Copperworking in Santa Clara del Cobre, Michoacán, Mexico - Artisans Facing Change
This is a modal window.
Das Video konnte nicht geladen werden, da entweder ein Server- oder Netzwerkfehler auftrat oder das Format nicht unterstützt wird.
Formale Metadaten
| Titel |
| |
| Alternativer Titel |
| |
| Autor | ||
| Mitwirkende | ||
| Lizenz | CC-Namensnennung - keine kommerzielle Nutzung - keine Bearbeitung 3.0 Deutschland: Sie dürfen das Werk bzw. den Inhalt in unveränderter Form zu jedem legalen und nicht-kommerziellen Zweck nutzen, vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen. | |
| Identifikatoren | 10.3203/IWF/C-1832eng (DOI) | |
| IWF-Signatur | C 1832 | |
| Herausgeber | ||
| Erscheinungsjahr | ||
| Sprache | ||
| Andere Version | ||
| Produzent | ||
| Produktionsjahr | 1989 |
Technische Metadaten
| IWF-Filmdaten | Film, 16 mm, LT, 587 m ; F, 54 min |
Inhaltliche Metadaten
| Fachgebiet | ||
| Genre | ||
| Abstract |
| |
| Schlagwörter | ||
| IWF-Klassifikation |
Transkript: Englisch(automatisch erzeugt)
00:32
The region around Santa Clara del Cobra was already settled in the pre-Hispanic era by the Porepica people,
00:40
but the village itself was first established by the Spaniards. Franciscan monks built a church and ensured that the village had a craft, copper work. This was in line with the current policy of pacifying and economically developing the region.
01:00
Santa Clara del Coco lies about half an hour south of the Pazcuaro lake in the Mexican federal state of Michoacán. In pre-Hispanic days, Pazcuaro town was a regional and political center. Even in the early colonial period, it was still the most important town in the region.
01:20
Nowadays, Pazcuaro is a tourist center, visited mainly by Mexicans and North Americans. This has had its effect on Santa Clara del Cobra. When I was in Michoacán in 1977, preparing some field research, I stayed in Pazcuaro for some time and, like many tourists, visited Santa Clara del Cobra.
01:45
Santa Clara is typical of the region with its large, wide-rendered mud brick houses and its plaza with a town hall, church and numerous shops. In those days there was a tejaván on one side of the plaza, beneath which the men beat the molten copper into sheets with their big hammers.
02:07
The copper products could be viewed in the village museum and purchased in a few shops. Over the years I was often in Michoacán and in Santa Clara del Cobra and I observed the growing importance of copper wood production, the ever-expanding range of products
02:24
and the increasing number of craft fairs. Government development organizations ascertained that the policy of forming cooperatives was successful here. In view of this positive trend, it was only natural in the framework of a major film project in 1989
02:45
on the crafts of the region to include a film about Santa Clara. This was a portrait of the work of three coppersmiths who had achieved success in the last 30 years.
03:00
In late 1991 I visited the coppersmiths again and showed them a rough cut of the film. I wanted to record some interviews with them about the development of their village, but the economic situation had meanwhile deteriorated so much that it proved impossible to discuss their earlier success.
03:23
Guadalupe Lucas, Pablo Pureco and Hidalberto Ramirez talked above all about the urgent problems, explored the mistakes of the past and reflected on how things might be in future.
03:45
The film is accompanied by their comments. The film was created in the 80s to determine things.
04:03
So there they started using the wood to cut the logs, to cut the frijoles, and this was also the case. The film started in 1950. This was in the 30s. This was in the 70s and the 20s.
04:23
In the 30s, we saw a crisis, a bit of a crash. We are now in the 70s. In the 70s, there was a government that led to the death of Pablo Artezane. From 1970 to 1970,
04:41
there was in 1970 the death of three coppersmiths, three coppersmiths, three coppersmiths, three coppersmiths at the same time. In the 80s, there was the death of three coppersmiths at the same time. Thank you very much, Artezane. We did not understand the support, we organized ourselves well,
05:03
and now we are living through another crisis. In this moment, I have to tell you, 50,000 years ago we went to the hospital. Because there are various factors, one is the commercial.
05:21
The other is the lack of free materials and the lack of costs. I have been here for five years, three years, and I am sure that there has been a recovery in Piedra,
05:42
in which there were some mines that were here. And since then, I have been here for six or seven years,
06:29
and I hope to be able to do a recovery in a couple of years.
06:48
Actually, in a couple of years,
08:00
I have been working in the machinery,
08:02
and the operation of the co-operators has been done. So the co-operators are also a group? They are a group, yes, they are co-operators. The responsibility of the people is limited. It is a character of co-operation, I think.
08:21
Do you work in the co-operators? For people who want to go to the machines. Do you work in the machines?
08:45
Well, not even to the machines, because there are more mines than here. Here, to the machines, it is the work that is most important to the machines. And here, it is more rapid. It is more rapid, and for one year, it is easier.
