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    Mexican Folk-Ways

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    barbara8lazara

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    © All Rights Reserved
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    MEXICAN * FOLK-WAYS ESIONS MEUCN AT SHOP, S.A. | FRED DAVIS == ANTIQUE JEWELRY = = MEXICAN HAND CARVED. LEATHER NOVELTIES Mexican Popular Arts LEADING CURIO & SOUVENIR HOUSE OF THE REPUBLIC AY. FRANCISCO. 1. MADERO, 13 - MEXICO CITY CASA SANBORN AVE, MADERO, 4 MEXICO Mexico cITY, MEX. FRANCES TOOR’S STUDIOS Oils, Watercolors, Prints, Sculptures Photographs By Leading Mexican Art (of Both the older and younger groups) David Alfaro S * José Clemente Orozco Miguel Covarrubias Carlos Orozeo Romero Maria Izquierdo 4 Diego Rivera Leopoldo Mendez Rufino Tamayo Carlos Mérida and others. BOOKS: MEXICAN FOLKWAYS, GUIDE TO MEXICO, SPANISH FOR YOUR MEXICAN VISIT. MANCHESTER No. 8 (Street cuts Paseo de la Reforma at No. 440) Frances Toor’s Guide to Mexico Cloth bin: 1g, cover drawing in color. 264 pp. 68 illustrations. Price $ 4.50 (Mex.) $ 1.25 (Amer. <13 COMPLETE and up-to-date... replete with information and intimacy that only long years of residence and study could have imparted. Most guides are dead skeletons but this one provides a manual not only for ancient Mexico but the living, interesting Mexico of today...> ~ Carleton Beals. . ~ Hispania. May, 1935. information and the concentrated historic background of this little book is the background of knowledge and sensitive appre ciation which goes into it.» - The Post Inquirer, Oakland, Sept. 12 1931 SPANISH FOR YOUR MEXICAN VISIT BY FRANCES TOOR Cover Drawing by Carlos Merida Illustrations by Julio Prieto BOUND IN CLOTH. $ 0.75 (AMER.) § 2.50 (MEX.) Traveling Mexico without Frances Toor's little book, you may “Hear All the music but you won't know the Words.” But with it, you can get around as easily as a native, It contains a Wealth of expressions relating to every phase of a visit, as well as an easy phone- tic scheme for pronunciation. Well bound and print- ed, filled with amusing and authentic illustrations, it's in a clase all by itself, W. L. RIVER Ibero-Amerikanisches Institut http:sesolver.iai spkeberlin.de/1AI0000695000130000 PreuBischer Kulturbesitz ACERCA DE CONCERNING Revista “MEXICAN FOLK. S$” fué fundada en 1925 por Fran Toor. Al principio fué bimestral y en 7 se convirtié en revista trimestral. Hay ocho voliimenes completos, (no f publicada en 1931). A fin de cada aio éstas revistas son encuadernadas, con el dibujo de la cubierta a colores que hacen contraste, dose asi el cardcter de su cubierta corriente. Hasta nuevo aviso, esta revista no publicada con regularidad. abr: sin embargo, nimeros especiales de vez cuando, (cuando se disponga de los fon- dos necesarios), de los cuales éste es el primero. El que completa las suscripciones pa~ saldea en nov ral mero doble sobre las lates. “MEXICAN FOLKWAYS” “MEXICAN FOLKWAYS” Mexican Folkways was founded by Toor, in 1925. At first it was a bimonthly. In 1927 it became @ quar Frances terly. There are cight complete volumes, (it did not come out in 1931), and at the end of each year, they are bound in cloth with the cover drawing in contrasting co- lors, thus conserving the character of the usual cover. Until further notice, them: There will, however, be special numbers from time to (when funds are available), of which will not come out regularity. this is the first The number which completes the subscriptions for 1933, will be out in No- vember, and is a double one on the plas tic popular arts. SPECIALLY INTERESTING NUMBERS AND BOUND VOLUMES CARNIVALS: (No. 1. 1929). A general article on carnivals, with descriptions of several specific ones, Illustrations and some music. DANCES: The Jarabe. Mexico's national folk dance. History and develop- ment, with an old score of 17 songs arranged for piano. (No. 1, 1930). Hi ‘The dance and its customs, with seven of its most beautifal songs, arranged for piano. (No. 4, 1952). Canacuas, a mestiza Tarascan Indian dance, of the State of Michoacan, with nine pages of songs and music for piano. (No. 3, 190). FRESCOES: The complete frescoes of the Cortes Palace. Cuernavaca, Mo- relos, #4 illustrations with a self portrait of the artist. (No. 4, 1930). Frescoes illus- trating a ballad in the Ministry of Public Instruction. 8 full page illustrations with one in-color. Other articles. (No. 4, 1920). Freseoes in the National Palace. 7 full pages and details, In the same number, & Pastorela, with illustrations and 11 sonj arranged for piano. All frescoes by Diego Rivera. ‘THH POPULAR PLASTIC ARTS: Deseriptions, illustrations and processes. (Double number, 1984). Price; each $ 1.00, (Amer.) BOUND VOLUMES: In cloth; with cover design by Diego Rivera, in con- trasting colors. For 1928, $ 5 00; for 1929, 1930, 1982 and 1933, $ 4.00, (Amer.) Orders payable in ordinary American checks or money orders. Adaress; Frances Toor, Apartado 1994, México, D. F. Ibero-Amerikanisches Institut PreuBischer Kulturbesitz http J/resolver.iai.spk-berlin.de/AI0000605900 130000 Bay DIEGO RIVERA, ART EDITOR CONTRIBUTING EDITORS: REVISTA TRIMESTRAL EN ESPANOL E INGLES, DEDICADA A USOS Y COSTUMBRES MEXICANOS Manchester n Correspondence address, Apartado 1994, M NOVIEMBRE - 1 8 0, D. F. 934 CONTENTS La Exhibicién Internacional de las pinturas de ninos The International Exhibit of Childrens Painting. del Dibujo en las Escuelas Primatias desde ching Drawing in the Primary Schools Since 1920, del Dibuio en las Escuelas Primarias La Ensedianz Drawing in the Primary Schools EI Dibujo infantil en ol México actual Childrens Drawing in present day Mecico, La Pedagogia Moderna en la Enseiianea del Dibyjo odern Mo Is in Teaching Drawing Pintura Infantil cit o's Painting Las Racuelas de Arte al Aire Libre The Open Air Art Schools. Assistant editors for this number: Julio Castellanos, Next Number: A double one on he Ibero-Amerikanisches Institut PreuBischer Kulturbesitz bby Frances Toor. by Julio Castellanos bby Juan J. Glaguibel by Diego Rivera los Mérida bby Agustin Lazo, bby Frances Toor Carlos Merida, Carlos Orozco Plastic popular arts