Apropiación cultural (conferencia en Tempe, Arizona) 1 de marzo 2024

0:00 I cannot, in fact, start a lecture, because we always start the program every Monday at ten o' clock in the evening with the voice of the graduate Doris. So I' m going to ask you to please open up today' s show, which is recording a licensed Asendo just ahead, I stopped Arizona pure Radio a station to share well, as well as thanked you. I also have a complaint to make. I' m gonna complain about our Seed friends right now. Yes, for the following, notice that they usually ask us for historical themes about the history of Mexico, well, but the friends of Seeds always ask us for theme that has to do with history, obviously, but themes with another connotation. We' ve been here in Phinesis before. We are talking about the American intervention, about the war Mexico, a complex issue and a delicate issue. Then by Zom we talk about the conflict between Palestine and Israel and this time they propose that we talk about cultural appropriation. Maybe they could have told us. Talk about the Mexicans or talk about viceroyalty, about the Revolution, not cultural appropriation. So this alleged complaint really isn' t. Because of this because analyzing is the problem

1:32 they are seeing, it is the problem that you are living. Then I really thank you that you do put us a little bit to study all this, because maybe we, on the Mexican side, don' t realize this. Maybe we' re not realizing, and not because it' s not happening, but because you' ve been incredibly more aware of what' s going on than we are there. Here comes my thanks for your concern to all of you. The issue of cultural appropriation is complex, but it is something that is happening and very strong, very strong is to worry. So, thank you, seeds, thank you for getting in trouble and getting to study and let' s talk about this topic. I want to start with this first image. I want us to analyze it well. This text is by Milan Cundera, a very large figure of the 20th century and let' s analyze what he says. To wipe out the nations, the first thing that is done is to take away their memory, destroy their books, their culture, their history, and then come to someone and write to other books and give them another culture and invent another history. Then the nation, generation after generation, slowly begins to forget what it is and what it has been.

3:07 And the surrounding world forgets it even much earlier. How strong, what Milan Kungray tells us, how strong. But let' s analyze it. To liquidate, that is, to destroy a nation, the first thing that is done is to take away their memory. It' s happening right now. I went out here in the hallway and suddenly I loved seeing that table full of history books. It' s full of history books. This is what they are taking away from us as a nation. They' re taking away our history, our culture. They' re taking him away from us. They take away our texts, our books and tell us another very different story. For what, to liquidate us, to liquidate the nations. Then the nation, generation after generation, slowly begins to forget what it is.

3:58 Friends. We' ve been forgetting. What we are, we' ve been forgetting. Then, thanks to events like this, memory is perpetuated. It' s good that adults come, but it' s good that the little ones come, it' s good that the children come, because they ' re the ones who are going to inherit our culture. Then we see the importance of this text from Milan Cundera, and then we will enter with this same text. I' ll finish at the end. It' s going to be the last slide, too, because we' re going to understand why this says Nilancundera. This is Mexico, Friends, this is Mexico. In Mexico we officially have sixty- three ethnicities. This is sixty- three original peoples. One says son is enough sixty- three to them, but what do they think was more than three hundred. That is, we have lost almost eighty percent of our original population. Eighty percent has been lost.

5:02 Yet we remain a very rich country, rich in folklore, in culture, in traditions. But I' m telling you, we' ve already lost eighty percent. Then languages have been lost, traditions lost, customs lost and yet we are still extremely rich. But they want us to forget all this. Well, I want to start by telling you a story. This story is found in a small book, in case you want to search for it, you find it in pdf, on the Internet. It' s called a Mexican story basket. The author is Bruno Traven who is a mystery again. In the end it turned out he was American, but he was thought to be German, etcetera. There was a lot of mystery through Brunold Traven' s life and I want to tell you this story. I don ' t know it completely. I didn' t memorise it in a gross way. I' m going to tell you, but I want you to analyze it. Friends, take a good look at this story and talk to us again. In this story he says that an American who was an entrepreneur is suddenly visiting Mexico and is going to give to Oaxaca and there, in Oaxaca he arrives to a small town. In that small town, touring the streets, he meets an old man who is squatting at the door of his house and who is weaving baskets with different ex placon material. He' s

6:41 knitting them Then he stays watching the baskets. He borrows one and observes that each little basket does not have a printed image, but that what is seen on the outside is seen on the inside. This is that each fiber was unique, and each fiber was assembled in the basket. Then he finds it interesting and asks him how much your baskets cost. As soon as you give them, I don' t remember the figures well. I' ll give you an average number and he grabs and says every little basket costs you sixty cents. Then it was very cheap. Compared to the Mexican dollar sixty cents, it' s practically nothing. It' s very little. Then they call his attention and decide to buy him ten baskets. He travels to the United States in New York, where he lived, passes or there' s going to be a candy store and at the candy store he talks to the owner and says," Look, I have this idea, why don' t you sell your candy in these baskets. It' s going to give him a very nice package and besides, well, they' re going to sell you more, etcetera, etcetera. The man who owns the candy shop keeps looking at the basket and says that this is a piece of art, because every fiber is accommodated in its place. There' s nothing painted.

8:13 The fiber was painted earlier. He says I' m interested, but I need you to make me 12, 000 baskets. They say how much you ' re gonna pay me, and he says," Look, I' m gonna pay you four bucks for every basket" When he was going to buy sixty cents like that. So they make a contract, he' s gonna make thousands and thousands of dollars out of this business. He goes back to Mexico, goes back to Oaxaca and meets this gentleman and tells him what I come to propose to you a business. He says to tell me what business he says He says how much they give me the baskets in sixty cents.

