photo courtesy of Francisco Lion, 2018 ©
Location / Lugar Museo Reina Sofia Date / Fecha: September 15 18:00
Tag: Indigenous Films & Filmmakers from Chiapas
photo courtesy of Francisco Lion 2018 ©
Somos fragmentos de la luz que impide que todo sea noche exhibition – Open / Abierto 15 – 30 September 2021, Mo-Sun / L-D 10:00 – 22:00 Location / Lugar Centro Cultural La Corrala, Museo de Artes y Tradiciones Populares Calle de Carlos Arniches, 3, Madrid
Subcomandante Galeano says in one of his speeches during the Zapatista Caracoles Film Festival “Puy ta Cuxlejaltic” that the arts have always been present from the beginning in Zapatismo. But that the cinema is more recent. He remembers that in the years of the underground (1983-1993), in the jungle they would tell each other the Bruce Lee films. That in general, the genre of martial arts is the one that the militiamen liked the most, while the Vietnamese film “Punto de Enlace” better identified the Zapatista peasants. Anyway, the conditions of this cinema were precarious, wandering, nomadic. It was projected in 16mm on sheets and underwear. When the DVD and the Blu-ray appear, and less you see cinema. As Galeano says, “if we didn’t see him when he was bad, we are less going to see him when he’s great (spectacular)”. This is the first time that cinema that is part of the Zapatista imagination has been organized and exhibited, as spectators in hiding.
Dice el Subcomandante Galeano en una de sus intervenciones durante el Festival de Cine en los Caracoles zapatistas “Puy ta Cuxlejaltic” que las artes han estado siempre presentes desde el principio en el Zapatismo. Pero que el cine es más reciente. Recuerda que en los años de la clandestinidad (1983-1993), en la jungla se contaban unos a otros las películas de Bruce Lee. Que en general, el género de las artes marciales es el que más gustaba a los milicianos, mientras que la película vietnamita “Punto de Enlace” identificaba mejor a los campesinos zapatistas. Como fuera, las condiciones de este cine eran precarias, errantes, nómades. Se proyectaba en 16mm sobre sábanas y ropa interior. Cuando aparece el DVD y el Blu-ray, ya menos se ve cine. Como dice Galeano, “si no lo veíamos cuando estaba malo, menos lo vamos a ver cuando está chingón (espectacular)”. Esta es la primera vez que se organiza y exhibe ese cine que forma parte del imaginario del zapatismo, como espectadores en la clandestinidad.
Mix of scenes from films / Escenas de diversas películas Bruce Lee, films vietnamitas, “La Batalla de Moscú” Editing / Montaje Tino Varela y Natalia Arcos, 2021 Running time / Duración 8′
Somos fragmentos de la luz que impide que todo sea noche exhibition – Open / Abierto 15 – 30 September 2021, Mo-Sun / L-D 10:00 – 22:00 Location / Lugar Centro Cultural La Corrala, Museo de Artes y Tradiciones Populares Calle de Carlos Arniches, 3, Madrid
What essentially makes up this “second audiovisual territory” is a moment of direct exchange, mutual learning, and close collaboration between external agents sympathetic to Zapatismo and the EZLN support bases that took place between 1998-2008 in Chiapas. Entering this territory of symbiotic mixture implies telling the story of “PROMEDIOS”, the American-Mexican audiovisual agency founded in Chicago, USA, by Alexandra Halkin. She arrived in Chiapas in 1995 to film a caravan of humanitarian aid for the Zapatistas; It was in this process that she detected the great interest of her colleagues in learning about the use of this technology; Well, there were hundreds of reporters and documentary makers, but none of those cameras was in the hands of the Zapatistas themselves. It was thus that, due to the desire of the support bases and the authorization of the EZLN command, plus the financial support of directors such as Oliver Stone, the idea of founding PROMEDIOS was conceived. Then, complete camera and sound equipment arrived in Chiapas, as well as audiovisual instructors, mostly Mexican, committed to training Zapatistas in analog and digital video, post-production, audio, satellite television, and Internet access. During its 10 years, the binational organization trained hundreds of Zapatistas interested in learning these technologies for the registration and communication of their own processes, considering video as another defense weapon against the attacks of the army, paramilitaries, government and landowners. These works, carried out under conditions of struggle, portray the collective work of agriculture and coffee, autonomous education, women’s participation, traditional medicine and the history of the struggle for land, among other topics.
