Pueblo is a term used to describe modern (and ancient) communities of Native Americans in the Southwestern United States of America. The first Spanish explorers of the Southwest used this term to describe the communities housed in apartment-like structures built of stone, adobe mud, and other local material. These structures were usually multi-storeyed buildings surrounding an open plaza. They were occupied by hundreds to thousands of Pueblo people.

Etymology and usage[link]

The Castilian word pueblo evolved from the Latin word populus (people), meaning "town".

On the central Spanish meseta the unit of settlement was and is the pueblo; that is to say, the large nucleated village surrounded by its own fields, with no outlying farms, separated from its neighbours by some considerable distance, sometimes as much as ten miles or so. The demands of agrarian routine and the need for defense, the simple desire for human society in the vast solitude of the plains, dictated that it should be so. Nowadays the pueblo might have a population running into thousands. Doubtless they were smaller in the early middle ages, but we should probably not be far wrong if we think of them as having had populations of some hundreds.^[1]

Of the federally recognized Native American communities in the Southwest, those designated by the King of Spain as pueblo at the time Spain ceded territory to the United States, after the American Revolutionary War, are legally recognized as Pueblo by the Bureau of Indian Affairs. Some of the pueblos also came into under jurisdiction of the United States (in its view) by its treaty with Mexico, which had briefly gained rule over territory in the Southwest ceded by Spain after Mexican independence. There are 21 federally recognized Pueblos^[2] that are home to Pueblo people. Their official federal names are as follows:

Historical places[link]

Taos Pueblo, circa 1920

Pre-Columbian towns and villages in the Southwest, such as Acoma, were located in defensive positions, for example, on high steep mesas. Anthropologists and official documents often refer to ancient residents of the area as pueblo cultures. For example, the National Park Service states, "The Late Puebloan cultures built the large, integrated villages found by the Spaniards when they began to move into the area."^[3] The people of some pueblos, such as Taos Pueblo, still inhabit centuries-old adobe pueblo buildings.^[4]

Contemporary residents often maintain other homes outside the historic pueblos.^[4] Adobe and light construction methods resembling adobe now dominate architecture at the many pueblos of the area, in nearby towns or cities, and in much of the American Southwest.^[5]

In addition to contemporary pueblos, numerous ruins of archeological interest are located throughout the Southwest. Some are of relatively recent origin. Others are of prehistoric origin, such as the cliff dwellings and other habitations of the Ancient Pueblo Peoples or Anasazi, who emerged as a people about 12th century BCE and began to construct their pueblos about AD 750-900.^[6][7]

See also[link]

• Ancient Pueblo Peoples
• Pueblo Revolt

Notes[link]

External links[link]

• The SMU-in-Taos Research Publications digital collection contains nine anthropological and archaeological monographs and edited volumes representing the past several decades of research, primarily on Pueblo Indian ruins and excavations, at the SMU-in-Taos (Fort Burgwin) campus near Taos, New Mexico, including Papers on Taos archaeology, Taos archeology, Pueblo through time: eight centuries of change in a northern Rio Grande pueblo and Excavations at Pot Creek Pueblo.

Laguna Pueblo dwellers

Taos Pueblo, circa 1920

The Pueblo people are a Native American people in the Southwestern United States.^[1] Their traditional economy is based on agriculture and trade. When first encountered by the Spanish in the 16th century, they were living in villages that the Spanish called pueblos, meaning "towns". Of the 21 pueblos that exist today, Taos, Acoma, Zuni, and Hopi are the best-known. The main Pueblos are located primarily in Arizona, and New Mexico and also in Texas and formerly in Colorado.

Subdivisions[link]

While there are numerous subdivisions of Pueblo People that have been published in the literature, Kirchhoff (1954)^[2] published a subdivision of the Pueblo People into two subareas: the group that includes Hopi, Zuñi, Keres, Jemez which share exogamous matrilineal clans, have multiple kivas, believe in emergence of people from the underground, have four or six directions beginning in the north, and have four and seven as ritual numbers. This group stands in contrast to the Tanoan-speaking Pueblos (except Keres) who have nonexogamous patrilineal clans, two kivas or two groups of kivas and a general belief in dualism, emergence of people from underwater, five directions beginning in the west, and ritual numbers based on multiples of three.

