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"THE HEART OF TUAREG" Part 4.

Yassmine My beloved wife in our tent waiting for me to serve Him, ceremoniously as usual as I usually do, the fragrant tea. Before I saw the draw, a small trunk, the cups you save for special occasions. Colored glass are very vivid colors and decorated with floral naive. And today is a big day has finally come to visit our firstborn Yussuf. The eldest of six children has reached a few hours ago, from Paris, where she lives for many years. Sometimes we visit with his wife and two children, but this time it has done and although we only penalty for not seeing our precious grandchildren, his mere presence gives us comfort.

All our children and grandchildren suffer a painful diaspora, exile and compulsory embarrassing those that have not, do not even home. How hard is the life of the desert ...! But how much more bitter and poignant life is when there is no sand, no vision of the endless dunes and meandering to a impoverished tent ... It only hunger and misery, and eternal despair, hope to our people, those people that nobody and remember, it seems that neither exists ... the Saharawi people.

And to think that one day we were lords and masters of the desert ... anything or anyone to crush the men and women in blue, who lived by their own laws and concepts, under the banner of freedom ... But now the sad reality leads us to the status of beggars, beggars of land and bread, sand and water survival and allow us to but ... what's left? The diaspora as the only way, the breakup of our families, our tribes and clans, of our society and therefore, our culture. A whole history lesson of sacrifice and, above all, of blindness, blindness obscured by the rest of humanity that allows such atrocities without the slightest blink.

CONTINUED ...

Painting: "The duo, Gyula Tornai (1861-1928).

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immediacy and remoteness.

.
many times we worry about the details, we lose sight of the whole, and that's where the answers to the problem of the details.

life and work of Mexican and foreign photographers involved in the hazardous years of the Mexican revolution, is so little known, often nearly forgotten, that focus on the details, like a picture or other documents, terms for giving results with myopia. We must move away to receive the joint and from there return.

In this case, all the records conform Artistic and Literary Property, and the protected rights of Gutierrez HJ. Previously published: "HJ Gutierrez, Artistic and Literary Property, May 11, 1911 " where realize how involved the 16 images were made a year before 1910.

The second group of records is done on 22 May 1911, with 15 images ranging from the number assigned by the author of 17 to 31. The first thing to differentiate with respect to other records in Artistic and Literary Property, is the duplicity of them. We do not refer to the copy guard remained in the Ministry of Education, and National University, but two parallel records.

SINAFER, inventory number 373999, postal n º 31.

The first record is documented with pictures with registration number, ranging from 1292 to 1306, the General Archive of the Nation retains the 15 postal foliated, although in the register published in the Bulletin of Public Instruction, all are assigned a label, copies of the AGN is not well, just are numbered with lyrics Palmer from 17 to 31. From the same series, the collection protected in the Casasola archive contains 11 copies but without leaves. Might assume that Augustine V. Casasola collected at some point the 15 images.

No 26. Vanguard entering C. Juárez. Gutierrez picture is Prop. HJ. M. Mexico Retes, A. C. Escobar File.

The second set is exactly the same, same number of postcards, from 17 to 31, but with record labels and given to "HJ Gutiérrez M. Retes. " The AGN 4 images preserved in archive Aurelio Escobar Castellanos was 6 again, and fortunately several of which can have 10 pictures in the series.

Apparently all the pictures correspond to the afternoon of May 10, 1911, the day of the capture of Ciudad Juárez and Madero troops. But do not appear arranged in a strictly chronological. Let

details, other pictures are recorded on 22 May, we can expect at least these came to Mexico City the day before the 21.

If the operator of the same was Aurelio Escobar C., the could send an assistant or take them personally. To clarify the point we have two data, there is an absence of photographs, "HJ Gutiérrez" or "A. Escobar signing treaties marked Juárez on May 21 ... A. Escobar portrays the crowd outside the Chamber of Deputies waiting for the resignation of President Diaz on May 25. A. It was

Escobar carrier images, and can give us another clue to why the first recorded photographs are not labeled, the record was done very hastily, could even think of your material on the same day 22.