Lo que compone esencialmente este “segundo territorio audiovisual” es un momento de intercambio directo, aprendizaje mutuo y colaboración estrecha entre agentes externos simpatizantes al zapatismo y bases de apoyo del EZLN que se da entre 1998-2008 en Chiapas. Ingresar a este territorio de mezcla simbiótica implica contar la historia de “PROMEDIOS”, la agencia audiovisual estadounidense-mexicana fundada en Chicago, EEUU, por Alexandra Halkin. Ella llegó en 1995 a Chiapas a filmar una caravana de ayuda humanitaria para el zapatismo; fue en este proceso que detectó el gran interés de los propios compañeros por aprender del uso de esta tecnología; pues, habían cientos de reporteros y documentalistas, pero ninguna de esas cámaras estaba en manos de los propios zapatistas. Fue así que, ante el deseo de las bases de apoyo y la autorización de la comandancia del EZLN, más el apoyo económico de directores como Oliver Stone, se gestó la idea de fundar PROMEDIOS. Llegaron entonces a Chiapas equipos completos de cámara y sonido, así como instructores audiovisuales, en su mayoría mexicanos, comprometidos con la capacitación de zapatistas en video análogo y digital, post producción, audio, televisión vía satélite y acceso a Internet. Durante sus 10 años, la organización binacional formó a cientos de zapatistas interesados en aprender estas tecnologías para el registro y la comunicación de sus propios procesos, considerando a la vez al vídeo como otra arma de defensa ante las embestidas del ejército, paramilitares, gobierno y latifundistas. Estos trabajos realizados en condiciones de lucha, retratan los trabajos colectivos de agricultura y de café, la educación autónoma, las participaciones de mujeres, la medicina tradicional y la historia de la lucha por la tierra, entre otros temas.
Original Title / Título Original El Curandero de los Pueblos Indígenas de los Altos, Chiapas, 1999 Direction / Dirección Promedios y compañeros zapatistas Running time / Duración 34′
Original Title / Título Original La Otra Comunicación, 2009 Direction / Dirección Promedios y compañeros zapatista Running time / Duración 7:47′
Una promotora de audiovisual de la agencia de medios zapatista TERCIOS COMPAS, photo courtesy of Francisco Lion 2018 ©
Somos fragmentos de la luz que impide que todo sea noche exhibition – Open / Abierto 15 – 30 September 2021, Mo-Sun / L-D 10:00 – 22:00 Location / Lugar Centro Cultural La Corrala, Museo de Artes y Tradiciones Populares Calle de Carlos Arniches, 3, Madrid
This area of the exhibition presents videos that are currently being made by the Zapatista video promoters of the support base communities and that are edited and distributed both in the communication centers of Los Caracoles and on the Internet, as postscript of the communiqués of the command. Once hundreds of Zapatistas were educated in audiovisual communication, they now teach others, who take their cameras and audio equipment, recording in and for all the events, seminars and festivals that the EZLN organizes. The material conditions of this work are generally optimal: new HD video cameras, live sound equipment and editors on Mac computers with free software. But the contextual conditions continue to be difficult: in addition to the usual lack of electrical power in the field, there is also the difficulty of Internet connectivity in the communities and eventual hacks by the Mexican government. However, the team of young men and women that make up “Los Tercios Compas”, continues to work and constantly produce videos.