http:J/resolver.iai.spk-berlin.de/1AI0000605900 130000 50 Romero. Pinturas The International Exhi » enteramente mexieanos en las Escuelas Primarias les, esté dedicado a Ja Exhibivién Internaci nal de Pinturas d: que haré mis completa su contribu EL posieién, como sigue “La Exhibicién Internacional de las Pin turas de Nifios ha sido organizada “1—Para demostrar la expresiin ineons os en todas partes del mundo, ha sido limitada al tr hecho por nifins de seis a doce sagra al trabajo de los niftos Federa- Nios, con la esperanza de ‘omité bosquejé el propdsito de la ex: Por consiguiente edad, antes del periodo en que Hegan a ser conscien tes de si mismos. “IL—Para dar a conocer Ios métodos em: pleados en la ensefianza del arte en las progresivas de varias partes del mundo, m1 expresiin espontinea y nativa de nifios en In Para demostrar los resultados de la gares donde no hay escuelas “av fios de Ios de paises donde en Rus Para comparar el trabajo de los mi paises donde hay libre expresién con xisten sistemas dietatoria Italia y Alemania. V.—Para deseubrir si ses como Bali, China, y aquellos de la Amériea donde se desarrollaron culturas indias, es atin aparente en el trabajo de les, com jas antiguas te diciones del arte en p s nifios de hoy “VE—Para estimular nal en la expresion ai Jos métodos pr istien, y ssivos de sn enseflanza” ugurada por Mrs. en la noche del 12 de la ciudad de Nueva York, Después de haber sido ¢ ta ciudad, 1a Colle La exposieién seri in Franklin D. Roosevelt, noviembre de 1934, en Avt Association la envin rf a otras eindades importantes. Mrs. Samuel A, Lewisohn dirige el Comité a cargo de esta Frances Flym Paine nntribueién de los nifios Exposicién, y Mrs, responsable por la mexieanos. La idea de la exposicién originé en la “Little Red Sehool House” chas personas prominentes estén evoperando, en 1922, y mu Ibero-Amerikanisches Institut PreuBischer Kulturbesitz La Exhibicién Internacional de las de Nifios of Children’s Painting Phis number of Mexiean Folkways " entively 1 Mesiean children in the Fe is dedicated to the International Exhibition of Children Painting, in the hope that it will make their contribution more eomplete feral Primary Schools, ‘The purpose of the exhibition as outlined by the Committee, is as follows: “Phe Tn Exhibit ren’s Painting has been arvan L—To demonstrate the 1 of children all over the world. It been limited to work d ren from the ages of six to twelve, before the period of self consciousness, “IL—To make known the methods of the ing of art for ne by child teal in progressive schools in various parts of the world “TIL—To show the r taneous and native expressi ults of the spon n of children in places where there are no scho “TV.—To compare the work of countries where the expression is free with those whe dictatorships exist, as in Russia, Ttaly, Get bie cient art traditions in countries like Bali, Chi discover whether or not the an ‘and in the Tndian groups of the Amer ic today parent in the children’s wo VI—To stimulate in art exp thods of t international interest ssion and also in progressive me exhibition will be inaugurated by Mes Franklin D, Roosevelt, on the night of Novem: ber 12th, 1934, in New York, After it closes there, the College Art Association will send it to other important cities. The chairman of the committee is Mrs. Samuel A, Lewisohn, with Mrs, Frances Flynn Paine responsible for the Mexican contribution. The idea of the exhibit originated in the Little Red Sehool House, in 1982, and many important people are eooperat BT. http://resolver.iai.spk-berlin.de/IAI0000695900 130000 Ibero-Amerikanisches Institut http:/resolver ial spk-berlin.de/1A10000605900 130000 PreuBischer Kulturbesitz Ibero-Amerikanisches Institut http:/resolver ial spk-berlin.de/1A10000605900 130000 PreuBischer Kulturbesitz La Ensefianza del Dibujo en las Escuelas Primarias desde 1920. The teaching Drawing in the Primary Schools since 1920. (CUE ar a) Sole a sae dor pietérico de México que se inivié 1921 al regreso al p: ra, la Secretaria de Eduea- en el afio de pintor Diego Ri cién Pablica aproveehs los serv nog pintores mexiennos para sustituir los mé todos aeadémicos que hasta entonees habian es: tado en vigor en las Escuelas Oficiales, con otros que 1 el arte con la vida y dosarro nalidad y abilidad cresdora en los Fué el pintor Adolfo Best Maugard el en. cargado de comenzar dicha labor, habiendo im: Tamado plantado wn método ideado “Tradicion, miento y Arte Mexic ial fué resultado del es. tudio que habia r Hecur el lizado de lo de ellas aq como invariantes en su de tras artes pr ellos elemen- eneontraba in. Deseubrié que dichos mn siete, a n coordi al desarrollada ha © inquier ireulo, el medioeirenlo, el motive de la © Tinea de In belleza, eamo se le Hama en L arte finea ondulada, Ia linea en a In dere riego: In y la linea reeta en cualquier posieién, 0s elementos com tos de los pueblos primitivos eran. represe in la forma que tenian, alo representaba al sol, a Ia luna 0 a los demis astros; 1a linea quebrada el rayo, ete, El sefior Adolfo Best Maugard ha: ndo a un lado estas representaciones simi licas las eonsideré desde un punto de vista tni- camente estétieo, toméindolas como base para la formaeién de su método, Sostenia que yor © men e de un pueblo esti en razn directa del mayor o menor nimero de elementos eon que contara, Habiéndose da ciones simbélieas, se por ejemplo riqueza del a do a los nifios estos elementos, se les ensené a dibujar primeramente greeas, flores, animales pera aislada, I ‘odo el mate. y figuras de una m: ndo has- ta compo donde entraba rial apr Ibero-Amerikanisches Institut PreuBischer Kulturbesitz BY JULIO CASTELLANOS Coineident with the reform of the pietorial movement in Mexico, ini 7 the painter Diego Rivera, who had just return: ed from his long sojourn abroad, the Ministry of Education availed itself of the services of some of the artists to substitute thi thods of teaching art in the off schools by others that would relate art to life and develop originality and ereative abi leh The artist Adolfo Best Maugard bi ethod ori reform by putting into practice a inated by him, called “Tradition, Renaiss: and Evolution of Mexican Art”. He evolved