Pinturas
In the several shelters of the Sierra Rarámuri's region, there are these ancient paintings, Pinturas, that are primarily pictographs, but recently made Pinturas tend to show more detailed images.
As a note, the word Pinturas is Spanish. When asked to give a name to the Rock Art, the phrase risochi oserame sitakame, "red cave writing/embroidering", is the name the Rarámuri gave to the art (Wyham 388). In the ideology that all important cultural practices and objects can be named, it is curious that there is not a brief word or phrase that names the Pinturas, or indicates them as records of history, instructions, or explicit signs of respect to the entities they depict.
However, there is speculation by Wyham, an individual who has spent nearly a decade of time with the Rarámuri, that there is a connection between lack of discussion of the pinturas and Rarámuri etiquette in speaking about the affairs of others (Wyham 399).
There is an incredible amount of consideration the Rarámuri put into respecting the private lives of others in not reading too much into or discussing their content as it would make assumptions or reveal secrets of the people that made them.
There is the additional aspect that Wyham found in the creation of the pinturas was meant as a process of curing-- which for the Rarámuri means maintaining relations with spirit worlds and the living worlds. This act of curing would be done by cherame(elders) or sukuruame(sorcerers) (Wyham 400). It is generally a respectful and wise decision by the Rarámuri and others to not meddle with the intentions and words with people that have connections with the spirit worlds.
Additionally, there are non-human entities that do not appreciate their names spoken aloud, and adults take caution on what is and isn't shared to outsiders to protect their relation with these non-human entities and their well-being.
The location of pinturas is also within the homes of the Rarámuri, creating an interesting dynamic of these spaces being parts of history also being altered by the living Rarámuri.
As a note, the word Pinturas is Spanish. When asked to give a name to the Rock Art, the phrase risochi oserame sitakame, "red cave writing/embroidering", is the name the Rarámuri gave to the art (Wyham 388). In the ideology that all important cultural practices and objects can be named, it is curious that there is not a brief word or phrase that names the Pinturas, or indicates them as records of history, instructions, or explicit signs of respect to the entities they depict.
However, there is speculation by Wyham, an individual who has spent nearly a decade of time with the Rarámuri, that there is a connection between lack of discussion of the pinturas and Rarámuri etiquette in speaking about the affairs of others (Wyham 399).
There is an incredible amount of consideration the Rarámuri put into respecting the private lives of others in not reading too much into or discussing their content as it would make assumptions or reveal secrets of the people that made them.
There is the additional aspect that Wyham found in the creation of the pinturas was meant as a process of curing-- which for the Rarámuri means maintaining relations with spirit worlds and the living worlds. This act of curing would be done by cherame(elders) or sukuruame(sorcerers) (Wyham 400). It is generally a respectful and wise decision by the Rarámuri and others to not meddle with the intentions and words with people that have connections with the spirit worlds.
Additionally, there are non-human entities that do not appreciate their names spoken aloud, and adults take caution on what is and isn't shared to outsiders to protect their relation with these non-human entities and their well-being.
The location of pinturas is also within the homes of the Rarámuri, creating an interesting dynamic of these spaces being parts of history also being altered by the living Rarámuri.
However, with the knowledge Wyham that reading into the pinturas should not be about what the creator originally intended to convey, an examination of what the image invokes in the observer is more appropriate.
The above image is a rough trace of several images taken by Wyham, which contains several icons that represent important entities to the Rarámuri.
A few important points to note about the Rarámuri is that they observe the sacred trinity of Corn, Deer, and Peyote.
This relationship this trinity is related to the trinity that Kimmer references in Braiding Sweetgrass of the three sisters, Bean, Corn, and Squash, as both sets of three are important to the lives of the people that have them in their worldview of a reciprocal relationship. Kimmer describes the importance of the sister to her worldview, "We cannot live without them."
Deer connect the Rarámuri with an animal of the land, a relation that gives to the Rarámuri and the Rarámuri must give to, receiving nutrition from the Deer they must give honoring to their sacrifice.
Corn is a similar relation to the Rarámuri, providing sustenance and another relation to the land, without it meals would be incomplete and tesgüino non-existent. The Rarámuri must tend and aid the corn as it grows as thanks for its sacrifice.
Peyote is the final of this trinity that aids in the medicine of the Rarámuri and the spiritual quests that the Rarámuri undergo for growth.
It is important to remember, that though corn may be the focus of this research, there is due diligence to make mention of the relation and background that the Rarámuri have with corn and where corn is situated in relation to other elements to the world view of the Rarámuri.
Finally, it comes to looking at the pintura itself, and what messages it can invoke in the observer and the elements present that weave together a story to the observer, that they would find meaning based upon their knowledge of private matters that have been disclosed in whispers by other Rarámuri and contemporary issues.
With that, please take a moment to examine the image, what symbols that are understood by you from your worldview and other worldviews that you have learned from others.