The days of the end of May 1911 were a hive of information, feelings, and action for both reporters and photographers. Aurelio was just no hurry to deliver their precious cargo, was delayed ...

Why do we say this?

In the next set of records, from June 2, 1911, there are 7 images in three groups: Pictures No. 32 and 33, are portraits of Francisco León de la Barra, the day of his inauguration as interim president, 26 May, the following two n º 34 and 35 are the 25th, Diaz's resignation, and the last three are related to General Gabriel M. Hernández.



For the June 2, Aurelio Escobar was somewhere between City Juarez and Piedras Negras, on June 1 saw the departure of Francisco I. Madero at Ciudad Juárez, then had to leave Mexico City between 28 and 29 May, and Gen. Hernandez was in Pachuca, Hidalgo ...

Gen. Gabriel Hernandez Flores Nicolás Rubio company had taken no resistance from the town of Tulancingo May 15, 16 takes control of Pachuca, and acting as substitute governor Ladislao Pedro Rodriguez to Mr. Joaquin Gonzalez, 21 May. (1)

There are two likely scenarios to portray Gen. Hernandez, the first May 21 or before, the second between 27 and 28 May I bow to the first.

The significance of the fall of the city of Pachuca in the hands of the timber, for its proximity to Mexico City, and dismissal of the governor of Hidalgo, even before the resignation of General Diaz, was an event meriting a stopover. Also between 27 and 28 May, Aurelio Escobar, probably visited Cuernavaca ...

other hand through his photographs in Ciudad Juárez, Aurelio Escobar attests to the presence of the filmmaker Antonio F. Ocañas, according to Miguel Angel Berumen in "1911, The Battle of Ciudad Juárez / II. Images, "Ocañas could have finished his work around the 15th of May, as for 18 was back in Mexico City. Escobar therefore also returned to Mexico City on a similar date, May 18 ...

Let another detail, January 30, 2009 in a small note: "Ten Tragic , Gutiérrez-Retes. "mention the relationship between the characters Heliodoro J. Miguel Gutierrez and Retes, delve more about Retes.

The Printing and Stereotyping of Retes, Recreation Street No. 45, Mazatlan, Sinaloa, was the old printing press founded in 1861 by Don Pablo Retes, and inherited by his son Michael in 1884, place of birth of Mazatlan newspaper "The Evening Mail ", with a wide reputation secured for 1900, both economic and editorial for its superb quality.

Miguel who was ruler of Mazatlan's constitutional council in 1877, 1883 and 1884, for 1897 provides newspaper, printing and stationery to the corporation organized under the name: Printing and Publishing House Retes Miguel y Cia. Mazatlán, Sin., With a declared capital of 22,000.00 pesos. (2) Nayarit

appears also in a newspaper, the first state of "Lucifer", 1884, published in the press of Don José M. Retes. (3)

The editor landlord could claim to have one of the workshops better equipped to Mexico, the duration is short-lived company replaced in 1898 by another involving Damy Eugenio Miguel Retes and others, where the capital had risen to 42,459.75 pesos. Both the press and the newspaper are sold in 1905 and Francisco Avendaño Andres Valadés. (4)

The economic and political dominance Miguel Retes in his home state, would be in the group of distinguished Porfiristas they would take sides with the reyismo, and the opposition candidate for governor of the state of Sinaloa Jose Ferrel, 1909 . Ferrel was nominated by the Democratic Club that was formed Sinaloa Mazatlan and was comprised of journalists Francisco Valadés and Heriberto Frías, Damaso Soto, Miguel and Andres Abendaño Retes.

Ferrel would be defeated through fraud imposed by the system, despite having majority support.