this method from a study of our pre-Conquest and other primitive arts and it consists classification of all the constant elements in their decorative motifs and forms into seven elements: (1), the spiral line, developed in the right or left direction; (2), the eirele; (3), the nicirele; (4), the motif of the “S”, known as the line of beauty among the Greeks; (5), the ondulated line; (6), the zig-zag line the straight line, ‘These elements, common in the arts of all primitive peoples, are symbol- ical representations according to their forms; represents the sun, the ofa for example, the cire ‘moon or any one of the stellar bodies ; the brok- en line, lightning, ete, Putting aside their sym- bolical significance, Mr. Best Maugard con- sidered these elements simply from their es. thetie point of view, taking them as a basis for the development of his method, He maintained that the greater om lesser richness of the art of a people was directly related to the greater or lesser number of elements with which it ‘These elements ware given to the ‘At first they drew Grecian counted. ildren to copy frets, flowers, animals and figures in an isolat: ed way. Then they came to compositions which included all of them. They were free to select dimensions and elements, and in that mani they had the opp to express th personalities, The results were most fantastic: http:#/resolver.iai.spk-berlin. de/IAI0000695900 130000 After three yeurs this system underwent he painter Manuel olfo dimensién y los elementos que quisieran, de tal manera que fueran determinando con éstos su much needed change, when personalidad. Con este sistema de ensefianza se Rodriguez Lozano substituted A obtuvieron trabajos decorativos de efectos fan- Maugard ax head of the Department, Although tasticos, the Best Maugard method had the merit of th Este sistema que dur6 tres aftos sufrié una break’ transform: jldren away from copying ion (que ya se imponia), cuando standard molels asumié Ia jefatura el pintor Rodriguez Le Anuque el método de Best Mangard tenia el blind alley, leaving very little freedom for the (of interesting them in the ano, beauty of the popular arts, it led them up a mérito de haber roto con los antiguo: cldes, funetioning of their sensibilities. If the pupil no eva lo sufieientemente bueno, pues eoloeaba wished to express or to achieve any form, all al productor dentro de un camino sin sulida, he had to do was to select the elements that » que su sensibilidad funcionara de una resembled it most. As a result his work was no manera muy relativa, ya que si deseaba decir 0 longer spontaneous, because the continuous realizar ésta o aquella forma tenia que hacerlo search to which the avtist is subjected in his empleando cualquiera de los antes dichos ele ness for improvement was unnecessary proxiinaban a ella. Con Mr. Rodrigues Lozana’s method had as esto resultaba que sus dibujos dejaban de ser principal object the development of esponti 1 ereat ‘aculty. He observed that the childven work: neos, pues evitaba la continua biisqueda iy aqui sujeto el productor en su ed better without eapying, so he permitted afin de mejoramient them to a El método del sefior Rodrigues. I nia como principal objeti Zacultad bajaban mejor sin copiar, y les permitis que Perspeetive was not subjected to previously fix- aud paint without models and e- limitations, They were to paint complete and el desarroll not parts of compositions, just as they wer exdora, Obser que los nifios tra- taught to say whole words and not syllables. Ibero-Amerikanisches Institut http:/iresolver iai.spk-berlin.de/1A10000695000 130000 PreuBischer Kulturbesitz dibujaran y pintaran sin modelos y limitacio. nes, haciendo que no pintaran medias cosas, asi como se les ensefla a no decir medias palabras, 1a no estaba sujeta a leyes fijadas ontrario se de- La perspect de jaba al nifio colocar las cosas, dibujindolas sentimentalmente en su papel, y a darles el ta- maiio segin la importaneia © interés que en) rraran para él. Los temas que se dibujaban 0 pintaban eran seleecionados por los mismos ni- ite, haciéndoles observar el medio escuela, eam. ntemano, sino que por el ambiente que los rodeaba; ~h Bo, ete. Ast s n que se manifestaba claramente sn mentalidad y la ela adquirieron trabajos se social a que pertenecian. Sin embargo, no se Hegé a desterrar completamente el método Best, ya que se consideraba que podia s en los primeros afios de In edueaci no siendo hasta la época en que oeups esta Se Ibero-Amerikanisches Institut PreuBischer Kulturbesitz ed Jaws, but on the contrary the child was allowed to place the objects himself, to draw them sentimentally and to give them size ac- cording to their import him, The themes to be drawn or painted were selected by the children themselves, thus ing them observe their environment school, country, ete. In this way were acl works which expressed clearly the and social class Still the Best Maugard method was not completely put aside it was cons that it could be of help during the first years of primary edueation, It was not until the paint er Juan Olaguibel became the Director of this Section, that it was completely suppressed. Mr Olaguibel stimulated the children to cultivate their esthetic sentiment, to inerease their know artistic traditions and enabled them at nee and interest to ledge http:#/resolver.iai.spk-berlin. de/IAI0000695900 130000 cién ol sefior pintor Juan Olaguibel, enando de una manera definitiva se suprimié. EL sefior Olagutts sentimiento ¢ miento de tradiciones art eas y capaciténdo- los al mismo tiempo a expresar sus ideas y su vida. Logré ademis hacer que el dibujo fuera acién artistiea y manual, sino una materia de apoyo de las otras ensefianza que les fueran impartidas, el objet giene, ete.; sus dibujos. organizando para los nifios expresaban ademas en habian eomprendido sus lec Actualmente tos mismos prineipios pr imarias, Los traba jos envindos por M que tendr Ly ndades de los Estados Unidos del Nor ido de esta labor habiendo sido nados de las distintas esenelas que fun cionan en el Distrito Federal selec de Edueacién Ptibliea eon siderando que toda ensefiunza esti sujeta a cambios y renoyaciones eontinuas que signifi quen