En esta área nos encontramos con los videos que realizan actualmente los promotores de vídeo zapatistas de las comunidades bases de apoyo y que se editan y distribuyen tanto en los centros de comunicación de los Caracoles como en la Internet, como postdata de los comunicados de la comandancia. Una vez que se educaron cientos de zapatistas en comunicación audiovisual, ellos ahora enseñan a otros, quienes toman sus cámaras y equipos de audio, grabando en y para todos los eventos, seminarios y festivales que el EZLN organiza. Las condiciones materiales de ese trabajo generalmente son óptimas: nuevas cámaras de video HD, equipos de sonido en directo y editoras en computadoras Mac con softwares libres. Pero las condiciones contextuales siguen siendo difíciles: a la falta habitual de energía eléctrica en terreno, se suma la dificultad de conectividad a la Internet en las comunidades y eventuales hackeos del gobierno mexicano. Sin embargo, el equipo de jóvenes hombres y mujeres que componen “Los Tercios Compas”, sigue trabajando y produciendo constantemente videos.
Original Title / Título Original Choferas nº1, 2019 Direction / Dirección Tercios Compas Running time / Duración 3′
Original Title / Título Original Caracol 10 Patria Nueva, 2019 Direction / Dirección Tercios Compas Running time / Duración 5:35′
Original Title / Título La primera de varias. Café Zapatista, 2017 Direction / Dirección Tercios Compas Running time / Duración 4′
Original Title / Título Original El pilar de la autonomía y la vida de los partidistas, 2017 Direction / Dirección Tercios Compas Running time / Duración 30′
image: still from the film
Somos fragmentos de la luz que impide que todo sea noche exhibition – Open / Abierto 15 – 30 September 2021, Mo-Sun / L-D 10:00 – 22:00 Location / Lugar Centro Cultural La Corrala, Museo de Artes y Tradiciones Populares Calle de Carlos Arniches, 3, Madrid
10 años de impunidad ¿y cuántos más? – This documentary portrays the Acteal Massacre, which occurred on December 22, 1997, when 45 women were brutally murdered, some of them pregnant, several children and men. The Acteal martyrs were praying in the small parish of their town when they were attacked by paramilitaries formed by the Mexican Army. The men and women of Acteal were thus punished for being sympathizers of Zapatismo, although not members of the EZLN because their deep Christianity prevents them from taking up arms. His defense is peaceful and sacrificial. Acteal is one of the most recent killing of indigenous people in the long night of 500 years. This documentary is presented as part of audiovisual sovereignty, and although it is not part of the Zapatista Army of National Liberation, it tells us about the struggle in the same territory, including spiritual and religious elements.
10 años de impunidad ¿y cuántos más? – Este documental retrata la Masacre de Acteal, ocurrida el 22 de diciembre de 1997, cuando fueron brutalmente asesinados 45 mujeres, algunas de ellas embarazadas, varios niños y hombres. Los mártires de Acteal se encontraban rezando en la pequeña parroquia de su pueblo cuando fueron atacados por paramilitares formados por el Ejército Mexicano. Los hombres y mujeres de Acteal fueron así castigados por ser simpatizantes del Zapatismo, aunque no miembros del EZLN porque su profundo cristianismo les impide tomar las armas. Su defensa es pacífica y de sacrificio. Acteal se conforma como uno de los más recientes eventos de matanza de indígenas en la larga noche de los 500 años. Este documental se presenta como parte de la soberanía audiovisual, y aunque no es parte del Ejército Zapatista de Liberación Nacional, nos habla de la lucha en el mismo territorio, incluyendo elementos espirituales y religiosos.
Original Title / Título Original Acteal, 10 años de impunidad, 2008 Director / Dirección José Alfredo Jiménez Pérez Assistant director / Asistente de dirección Jaime Schlittler Produced by / Producido por Asociación Civil Las Abejas de Acteal Languages / Idiomas Tsotsil, Español Music / Música Coro de las Abejas de Acteal Country / País Mexico Running time / Duración 45′
José Alfredo Jiménez Mexican, originally from the Yibeljoj community, in the municipality of Ch’enalvo ’in the Los Altos de Chiapas region, where he was born in the 1970s. He is an active member of the social organization “La Sociedad Civil Las Abejas”, where he has worked in community communication since the 1990s. His work within the Las Abejas Civil Society is voluntary and he fulfills his duties out of conviction and commitment. “Like the other members of the organization, I do my job as a position in service to the organization and the community, for which I do not receive any financial remuneration. I do it out of conscience and as a human being, because I have something to do in this life for myself, for my children and for others. There is no satisfaction as great as fighting for justice and peace. For me, that is life. My mother tongue is Tsotsil, one of the Mayan languages that those of us who speak it call bats’i k’op: the true word or language”.