09:03
Here, it is easier to the machines. When did you work here? In what city?
09:20
I believe it is about 30 years old. Here? Yes. Do you work with your father? Well, no. Before, I had to go to work for 35 years. But after, I went to work and went to his house
09:42
to work for one year. I went to work for the first time in the house. I went to work for him, and he went to his house and the job was to work for the workers. In that time, there were many workers who were in the house. So, I went to the equipment, I got my 200, I got my 500.
10:05
I got a good job, so I decided to go to a good job. I got a 100, I got 500 of them. The maquilas? The maquilas, the number is a maquila, because one goes to the house,
10:20
and the other goes to the house. I got a 100,000 of the maquilas. I started working a lot of years ago.
11:29
I can tell you the idea that, instead of going to the house, and going to work for another worker, I got my 600, I got a 300,
11:41
and then we went to a small, small house that I lived in, so that the workers were able to learn how to do it, and then I got a 600, and then we went to the house here, only 25 or 30 years ago. And for us it was better, because we wanted to do a good job,
12:01
because we knew that the house was not complete. We decided that it would be better if we went to the house, and another worker came, and there were problems,
13:51
but the other one was good, and we worked on it for a week or two, and then we worked, and then we went to the house, and then we went to the house.
14:02
Where and when did you go? Well, we went to the house, and we started to work, and then we went to the house. This is the maquilas, saltillo, monterey, in Nuevo Laredo, rhinosa, matamoros,
14:21
and pueblos that were there, like mollinares, sudavitoria, and rilbrabo. There were a lot of pueblos there, when one went there, and there were the clients. Did you go to the house? Well, to the house, and there were people,
14:42
in particular, who lived in a house or two, in places that had lots of houses, that were not occupied, and the market was very good. I always thought of the chicks, because they had been more dangerous, because they could see more, and they didn't see much,
15:01
or any more, but they were still there, and the ants helped me, and I saw over 300 of them like me, and 50 of them.
18:17
How long does it take to start? 5 years, no?
18:21
5 years? I've done a lot of work in the house. In this time, I've lived in vanderbos. And for the people, I've always been very generous. And I've made a lot of money. I don't care how much I like it. I try to keep it in the house. And for the people, I don't try to keep it in the house.
18:40
I try to keep it in the house.
19:27
50 years ago, I had the house. I had 45 workers. I lived to build the house, for the land, for the car. To build the house. And I'm sorry, it's very different.
19:42
The house is always different. I've lived here for 5 years. For 5 years, I've been living here for 5 years. But for 10 years, I've never been here. I've been living here for the first time. I've lived here for 9 years, 9 years. How much? 200,000 pesos.
20:00
200,000 pesos. And I've lived here for another 25 years. I've lived here for a month. I've lived here for another 20 years. Because we've lived here for a long time. And I've always lived here. But I've never been here.
20:21
I've lived here for a long time. But the good news is that my son has a lot of work to do. He doesn't need to go to the house. He doesn't want to go to the house. He doesn't need us to go to the house. We don't need him to go to the house. And the experience is always there. It's all of the time.
20:46
And all of the time, there's material in the house. Every day, my son goes to the house, and he comes. My son goes to his house, and we have a son, and we have a lot of work to do with him.
21:02
And, in fact, he doesn't go to the house. He just goes to the house to buy a motorcycle. I started to travel to Mexico City to see the places, the houses, and to determine things. These were the things that were most important to me, to the people who interested me in working with a woman here.
23:55
Do you have a woman here? No, we don't. You don't?
24:00
No, I don't. Most of the time, there's a lot of creative characters. However, when you implant them, you become a social service. Because it's very important to establish a new woman to be able to train others
24:20
who are going to the house when they arrive. Do you have work to do
24:47
with a woman? At what age? I'm 7 years old. I don't have any. How old are you? I'm 18,
25:00
and I work with my wife. My time has come. I work hard, and I spend a lot of time working more and more. Do you work hard
25:21
with your wife at the same time? Well, I don't. I work for my father, for my mother, because in this time, we've been very poor. We spend a lot of time
25:56
working with our daughters to help them.
26:01
Here in the house? Yes, here in the house. Maybe in the house, but when I get older, I feel that I need to be separated from my husband. I'm here with my wife,
26:22
and my wife is 26 years old. 26 years old? Yes. And this is my son, my son is a little boy, and he is 26 years old, and he is a little boy. And he's a little boy and he's a little boy.
26:41
I'm a little boy, and he's a little boy. And this is my son, and he's a little boy. I want to have his child work for me, and I want to have his child work for me.
27:03
I work with my children every day, every day, every day, every day. And the most important thing is to work with more people, more people. And if we have
27:20
10 or 12 hours, to go to their house, then we have a lot of work, lots of work, and we have a lot of work. I'm a little boy,
27:43
and I'm a little boy. and I'm a little boy. And I'm a little boy. And I'm a little boy. We're going to work on this.
28:55
When did you start the split with the animals?