adelanto, ha comisionade a un grupo de pintores y pedagogos més expertos en nuestro pais, para que revisen y estadien Ia evolueién de Ia enseflanza cle las artes con el objeto ai isticas en nes tras esenelas, formular un nuevo programa que Hene mis completamente las necesidades tanto espirituales ¢ les en que se haya colocado México en estos Ibero-Amerikanisches Institut PreuBischer Kulturbesitz je same time to express their ideas and lives, He sueceeded, besides, in making of drawing not only an artistic and manual recreation, but also a complementary subject to their other classes, For this purpose, he organized contests on social, hygienie and other topies, and thus the children showed in their drawings whether ov not they had understood their lessons, At present these very same principles are being put into effet in our primary schools. The Inter. national Exhibition wh works sent from Mexieo to the h will take place in New York and other cities of the United States, -e the result of this program, They are sel ed from the diffe in the Federal District t schools which function ‘The Ministry of Public Instruction con- sidering that all teaching is subject to changes and continuous reforms if it is to progress, has commissioned a group of the most expert paint and ers and teachers of our count to revise 1 of the plas. tie arts in onr schools, with the object of form study the evolution of the teachi ulating a new program whieh shall fulfill more completely the spiritual as well as the social necessities of Mexico at this moment. http:J/resolver.iai.spk-berlin.de/1AI0000605900 130000 La Ensefianza de Dibujo en las Escuelas Primarias DRAWING IN THE PRIMARY SCHOOLS Este articulo y el que sigue por Diego Riv 10, Vol. 2, 1926), mimero dedicado al trabajo Como dichos articulos estin relacionados con los as Estos dos articulos y uno por el Conde René d’Harnoncourt, intitulado “Pancho, et Juguetero”, fueron reimpresos en el nimero mexicano de la revista 1922), sin Ia acostumbrada cortesia de mencionar su procedencia, This article and th (No. 10, Vol. 2, 1926), which featured the w to this issue, we are reprinting them. These same articles were reprinted in the Mexican num k 0 Makes ‘out even the customary courtesy of mentioning the source, Seceién de Dibujo y Tr les, dependiente del Departamento de Be las Artes de la Secretaria de Edueacién, que tiene a su cargo la parte téenica de Ia ense- Sanza del dibujo y los trabajos manuales en Ins Escuelas Primarias, asi como también le comendado velar por aquéllas lares en Jas que intervenga alguna de estas asig: naturas, desarrolla un programa elaborado en forma que no hace del dibujo y los trabajos manuales una enseflanza por sf sola desligada bajos Manua stéi en ctividades eseo. del resto de actividades eseolares, sin por el contrario, en perfeeta armo aquéllas, hace que estas asignaturas, no se pues el alum. no dibuja eada vez que, en al. quier elase, se requiera el dibujo y chi éste y los trabajos manuales dentro de las ae tividades motoras de eardcter edueativo-indus. sistemétieas, sino oeasionales, trial que, de acuerdo con cién, se desarrolle en los tres cielos de la ense. lanza primaria Una de las cara programa bajo el cual rige sus actividades la Seecién de Dibujo y Trabajos Manu ra difere eristieas principales del a entre los dis ndose este de establecer una el tintos aspeetos de dibujo, diferes proceder de los antiguos métodos que daban a estas ensefianzas dentro de la escuela primaria un eardeter netamente artistieo, privando a los alumnos de adqu Ibero-Amerikanisches Institut PreuBischer Kulturbesitz e one that follows by Diego Ki the pri together with one by Count René d’Harnoncourt, entitled “ r of “The School Arts Ma fueron publicados en “Mexican Folkways”, (No. hecho por los nifios de las escuelas primarias, Ws discutidos aqui, los volvemos a publicar. The Schoo! Mexi Arts Magazine” (Febrero de in Folkway = (La Editora). ine”, (February, 1932), wit ‘olkways". — (The Mexican he Section of Drawing and Manual Work, pendeney of the Department of Fine Arts of the Ministry of Publie Edueation, whieh has in charge the technical instruction of these sub- jects as well as the supervision of the scholastic activities that is developing a program planned in such a way that the teaching of drawing and is not isolated and unrel but on th harmony with it. ‘The instruetion is occasional, the pupils drawing only when illustration is required in any of the classes, For work, the motor activities of an educational industrial character, which are utilized in ac cord with the School of Action, may be de veloped in the three eyeles of primary instruc tion nter into their courses of stuily anual work ed to the rest o the contrary, is in perfect One of the principal characteristies of the program, governing the activities of the Seetion of Drawing and Manual Work, is that of tablishing a clear difference between the dis- tinet aspeets of drawing, Previously the me- thods used gave to the instruction of these sub- jects in the Primary Schools a purely artistic character, depriving the knowledge applicable to g expression. This does not mean that the ar being neglected. It is one of the ns of this Division that the future the Primary Sehools. But, pupils of acquiring aphie or industrial tistie side hief conce artists come fro http:#/resolver.iai.spk-berlin. de/IAI0000695900 130000 Ibero-Amerikanisches Institut PreuBischer Kulturbesitz ticos aplicables a la g de aplicaciones industriales. No quiere decir esto que se desenide la parte artistiea, pues es uno de los pr esta seceién se funda para hacer surgit de la escuela pr fica expresién o dentro pales puntos de mira en que rin Jos futuros artistas; pero a su vex ha querido, por todos los medios, ir, como de deneias del programa de materias generales fa antes, en perfecto acuerdo con las ten: as I have said before, we wish, by all means, to work in perfect harmony with the tendencies of the program of general subjects in the schools, serving as a most valuable help in the certain studies the comprehension and retention from the first grade of the first eyele t last of the third. ‘The drawing lesson is always given in ae. cord with