8:54 If I buy you ten, it' s six pesos. I' ll give you sixty cents and what if I buy you a hundred, ah wow if you buy me a hundred good, because if you buy me a hundred, I' ll give you a weight each. So the American says don' t wait I' m buying you. A hundred yes. That ' s why he says if I buy you ten, you give me the sixty, and if I buy you a hundred, you give me the one weight yes, well. And if I buy you a thousand and raise the poor man this thinking says no, for I have no answer. They' re numbers he didn' t calculate. He says why he doesn' t come tomorrow and I tell them as soon as I give them to him the next day the person arrives and he says you already thought well about what I told you, yes, as soon as you' re going to give me every little basket, I' ll give it to him in ten pesos each.

9:45 He says no. No, don' t wait. It can' t be that you' re raising my price when I' m going to buy you so many to see if I buy you 12, 000 in how much you' re going to give me. No, well, 30 pesos each. So in the sound and he' s not going crazy, because this guy doesn' t understand, he doesn' t have logic. If you' re buying him 12, 000, you have to give it to him cheaper. Then you don' t understand. He says to see, but why and this man explains words to him more words less says because I take every little basket at least good to make you a dozen baskets takes me at least a week because I have to go to the Mount. This fiber doesn' t rip out anything else because I do have to look for it on the Mount. Besides, I have to cut it right when the moon is growing, so that the fiber softens and doesn' t harden. Besides, I have to find the cochinilla so I can get the color out and wait for the cochinilla to be fresh. And start explaining the whole process and tell him to do it for me. This would take me forever and my life would go away to make you baskets apart. I wouldn' t take care of my milpa anymore, I wouldn' t take care of my goats anymore. He says he wouldn' t take care of my family anymore.

11:11 My family could starve to death, but you don' t realize that with the money I' m going to pay you you can buy a lot of animals and it' s more and they' re so many baskets. You can hire a lot of people to do them and who' s gonna take care of the animals of all of them and who' s gonna plant the land. I mean, I' m selling you my life and that' s what my life is worth. Then the American gets angry, sends him to fly and turns completely failed to the United States. That' s the first Mexican story basket story. But that teaches us how our mentality is. While the American sees all money, money to do business and here I earn so much and that I lower him here, that he goes up here, she is seeing that, while our native peoples saw in each basket a simple basket, a work of art and they were leaving their life, pieces of their life in every work of art, while the others were used to doing it all in series and all the same. And today we' re going to mention, for example, the leles dolls that there isn' t one identical. This is the secret of the Queretan dolls. Lenile dolls will never find one equal to another. They never meet. They' re all original, so they' re unique pieces, while the ones they' re marketing

12:43 already make them in series and they' re all identical. So I wanted to start this practice. Precisely with that, our artisans are not producing anything else. They are leaving their lives, they are leaving their breasts, they are leaving their culture, they are leaving their experiences. Every piece we buy from a craftsman comes his life there, so they have a different value. Why all this because of what we' re going to see next, Mexico is a very, very rich country, let' s go. I' m not a religious person, but if I believed in God, I say, " Wow, how he blessed Mexico" Oh, God. We are still the world' s first silver producer and we have taken out and taken out silver and flooded Europe with our silver. And in the viceroyal period, the silver coin, the silver coin that circulated almost all over the world was the Spanish coin that was made of Mexican silver. What' s more, the famous dollar symbol. When the United States became independent, it continued to use the Spanish currency. Of course, the currency used here for up to a hundred years After independence, the United States made the dollar. They, that is here the United States a hundred years used the good Mexican viceroyal currency.

14:09 Moreover, the emblem of the Spanish coins had the Hercules columns two columns. Look at those coins and it' s got two columns. That' s why the dollar is written with a s that' s silver. This is silver with two columns and that' s why it has two little rays. To this day, two thousand twenty- four are still in their currency. Recognizing that the origin of the currency in the United States was the silver of New Spain and our currency, which was made in Mexico, circulated throughout the East. With the Manila Galeon. It was the best quality silver.

14:50 I don' t rest with these merits to Peruvian silver and Bolivian silver, but where more silver was minted it was here and one would say, because that silver is going to end. We are not still the first country to produce silver. See how I mean us as I tell you. Although I am not religious, I have to acknowledge the blessings God has given to our land. We were on the table the previous time and I like to mention it the Mexican tuna and that every time there are problems with the United States, the first thing they do is punish our tuna. And one says well what the Mexican tuna has, because the Mexican tuna, what it has is that the Soban females in the polar circle over Alaska of Soban and the tunas are that small and begin to migrate the tunas and begin to go down the whole coast. Yes, and as they progress, they grow. And when they pass through Canada, tunas are already that size, because they are growing.

15:52 And when they pass in front of the United States, the tunas are already this size. And when they pass through Baja California, tuna is like this. And when they get to Oaxaca and Guerrero, the tuna is huge. It' s not our fault. They can' t fish in the grave, in the polar circle because it' s been small. However, our coasts tuna is huge. That' s why our tun is so cheap. We have a lot of tuna and I always tell you that there is an economic pressure, then it punishes our tuna because we sell our tuna very well I tell you our land has absolutely friends our archaeological zones. In Mexico we have one hundred and seventy- two archaeological zones that we can visit, which are open to the public, are Amaya, the central area, the North, etc. One hundred seventy- two, one hundred seventy- three.