Eggan (1950)^[3] in contrast, posed a dichotomy between Eastern and Western Pueblos, based largely on subsistence differences with the Western or Desert Pueblos of Zuñi and Hopi dry-farmers and the Eastern or River Pueblos irrigation farmers.They mostly grew maize (corn).

Linguistic differences between the Pueblos point to their diverse origins. The Hopi language is Uto-Aztecan; Zuñi is a language isolate; Keresan is a dialect continuum that includes Acoma, Laguna, Santa Ana, Zia, Cochiti, Santo Domingo, San Felipe. The Tanoan is an areal grouping of three branches consisting of 6 languages: Towa (Jemez), Tewa (San Juan, San Ildefonso, Santa Clara, Tesuque, Nambe, Pojoaque, and Hano); and the 3 Tiwa languages Taos, Picuris, and Southern Tiwa (Sandia, Isleta).

History[link]

The Pueblos are believed to be descended from the three major cultures that dominated the region before European contact:

1. Mogollon, an area near the Gila Wilderness
2. Hohokam, archaeological term for a settlement in the Southwest
3. Ancient Pueblo Peoples (or the Anasazi, a term coined by the Navajos).^[4]

Despite forced conversions to Catholicism (as evidenced by the establishment of a mission at each surviving pueblo) by the Spanish, the Pueblo tribes have been able to maintain much of their traditional lifestyle. There are now some 35,000 Pueblo Indians, living mostly in New Mexico and Arizona along the Rio Grande and Colorado River.

Sculptor Cliff Fragua. Unveiling and Dedication of the Popé statue in Washington DC, September 2005.

These peoples were the first to successfully revolt against the Spanish in the Pueblo Revolt of 1680, which expelled the Spanish for 12 years. The code for the action was a knotted rope sent by a runner to each pueblo; the number of knots signified the number of days to wait before beginning the uprising. It began one day early, August 10, 1680; by August 21, Santa Fe fell to 2,500 warriors.^[5] On September 22, 2005, the statue of Po'pay, (Popé) the leader of the Pueblo Revolt, was unveiled in the Capitol Rotunda in Washington D.C. The statue was the second one from the state of New Mexico and the 100th and last to be added to the Statuary Hall collection. It was created by Cliff Fragua, a Puebloan from Jemez Pueblo, and it is the only statue in the collection created by a Native American.

Most of the Pueblos have annual ceremonies that are open to the public. One such ceremony is the Pueblo's feast day, held on the day sacred to its Roman Catholic patron saint. (These saints were assigned by the Spanish missionaries so that each Pueblo's feast day would coincide with a traditional ceremony.) Some Pueblos also have ceremonies around the Christmas and at other times of the year. The ceremonies usually feature traditional dances outdoors accompanied by singing and drumming, interspersed with non-public ceremonies in the kivas. They may also include a Roman Catholic Mass and processions.

Formerly, all outside visitors to a public dance would be offered a meal in a Pueblo home, but because of the large number of visitors, such meals are now by personal invitation only.

Culture[link]

A Zuni drying platform for maize and other foods, with two women crafting pottery beneath it. From the Panama-California Exposition, San Diego, California. January 1915.

Pueblo prayer included substances as well as words; one common prayer material was ground-up maize—white cornmeal. Thus a man might bless his son, or some land, or the town by sprinkling a handful of meal as he uttered a blessing. Once, after the 1692 re-conquest, the Spanish were prevented from entering a town when they were met by a handful of men who uttered imprecations and cast a single pinch of a sacred substance.^[6]

The Puebloans employed prayer sticks, which were colorfully decorated with beads, fur, and feathers; these prayer sticks (or talking sticks) were also used by other nations.

By the 13th century, Puebloans used turkey feather blankets for warmth.^[7] Cloth and weaving were known to the Puebloans before the conquest, but it is not known whether they knew of weaving before or after the Aztecs. But since clothing was expensive, they did not always dress completely until after the conquest, and breechcloths were not uncommon.

Corn was a staple food for the Pueblo people. They were what was called "dry farmers". Because there was not a lot of water in New Mexico, they farmed using as little water as possible, which restricted what they could grow. Because of this, they mainly would farm many types of corn, beans and squash. They would use pottery to hold their food and water.

