Water for the People features twenty-five essays by world-renowned acequia scholars and community members that highlight acequia culture, use, and history in New Mexico, northern Mexico, Chile, Peru, Argentina, Spain, the Middle East, Nepal, and the Philippines, situating New Mexico's acequia heritage and its inherent sustainable design within a global framework. The lush landscapes of the upper Rio Grande watershed created by acequias dating from as far back as the late sixteenth century continue to irrigate their communities today despite threats of prolonged drought, urbanization, private water markets, extreme water scarcity, and climate change. Water for the People celebrates acequia practices and traditions worldwide and shows how these ancient irrigation systems continue to provide arid regions with a model for water governance, sustainable food systems, and community traditions that reaffirm a deep cultural and spiritual relationship with the land year after year.

In this poignant bilingual collection, preeminent New Mexican poet E. A. "Tony" Mares posthumously shares his passionate journey into the broken heart and glimmering shadows of the Spanish Civil War, whose shock waves still resonate with the political upheavals of our own times. Mares engages in dialogue with heroes and demons, anarchists and cardinals, and beggars and poets. He takes us through the convex mirror of history to the blood-stained streets of Madrid, Guernica, and Barcelona. He interrogates the assassins of Federico Garcia Lorca for their crimes against poetry and humanity. Throughout the collection the narrator is participant and commentator, and his language is both lyrical and direct. In addition to Mares's parallel Spanish and English poems, the book includes a prologue by Enrique Lamadrid, an introduction by Fernando Martin Pescador, and an epilogue by Susana Rivera. Lovingly shepherded and completed by friends and family, this book will appeal to Mares enthusiasts and readers interested in poetry and history, who will be glad to have this unexpected gift from a master's voice.

Second Place Winner of the 2020 International Latino Book Award for Best History Book Nacion Genizara examines the history, cultural evolution, and survival of the Genizaro people. The contributors to this volume cover topics including ethnogenesis, slavery, settlements, poetics, religion, gender, family history, and mestizo genetics. Fray Angelico ChAvez defined Genizaro as the ethnic term given to indigenous people of mixed tribal origins living among the Hispano population in Spanish fashion. They entered colonial society as captives taken during wars with Utes, Apaches, Comanches, Kiowas, Navajos, and Pawnees. Genizaros comprised a third of the population by 1800. Many assimilated into Hispano and Pueblo society, but others in the land-grant communities maintained their identity through ritual, self-government, and kinship. Today the persistence of Genizaro identity blurs the lines of distinction between Native and Hispanic frameworks of race and cultural affiliation. This is the first study to focus exclusively on the detribalized Native experience of the Genizaro in New Mexico.

Jade is a young girl who lives in a village next to a towering volcano. On its peak lives a Mountain Spirit who makes his presence known by rumbling the earth, filling the sky with smoke, and pouring lava down the mountainside. Angered by those who forget to honor him for providing their harvest, the Mountain Spirit has stopped sending rain to Jade's village and the people are faced with the possibility of having to abandon their homes and land.

As Jade collects water from the near-dry lake, a blue hummingbird--a messenger from the Mountain Spirit--tells Jade she must take a gift to the Mountain Spirit and ask for rain. Guided by the hummingbird, Jade presents her food offering to the Mountain Spirit. Pleased, the spirit offers the brave girl corn kernels that she takes back to her village and uses to create the first tortilla.

In Boyle Heights, gateway to East Los Angeles, sits the 1889 landmark "Hotel Mariachi," where musicians have lived and gathered on the adjacent plaza for more than half a century. This book is a photographic and ethnographic study of the mariachis, Mariachi Plaza de Los Angeles, and the neighborhood. The newly restored brick hotel embodies a triumphant struggle of preservation against all odds, and its origins open a portal into the Mexican pueblo's centuries-old multiethnic past.

Miguel Gandert's compelling black-and-white images document the hotel and the vibrant mariachi community of the "Garibaldi Plaza of Los Angeles." The history of Hotel Mariachi is personal to Catherine Lopez Kurland, a descendant of the entrepreneur who built it, and whose family's Californio roots will fascinate anyone interested in early Los Angeles or Mexican American history. Enrique Lamadrid explores mariachi music, poetry, and fiestas, and the part Los Angeles played in their development, delving into the origins of the music and offering a deep account of mariachi poetics. Hotel Mariachi is a unique lens through which to view the history and culture of Mexicano California, and provides touching insights into the challenging lives of mariachi musicians.

Nacion Genizara examines the history, cultural evolution, and survival of the Genizaro people. The Contributors to this volume cover topics including ethnogenesis, slavery, Settlements, poetics, religion, gender, family history, and mestizo genetics. Fray Angelico Chavez defined Genizaro as the ethnic term given to indigenous people of mixed tribal origins living among the Hispano population in Spanish fashion. They entered colonial society as captives taken during wars with Utes, Apaches, Comanches, Kiowas, Navajos, and Pawnees. Genizaros comprised a third of the population by 1800. Many assimilated into Hispano and Pueblo society, but others in the land-grant communities maintained their identity through ritual, self-government, and kinship. Today the persistence of Genizaro identity blurs the lines of distinction between Native and Hispanic frameworks of race and cultural affiliation. This is the first study to focus exclusively on the detribalized Native experience of the Genizaro in New Mexico.