16:48 They know how many archaeological areas are still uninvestigated and are underground. Yes, the National Institute of Anthropology and History has catalogued more than 40, 000 archaeological sites, more than forty zero. This means that our past is still buried. Hey, there he is buried in our past. Then all this wealth. If what we see impresses us now, imagine what is down there is more, this whole cultural heritage belongs to all of us. It belongs to all of us are our ancestors. A moment ago, one of our visiting friends here taught me, did his DNA test to see where he was coming from and stopped showing it to me on his cell phone and has also native offspring of these. Good from America. So we all come from here by a lot, we almost prevented from here and we have to tell you more than forty zero archaeological areas still buried. Imagine everything that will be there, our history, well I was talking to you about our cultural diversity.

17:56 Sixty- three ethnicities recognized here only a small sample of them. B lacandons, otomies, huicholes, coras. And we can go on and on and on? And go on? All of them, each of these peoples has their own tradition, has their own customs, their own history, but they have unfortunately taught us to be ashamed of our history. What' s more, we use the word Indian as an insult, when we' re all Indians here. Sorry, but we' re all Indians here. But I want to insult someone It looks like sindium. Yeah, civilize yourself. We use it as an insult. This is embarrassing. You know, they know us from the radio show. But besides, I' m a psychologist, I' m a clinical psychologist. Obviously, I can' t give names of any of my patients, but I can tell you that, I attend several patients that their main problem is their skin pain, here they are going to worry. That' s why a lot of people, a lot of people, are worried about their skin color. And that' s what we in Mexico don' t have so much of the racial difference with Afros, for example, as here in the United States. However, there are people who, because they are brunette, are ashamed and their self- esteem goes down the floor. And I' ve been told because I look like an Indian. But why is this, because they have taught us to be ashamed

19:29 of them, they have taught us to be ashamed of these people. When they' re my grandparents, they' re my great- grandparents, they ' re my great- grandparents, so I do my best not to look like them. I do the impossible. I' m going to dress up in other clothes, I' m going to have another gesture, even change the skin color with creams and how many creams we see to lighten the skin and I don' t sunn. He touched me, I swear. I ' ve been touched by people on the beach going and instead of putting a towel and lying on the towel, they remember in the sand and put on the towel above so they don' t burn because of their skin color.

20:11 They' re afraid of getting darker. But why. Because they taught us that this is shameful, that our ancestors were inferior. We' ve said that many times on the show. We are not superior to anyone, but neither are we inferior to anyone. All peoples are on the same level, all cultures are on the same level, we are all equal, but why feel less, why be ashamed of this. Well, these examples, the famous waist looms. We still see areas of Oaxaca, areas of villages, etcetera. We see the famous waist looms. We did not put the photo by loom, but by the richness of the colors of the clothes. It ' s an impressive wealth, and if you notice it, it' s not just any fabric. See how many colors in a square half, how many colors, how many figures, how many shapes. This is all not decoration. It has meaning for all of them. See here their production, this colorful, this richness, our people have it. However, we, when we see something like that then, maybe, if we dare to overcome the shame of buying from an Indian apart, I will pay him anything, I will do the same as the American. I' ll do you a favor to buy you. Give me the cheapest and we don' t realize all the work you' re carrying, that this woman who' s there

21:44 without her waist loom and stretching and stretching and stretching? How many hours does it take to work? I don' t want to ask, but here you guys in Mexico, we work at the lowest daily air. You work here minimum hourly wage, so how many hours of work this woman is working, how many hours of her life. He stopped being in the same position and we didn' t value him. But today we' re going to return this whole part. You see this when we talk about these embroidery, these fabrics, everyone has a story. Here we are watching a party, a meal. We' re looking up there at the musicians. Everything tells us about a story. Each of these hollows, twigs, blouses, shirts, tells us a whole story. But we, maybe we just see the color. Yeah, we can' t deny what, which is delicious, but I tell you all the cultural background that has all this. Well, our dances and good Ahorita have just been our brother- concheros who have been dancing. It' s an inheritance that we have every dance. Look how each one has his story. It is true that we have many dances that have already mixed with the Spanish, like the dance of the Moors, etcetera.

23:07 But we have other dances, for example, the dance of the old ones. And that we go to Morelia and we see the dancers out there dancing and we find it nice when they dance yes and that they all pull and the old guy of the last one is the one who falls and we always see the same choreography is fun, it' s nice. But if we analyze a little bit that the dance of the elderly was done respecting the elderly, because before the arrival of the Spaniards, yes, those who gave the Council to the emperor were elders. And all the elders gathered together, and they were the ones who gave the council. It is true that he commanded the Katzonsi, but he always obeyed the advice of the old men.

24:03 That' s why that dance came up, though years later. But that ' s why that dance came up. And we can talk about each one of the dances, including the so- called tapatío syrup, which also has a whole history and which has to do with our culture and which, proudly is the costume that represents us that there is a lot of litigation, a friendly lawsuit to clear precho, nice, because they say hey, Jalisco acaparón, does not use, does not have the typical costume, has the mariachio and that is the typical music. It has the traditional Mexican drink, which is the tequila oigan, Jalisco caught Yes, left nothing to the others. We don' t have characteristic things in all of Mexico. Friends. This, please, and here is my weakness. Mexican food. Mexican food is considered the second most varied food in the world, worldwide, of the more than two hundred countries there are. Tell me which part of Mexico there are no tamales, and not because there are tamales everywhere means that all tamales are the same. Each region has its own tamales, each region and does not resemble each other. What can I tell you about my land, the corundas and the humps, which are our original tamales, and so we can talk about all the tamales, the enchiladas, friends, please, enchiladas, Queretanas, Potocinas, Mining, Poblanas, etcetera. Lots of food we have.

