. The Lady of Guadalupe. Eugene, Oregon: Holiday House, 1980. • Lammer, Jutta. Make Things with Straw and Raffia. New York: Weatherhill, 1974. • Sunset Books. Weaving Techniques & Projects. California: Lane Books, 1974. • Vidal, Beatriz and Nancy Van Laan. The Legend of El Dorado. New York: Alfred A. Knopf, Inc., 1991. ■ All About Chocolate www.fieldmuseum.org/chocolate/about.html The Field Museum invites you to learn all about chocolate—where it comes from, how it is made and how it has been used throughout history. Teacher resources provided. ■ Ancient Mexican Art http://americanindian.si.edu/exhibitions/ancient This bilingual (English and Spanish) site highlights the Ancient Mexican Art collection from the National Museum of the American Indian, exploring individual objects within the collection. ■ Great Masters of Fold Art www.nmai.si.edu/exhibitions/gm This online exhibition at the National Museum of the American Indian explains the processes involved in creating art from clay, leather, metal, paper, plant fibers, stone, textile and wood. ■ Huichol Art www.mex.connect.com/mex-/huichol/ huicholart.html This site contains beautiful images of Huichol yarn paintings. ■ The Huichol Web of Life: Creation and Prayer www.thebeadmuseum.com/huichol Based on a past exhibition at the Bead Museum in Glendale, Arizona, this site features pictures and text about Huichol daily life. It also includes teacher resources. ■ Milagros Mexican Folk Art www.milagrosseattle.com This is the online site of a Mexican folk art gallery. Although it is a commercial site, educators can use it to find examples of contemporary Mexican folk art. The objects are grouped into categories such as pottery, masks, religious figures and Huichol art. The photos of the objects are clear and vibrant, but unfortunately the site does not provide information about the objects or the artists who made them. Brooklyn Children’s Museum Collections Central Online ■ www.brooklynkids.org/emuseum This Brooklyn Children’s Museum’s website features an online database of the objects in our collection. You and your students can learn more about the objects in the case as well as other objects from Mexico by searching Collections Central Online. MEXICAN FOLK ART 21 Acknowledgments Beth Alberty Niobe Ngozi Chrisy Ledakis Tim Hayduk Nobue Hirabayashi Whitney Thompson ■ Portable Collections Series Coordinators Jewell Handy Melissa Husby Special Thanks Nancy Vido, Lead Teacher Advisor, P.S. 131 The Teachers of the New York City Department of Education ■ Funding This revision of Brooklyn Children’s Museum’s Portable Collections Program Guide is made possible by a Learning Opportunities Grant from the Institute for Museum and Library Services. ■ ■ ■ © 2006 Brooklyn Children’s Museum 145 Brooklyn Avenue, Brooklyn, New York 11213 718-735-4400 ext. 170 www.brooklynkids.org For information about renting this or other Portable Collections Program cases, please contact the Scheduling Assistant at 718-735-4400 ext. 118.
© Copyright 2024