Sisters in Blue tells the story of two young women-one Spanish, one Puebloan-meeting across space and time. Sor Maria de Jesus de Agreda, New Mexico's famous Lady in Blue, is said to have traveled to New Mexico in the seventeenth century. Here Anna M. Nogar and Enrique R. Lamadrid bring her to life, imagining an encounter between a Pueblo woman and Sor Maria during the nun's mystical spiritual journeys. Tales of Sor Maria, who described traveling across the earth and the heavens, have traditionally presented her as an evangelist who helped bring Catholicism to the Pueblos. Instead this book, which includes an essay providing historical context, shows a connection between Sor Maria and her friend Paf Sheuri. The two women find more similarities than differences in their shared experiences, and what they learn from each other has an impact for centuries to come.

During the Chicano Movement in the 1960s and 1970s, the idea of Aztlan, homeland of the ancient Aztecs, served as a unifying force in an emerging cultural renaissance. Does the term remain useful? This expanded new edition of the classic 1989 collection of essays about Aztlan weighs its value. To encompass new developments in the discourse the editors have added six new essays.

Cipriano Frederico Vigil is the most important performer of traditional Nuevomexicano folk music in the late twentieth and early twenty-first centuries. This bilingual panoramic book presents the songs that are his life's work, spanning half a century of listening, playing, composing, and singing ritual, social, and dance music.

New Mexican Folk Music includes much traditional material that has never been seen before or studied by scholars or students. Renowned as a composer, Vigil works in traditional genres such as the romance, the decima, the cuando, and corrido. Like the Mexican group Los Folkloristas with which he apprenticed in the late 1970s, his goal has been to research and master local styles, to introduce new listeners to traditional music, and to build on tradition by creating new compositions that address contemporary social themes.

An audio CD accompanies this comprehensive study on the work and music of Cipriano Frederico Vigil."

La Llorona, the Crying Woman, is the legendary creature who haunts rivers, lakes, and lonely roads. Said to seek out children who disobey their parents, she has become a ""boogeyman,"" terrorizing the imaginations of New Mexican children and inspiring them to behave. But there are other lessons her tragic history can demonstrate for children. In Rudolfo Anaya's version Maya, a young woman in ancient Mexico, loses her children to Father Time's cunning. This tragic and informative story serves as an accessible message of mortality for children. La Llorona, deftly translated by Enrique Lamadrid, is familiar and newly informative, while Amy Cordova's rich illustrations illuminate the story. The legend as retold by Anaya, a man as integral to southwest tradition as La Llorona herself, is storytelling anchored in a very human experience. His book helps parents explain to children the reality of death and the loss of loved ones.

This long-awaited book vividly documents the folk music of El Ro Grande del Norte, an area extending from the Mexican border on the south to Southern Colorado on the north and from the Great Plains on the east to the Continental Divide on the West. Loeffler has collected examples of the musical forms used over the centuries in this often isolated and harsh but beautiful region. A blend of religious and secular music from sixteenth-century Spain, Mexican-influenced folk tunes, and melodies indigenous to the life of the region, the music covered here includes romances, "trovos, cuandos" and "decimas, inditas, corridos, cancines," ceremonial and religious music, and dance music.

Each song appears both in Spanish and English. For many, transcriptions of the musical notations are provided as well as graphic illustrations of dance technique. A companion set of compact discs is also available. Photographs and biographies of active folk musicians help complete the record of this rich and enduring musical tradition.

First published in 1980 and now available only from the University of New Mexico Press, this classic compilation of New Mexico folk music is based on thirty-five years of field research by a giant of modern music. Composer John Donald Robb, a passionate aficionado of the traditions of his adopted state, travelled New Mexico recording and transcribing music from the time he arrived in the Southwest in 1941.

In this book, award-winning photographer Miguel Gandert records the sacred rituals and dances of the mestizo peoples of the upper Rio Grande in 130 exquisite black-and-white photographs. Included are images of the two great Indo-Hispano regional traditions, the Matachines conquest dance drama, complete with monsters and bull, and the multifaceted Comanches celebration, with its equestrian victory play and boisterous dances. The image and story of Our Lady of Guadalupe are in evidence everywhere in a sacred landscape criss-crossed with procession and pilgrimage. Four essays provide the background for viewing Gandert's work. Enrique R Lamadrid presents the folkloric context for the rituals and dances, tracing the mixture of Indian and Hispanic elements in the public celebrations performed today in towns and villages all along the Rio Grande. Ramon A Gutierrez examines how the Rio Grande culture travelled up and down the river, defying international borders. Lucy R Lippard discusses the social relations among participants in Gandert's photographs-the subjects, the viewers, and the photographer himself. Chris Wilson provides biographical information on Gandert and traces the development of his aesthetic.