25:37 Wealth is true. More wealth was given with the arrival of Spanish cuisine. It' s true, especially in sweets. But good a dish as traditional as this, the chilies in Nogada, that we normally consume September and that was a dish made for Agustín de Iturbide and that remained as a traditional Mexican dish. Look, it' s okay. I also like to try other anti- terf foods, which led us to eat Vietnamese food. Very rich Vietnamese food, but I don' t change my food. Uh, and if anything missed when I traveled is my food. I ask you if I have done this experiment several times to ask you who you remember with some food.

26:23 A lot of people tell me I remember my mom when I try the green mole I remember my aunt or my grandma when I try the enchiladas. I can tell you that I come from a very small town and my grandmother tended to make comal tortillas and I was very young. Four years, five years on the griddle, still on the griddle of that big log of wood to the griddle and she grabbed making her tortilla and suddenly pulled out a piece of salt, rolled it, squeezed it and gave it to me. To this day. I try a taco of those conn salt combal tortillas and I remember my grandmother immediately remember her. It is part of our culture, of our life. The food is, well, we' ve been losing them here too. I want to already put a sample of what' s happening to us over here, right now, I tell you apart from insito, I' m a psychologist, I teach a university and I tell my students see how people when they' re coming to an office something like that, first the star Buks comes in that person. Yeah,' cause I grab hold of My I' m gonna take a moment this grab my star Boks and I' m gonna brag about it and I' m gonna do this for everybody to see the Star Boks. So if I' m going to

27:56 go into an office, yeah, I get into star bus first and then I get in. Then I' m sorry. I don' t drink much coffee. I rarely drink coffee, but when I go to town a coffee from Hoya with cinnamon, I don' t miss it. It' s delicious our coffee. Apart from the coffee made in Veracruz, Chiapas, Oaxaca. It' s delicious coffee. That we' re buying brand. We' re buying brand and it' s valid. Yeah, you want to take a star Burks. Take it, but you' re really taking it for the flavor. Or you' re taking it because you have you can afford to buy such an expensive coffee. And what you' re buying is a brand. Nothing more. It' s like what I told them at the beginning. See how much a basket cost and as soon as this man wanted to sell them. So, our products really are very varied.

28:55 We were talking about viceroyalty in the Euro Radio programmes recently and I said something very important. In Mexico, there is no hunger, Friends, we have not had throughout our history a famine. There have been areas where suddenly it doesn' t rain. Yes, it is true, there have been places where the grain has been scarce, it is true, but it always compensates one place with another. In Mexico, Friends, there is no hunger. We have not gone through famines like in Africa, as in South Asia, which people are dying of hunger. Now today, yes, February of two thousand twenty- four, no longer March, true, Today is March, the two thousand twenty- four. It' s more forgiveness for the little ugly expression. But even someone who' s a tea for eight or a junkie on the streets in Mexico City comes up to a taco stand and feed them. We go south southeast, yes, and find the trees in the public squares have mangoes, mango trees and the mango pulled. One says it ' s wasted. It' s not like we have a lot. We ' ve just been with friends off the coast of Guerrero. Yeah, coyunca, et cetera. Dear friends over there. He' s talking about honey.

30:17 I remember and told us, Professor, if you eat a piece of watermelon and spit out the seeds, you don' t need to bury them a week. It' s already growing. The watermelon guide is already growing. So our land is from Rica, not all regions, the north is arid, but what is from the center down we are rich. It' s more. I always tell you we' re so rich in Mexico that if we sow a little bit of chicharrón, a little tree comes out like this and hanged from the tail and we just cut off the rabitos, that is, we have everything there. That' s how our land is from Rica. However, how we are buying products from abroad. I give you an example. From the schisms of one thousand nine hundred and eighty- five.

31:10 Mexico is the main consumer of bottled water in the world. I see a lot of bottled water here, because what is here from Mexico we consume more bottled water. Why, because we have this idea that our water is very bad and we buy everything bottled, that we are the main consumer of bottled water. We don' t trust our own food. I' m not telling you. Get to Mexico and take the tap or the key, no, but we' ve been drying out our rivers, we' ve been damaging them. If I have been in spring areas, I do not know if any of you have had the opportunity to be in a spring, where you are being born, where the water is springing up and try one.

31:59 The lake is very rich, the water is very rich, because Mexico has a lot of food, quantity. Let' s get into those more specific issues. I was talking to them about the colors, this purple snail that is found on the coasts of Oaxaca and part of the coasts of Chiapas. This snail see the beauty of the little animal is found among the stones on the coast. That' s where this little animal grows. And with this little animal, with the baby of this snail, the cotton threads are dyed, well dyed, this snail. Our ancestors, especially the Mixtecs, especially the Zapotecs, they grabbed the snail, pulled it out and kind of squeezed it a little bit without killing the little animal to squeeze it, and put it on the fiber. Yeah, and then they left the little animal and the little animal got back in the rocks and that' s what these colors had. This is the purple that does not exist anywhere in the world.

33:08 Well, when this color is discovered in Europe, they believe that many layers of that used by kings, including layers of Queen Elizabeth of England, who has already passed away, layers of potatoes, have been dyed with this color because they haven' t been able to find it anywhere else Well, what' s going on, that ships are coming, they are predators and they get to the coasts and they grab this snail, they capture it and grind it so they can get the color out of it so that Ahorita is already the permanent vega and our marine secretary is watching the coasts to prevent them from continuing to kill the snail, the snail to take and put it back and squeeze it a little bit more and let it go free. But right now, they grind it, they put it in machines so they can squeeze it out and color it out. That' s how they' re destroying our wealth. Well the cochineal grana, another fabulous color that we have and that is formed with this little animal that we have to be looking for.