Please take a moment to recognize that though there may be incredible confidence in the interpretation of what the maker of the pinturas may have intended, there will be the sacred information that cannot be shared. In that way the pinturas will hold a meaning secret to the Rarámuri, reminding them of their relations to sacred entities, their stories, and any instructions or lessons for the future.
The above image is a rough trace of several images taken by Wyham, which contains several icons that represent important entities to the Rarámuri.
A few important points to note about the Rarámuri is that they observe the sacred trinity of Corn, Deer, and Peyote.
This relationship this trinity is related to the trinity that Kimmer references in Braiding Sweetgrass of the three sisters, Bean, Corn, and Squash, as both sets of three are important to the lives of the people that have them in their worldview of a reciprocal relationship. Kimmer describes the importance of the sister to her worldview, "We cannot live without them."
Deer connect the Rarámuri with an animal of the land, a relation that gives to the Rarámuri and the Rarámuri must give to, receiving nutrition from the Deer they must give honoring to their sacrifice.
Corn is a similar relation to the Rarámuri, providing sustenance and another relation to the land, without it meals would be incomplete and tesgüino non-existent. The Rarámuri must tend and aid the corn as it grows as thanks for its sacrifice.
Peyote is the final of this trinity that aids in the medicine of the Rarámuri and the spiritual quests that the Rarámuri undergo for growth.
It is important to remember, that though corn may be the focus of this research, there is due diligence to make mention of the relation and background that the Rarámuri have with corn and where corn is situated in relation to other elements to the world view of the Rarámuri.
Finally, it comes to looking at the pintura itself, and what messages it can invoke in the observer and the elements present that weave together a story to the observer, that they would find meaning based upon their knowledge of private matters that have been disclosed in whispers by other Rarámuri and contemporary issues.
With that, please take a moment to examine the image, what symbols that are understood by you from your worldview and other worldviews that you have learned from others.
Please take a moment to recognize that though there may be incredible confidence in the interpretation of what the maker of the pinturas may have intended, there will be the sacred information that cannot be shared. In that way the pinturas will hold a meaning secret to the Rarámuri, reminding them of their relations to sacred entities, their stories, and any instructions or lessons for the future.
Rarámuri Sandals
A Belgium company that started when Edel Van Riet "discovered" the Raramuri. The website uses this rhetoric that the sandal connects to this idea of indigenous resourcefulness, not accounting for the fact the Raramuri often run barefoot, and use car tires for shoes as their land is disrespected and used as a landfill.
The Business does a disservice to the Raramuri by claiming their life is devoid of struggle and selling this inaccurate image of the Raramuri and part of their identity with no benefit to the Ramamuri. In fact, it presents this narrative the Raramuri are thriving, countering the narrative that they fighting cartels and the government. Endeavors that sell Indigenous Culture aren't uncommon, the US is notorious for selling Native and Indigenous Images in fashion often. For the Rarámuri, there are more pressing issues than what someone across the globe is selling. Riet uses the Tagline: There is a Rarámuri spirit in each of us. (Riet) This is not at all an endeavor by the Rarámuri, but it attempts to commodity their life, present a narrative that subtracts from their own or even brings to light some of their beliefs are guarded and kept secret. |
Works Cited
Header image:
Maurer , Tamme. "Tarahumara Boy In Painted Cave Near Chihuahua-mexico by Ruth Hager." Fine Art America. Fine Art America, 27 Dec. 2014. Web. 22 Nov. 2016.
On Pinturas:
Kimmerer, Robin Wall. Braiding Sweetgrass. Minneapolis, MN: Milkweed Editions, 2013. Print.
Wyndham, Felice S. "The Semiotics of Powerful Places: Rock Art and Landscape Relations in the Sierra Tarahumara, Mexico." Jstor. The University of Chicago Press Journals, Fall 2011. Web. 22 Nov. 2016.
On Raramuri Sandals:
Riet, Edel Van. "Rarámuri Sandals - One Sandal, Endless Possibilities." Rarámuri Sandals. Rarámuri Sandals, n.d. Web. 22 Nov. 2016.
Maurer , Tamme. "Tarahumara Boy In Painted Cave Near Chihuahua-mexico by Ruth Hager." Fine Art America. Fine Art America, 27 Dec. 2014. Web. 22 Nov. 2016.
On Pinturas:
Kimmerer, Robin Wall. Braiding Sweetgrass. Minneapolis, MN: Milkweed Editions, 2013. Print.
Wyndham, Felice S. "The Semiotics of Powerful Places: Rock Art and Landscape Relations in the Sierra Tarahumara, Mexico." Jstor. The University of Chicago Press Journals, Fall 2011. Web. 22 Nov. 2016.
On Raramuri Sandals:
Riet, Edel Van. "Rarámuri Sandals - One Sandal, Endless Possibilities." Rarámuri Sandals. Rarámuri Sandals, n.d. Web. 22 Nov. 2016.