projects that the teacher may be developing at the moment in his group. In this the pupils do not «l their environ. ment rapidly; that is to say, they do not pass brusquely from one subject to another, but on the contrary, the interest and attention and even the knowledge assimilated is used in the ts his graphie drawing, so that the pupil per expression and understands and fixes more ruetion that he is receiving at arvelous results obtained in the clearly the the time. The first eyele through conerete expression ; that f words, phrases and is, by the iMlustration oral sentences are indisputable, and th applied to history, geography and the natural neeessarily produces equally marvel: ous results. So then, if the pupil, removed from the rules and the prejudices which the teach er formerly ineuleated, but now carefully ob- served and watched by him, has ability and n for drawing, they are immediately ns without his doing ilizing the exeereise revealed in his realizat anything but practically within the scholastic period ‘The octagonal drawing taught in the third eyele fits the pupil for the development of his creative ideas and provides him the means for expressing them in drawing. It may be said that this is the most effective preparation for future artisans and professionals. Intimately in contact with the manual work, the pupil ig required to make a project in advance, thus fa idea of the proportions, di mensions, ete., and this mental elaboration of ing a perf his project makes it possible for him to perfect it in Drawing and the manual work also have an aspect of cultural extension, for in deco ative drawing the pupils are taught the values and artistic beauty of the popular arts and a obliged without taking from them their Mex- ean character, to make new creations and ap- ply them to their manual work for the decor- ation of their homes and schools. Following thi childish instinet —that necessity that the child has for toys, often the cradle of future activ- 10 http:J/resolver.iai.spk-berlin.de/1AI0000605900 130000 que hoy se sigue en las escuelas, sirviendo como una valiosisima ayuda para la comprensién y retencién de determinadas materias, desde el Jel cielo, al Gltimo primer grado del prin El dibujo no se primarias, sing proyectos de trabajo que arrolle grupo, de esta manera que los alumnos n pidamente de ambiente, es decir, q brasean imparte en las eseuclas de aeuerdo con Ios ent nel mi un maestro. de ceonsigai no pasen aprove- 0, el inte que, por el contr asimilado \dose que el alumno per omprenda y fifiew y expresién gi nente las ensefanzas que en biendo, Estin fuera de dis to est re cusién los maravillosos resultados obtenidos et primer cielo por medio de la expr a palabras, fra ado a ereta, es decir, la ilustracié dos orale Ses 0 pe Ia historia, la geogs les, da forzosamente ese mismo resultado ma ravilloso. Ahora bien, el alum sjado de reglas y prejuicios que antiguamente: ineulea cl maestro; pero sf estrechamente observado iene facultades y al y vigilado p por el dibujo, se revelan inn mas que utilizar prive ‘dintamente en sus realizaciones, si no hace ticamente el dibujo dentro del perfodo escolar El dibujo octagonal, impartido en el ter- 10, al alumno miento de sus ideas ereadoras y le pro. , en dibujo ave poreiona los medios para expres estas mismas ideas, Es por decirlo asi, la mis efectiva preparacién para futuros ob acto con Tos tra. te profesionistas, En intimo eo bajos manuales hace que el alumne 0 el trabajo que va a erfeeta cuenta de de antem iza dose asi una prop dimen: y haciendo que su lab por el contrario, sea por lo tanto, su reali rtuita, sino que borada mentalmente y zaciin resulte perfe ‘Tienen nel dib manuales el aspecto de extens dentro del dibujo de orativo se ensefia al alum. elleza artistica de las artes populares, y se le obliga a sin der su earéeter mexicano, haga nuevas crea ones ¥ las aplique tanto a sus trabajos ma nuales como al decorado de sus hogares ¥ es: cuelas. Signiendo ese instinto infantil, esa ne- Ibero-Amerikanisches Institut PreuBischer Kulturbesitz ities— the manual works are, of eases, toys or objects of practical use, de- pending upon the age of the pupil. For the realization the materials within the possibility of the child ials); but they serve to develop in the pupil the instinet of observation of that which may in the majority utilized (often waste mater be serviceable and at the same time the educat http:#/resolver.iai.spk-berlin. de/IAI0000695900 130000 cesidad que el nifio tiene de los juguetes mu: chas veces euna de futaras actividades, 1 en la mayoria de utilidad bajos manuales son, sos, juguetes u sein la edad del edu su realizaeién, de los materiales al alean: nifio (en muchos easos desperdicios: le itil, all ativa de habilidad ma. lo que pueda tiempo que la parte edue nual, una de las finalidades prineipales de di No eabe dud ayuda mis efecti ane la va la ha proporeionado la Revista Infantil “Pulgarcito”, drgano de esta misma Sec cién, Su caraeteristiea mas interesante es el hecho de que no solamente esti eserita sino ‘lustrada por los nifios de las eseuelas primarias del Distrito Federal y de los Bstados de la Re pabliea, Su primer nimero eonsté de 20 pigi nas, siendo el tiro de 2,000 ejemplares, en julio, ol texcer niimero erecid su tiro aumenté a 5,000 ejemplares, y en mayo de 1 1 32 paginas; en no- viembre con motive de su primer ani yersario aumenté su tiro a 7,900 ejemplares y 44 piiginas, quedando hasta la fecha este nit mero, que se reparte gratuitamente en toda 1 Repiblica y el extranjero, dejéndose sentir el interés general que ha causado, Las casas ¢0- mereiales han aceptado sustosas que sus anun- ios sean ilustrados por los nifios, ha: completamente hecha la revista se Algunas easas que se anuneia esto que por ellos. abren coneursos de dibujo, ofreciendo premios, ya sea en dinero efectivo o en iitiles escolares que son cindadano Seeretario del Ra repartidos por mo, a los coneursantes en exposiciones 0 fiestas or} “Pulgareito”. (1) En re din es mas necesaria la cooperacién del dibujo, en la obra educativa anizadas po n, de aia (1) EL Paearcits” did de eit desde 1991 ional side of manual facility, one of the prim cipal objects