34:20 Yeah, this little animal that' s here, we have to look for it, we have to get it out? Yeah, and so is the one that' s going to produce this wonderful color. Why am I making these mentions, because if you read Brunon' s book, I' m just going through it. I told them in a gross way the story. The person who sold the baskets painted with cochinella, painted with these little animals and those were the colors of their baskets. According to Bruno they travel so we put this image on them well and suddenly we see friends, that is, how I' m going to dress in Indian colors. Yeah, those colors are plain Indian. And suddenly we see we try to avoid because this program we begin to broadcast. True, it' s being broadcast, it ' s being watched by several people, it' s going to be uploaded to YouTube. Then we try not to put marks to avoid problems. But I think we all identify the emblem. Yes, then, suddenly clothes started coming out that used our designs and I say ours because even though I don ' t make them, they' re my people, they' re my people and that' s why I appropriate them. Then I say our designs began to come out in exclusive garments. That' s why I gave them the example of Star Books. The example of Star Books is that it' s coffee, just like another coffee, but the brand is what matters to me. So I appreciate these tones, these dresses, these blouses. I

35:52 appreciate them for the color. I make them stand out in eggo and I put a brand name on it and I look very expensive. Then, all of a sudden now, yes, I' ve already discovered, I' ve already discovered. Wow, how colorful, how beautiful. You don' t know what I mean, not a man, Davis Javis looks like. Yeah, why,' cause what I' m seeing is this, this is what I' m seeing. This is what interests me, this is what I want to brag about. Yeah, I' m not bragging about this and I repeat it, though it' s copied. There' s no story here. This is a decoration. Nothing more. There is no story here, as we saw in natural fabrics and embroidery, there is no story. Well, I want to point out how Bruno traven wrote the Mexican story basket. There have been foreigners who have equally appreciated our craftsmanship. Who knows Marley Monroe. Okay. This series of photos were the last to take more r Monroe, the last photo shoot he had in life. She was in Acapulco, Mexico. He bought a chinconcuac sweater he posed with this sweater they made him that series of photographs. Leave Mexico, get to Los Angeles and die for one over two. It is. The last photo shoot was made with a Chiconcuac sweater two or three years ago. This sweater went up.

37:27 They paid tens of thousands of dollars just for that obvious brain, because it' s Marilyn, that is, state an icon. But see how there were people or there are people who have appreciated that they are not ashamed to bring, because this is not printed, all this about these sweaters. Which of you haven' t seen them at best, the younger ones, but the older ones we' ve had these sweaters and there they' re stuck to Mexico City, there' s Chico Quack and we' ve had these sweaters. I know I wish this would be rescued. This will be valued more. We see it as very simple, but there have been people who have valued it and who are foreigners. Let' s mention it.

38:10 In Mexico a national prize is given to handicrafts and we will mention this textile maker, Ricardo Hernández. Sochitemolo why, because he thinks of doing this. You see the textiles that we' ve already seen the work you' re carrying, but see what they' re doing. He' s putting them in tennis, shoes, tennis, that' s putting our designs on. Yes, and very commercial brands are being sold. They' re selling tennis. They' re selling tennis with our Mexican designs, coras, huicholes, series, trauma, etcetera. They' re being used to sell temis.

38:52 But the idea is a Mexican. But because he' s a Mexican. Whoever' s going to buy this, then I better buy it from big brands and they all do it in series. The pair of TVs I bought is identical to I don' t know a hundred thousand pairs of tennis. However, all of this does have a whole story, but he did well. See also plan designs against Tlaxcala and Saltillo Coahuila. That' s how our clothes are running, our soleters, our coats, they' re copying our designs that, as we' ve seen, are not designs ten years ago, they' re designs that have centuries and that are there and we follow it. I mean, our ethnic groups keep keeping it, and we don' t appreciate it anymore, and I don' t say. I ' m saying this because we don' t stand up for it. However, there is already a very strong movement in Mexico in defense. It was precisely from this that demands were raised at the international level for the theft they are making of our culture and our identity. Let me make this part clear to you. How we can understand this issue. It' s not just that I wear clothes from another culture. It' s not a crime to put it on me. I can buy an Arab suit and take it away.

40:16 I can put it on, but they catalogue certain garments, certain artifacts as cultural objects. I can dress in Arabic as long as I respect what I bring, as long as I don' t respect it, if nothing else, I wear it for fashions and nothing else I wear to throw gossip they can sue me, but if I put it on everything I do anyway I become Muslim. There are many people who change their religion and I start wearing the Muslim tunic. I' m fully entitled to do it, but I' m going to do it with that respect. Unfortunately, we are not respecting it and now we are simply doing it for fashion. We saw in that study that we did of all this, several photographs of fashion parades, wedding parades of big houses in New York, where they are paraded with plumes of the native peoples here in the United States, just as for giving it a style, as for giving it a flashy one. They go out with their dresses, but they go out with plumes. That' s a joke already. That is where they are disrespecting this whole tradition and culture.

41:29 These aren' t ornaments, friends, this isn' t a donor. This whole thing has a mysticism, everything has a story. Then I can ' t bring things like that. I know it' s hard to understand here. But for example, I' ve seen a lot of people wearing underwear with the American flag. I mean it with respect. It' s forbidden in Mexico. We can' t do that. I can' t print underwear with the Mexican flag. It' s used here. They allow it here. Well, it' s okay here, in Mexico you don ' t allow any occasion. I see, for example, here you sing the national anthem of the United States and you can sing it in different styles, in rock, in jazz as you want. You can sing it as long as you sing it with respect, but you can change the rhythm.