José Alfredo Jiménez Mexicano, originario de la comunidad Yibeljoj, del municipio de Ch’enalvo’ en la región Los Altos de Chiapas, donde nació en los años setenta. Es miembro activo de la organización social “La Sociedad Civil Las Abejas”, donde se desempeña en la comunicación comunitaria desde los años ‘90. Sus labores dentro de la Sociedad Civil Las Abejas son de carácter voluntario y cumple con sus quehaceres por convicción y compromiso. “Como los otros miembros de la organización, hago mi trabajo como un cargo en servicio a la organización y la comunidad, por el cual no recibo ninguna remuneración económica. Lo hago por conciencia y como ser humano, pues algo tengo que hacer en esta vida por mí, por mis hijos y por losdemás. No hay satisfacción tan grande como luchar por la justicia y la paz. Para mí, eso es vida. Mi lengua materna es el tsotsil, una de las lenguas mayas que los que la hablamos llamamos bats’i k’op: la palabra o lengua verdadera”.
Five women united by spirituality and poetry. They do not know each other but the declamatory force unites them. The Stotsil, Mapuzungun, Kechua and Spanish languages shape the field of semantics that, beyond the word, enrich the sound of the mother tongue, inviting the spiritual space of each woman and hers territory.
Cinco mujeres unidas por la espiritualidad y la poesía. No se conocen pero la fuerza declamatoria los une. Las lenguas stotsil, mapuzungun, kechua y castellano configuran el campo de la semántica que, más allá de la palabra, enriquece el sonido de la lengua materna, invitando al espacio espiritual de cada mujer y su territorio.
Original Title / Título Original Mujeres Espiritu, 2019 Director / Dirección Francisco Huichaqueo Palabra Florida / Poets Maruch Mendez: Chiapas México,Tsotsil; Enriqueta Lunez: Chamula México,Tsotsil; Roxana Miranda Rupailaf: Wallmapu, Maicolpue Chile; Isabel Lara Millapan: Wallmapu, Chiwimpüllü Chile, Mapuzungun; Marisol Díaz: La Paz Bolivia, Kechua Music / Música Patricio Chico & Bunster Sound / Sonido Gustavo Vergara A project co-financed by/ Un proyecto cofinanciado por VRID Vicerrectoría de Investigación Universidad de Concepción Territories / Territorios México (San Cristóbal de las Casas, Chiapas, Chamula, Chenalhó, Xochimilco); Bolivia (Salar de Uyuni, Oruro, La Paz, Isla del Sol); Wallmapu/ Chile Maicolpue, Chiwimpüllü, Contulmo, Millawinkul; Regiorns: Araucanía, Los Lagos, Bio Bio Country / País Chile Running time / Duración 43′
Francisco Huichaqueo Mapuche people 1977 South of Chile, is a visual artist, filmmaker and academic from the Faculty of Humanities and Visual Arts of the University of Concepción. He graduated from the University of Chile Faculty of Visual Arts, with a master’s degree in documentary film from the same university and a specialization in optics at the Cuban film school. His visual work is developed around the themes that concern his Mapuche lineage and expresses his work in video installation, documentary film and essay film formats. He also intervenes in colonial spaces where tangible and intangible heritage is kept, such as archaeological collections in museums within Chile and abroad. Longing in the near future for a return and management of the indigenous heritage in the hands of his people. Huichaqueo combines the spectral image of the cinema under the codes of the worldview to complement and accompany the objects of spiritual and ceremonial use, recording common life today. Mission: WENU PELON / Portal de Luz MAVI 2015-2021 Santiago de Chile MAS. KUIFI ÜL / Ancient Sound, Gropius Bau Museum, Berlin Biennale, Germany 2020. CHI RÜTRAN AMULNIEI ÑI NÜTRAM / Metal Continues to Speak, Pre-Columbian Museum of Santiago 2016. MALON WIÑO / The Silver Serpent, Matta Cultural Center, Buenos Aires, Argentina 2016 KALÜL TRAWÜN / Meeting of the Corps, MNBA of Santiago 2011-2012. He has exhibited at International Film Festivals such as ImagiNative in Toronto-Canada, Toulouse Latino Film Festival, Museum of the American Indian in Washington, Human Resources Gallery, Los Angeles USA among others. He has completed film and art residencies in Taiwan, France, and Colombia; and has lectured on First Nations cinema at NYU University and Bernard Columbia, USA-NYC. The most outstanding film work of him are: Mencer ñi pewma 2012. ILWEN / The earth has the smell of father 2013. Mujeres Espíritu 2020, being the last ones with a world premiere and highlighted by specialized critics.
