Much has been written about the popular kachina dolls carved by the Hopi Indians of northern Arizona, but little has been revealed about the artistry behind them. Now Helga Teiwes describes the development of this art form from early traditional styles to the action-style kachina dolls made popular in galleries throughout the world, and on to the kachina sculptures that have evolved in the last half of the 1980s.
Teiwes explains the role of the Katsina spirit in Hopi religion and that of the kachina dollthe carved representation of a Katsinain the ritual and economic life of the Hopis. In tracing the history of the kachina doll in Hopi culture, she shows how these wooden figures have changed since carvers came to be influenced by their marketability among Anglos and how their carving has been characterized by increasingly refined techniques.
Unique to this book are Teiwes's description of the most recent trends in kachina doll carving and her profiles of twenty-seven modern carvers, including such nationally known artists as Alvin James Makya and Cecil Calnimptewa. Enhancing the text are more than one hundred photographs, including twenty-five breathtaking color plates that bring to life the latest examples of this popular art form.
He has been called "the father of Chicano music" and "the original Chicano hepcat." A modest man in awe of his own celebrity, he has sung of the joys and sorrows, dreams and frustrations of the Mexican American community over a sixty-year career. Lalo Guerrero is an American original, and his music jubilantly reflects the history of Chicano popular culture and music.
Lalo's autobiography takes readers on a musical rollercoaster, from his earliest enjoyment of Latino and black sounds in Tucson to his burgeoning career in Los Angeles singing with Los Carlistas, the quartet with which he began his recording career in 1938. During the fifties and sixties his music dominated the Latin American charts in both North and South America, and his song "Canción Mexicana" has become the unofficial anthem of Mexico.
Through the years, Lalo mastered boleros, rancheras, salsas, mambos, cha-chas, and swing; he performed protest songs, children's music, and corridos that told of his people's struggles. Riding the crest of changing styles, he wrote pachuco boogies in one period and penned clever Spanish parodies of American hit songs in another. For all of these contributions to American music, Lalo was awarded a National Medal of the Arts from President Clinton.
Lalo's story is also the story of his times. We meet his family and earliest musical associatesincluding his long relationship with Manuel Acuña, who first got Lalo into the recording studioand the many performers he counted as friends, from Frank Sinatra to Los Lobos. We relive the spirit of the nightclubs where he was a headliner and the one-night stands he performed all over the Southwest. We also discover what life was like in old Tucson and in mid-century L.A. as seen through the eyes of this uniquely creative artist.
"In 1958," Guerrero recalls, "I wrote a song about a Martian who came to Earth to clear up certain misunderstandings about Mars. Now I have decided that it is time to set some things straight about Lalo Guerrero." Lalo does just that, in an often funny, sometimes sentimental story that traces the musical genius of a man whose talent has taken him all over the world, but who still believes in giving back to the community. His story is a gift to that community.
The book also features a detailed discography, compiled by Lalo's son Mark, tracing his recorded output from the days of 78s to his most recent CDs.
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