42:20 In Mexico not our national anthem flag law states that the anthem will always be sung exactly the same. It doesn' t change. We can' t change it. That' s why they' ve booed so many people who ' re in a boxing fight and they go up to someone to sing and they want to sing the Mexican anthem American- style. This is with falcetes, this is falsified and people start bubbling it and that' s why they get nervous they forget even the lyrics of the anthem. It' s worse when they forget. Well, they are different customs, but Mexico, at least the law is very jealous, but we are the ones who have changed it. Well, they' re more examples of known brands that are copying Mexican designs. If you go to Mexico, you go to the State of Mexico, you go to Puebla, you go to Veracruz, you go to San Luis Potosí, you are going to Queretaro. They' re gonna find all this. Guys, you' re gonna find him there. There it is and it is in the Tianguis, it is in a stall, on the corner, they are next to the square of the village. That' s where they' re gonna find them. But I don' t buy it why. Because I' m not seeing him in New York, because I' m not seeing him in San Francisco and Ahorita. This is what they' re selling us there. I' m going to New York and suddenly I buy a pair of shoes. The pair of shoes comes out to me two hundred and fifty dollars. A pair of shoes I' ll lift up the lid inside the shoe. I' ll pick her up. It

43:50 says made the Leon Guanajuato. Yes, they are made in León Guanajuato extraordinary to work the skin throughout that area. But what I require I am buying are brand friends, where I want to go with this, to which we currently have the effect that foreign people buy our crafts, buy what our artisans do and even dress like Mexicans, put on this blanket clothes and sell us what is being produced there and sell it to us twenty, thirty, forty times more expensive. Why, because, unfortunately, I' d rather buy someone white than an Indian. How I' m going to buy an Indian, I' d rather buy a white man. And that' s where we' re losing our identity. Nor is it about this practice being xenophobic and saying let' s hate whites. It' s not about that, it' s all about our culture. We' re all going to represent ourselves to culture in everything we do. Our artisans, as we see them there at that table, our artisans reflect our culture. Then I think my culture reflects it better. A Mexican, a South African, for example,

45:20 or a Chinese. And I want to give you another example, and this is where I regret it. I swear to you, and I said it at another three or four conferences. I regret it. I tell you, I' m not religious. However, on one occasion, when we have guests going to Mexico, I tell them where you want them to take you. Not so, to the pyramids to the Zócalo and to the Basilica of Guadalupe. And several years ago I took some relatives to the Basilica of Guadalupe. I respect everyone' s religious ideas, so I let them enter the Basilica. Yes, and I stood outside watching the crafts, but in the commercial premises, not the ones on the floor, but the commercial premises.

46:04 And I was watching the crafts. And all of a sudden I go to Back when I see a virgin of Guadeloupe with the gritty little eyes and I look like this I said wait for me and suddenly I see Juan Diego Hincado and with his eyes torn I said brus lí or who this is. No, because his eyes are torn. I did lift her up and say" Mading China," but they made a mistake and made oriental eyes on her. I mean, my mistake was not buying it. I would have bought it for this, because I would have liked to show it because a few days later there was a scandal that the Primate Archbishop of Mexico, Norberto Rivera, had sold the production rights of the Virgin of Guadalupe. He sold them to the Chinese and began to make virgins of Guadalupe San Jude even of you and all with torn eyes. When they realized, they destroyed that production, corrected their eyes and sent them. Well, I' m saying why I didn' t buy one, that' s so damn curious to show you guys see, I' m not lying. Here is the Virgin of Guadeloupe Chinita. Yes, to that degree. How it is possible that we sell the rights of the Virgin of Guadalupe and that the Chinese are making our virgin.

47:25 Yeah, imagine how we' re losing identity there. Very much, very much identity. These are how certain garments are being sold via the Internet. They are seen in garments and are copies of the original garments. They are copies and are sold online and sold very well. They sell very well. And our artisans where they are. They don' t benefit from any of this. When all these embroidery, all these fabrics, I repeat, have their story well xa, whatever, friends, the truth that beauty. Yeah, I wouldn' t have imagined frigid shoes. I wouldn' t have imagined it. When I started seeing tennis, for example, not with the map of the Republic full of colorful. I said it' s a good thing things are done. I mean, this doesn' t mean the most to be for the little ones. This isn' t for anyone.

48:21 See the things so parenting they do. Just let you see these tennis and see the brand up there. Yeah, that' s the problem. See the brand who' s making them, who' s selling them. And the truth looks beautiful, the truth looks very beautiful, but see who makes them. This is appropriation. They' re appropriating our culture. So, if someone makes me some tennis, like this, I don' t buy them but as I see the brand up there, then I go and buy them that I' m buying the brand. That' s what you really buy in Oaxacan designs that are Mazatec used by foreign companies and artisans of the same Tehualtepec isthmus. All these clothes that you' re seeing, these here and these here, they' re Mexican designs, but they' re clothes that foreigners are selling. They' re selling them, they' re the ones that are benefiting. So we wanted to put them, along with the graduate, several samples of it and I' m going back to the same thing. See what is original. Look at this beauty It' s that kind of detail They' re awesome. The work of our craftsmen is impressive.