Francisco Huichaqueo pueblo mapuche 1977 Sur de Chile. Es artista visual, cineasta y académico de la Facultad de Humanidades y Artes Visuales de la Universidad de Concepción. Titulado en la Universidad de Chile Facultad de Artes Visuales, con grado de magister en cine documental de la misma universidad y especialización en óptica en la escuela de cine de Cuba. Su obra visual se desarrolla en torno a las temáticas que atañen a su linaje Mapuche y expresa su obra en formato de video instalación, cine documental y cine ensayo. También interviene en los espacios coloniales donde se custodia el patrimonio material e inmaterial como las colecciones arqueológicas en los museos dentro de Chile y el exterior. Anhelando en un futuro cercano un retorno y manejo del patrimonio indígena en manos de su pueblo. Huichaqueo conjuga la imagen espectral del cine bajo los códigos de la cosmovisión para complementar y acompañar los objetos de uso espiritual y ceremonial registrando la vida común hoy. Misión: WENU PELON/ Portal de Luz MAVI 2015-2021 Santiago de Chile MAS. KUIFI ÜL/ Sonido Antiguo, Museo Gropius Bau, Berlín Biennale, Alemania 2020. CHI RÜTRAN AMULNIEI ÑI NÜTRAM/ El Metal Sigue Hablando, Museo Precolombino de Santiago 2016. MALON WIÑO/ La Serpiente de Plata, Centro Cultural Matta, Buenos Aires, Argentina 2016. KALÜL TRAWÜN/ Reunión del Cuerpo, MNBA de Santiago 2011-2012. Ha exhibido en Festivales Internacionales de cine como ImagiNative en Toronto-Canadá, Festival de Cine Latino de Toulouse, Museo del Indio Americano en Washington, Human Resources Gallery, Los Ángeles USA entre otros. Ha cursado residencias en cine y arte en Taiwán, Francia y Colombia; y ha dictado conferencias sobre cine de la Primeras Naciones en la Universidad de NYU y Bernard Columbia, USA-NYC. Su obra fílmica más destacadas son: Mencer ñi pewma 2012. ILWEN/ La tierra tiene olor a padre 2013. Mujeres Espíritu 2020, siendo estás últimas con estreno mundial y destacadas por la critica especializada.
The gods gave Manuel Jiménez a gift for words, which helped him become a Bankilal, that is, an “elder brother” of his community. His communal service consists in intervening, on behalf of his people, with the spirits and the forces that protect the universe, but also in ensuring that the inherited customs and practices of the original Tsotsil forefathers and foremothers may endure.
