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Belize, Costa Rica, Cuba, El Salvador, Guatemala, Honduras, Mexico, Panama, Nicaragua and Ruta Maya.
A historical exploration of events and daily life in Mexico City in both ancient and modern times.
These brand-new or newly updated guides feature the authoritative and detailed coverage characteristic of all Footprint Handbooks. The authors are experts who have lived or worked in the countries they write about, and their prose will inspire readers to enjoy traveling as much as they do. -- Hands down the most current and authoritative resource for maps and vital global information -- Packed with up-to-date information, including highlights of virtually every town and site -- Includes money-saving tips, advice on staying healthy, and anecdotes on local history, culture, customs, and etiquette.
As the Great Depression touched every corner of America, the New Deal promoted indigenous arts and crafts as a means of bootstrapping Native American peoples. But New Deal administrators' romanticization of indigenous artists predisposed them to favor pre-industrial forms rather than art that responded to contemporary markets. In A New Deal for Native Art, Jennifer McLerran reveals how positioning the native artist as a pre-modern Other served the goals of New Deal programs—and how this sometimes worked at cross-purposes with promoting native self-sufficiency. She describes federal policies of the 1930s and early 1940s that sought to generate an upscale market for Native American arts and crafts. And by unraveling the complex ways in which commodification was negotiated and the roles that producers, consumers, and New Deal administrators played in that process, she sheds new light on native art’s commodity status and the artist’s position as colonial subject. In this first book to address the ways in which New Deal Indian policy specifically advanced commodification and colonization, McLerran reviews its multi-pronged effort to improve the market for Indian art through the Indian Arts and Crafts Board, arts and crafts cooperatives, murals, museum exhibits, and Civilian Conservation Corps projects. Presenting nationwide case studies that demonstrate transcultural dynamics of production and reception, she argues for viewing Indian art as a commodity, as part of the national economy, and as part of national political trends and reform efforts. McLerran marks the contributions of key individuals, from John Collier and Rene d’Harnoncourt to Navajo artist Gerald Nailor, whose mural in the Navajo Nation Council House conveyed distinctly different messages to outsiders and tribal members. Featuring dozens of illustrations, A New Deal for Native Art offers a new look at the complexities of folk art “revivals” as it opens a new window on the Indian New Deal.
An index to children's craft books published since 1991. Provides a guide to craft instructions alphabetically by project, or by type of material used.
Folklore Recycled: Old Traditions in New Contexts starts from the proposition that folklore—usually thought of in its historical social context as “oral tradition”—is easily appropriated and recycled into other contexts. That is, writers may use folklore in their fiction or poetry, taking plots, as an example, from a folktale. Visual artists may concentrate on depicting folk figures or events, like a ritual or a ceremony. Tourism officials may promote a place through advertising its traditional ways. Folklore may play a role in intellectual conceptualizations, as when nationalists use folklore to promote symbolic unity. Folklore Recycled discusses the larger issue of folklore being recycled into nonfolk contexts and proceeds to look at a number of instances of repurposing. Colson Whitehead’s novel John Henry Days is a literary text that recycles folklore but does so in a manner that examines a number of other uses of the American folk figure John Henry. The nineteenth-century members of the Louisiana branch of the American Folklore Society and the author Lyle Saxon in the twentieth century used African American folklore to establish personal connections to the world of the southern plantation and buttress their own social status. The writer Lafcadio Hearn wrote about folklore to strengthen his insider credentials wherever he lived. Photographers in Louisiana leaned on folklife to solidify local identity and to promote government programs and industry. Promoters of “unorthodox” theories about history have used folklore as historical document. Americans in Mexico took an interest in folklore for acculturation, for tourism promotion, for interior decoration, and for political ends. All of the examples throughout the book demonstrate the durability and continued relevance of folklore in every context it appears.
Popular eCommerce platforms like Etsy have attributed to a sharp increase in creative craft entrepreneurs, and craft entrepreneurship has strong links to the cultural and lifestyle field. This timely book looks at craft entrepreneurship and defines what qualifies as craft entrepreneurs and their products in a global context. The edited book begins with an overview of the craft sector and each chapter provides a holistic picture of what craft entrepreneurship entails. Different kinds of creative crafts are examined, providing a discussion of what entrepreneurship in creative crafts involves, how they differ from other types of products, and how craft makers may engage in entrepreneurial behaviour and marketing. The book helps readers understand the current state of development of the craft sector, its various challenges, and what the future holds for these businesses. Craft entrepreneurship is a new, emerging area of entrepreneurship study, and this book will interest scholars and those who are interested in craft making and wish to develop it into a small business.