of this kind of work. There is no doubt that the ehildren’s 1m: Little Thumb"), the has furnished very ef- . Pulgareito”, (" of this division, fective help. Its most is the faet it interesting characteristic is not only written but als: hildren of the Disteie July illustrated by the primary and 1925, consisted schools « leral publi 1 twenty pag With the third number the pa November th ¥, 1928, The first number and the issue was two thous: ised to thirty-two to five thousand copies, and in ME for the celebration of its even thousand undred copies of forty four pages were published, the number of co: pies and pages remaining the same to date, and being sent free ev and abroad. The business houses have gladly agreed to have their advertisements illustrated by the children, and thus the m made by them, Some houses that advertise, open drawing contests, offering ywhere at home in seholastic materials, which are distributed by the Secretary of Education to the contest ants on the oceasion of expositions or festivals d by “Pulgarcito”. (1) To summarize, from day to operation of drawing in the edueational work ay, the of the schools is more necessary, being extend ed often to inelude the rural sehools, where due to the eategory of the pupils, this subject is highly essential de In escuela primaria, extendiéndose en mu- ales en las que, 08, es altamente chos casos hasta las eseuelas ru por la categoria de los alum neeesaria esta materia, (1) The Palgansite” has wot been pllihed since 195 Ibero-Amerikanisches Institut PreuBischer Kulturbesitz http:J/resolver.iai.spk-berlin.de/1AI0000605900 130000 T= rs a El DibujoInfantil en el México actual Children‘s Drawing in present day Mexico LO {itoits as aneumentasiones, eritionn y teorias heehas alrededor de los dibujo: y pinturas ejeeutados po belleza evidente favor de si mismo ada uno de los profesores o le aproveehar en » de sus ideas, silo puede retenerse un hecho indudable que mientras mayor Libertad se deja a la ex 1 ins. tinto y el desarrollo de la im in, con tienen mayor belleza y son de mas grande uti lidad los trabajos infantiles de plastica La tendencia que les han impuesto en todo el mut las cireunstaneias socia nera de coneebir la edueaeién han levado a los Ibero-Amerikanisches Institut PreuBischer Kulturbesitz From all the arguments, critie the professors or t try to take advant their ideas, only 0 when more liberty is left to the expre the instinet and the development of the ima ination, the pla T imposed upon a evolution in sts everywhere and the caused ped riously wit 's to occupy th the teaching of dra http:#/resolver.iai.spk-berlin. de/IAI0000695900 130000 Ibero-Amerikanisches Institut PreuBischer Kulturbesitz yedagogos a ocuparse seriumente de la ense anza de dibujo en las eseuclas y easi a abolir las pricticns imbéciles de copia de la estampa de fragmentos de escultura en yeso, ¥ ef dibujo lineal, fuera de la coneepeién de espacio, como tieaba en F unos tr ios y en Méxieo hasta que los pintores re ropa hasta hi onarios, por el eanal de in Piiblien, empezaron, lu estupidex y la barbu aria de desde 19 de tales , a las que easi nanea sobrevivia Ia po- vialidad plistien del humano, infantil, destruido en este tei ¢ imaginativa del genio mo en tantos otros, por Ia eseuela mal orien tada, El Seeretario de Edueacién P adm bliea, el Ti cenciado José Vasconcelos, 6, para la ensefianza de dl Adolfo B quien puso al frente de dicha ens nde bbujo, las idews y métodos de u Best reclut6 artistas jovenes ¢ . para la ensefianza de dibujo, algu Desyraciudamente el mé todo de Best, que era una inteligente, sutil y log elementos lineales de suger ealifieaeién de las artes de decoracién mexieanas, hubiera sido de inmensa utilidad en las eseuelas industria les, en la Bsenela de Bellas Artes y, en ral, nvienti espiritus ineia la comprension y estimaciin de los todavia admirubles restos del arte m: sseutela superior para a los que invariablemente la sociedad de este pais, sobre todo en su parte incorporada prefiere las més Ja pacotilla. extran el método de Best, por el hi jen ha dicho atinadamen. te, “una taquigrafia para dibujo ornamental”, era absolutamente inadeenado para desarrollar el instinto y In imaginaeién del nifio, pues no hacia sino aprisioar su personalidad dentro a la eivilizaeién occidental, abominables muestras de jera. Py ‘constit ho de de nuevos moldes, Silas rosus, eanastillos, kioskos y Best eran preferibles a las est dites ai mpas de Julien y lox eromos de flores de la Kleinn, que los nifos, obligados por los maestros, ¢0- piaban en las escuelas, pues eambiaban una ‘a’ de gusto abominable, par unas nu rust excelente, no por eso habia eesado ior y tirinien sobre el espiritu st a presién del nifio, Manuel Rodr Best, los mé ez Lozano, diseipulo y sus: ados de su maestro, y se obtw schools and almost to abolish the iaab tices of copying from prints, fr -e in plaster and line drawings, without any conception of space iced in Europe until about thirty years ago, and in Mexico until the revolutionary painters through the Ministry of Publie Instruction began, in to combat the stupidity bar such practices, whieh the plastic of the infantile genius hardly ever survives, being destroyed in this field as in so many others by th orientated seho ‘The then Seer Mr. José taking drawing, the ideas and methods of whom he put at the head of th Best tists and also instructed some non-professic for of drawing. Unfortunately Best's method, whieh was an intelligent, subtle ile pr Is was pri and the aginative potentialit badly ary of Public Instruction, Vasconcelos, accepted for the under- f the regeneration of the teaching of Adolfo Best, ‘movement. with good judgment, reeruited young ar- als ‘and sagacious qualification on the line elements: in the Mexican decorative arts, would have ‘doen of immense value in the industrial selools, the School of Fine Arts and, in general, in all high sehools for the guidanee of the spirit to. ward the comprehension and estimation of thé still existing remnants of Mexican art, to which invariably the society of this country, above all those incorporated into, the oceidental ci: vilization, prefer the abominable examples of foreign trash. But