Religion[link]

The most highly developed Native communities of the Southwest were large villages or pueblos at the top of the mesas, rocky tablelands typical to the region. The archetypal deities appear as visionary beings who bring blessings and receive love. A vast collection of myths defines the relationships between man, nature, plants and animals. Man depended on the blessings of children, who in turn depended on prayers and the goddess of Himura. Children led the religious ceremonies to create a more pure and holy ritual.

List of Pueblos[link]

New Mexico[link]

Some of the pueblos in New Mexico

• Acoma Pueblo — Keres language speakers. One of the oldest continuously inhabited villages in the US. Access to mesa-top pueblo by guided tour only (available from visitors' center), except on Sept 2nd (feast day). Photography by $10 permit per camera only. Photographing of Acoma people allowed only with individual permission. No photography permitted in Mission San Esteban del Rey or of cemetery. Sketching prohibited. Video recording strictly prohibited. Video devices will be publicly destroyed if used.
• Cochiti Pueblo — Keres speakers.
• Isleta Pueblo — Tiwa language speakers. Established in the 14th century. Both Isleta and Ysleta were of Shoshonean stock. The isleta was originally Shiewhibak ^[8]
• Jemez Pueblo — Towa language speakers. Photography and sketching prohibited at pueblo, but welcomed at Red Rocks.
• Kewa Pueblo( Formerly Santo Domingo Pueblo) — Keres speakers. Known for turquoise work and the Corn Dance.
• Laguna Pueblo — Keres speakers. Ancestors 3000 BC, established before the 14th century. Church July 4, 1699. Photography and sketching prohibited on the land, but welcomed at San Jose Mission Church.
• Nambe Pueblo — Tewa language speakers. Established in the 14th century. Was an important trading center for the Northern Pueblos. Nambe is the original Tewa name, and means "People of the Round Earth". Feast Day of St. Francis October 4.
• Ohkay Owingeh Pueblo — Tewa speakers. Originally named O'ke Oweenge in Tewa. Headquarters of the Eight Northern Indian Pueblos Council. Home of the Popé, one of the leaders of the August 1680 Pueblo Revolt. Known as San Juan Pueblo until November 2005.
• Picuris Pueblo, Peñasco, New Mexico — Tiwa speakers.
• Pojoaque Pueblo, Santa Fe, New Mexico — Tewa speakers. Re-established in the 1930s.
• Sandia Pueblo, Bernalillo, New Mexico — Tiwa speakers. Originally named Nafiat. Established in the 14th century. On the northern outskirts of Albuquerque.
• San Felipe Pueblo — Keres speakers. 1706. Photography and sketching prohibited at pueblo.
• San Ildefonso Pueblo, between Pojoaque and Los Alamos— Tewa speakers. Originally at Mesa Verde and Bandelier. The valuable black-on-black pottery was made famous here by Maria and Julian Martinez. Photography by $10 permit only. Sketching prohibited at pueblo. Heavily-visited destination.
• Santa Ana Pueblo — Keres speakers. Photography and sketching prohibited at pueblo.
• Santa Clara Pueblo, Española, New Mexico — Tewa speakers. 1550. Originally inhabited Puyé Cliff Dwellings on Santa Clara Canyon.The valuable black-on-black pottery was developed here
• Taos Pueblo — Tiwa speakers. World Heritage Site. National Historic Landmark.
• Tesuque Pueblo Santa Fe— Tewa speakers. Originally named Te Tesugeh Oweengeh 1200. National Register of Historic Places. Pueblo closed to public. Camel Rock Casino and Camel Rock Suites as well as the actual Camel Rock are open.
• Zia Pueblo — Keres speakers. New Mexico's state flag uses the Zia symbol.
• Zuni Pueblo — Zuni language speakers. First visited 1540 by Spanish. Mission 1629

Arizona[link]

• Hopi Tribe Nevada-Kykotsmovi — Hopi language speakers. Area of present villages settled around 700 AD

Texas[link]

• Ysleta del Sur Pueblo, El Paso, Texas —originally Tigua (Tiwa) speakers. Also spelled 'Isleta del Sur Pueblo'. This Pueblo was established in 1680 as a result of the Pueblo Revolt. Some 400 members of Isleta, Socorro and neighboring Pueblos were forced or accompanied the Spaniards to El Paso as they fled Northern New Mexico.^[9] Three missions (Ysleta, Socorro, and San Elizario) were established on the Camino Real to Santa Fe. The San Elizario mission was administrative (that is, non Puebloan).
• Some of the Piru Puebloans settled in Senecu, and then in Socorro, Texas, adjacent to Ysleta, Texas (which is now within El Paso city limits). When the Rio Grande would flood the valley or change course, these missions would lie variously on the north or south sides of the river. Although Socorro and San Elizario are still separate communities, Ysleta has been annexed into El Paso.