Evening Courier, and under the direction of Heriberto Frías, will have direct contact with Francisco I. Madero, allowing the publication of their manifestos and proclamations. Madero Sinaloa visit in November 1909 seeking the support of the leadership Ferrel. The Courier afternoon had become one of the most important newspapers outside the city of Mexico for various technical reasons, since 1892 was considered a worthy competitor to the best United States, and the most modern of northwestern Mexico. One feature that makes it even more special in relation to other organs of the press at the time, your position is critical of the rulers in general, with the exception of Porfirio Díaz.

detachment by Miguel Retes the newspaper El Correo de la Tarde, not away from the smell of ink, following the publication of books in Mazatlan Printing and Publishing House Company Miguel Retes and Successors. Which we find a place in Mexico City in the alley of the Holy Spirit 6, the press later moved to the streets of Isabela Catolica. How

we understand the relationship Gutiérrez-Retes, pragmatic union to do business ... the economy class would give a lesson Sinaloa pragmatism similar to the Mexican republic, not only to feed the revolutionary machinery, especially since 1913, but for increase their profitable businesses during the conflict. Miguel

Retes was not merely a pragmatic man, so was political commitment, working and investing in time for timber once the reyismo stopped being a viable option.

Is the relationship Gutiérrez-Retes a sign of economic pragmatism and political commitment? In

If so we could better understand the prevalence of home photo "HJ Gutiérrez" during the Madero revolution and during the subsequent government. And Aurelio Escobar Castellanos exile during the dictatorship of General Victoriano Huerta.

Colophon.

On May 12, 1911, Miguel Retes artistic property recorded in the following cards: No. 1. Projection of the shadow of Francisco I. Madero. 2. Projection of the shadow of General Porfirio Díaz. ,, 3. Projection of the shadow of Don Benito ...

Mexican Collection of old postcards, UACJ.

(1) History of Hidalgo state minimum, written by Juan Manuel Menes Llaguno, 2006.
(2) The press in Sinaloa during the reed beds, 1877-1911, written by Jorge Briones Franco 1999.
(3) Mexico, history of constructive evolution, written by Félix Fulgencio Palavicini, 1945.
(4) History of Mazatlan, written by Arturo Carrillo Rojas, Guillermo Ibarra Escobar, 1998.

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"THE HEART OF TUAREG", Part 3 (by Jesus).

One cold February morning, I found myself faced with incredible eyes, staring defiantly mine. At that time the world stopped for me, I thought I saw other places through their eyes ...

He was a handsome Tuareg. With a natural charm to conquer the soul, a difficult distinction to explain the times. Similar to an old gentleman with an elf but especially between the mystical and magical ...

Since that time, the looks, games, flirtation and constantly look for was a back and forth from one side the other ...

Whenever I had a chance to call me or near me. I called "his Yassmine" ...

Although I was sure I liked my situation prevented me from taking a step. But he did, he was a Tuareg crazy, and yet decided to go for me ...

The day I first kissed a tent behind the almotacén, by Allah, the day he kissed me I thought I touch the sky. Her lips were the sweetest thing, sweet and hot had ever tasted. It seemed that those lips would kiss the first time with much feeling. His big hands around my waist, and came to feel lightheaded, as if we were a thousand light years away. At that moment, at that moment, just when his lips touched mine, I realized I had spent a lifetime seeking his black hair, his dark skin, his kisses, his touch, his breath. And I promised myself that if I let near him, he would touch the sky, because without it life would not be life ...

CONTINUED ...

THIS ISSUE HAS BEEN WRITTEN BY JESUS, MY PARTNER FROM OTHER BLOGS.

Painting: "Bedouins" (Bedouin), 1906, John Singer Sargent, The Brooklyn Museum. New York, United States of America.

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among the cornfields. Quest photographer

. From children
human beings have a fascination for making drawings in the sand, sidewalk or any wall, who have not scolded for it ...?

When man felt the need to communicate in any lasting way, not only relying on your voice and memories, appealed to the drawings, in support of the collective memory, and gradually drawing providing the practical meaning, invented pictograms and then writing.
charm
Our artwork is now in the new era of communication emoticons invade us, and for many comics (Mangas) are products of necessity, for any child a book without pictures is no book and not buy a newspaper or magazine without photographs.

Photography has further entrenched in our imagination, it is synonymous with both reality and truth. That

naive expectation and often false. But our subconscious mind easily falls into the trap, especially that we tend advertising.