Best’s method, beeause it constitutes as someone has pertinently said, “A shorthand for ornamental drawing”, was ab- solutely inadequate for developing the instinet and imagination of the child, for it did nothing ore than imprison his personality within new olds. If the Kiosks: and young deer of Best were preferable to the roses, little baskets Stamps of Julien and the chromos of flowers of la Kleinn which the ehildren obliged by their teachers were copying in the schools, they only changed “samples” of abominable taste for those of exeellent taste, but not because of this had the exterior and tyranical pressure upon the ehild’s spirit ceased. Manuel Rodriguez Lozano, pupil and subs- titute of Best, in accord with his master’s me- thods, made some advances and better results were obtained, leaving greater liberty to th tion, but still keeping drawing within istic” category which hindered it from http:J/resolver.iai.spk-berlin.de/1AI0000605900 130000 ¢ its truly vital fune ivity of objective ereati n and only cause of superior utility e le impedia tomar su ver- that is to say, the beauty of the plastie arts. én vital, ligada 2 toda In this sense, no one, who may not be blind. objetiva idad superior vieron mejores resultados, dejando en mayor — perforn facién del nifio; pero man: libertad a la ima; dibujo dentro de una dadero papel de fu tividad de creacié de Ia belle ste sentido, nadie que m de las artes p endo por la mala fe, la incomprensi ple que Ia nza de dibujo en las eseuclas de México resultados incomparable stupidex, pede haaneskolt: inealeulables, obteniendo que hasta ahora se habia he Ibero-Amerikanisches Institut httpstesolver ial spk-berlin.de/1AI000095900130000 PreuBischer Kulturbesitz Ibero-Amerikanisches PreuBischer Kulturbesitz Ibero-Amerikanisches Institut httpstesolver ial spk-berlin.de/1AI000095900130000 PreuBischer Kulturbesitz Ai Ibero-Amerikanisches Institut http:/resolver ial spk-berlin.de/1A10000605900 130000 PreuBischer Kulturbesitz Ibero-Amerikanisches 7 Institut http:#/resolver.iai.spk-berlin. de/IAI0000695900 130000 PreuBischer Kulturbesitz Ibero-Amerikanisches Institut http:l/resolver.iai.spk-betlin.de/AI0000695900 130000 PreuBischer Kulturbesitz Ibero-Amerikanisches Institut httpstesolver ial spk-berlin.de/1AI000095900130000 PreuBischer Kulturbesitz Ibero-Amerikanisches Institut http:/resolver ial spk-berlin.de/1A10000605900 130000 PreuBischer Kulturbesitz Ibero-Amerikanisches Institut httpstesolver ial spk-berlin.de/1AI000095900130000 PreuBischer Kulturbesitz Ibero-Amerikanisches Institut http:/resolver ial spk-berlin.de/1A10000605900 130000 PreuBischer Kulturbesitz Ibero-Amerikanisches Institut PreuBischer Kulturbesitz http:#/resolver.iai.spk-berlin. de/IAI0000695900 130000 Ibero-Amerikanisches Institut http:/resolver ial spk-berlin.de/1A10000605900 130000 PreuBischer Kulturbesitz ACUARELA POR FRANCISCO LEON. (11 AROS) WATERCOLOR BY FRANCISCO LEON, (12 vs.) Ibero-Amerikanisches - Institut http:#/resolver.iai.spk-berlin. de/IAI0000695900 130000 PreuBischer Kulturbesitz Ibero-Amerikanisches 7 Institut http:J/resolver.iai.spk-berlin.de/1AI0000605900 130000 PreuBischer Kulturbesitz La Pedagogia Moderna en la Ensefianza del Dibujo Modern Methods in Teaching Drawing 4 eontemporanea considera la 1 dibujo en las Eseuelas Pri- is biisi a pedagog L 1 desarrollo espiritual del a y de mero par: Iueando; no es ya la materia f no de antafo, atrofiante ¢ inttil, sim de la Escuela, ins, biisqueda as exper de nuevas orientueiones, ingentes ensayos, han venido a pi ela se pl que la exp jo es racional, biol problema q guiente, puramente téenieo: cuales son los minos apropindos para desarrollar, en benefi- io del prop dades de expresién innatas en él qmorfas enali La pedi ia moderna ha hecho, a est avanees hasta Iegar a definir los dos aspectos tro de In Bseue vitales que tiene el dibujo la: el dibujo como cultivo espiritual y et dibu, omo materia de apoyo El dibujo eomo expresién espiritual me rece, por parte de los profesores, tna solicitud El nifio es un elemento virgen due- ales que, dentro de eier fio de cualidades persc tos aspectos, pueden considerarse como eolec tivas. El oj ita cabal de la acti 1 di- teristien inapreeiable que se h o avizor del profesor se da nd honrada del infant las formas eoneretas, Esta expresién de honra Jez se traduce en dibujar los objetos tal y co- mo son, en funci6n de coneepto y no en funeién de éptica, en funcién racional y no en funeién Esta virtud del edue de representacién. que di sgraci amente pierde al ent afan de falsear sus propias verdades, es de ea pital importaneia para un més ef vimiento de nuwestros tienen el deber de impulsarla p az desenval pto y los las cualidades de cons ‘ible Juchar contra esa atrofia que si en eseolares de mayor edad. Contemporary pedagogy considers the teaching of drawing in the Primary Sehools as one of the basie elements in obta spiritual development of the pupil. Drawin no long ject that it was in the atrophying and useless, but a living, indispensable part in the funetional hool, r the cold and merely ornamental sub: past processes of the § Long ex- perie! dig the search of new orientations, pro. wus experiments have proved that graphic n in the child ix a rational, biologie: funetion. The problem which the modern te er has before him is, therefore What are the a purely tee appropriate w to the advantage of the pupil these developin, amorphus qualities of expression innate in him, In this respect modem pedagogy great adv two has made nces until it has come to define the tal aspects which drawing has within the School: drawing as a means of spiritual development and drawing as a complementary subject Drawing as a means of spiritual expres: sion de th ed. clement rves careful attention on the part of teachers. The ehild is a new, an inexperience possessor of personal which within certain aspeets may by qualities msidtered as collective. The discerning eye of the teach: er will take full aceount of the ehild’s honest tude in drawing, an invaluable charaeter- istic that becomes more latent when the eon. erete forms begin to manifest themselves. This honesty is expressed in drawing the objects as they are and not as they