- Original Title: Bankilal (El hermano mayor), 2014
- Director: María Sojob
- Camera DOP: Rafael Albarrán Martínez
- Sound: Marcos Salazar Suazo
- Sound Design: Sonido urbano estudio
- Country: Chiapas, México
- Genre: Documentary
- Running time: 53′
María Sojob was born on November 18, 1983 in the Tsotsil Mayan territory of Ch’enalvo Chiapas. She studied Communication Sciences and a master’s degree in Documentary Film at the University of Chile. She is the mother of two girls and a coffee farmer. Among her documentary projects are Voces de hoy that portrays the musical movement of young Tsotsiles in rock. In 2015 she directed Bankilal / The Big Brother, a documentary selected and screened at different festivals and film shows at the national and international level. In 2019 she premiered Tote_Abuelo at the 17th Morelia International Film Festival, where she won the La Musa award for best documentary made by a woman and the Ambulante award, for the 2020 documentary tour; as well as the selection in competition in different festivals inside and outside of Mexico. She has given film workshops in different collective spaces. She developed the video letter project with Tsotsil girls and boys. She is currently in the making of the documentary Por la vida, which portrays the struggle and resistance of Lenca women against extractivist projects in Honduras. She is a programmer and Co-founder of Cine Bolomchon, a community collective that seeks to generate spaces for artistic interaction through training, exhibition and filmmaking. Among her interests is the exploration of audiovisual narratives that approach Tsotsil sentipensares.
The film director goes in search of the memories of his dead great-grandmother trying to get to know aspects of her life, because only late in life he learned to speak Tseltal his and his great-grandmother mother tongue. This impossibility of communication was one of the reasons why they never established a conversation in Tseltal. The film is a reunion, a personal and intimate learning, the re-appropriation of a landscape and of a linguistic world. Only by learning Tseltal the director could reconstruct the life of one of the most valuable person, whom he wishes to keep present in his existence.
- Original Title: Ayinel ta ko’tan, 2020-2021
- Director: Delmar Ménde-Gómez
- Photography: Humberto Trece
- Sound: Marco Antonio Santiz Gómez
- Editing: Delmar Ménde-Gómez
- Country: México
- Running Time: 18′
- Production: Satil Film
Delmar Méndez-Gómez, Chiapas, Mexico, 1990 is an essayist, documentarian, and Tseltal scholar. He has a PhD in Anthropological Sciences at the Universidad Autónoma Metropolitana-Iztapalapa. He is a member of the Mexican Youth Network for Research (ReMJI) and a member of the Audiovisual collective Satil Film. He has been a fellow of the Young Creators program of the National Fund for Culture and the Arts (FONCA) in two issues (2018 and 2021), of the Interfaz literary scholarships (2018) and of the Program of Stimulus to Artistic Creation and Development, PECDA- Chiapas (2018-2019). He has participated as director and editor of the documentaries Sonowiletik: music of the soul (2013), and Ak ’Riox: guide of roads (2015, with Liliana López). He is currently filming the documentary about him Meme ‘/ Abuela. He has published academic articles such as “Breaking down walls: filmic narratives on Central American irregular migrations” (2020), “The ways of fighting: art and politics of native peoples in Chiapas” (2020), “Alternative paths and screens: production and exhibition Community Cinema in the Indigenous Peoples of Chiapas ”(2019). Likewise, several of his literary essays are published in the magazines Primera Página, Sinfín, Cielo sur, Tierra Adentro, Círculo de Poesía and Punto de Partida. He is the author of the essay book Te sututet ixtabil / El rota de la bola (Coneculta, 2020). His lines of research are communication and visual culture, body and performativity, and sociology of memory.
U Madre Luna is a look at motherhood that Andrea and Juana Paciencia experienced with the arrival of Dominga, their adopted daughter, into their lives. The knowledge that these two grandmothers possess lead us to reflect on fertility beyond a natural condition, in which the moon is always present in a woman’s life.