49:37 The dolls of I was what I told them. These dolls are made in Querétaro, that is, a traditional handicraft of our beloved State of Querétaro, and the characteristic of the dolls is that it is never equal to another. They all have a different design. All of them. If there are 100, 000 dolls, the 100, 000 dolls are different. They' re all different. However, they are being sold. Yes, see Mexican doll and these are made in series. Just like this one is. There are fifteen more identical zeros. Besides, the materials are not the same. See the finish, see the style, See, for example, the slats that adorn the hair completely different. The type of stammer used, everything is different. They use cheap materials and this makes them machines. Yeah. On the other hand, each of these does come back to the same thing.

50:37 They remember the baskets. How many hours of his life he left each of our artisans to make these dolls. How many hours of her life are there then how much of them put her from the ornament. Here, on the neck, i e, it' s a huge wealth of each of us had a chance to be in amealco querétaro, which is the cradle of the lele dolls are creternas, but they are born in amealco and in amealco makes an exhibition and has a giant lele, like of about four meters enormous speakers the lele. That' s where we took pictures and we finished the conference and they gave us away, they gave us our dolls. Lele. This doesn' t mean it' s for the girls to play. Nothing else can be given to an adult. It' s a piece of art, because our dolls were given to me. I' m very happy to keep this doll, because I tell you it' s a unique piece. I know many may have them, but no one has the one I have.

51:43 Yeah, that' s a fact. No one has the one I have. Then it' s more. Mine' s prettier than the licensors'. That' s because she tells me mine looks prettier. It' s not true, it' s prettier than mine. But, I tell you, this is our art, this is to watch the movie. Coco look, folks, it' s good Disney made this great movie. Good thing he did because he made a lot of our traditions known to the world. On that side, there' s no complaint. I tell you an anecdote. I' m not much of a football player, but you see there was a football World Cup in Russia. I don' t know if any of you can remember what was the year of the World Cup of Russia two thousand eight, two thousand. That way, the World Cup of Russia.

52:28 Well, several Mexicans went to the World Cup in Russia. So how they were on the plane, and so on, and they agreed at the travel agencies. They were going to support the national team. They agreed to see that there' s a whole party going on, when it' s the world championship, there' s a whole party going on. Then they agreed to wear calaca masks. Then they arrive at the stadium, support the team, etcetera. And I tell you it' s done like a verbena come out of the sole that it' s about three hundred and fifty Mexicans and they all put on their Calaca masks and go dancing and that if the cute honey and go through the streets and suddenly they' re surrounded, but everywhere by the Moscow police, the lot of vans and cars of the Moscow police and all around the Mexican baton and they stop them all and put them in a police station. Yes, but why, because they were arrested and locked up, and from there they communicate with the Ambassador of Mexico in Moscow that immediately the commissian communicates why you arrested them for disrespect, disrespect, drunkenness or what they did. They all put on death masks. That' s disrespectful.

53:49 And there you go to the ambassador and go immediately to the police station and tell him to see me is that you are, that is, you don' t understand. It' s part of our tradition. It' s not that putting on a death mask is a crime, that is, disrespect. It says for us Mexicans, no, we live with this. It' s part of our identity, death, and we use it. Although it is also true the saying that says to the country whatever it is is do what you see and if they have a lot of respect for this, that country must be respected. It' s obvious, but good. The Ambassador of Mexico had to pay the fine of about 300 people to be released and told to look. They don' t understand our traditions and it ' s offensive for them to wear death masks. Don' t put them on and have fun, but see what the cultural shock is. How they don' t understand us. And when this film is released, they begin to understand us in various parts of the world and begin to understand what is the celebration of the dead from the night of the first to the second of November. Besides that we had a parade that made James Bond famous, yes, in a movie there is a parade of pure deaths that crosses the street of Tacuba, there in the center of the city and that already stayed as a parade in Mexico City. Every year I already know in the parade, but it came up with James Bone really there it came up well, it served us. Yeah, yeah, it worked for us. But at the

55:20 same time, the sad thing, folks, is that maybe I' m too late. I' m gonna take good care of my expression. I don' t want to offend anyone or make anyone feel bad, but speaking of Mexico City, we see with sadness that our altars of the dead, our tradition of waiting for our faithful deceased on the night of the first two, is being lost there in Mexico City. Right now is the halloween that is celebrated here and that has a very different origin and from which I respect why? Because I' m in this country. They tell the earth what you go to. I respect the halloween here. They are their traditions, but it pains me to see my Mexico with fictional heroes and to see monsters, etc in the streets, when we waited for our faithful deceased and prepared them from what we talked about right now, prepared them their food, which they do not take away, but they take away the essence, and we make chopped paper, which is also handcrafted, and decorate our altars and fill them with z flowers in Pasuchi so that they go guiding and reach that altar once a year. We' re waiting for you. Right now, not right now. We see in the streets, because the monsters of cinema come out, which is ale dracula that comes out Darth Vader, who come out.

56:50 That' s what we see on the streets. Recently we were invited to give a lecture to a village which our soups that there still had tradition. In fact, they see the question of Halloween as a cultural penetration. And it' s all about the day of the dead. I mean, look, not everything is lost, not bad, folks, not bad. You who live here have to take those customs or those traditions. But I ' m going to say something like that. I can' t say men, because unfortunately, he' s a relative of mine. How sad that a relative of mine from over my town, from my land, suddenly warns us to come to dinner, because he' s the Turkidey and we' re all going to dinner I said wait for me, wait for me.