appear; the funetion being rational rather than visual. Unfortunate: ly, this virtue, whieh is lost as the pupil grows older and becomes eager to falsify truths, ital importance in the more efficient development of the qualities of con: cept, and it is the teachers’ duty to stimulate him to fight against that atrophy whieh is per ceptit in students of more advanced age Ibero-Amerikanisches Institut PreuBischer Kulturbesitz http:#/resolver.iai.spk-berlin. de/IAI0000695900 130000 Que no estamos desencaminados al hacer estas afirmaciones, lo prueban hechos observa: dos en grandes ciclos artisticos. Lo que en la pintura moderna se ealifieé de “proyeccién gvometral’” no es sino el coneepto primario de Jos nifios; los egipeios, los aborigenes ameri- on sino fijur sobre un mismo plano los objetos tal y como son, hai sa toda funcién de persp te en im anhelo de Hovar hasta su elimax el andlisis de la forma, La honvadez de los ni fios es este anhelo de anilisis. El nifto no dibu Ja lo que ve, sino lo que sabe que es. mejante ocurre eon Ia moderna “sintesis 6pti la superposicién de planos en tin mis. sbuyé mo plano, Un realismo IWégieo que cont a que el cubismo liberara la pintura de las tra: bas de la perspeetiva y de las tradici mésferas, El escolar sabe que un carro tiene cuatro ruedas, que un hombre tiene dos brazos y dos piernas, que una botella es cilindriea, que tuna taza esté sobre un plato y un vaso delante de otre vaso y ast lo resuelve en su dibujo. Realiza de esta manera un arte de eoneepto en Ingar de un arte imitativo o visual, ales at ‘That we are not mistaken in making these statements is proven by the faets observed dur ing great artistic eyeles. What in modern paint ing was deseribed as * rieal projection is but the primary concept of children; the ptiang, the aboriginal Americans did noth- ing more than put the objects on the same plane just as they were, omitting all function of ordinary perspective, undoubtedly with the desire of analizing form to the limit. 'This hon. sty is this same desi ld does not draw what it sees, but what he knows, the object ix. Si the modern “‘optic synthesis", or the super position of various planes on the same pla It is a logical realism which aided cubism in liberating painting from the shakles of per the traditional influences. Th student knows that a earriage has four wheels, that a man has two arms and two legs, that a bottle is cylindrical, that a cup is on a plate and a glass in front of another, Me to these coneepts he determines his drawings. In this way he achieves an art of concept in- for analysis. The mething similar occurrs with spective stead of an imitative or visual art Ibero-Amerikanisches Institut PreuBischer Kulturbesitz 28 ssolver-iai.spk-betlin.de/1AI0000695900 130000 } El maestro tiene en el ni The teacher has in the child an ideal ideal para hacer desarrollar funeiones element in which to develop creative functions, vas. Si estas funeiones, mediante cuidado, se If through eare these funetions are maintain. logran mantener hasta la époea en que el in- ed up to the time when the child reaches his fante Mega a pleno desenvolvimiento mental, full mental development, it is obvious that it es claro que se‘conseguiniceon ello-favorecer su will strengthen his reasoning and thus he will raciveinio, dotarlo de armas analitieas supe be endowed with superior analytieal weapons res, darle la mas segura oportunidad de expre- and a better opportunity of self-expression. sarse personalmente, ‘The new pedagogy tends to obtain these A conseguir estos resultados tiende I results, and for this reason the Seetion of Plas- y por ello la Seceién de Artes tie Arts of the Ministry of Pu Secretaria de Edueacién se es- is making eve Instruetion possible effort to implant mod- ern methods of teaching, which can be ad ed to our idiosynerasy and to our environment. ‘These new methods are ¢ ‘ehidas tas con la manner of eopy va pedagog Plistieas de fuerza por implantar fases modernas de ensé ianza, que se adopten a n| y a nuestro ambiente, contrarias a 1 vil, a la muestra patré exaltacién y el afin del edueando de encontrar is at war with the eagerness and desire of sus propios mundos, de decir su propia ver- the pupil to find his own world, to say his own dad, de expresar sus intimas emociones. truth, to express his intimate copia ser trary to the servile standard model, which jotions, Ibero-Amerikanisches Institut http:#/resolver.iai.spk-berlin. de/IAI0000695900 130000 PreuBischer Kulturbesitz Pintura Infantil-Children’s Painting BY AGUSTIN Lazo Mites Pression formates ay gue aban Many conventional prejudices have to be donar para ae ta pintura infan- abandoned to approach the painting done by } til con espiritu.jove Desile nego: ha, perspeetiva que la fotog: y visién limpia, children with a youthful spirit and a pure } nos a un lado la nosién de vision, In the first place we must put aside fia, el eromo y la pin- the notions of perspective whieh photography, molith tura realista nos han impuesto, Aqui los pro: j Dlemas plisticos se resuelven en dos dimensio- imp+sed upon us. Here the plastic problems nes, la idea de profundidad pietdriea no existe; are solved in two dimensions: the iden of pic- aphy and realistie painting have el nifio ignora que las figuras disminuyen con- torial depth does not exist. The ehild does not forme se alejan en el eampo visual y que las Ii know that the figures decrease in size with allel lines seem to join the difference of neas paralelas van a juntarse a un punto del distance and that pa at a point in the horizon. horizonte. La diferencia de planos esti si nis sereano en el borde inferior del papel: la atts the nearest point is at the bottom of the nt towards the upper part indicates their lesser or greater distance, within the pi ture, paper and the elevation of the fi clevacién de las © su desplazamiento hacia el borde superior indiearén su me amiento, dentro del euadro. La eleganeia y flexibilidad de formas de- We shall also have to omit elegance and beremos omitirlas también, Aqui estamos muy flexibility of form, Here we are far removed lejos de las siluctas, de las siluetas de Magi fr

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