Introduction/Home Page by Ira Jacknis
Introduction to Tzintzuntzan by the Anthropologist George Foster/ Map of Tzintzuntzan/ The First Fieldwork: 1944–46
Mariano Cornelio, a Tarascan fisherman/farmer, in his boat
Vicente Rendon and his compadre Salvador Villagomes harvesting maize
Vicente Rendón on the way to market with pottery
Family at the grave on All Saints’ Day
Jesús Peña making candles
Tarascan masked dancers, "owner" and "watcher", at the Octava of Corpus Christi
Highway victim
Changes in Tzintzuntzan: 1945–79 and 1979-88
View towards the northwest side of Lake Pátzcuaro
Yácatas, reconstructed ruins on the east edge of the village
Doña Micaela González, in her small patio
Melecio Hernández, husband of Micaela González, making an ox yoke
Micaela González’s house; in front are her daughter Virginia Pichu, and William Iler, a UC Berkeley graduate student
The new second floor on Micaela González’s house; Mary Foster on the balcony
Dolores (Lola) Pichu and her younger sister Virginia Pichu, daughters of Micaela González and her first husband, Pedro Pichu
Pachita Villagómez and her husband Faustino Peña
Doña Andrea Medina, her daughter-in-law Pachita Villagómez, and her granddaughter Lucía
Lupe Calderon and Eustolio Campos coming out of the parish church after their wedding
Florentina Dominga, a Tarascan woman, with a midwife’s offering
La Soledad chapel
The arrival of fireworks (La Obra) at La Parroquia, the Parish church
Death dancer, Salvador Maturino
Red devil dancer
Female attendants of the king and queen figures, Rosa Lara
Group of spies entering the house of Ambrosio Zaldívar, to pay homage to the district saint (barrio santo) and to be fed; Holy Wednesday
A spy; Holy Wednesday
A penitente, with his assistant (cirineo); Good Friday
Fish dancer and net in the procession of trades; Corpus Christi
Little Old Man Dance (Los Viejitos)
House façade decorated for a posada procession; before breaking the piñatas; Christmas season
Tarascan women making tortillas by hand, cooked on a wood fire
Lola Pichu making tortillas in a press, inside her present old-style kitchen
Amalia Felices making pots, by joining two mold-made halves and smoothing the inside
Doña Andrea Medina at the kiln in her yard
Otilia Zavala, wife of Wenceslado Peña, glazing pottery
Pachita Villagómez painting a fish design on a large platter, before glazing
Salvador Cuirís and his pottery delivery truck
Pottery sellers in the church atrium; Fiesta of Nuestro Señor del Rescate
The store, "La Central," and the plaza on the main highway, looking south
Lola Pichu inside her family’s store; Christmas
Changes in Tzintzuntzan: 1988–2000
George Foster Biography


Pachita Villagómez and her husband Faustino Peña; July 16, 1972.

The success of marriages is difficult to estimate. Most seem to result in stable unions, though few are without rather serious tensions. I have never seen Nati [Peña] and Vicente [Rendón] angry with each other, nor have Faustino and Pachita quarreled seriously, to the best of my knowledge (1948).

Although the view is impressionistic, I have often thought that in pottery-making families domestic relations run rather smoothly. Potting, more than any other occupation, requires the intimate, smoothly integrated, continuing cooperation of husband and wife, and of the older children as well, if the family's economic needs are to be met. Potter spouses spend much more time in each other's company than do those in farming and fishing families, and continuing friction would seriously jeopardize the productive process. Moreover, the quiet, sedentary nature of much of the work encourages talk and an interchange of ideas and feelings not possible in the other occupations. If pottery making does, in fact, encourage domestic bliss, it is an important compensation for the miserably low incomes that characterize most of these families (1967).

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