Advertising is as old as humans, although some will want to date and name of its creator. And it has been repeatedly used as a means of manipulation and political weapon, as real weapon of human conflict at all levels. Consider a case

dedicated to the shoe, having its origin in the characters and historical events, and ultimately become advertising.

In 1943 the historian Anita Brenner published his second book, The Wind That Swept Mexico. Anita, Mexican by birth, he left Mexico in 1910 to be educated in the United States, devoting much of his life to writing about culture and history of Mexico during the time they have expressed many comments about his book and its images, for the impact it has generated, date is a reference by many and continues reprinting.


The photographs for the book were collected from various sources by George R. Leighton, assisted by the same Anita among others. In many cases the original images were "cleaned", which means not merely to remove dirt and put them in their original state, on the contrary were sometimes retouched by Walker Evans. Which could be interpreted as a rewrite visual, with a preconceived idea and according to the text, and do not talk about reality, and if advertising. Here is an argument for opponents of the book. Book is not strictly historical in content, is a social voice, a group with vested interests in a specific historical context.

One of these 184 photographs, the 103 is the next one, credited to a correspondent for "International" and won worldwide fame, sometimes known as "Among the Cornfields."


the bottom of the photograph on the book by Anita Brenner reads:

Zapata boy's swarmed over the Cornfields of Morelos, Women With Their Seizing them ... the farms, breaking open the safes and burning the deeds and the papers ... Land! Land! Land!

Zapata Boys swarming among the cornfields of Morelos, their wives with them ... taking over the farms, opening safes and burning the writings and papers ... Earth! Earth Earth!

The idea raised in the text is biased, is not merely descriptive or bibliographic note. Moreover, the manipulation of Leighton is in the cloudy sky that gives more intensity to the scene according to Alvaro Matute, "Sergei Eisenstein's influence hovers over the work of Brenner." Well to be real the image prefigure those of Gabriel Figueroa 18 years ago, but neither real nor overcast, Anita Brenner is clear, says: "burning" (burning). Anita Brenner

not mean that ... or yes, and the image manipulated with a column of smoke rising from the hull of the estate (it's not a cloud), gives another meaning to the phrase: Opening the safes and burning deeds and papers ... Earth! Earth Earth!

What is the underlying idea: the ephemeral nature of land tenure as the smoke is dissolved, the possession of land by force, the homeless people who need to act by violence, lawlessness in a state without the right ...

While the text of Anita Brenner is in line to hurt people and policies justified by some military humanitarian who fought the Zapatistas as: Victoriano Huerta, Juvencio Robles, Aureliano Blanquet, etc., is the real picture and according to this ...? Let

reality, the picture corresponds to record 64 102 INP United Press International Photo, which was published the following note: "Zapalists and camp followers on the march to Xochimilco. Mexico/8-15-14. "


Where should we understand "Zapalists" as the Zapatistas, and it is curious to see the inclusion of the English word "go."

Sometimes the photo is credited to "Vargas" and also "Victor Kubes."
For example in the book: Mexican soldaderas and Workers During The Revolution: an exhibition ..., University of California, Santa Barbara, 1979, the picture with the caption: "Photograph Zapatistas and Milpas - 1 1" х 14 "VARGAS. Photographer. Active in Mexico During The Revolution. Renowned for historical photograph of Zapatistas on the march. ... "

De Vargas have not found any other information that tells us who he was, Mexican photographer ... abroad. Victor

Kubes, apparently visited northern Mexico during the revolution, and subsequently brought another revolution, the Russian.

In recent days in an eBay auction appeared a copy of the image, with an entry price of $ 69.99.

In reverse written in pencil reads:

" after arrival
... Revolutionary forces converged on Mexico City, forcing Huerta's removal & surrender. Peace
after 18 mon. of ... "Returning south Xochimilco Zapatista-town south of Mex. City-strategic & ... Where
met Villa & Zapata ... "

The writing is so tiny and complex it is very difficult to read a whole is about half the font size of a typewriter. Nor can we define in a clear if the note in pencil to photography is contemporary, or later. However, both notes relate to the image to Xochimilco in 1914.