57:42 We' re in Michoacán, in a small town in Michoacán. Don' t tell me we' re celebrating Turkiu dey has nothing to do with us. Nothing, nothing, my respects to those first settlers who arrived and appeared a baslot and ate it. My respects. Yeah, go ahead, it ' s your tradition. But there, in Michoacán, in a small town, I' m eating turkey, because it' s the prkday. See how we' ve been losing. But there I don' t blame, I don' t blame, but I say that they feel that this culture is superior and if the Americans do it, the gueros, then it means it' s good, because they do it, because we dark- haired little ones. We' re downstairs and that' s where we start to feel bad and where we take all the stereotypes. Yeah, and I' m telling you, I don' t want to be xenophobic. No, it doesn' t make them racist. But we, sometimes accusing someone of racism, are perhaps more racist ourselves from the moment we devalue ourselves. I don' t need to value someone else. I devalue myself because I see the mirror, I look prietus face there and I myself am devalued. I ' m applying that racism to myself. Maybe from there we have the problem.

59:02 So how good this movie is, how bad it' s coming too late because I' m telling you right now, it' s Halloween. This one. We, with the graduate, are part of a theater company there in Mexico City and we leave very close to the city but already to province and above all, every year we present pastorela. Every year we make a different shepherdela and we explain what our traditions are. How many of you, if you didn' t live it, ask your parents and surely lived it. What' s our tradition. Yes, the Christmas tree and at the foot of the Christmas tree, the birth, the piñatas, the collation, the doing, the inn request. That' s our tradition. Right now, folks, we' re losing her. Right now, there' s a Mr Fat Red and White. He' s the one who comes to visit our children. Now of these three lord kings, for they no longer remember and I tell them the lord of Red and White arrives and we are losing him. We' re losing identity, we' re losing traditions, culture. This comes from far back, since the arrival of the evangelizers in Mexico came these customs. Where the birth of St Francis of Assisi comes from. From there he is a thousand years old, a thousand years old.

1:00:32 Well, we' ve already lost him, right now, we' re waiting for Mr East with his kingdoms and we' re waiting for him, seeing him in heaven, etcetera, etcetera. It' s changed everything. From there we' re having serious problems. Well, almost to conclude, friends for being comments. I' m going to ask them so, fast, don' t be kidding people or something, what' s their date of birth. Don' t tell me the or anything else. Ten months, 17 December, December, 5 December, 26 October, 18 December. So I can go with each of you asking you your date of birth my February twelve, our date of birth. We don' t forget.

1:01:16 What do you think friends we' ve forgotten recently that our seed friends got us here in September, but they invited us to Kentucky and we went to Kentucky and we went back to Arizona. We gave a lecture. Already many people of Mexican origin, of origin not that the jam was born already were born here, but they are of Mexican origin. You do not know your date of birth as a nation, just as you know your date of birth and think we were born on May 5. Imagine forgetting until our date of birth. Five May is an important date, yes, in our history it is a very important date. A very important battle is won over by the French in Puebla, but it is not the date of our independence. We want to do a Mexican day. Let' s make it clear, and it can be November 20th and other dates characteristic of Mexico. But many people mistakenly think that May 5 is the date of Mexico' s independence. Nothing to see, nothing, nothing to see. Our date of beginning independence is September 16th, and that is when the night of the 15th is done, because our independence arises in the early morning of the 16th. Then to celebrate, it was said that it would be hours earlier it was about eleven o

1:02:47 ' clock on the night of the fifteenth, but our independence began on the sixteenth of September. Even this we have forgotten. Even this we have forgotten. That' s why we' re asking you who' s beamed your birth date. We do not forget, for we are forgetting the date of birth of our nation. We don' t remember. See how other peoples are not told to the United States has very much in mind all their events of their dates and we know what it is here on July 4th and everyone has celebrated then touched I have seen I insist people, but they said little by little is the date of independence, which is not May 5th is not a very important date, like November 20th, but it is not our independence.

1:03:35 Oh, so I, every year, jos the brains five of May see how we' ve been losing all this. So I want to abuse a little bit of the refadores, go back to the first slide, the first one, because that' s what we' re going to close with. I told them yes, and now we understand this more with what we started to liquidate nations. The first thing that is done is qu tarles the memory, you destroy your books, your culture, your history, and then you come to someone and write them to other books, give them another culture and invent another history. Then the nation, generation after generation, slowly begins to forget what it is and what it has been, and the surrounding world forgets it even much earlier. We already understand more what Honey Pundera tells us, how it is that they destroy us as a nation. Yeah, the worst part is that we' re allowing it. We are losing all that wealth. We move on to the image of the map, all that wealth to that is from all of us. We were born here, but we ' re from Mexican parents. All this wealth of us and so of Rica in our silver and, as we mentioned, our food, our tuna.

1:04:56 So it is from Rica in our culture, our archaeological zones, our dances. But they are being appropriated by other people who are profiting and that I, as I see they are the ones who profit because they have a trademark. Then I adopt it. Yes, and I' m not going away with what really belongs to me I mean, it belongs to everything my craftsmen do, it belongs to me all those archaeological areas, it belongs to me all that food, it belongs to me. Yes, it' s my ancestors'. They did it, they created it, and they inherited it from me. And even if you are removed from our land, you live here for x or I motive, but it is the inheritance of all of you, that is your inheritance, yes, and you have the right to fight for it. And we also have the right to demand that other people who are throwing away their inheritance protect it, take care of it for what.

1:05:59 Because this gives us the identity and I close with this phrase that I then use a lot in conferences. No one can love what he doesn' t know. How can we say that we love Mexico if we do not know it, then we will know Mexico for our part. That' s it. Thank you very much. Look at how several people are connected We get a fatima message. It tells us little basket of Mexican tales. That same idea continues to prevail until today with our crafts. I build wool rugs and foreigners and new designers want to buy at low prices and enrich themselves with our work. Greetings from Oaxaca.