- Original Title: U Madre Luna, 2017
- Directior: Liliana K’an
- Cinematography: Gabriela Díaz Gómez
- Sound: Marlene del Socorro Morales
- Edition: Delmar Méndez Gómez
- Original music: Zanate
- Audio: Recorded and mixed by Pedro Wood
- Country: México
- Running Time: 23′
- Produced by CDI Comisión Nacional Para el Desarrollo de los Pueblos Indígenas
Liliana K’an (Liliana Guadalupe López López) was born on December 12, 1992 in a community of San Juan Chamula, in the state of Chiapas, Mexico, her mother tongue is Tsotsil. She studied a Bachelor’s Degree in Intercultural Communication from the Intercultural University of Chiapas (UNICH). She has worked as a photographer and documentary filmmaker Chiapaneca, among her works as a Photographer, the photographic series “Erotic Zapatista woman” (2014) stands out, where a group exhibition with different photographers was inaugurated in Berlin, Germany. She has also collaborated as a photographer in documentary projects of different filmmakers, such as: “Video Cartas” by María Sojob and “Sat yelob Jlumaltik” by Humberto Gómez (2016). As a director, her films stand out: Ak ’riox. (Road guide) (2014); Svabajel pukuj (The Devil’s Rhythm) Fiction short film (2017). Jmetik U (Mother moon) she has been a CCC fellow. Cinematographic Training Center of Mexico City, with its short film Ak’riox (Guiadora de Caminos) and the stimulus it grants (PECDA), Program of Stimulus to the Creation and Artistic Development of Chiapas (2020), with its short film J- kuxlejaltik (Our life). She has participated in Festivals such as: El, Göttingen International Ethnographic Film Festival, (2016) Place: Göttingen, Germany. (MORELIA INDIGENOUS FILM AND VIDEO FESTIVAL) (2017), Documentary Film Festival at the National Cinemas of Mexico among others. She is currently in the post-production stage of her next short film called “J-kuxlejaltik” Our Life (2021).
In a small town in San Juan Chamula we meet the big and wise gaze of an old woman who preserves the last ritual to the dead, but because of a great promise of love she renounces prayer. The sadness of having lost two of her daughters has been transformed over time into the strength and patience of this great woman that allows us to connect to the true spiritual world.
- Original Title: Ak’riox, Guiadora de caminos, 2015
- Director: Liliana K’an
- Photography: Jose Pablo de León Mejía
- Sound: Agripino Ico Bautista
- Edition: Delmar Méndez Gómez
- Original music: Juan Santiz “Xunito”
- Sound Recording and Sound Mix: Adrián Paris
- Country: México, Chiapas
- Genre: Documentary
- Running Time: 15′
- Produced by the CCC. WITH LEGS AND Satil Film
Liliana K’an (Liliana Guadalupe López López) was born on December 12, 1992 in a community of San Juan Chamula, in the state of Chiapas, Mexico, her mother tongue is Tsotsil. She studied a Bachelor’s Degree in Intercultural Communication from the Intercultural University of Chiapas (UNICH). She has worked as a photographer and documentary filmmaker Chiapaneca, among her works as a Photographer, the photographic series “Erotic Zapatista woman” (2014) stands out, where a group exhibition with different photographers was inaugurated in Berlin, Germany. She has also collaborated as a photographer in documentary projects of different filmmakers, such as: “Video Cartas” by María Sojob and “Sat yelob Jlumaltik” by Humberto Gómez (2016). As a director, her films stand out: Ak ’riox. (Road guide) (2014); Svabajel pukuj (The Devil’s Rhythm) Fiction short film (2017). Jmetik U (Mother moon) she has been a CCC fellow. Cinematographic Training Center of Mexico City, with its short film Ak’riox (Guiadora de Caminos) and the stimulus it grants (PECDA), Program of Stimulus to the Creation and Artistic Development of Chiapas (2020), with its short film J- kuxlejaltik (Our life). She has participated in Festivals such as: El, Göttingen International Ethnographic Film Festival, (2016) Place: Göttingen, Germany. (MORELIA INDIGENOUS FILM AND VIDEO FESTIVAL) (2017), Documentary Film Festival at the National Cinemas of Mexico among others. She is currently in the post-production stage of her next short film called “J-kuxlejaltik” Our Life (2021).