The August 15, 1914 Álvaro Obregón enters Mexico City, the same day of collection from Cuernavaca by Emiliano Zapata. The winning entry to the city of Mexico of the Constitutionalist Army to Venustiano Carranza front develops on 20 March.

Carranza troops will maintain control of the town of Xochimilco, point to be made for discussion at the conference held in late August between the envoys of Carranza, Villareal, Cabrera, Sarabia, Dr. Atl, etc., with the leader Suriano. Zapata sought as a gesture of goodwill the reintegration of Xochimilco Zapatista area of \u200b\u200binfluence. From which we infer the data provided in the image: "Mexico/8-15-14" is not real at all, the Zapatista presence on that date in Xochimilco is not accurate, nor can we identify the skyline on the horizon the Convent of San Bernardino of Siena.

exconvento identification, we can not achieve by the diffuse and small detail, but not invalidate it, photography can be represented according to the written information to the sequence of events developed in the south of Mexico City between August and December 1914. Specifically, the Zapatista movement groups to the Mexican capital.

"On 13 August, desperate for food depletion, the feds were able to take out of Cuernavaca, carrying relatives of employees, merchants and some individuals who do not want to stay in the square. The going was slow for the rebel offered and civilians, many of which were carrying loads, and others in a carriage, on horseback or on donkeys.
By way through the revolutionaries in the south retreated to offer greater resistance to the quota on the run, he barely left the place I was attacked by flanks and rear. The feds lost their artillery and ammunition trucks had since fallen into the hands of their attackers in the slope of Death, between Cuernavaca and Temixco. "

Magaña, Gildardo. Emiliano Zapata and the agrarian reform in Mexico. Volume IV, Chapter X, The making of Cuernavaca.

The passage we just read is key to the concatenation of historical facts and photographs.

Aurelio Escobar Castellanos, photographer agency "HJ Gutiérrez" had been the second half 1913 in the United States and returned to Mexico on a date not yet set in 1914, but its photo archives are a series of images of the costs of Death, collecting corpses, many shoes, and federal trails Cuernavaca military file scattered over the hill, artillery and abandoned cars being captured by the Southern Liberation Army ...

There is also a picture of Emiliano Zapata, probably in front of the cathedral of Cuernavaca on horseback and beside Dr. Atl . Tomas Moctezuma inside the hotel with the general and other members Serratos Zapatistas ...

In another series we see Aurelio Escobar C., according to his taste for more elevated position your camera view so as to achieve a large pan. Before him a wide valley, with a single elevation on the horizon, the cornfield ready for harvest, in an earthy edge path, first looking to the right and after a number of shots on a contingent of returning Zapatista to his headquarters, turn the camera on the left, then forward their point of view to capture the group taking a break again.

Photo credited to Aurelio Escobar Castellanos.

The decision published in The Wind That Swept Mexico, fits perfectly into the film sequence is the same landscape, the same point of view, the same historical fact, the same photographer ...

comparative assembly, which is appreciated not only the temporal change of circumstances, but also deliberate modifications. A. photography Escobar is a postcard, the format used by Brenner is 11x14, and 8x10 International. The disparity may suggest that the latter two are amplifications, and the original format was 5x7.

The growth cycle of maize from 120 to 160 days depending on the species and geographic area, if it were shekel planting spring-summer harvest would be August.

Photography "from the cornfields" could be made before the capture of the city of Cuernavaca in the early days of August 1914 near Atlacomulco Jiutepec, Morelos.

The reality is different, the way invalidated between Brenner, Evans and Leighton ...

The two realities were, terrible excesses and men will to solve the problems, but often prefer to lend weight to one side and ignore the other.

Between the cornfields, on the one hand shows a rural society of the state of Morelos, working, in spite of the difficulties of the armed conflict, on the other the assembly of forces before Cuernavaca fall and end the government of General Huerta, the pre-short period of time where you thought of a possible peaceful settlement between Carranza and Zapata.

the same way as with the words, with the images is important not to get them out of context, to speak clearly. And do not forget that photography is not an inanimate, which comes to life and will, not always do what we want.