29:01
How did you start? Well, there I started in the first place, in the first place. I was in 1975, but now I'm here.
29:39
I was in the valley more or less,
29:43
because, yes, I'm a little boy. For example, I'm going to go to Mexico. What do you want to do? I don't want to do this, and that, and that. I want to go to the castle, for example. And we're going to go to a castle.
30:00
We don't have any money. So I'm going to have a demonstration of the port. I'm going to go to the palace, and I'm going to go to this, and I'm going to interest more.
31:13
I don't want to go there. I don't want to go to the
31:21
possibility of the state to come to the palace as much as possible. I don't want to go to the palace, I don't want to go to the palace. I want to go to the palace, I want to go to other places, but, yes, I'm going to work with them. There, no.
31:41
I'm going to go to the places that I want to go to.
32:18
I'm 45 years old, or 46,
32:21
so I'm going to go to the palace. In those places, I'm going to go to the palace and I'm going to go to other places that I don't go to. And, yes, I've been working for 25, 26 years. This is my friend's committee. As part of
32:40
this time, I'm going to do the same as the original. I've seen the importance of covering the national character. It's the national character of the cover. The first of many categories, more examples,
33:03
of the categories of books, so that the artists can imagine and see other things that are not in front of the rooms of other people who want to explore other things.
34:13
At what age? What age? How old are you?
34:20
How old are you? Do you learn with your father? Yes. Yes, in this time, I've been working for three, four years when a father worked in one of the most traditional restaurants here. I think that in this time,
34:41
as a father, I've been working for 48 years. I don't know, 49 years, I've been working and working.
35:01
I can go to plants with my father, my brothers, and I, brothers. I've been working for 48 years. in a small house in the city of Guanajuato. There are a lot of people that work here.
35:22
We've been working 10 years, about 9 or 10 years, around 9 years. Here we've been working with young people. We've been working
35:46
When I was 8 years old, my father had 10 or 12 work hours from the church of Mr. Manos.
36:01
The house didn't have any cost. The house didn't have any cost. The house always had a lot of money. So, we decided to sell the house. We thought we would sell it today. For that time, I bought the house.
36:22
I bought this house 3 or 4 times with my father. I spent a lot of time with him. The house always had a lot of money. And in that time, it started to feel very good. I didn't buy anything. I broke the house.
36:42
I wanted to live in the city of Bonitas. So, in that way, I could buy a house where I could sell my house, my house and my house.
38:00
We always wanted to pay for the house.
38:03
For the work, for the production. So, we always wanted to make sure that we didn't have to pay for the house in production. If the house wasn't in production,
38:21
you couldn't have it in the commercialization. So, we started to work with the government and explain to them that you have a little bit of inequality in this reform of the fiscal year. Because this is a form of life
38:41
in the state of Michoacán.
42:28
And this is a form of the important characteristics of the state of Michoacán. It is clear that this is a form of life always loved by the organization. Now, I think that the family art channel
42:42
is a little more difficult than the organization. Because they are a group and I think they don't like it. And this is the form of other groups with other characteristics. First, I am a cooperative. Second, we are an civil association. Second, we are a state of art.
43:03
And the other people are a cooperative. And these are the forms that we have been developing a little.
43:23
These are the things that, when you create a group, regularly there is a dependency on the art channel for this point. And this economic and intellectual is necessary.
43:42
When this group started to come together, these people were helping. They were helping. They gave them credit, they gave them money, they gave them something else. And in this way, florists are a big group. But, in time,
44:01
and the examples of government that are helping this group are made with directives. So, in order to work with all of them, for example, over the past few years, it is easier to find one member of the directive that controls the same group. In this way,
44:20
the same group is helping. And florists are helping. Do you think that
46:21
it is more difficult than commercialization? Commercialization is very difficult because, for example, in the economic crisis that was happening in Mexico, one thing that the government did to the public administration and the other thing that was happening, an ideal state
46:40
has not been established, because there is a government and it is a time, and it has to be there for political purposes. And there are others. And every time there is a government, there is a director of art. And there are no politicians, because there are and there are others, and there are others.
47:01
And we are training directors of art every year, every year, every year. In the sense of politics, to be clear, there are a lot of political conflicts. So, that is what has established the commercialization.
47:20
Because it is clear in what respects the art of tourism. The tourists are national tourists or are free? In this time, tourism is the best way to do it. Very national, as a nation. Now, in this celebration
47:41
that has passed in the night of the war, I saw many Mexican tourists and strangers here in Santa Clara, and Pascal, who was super young, or early, or old. So, it is important to note that I believe that the stability and tranquility of social policies
48:00
in our countries, because they depend on us.
48:25
Sincerely, I believe that I have not been able to do these things that I want to do. I have always been able to transmit, and I have always been able to
48:40
transmit myself, and I have always been able to work. I have always been able to transmit myself. I believe that I have seen many people who have learned more from what they have done. And this also is the satisfaction of many people who have lived here, and have been able to make the most
49:02
of the national programs, in a way, in a way, for us.