Feast days[link]

January

• Pojoaque Pueblo Feast Day: December 12, January 6
• San Ildefonso Pueblo Feast Day: January 23.

May

• San Felipe Pueblo Feast Day: May 1

Dancers at Ohkay Owingeh

June

• Ohkay Owingeh Pueblo Feast Day: June 24
• Sandia Pueblo Feast Day: June 13.
• Ysleta / Isleta del Sur Pueblo Feast Day: June 13.

July

• Cochiti Pueblo Feast Day: July 14
• Santa Ana Pueblo Feast Day: July 26

August

• Picuris Pueblo Feast Day: August 10
• Jemez Pueblo Feast Day: August 2
• Santo Domingo Pueblo Feast Day: August 4
• Santa Clara Pueblo Feast Day : August 12
• Zia Pueblo Feast Day: August 15

September

• Acoma Pueblo Feast Day of San Esteban del Rey: September 2
• Laguna Pueblo Feast Day: September 19
• Taos Pueblo Feast Day: September 30

October

• Nambe Pueblo Feast Day of St. Francis: October 4

December

• Pojoaque Pueblo Feast Day: December 12, January 6

Variable

• Isleta Pueblo Feast Days

Pottery[link]

There is a short history of creating pottery among the various Pueblo communities. Mera, in his discussion of the "Rain Bird" motif, a common and popular design element in pueblo pottery states that, "In tracing the ancestory of the "Rain Bird" design it will be necessary to go back to the very beginnings of decorated pottery in the Southwest to a ceramic type which as reckoned by present day archaeologists came into existence some time during the early centuries of the Christian era." ^[10]

• PotteryOfPuebloPeoples.jpg

  Pottery of the Pueblo people, Field Museum, Chicago

• ZiaBowl1.jpg

  Zia Pueblo, pottery bowl, Field Museum

• TesuqueJar2.jpg

  Tesuque Pueblo Pottery Jar, Field Museum

• AcomaBowl2.jpg

  Acoma Pueblo, bowl. (background: Tesuque jar.) Field Museum

• 

  Acoma Pueblo, pottery jar, Field Museum

• 

  Tesuque Pueblo, Pottery Jar, Field Museum

• 

  San Ildefonso Pueblo, Black-on-Black Pottery Bowl. Field Museum

• BirdEffigyJarCicuye1.jpg

  Bird effigy, pottery. Cicuye Pueblo, Field Museum

• 

  Deer effigy, pottery. Cicuye Pueblo, Field Museum

• AcomaJar1.jpg

  Pottery Jar, Acoma Pueblo, taken at Field Museum

• AcomaCanteen1.jpg

  Pottery Canteen, Acoma Pueblo, taken at Field Museum

• JemezBowl1.jpg

  Pottery Bowl, Jemez Pueblo, Field Museum, Chicago

See also[link]

• Arizona Tewa
• Hopi
• Tanoan languages
• Navajo people
• Paquime
• Pueblo Revolt
• Tewa people
• Tiwa
• Keresan languages
• Zuni people

Notes[link]

References[link]

External links[link]

• Media related to Pueblo people at Wikimedia Commons

Acoma
U.S. National Register of Historic Places
U.S. National Historic Landmark
Dwellings on the mesa at Acoma Pueblo
Location:	Cibola County, New Mexico, USA
Nearest city:	Grants, New Mexico
Built:	circa 1100
Architect:	vernacular
Architectural style:	Pueblo, Colonial
Governing body:	Pueblo of Acoma
NRHP Reference#:	66000500[1]
Significant dates
Added to NRHP:	October 15, 1966
Designated NHL:	October 9, 1960[2]

Acoma Pueblo ( /ˈækəmə/; Western Keresan: Aa'ku; Zuni: Hakukya; Navajo: Haakʼoh) is a Native American pueblo approximately 60 miles west of Albuquerque, New Mexico in the United States. Three reservations make up Acoma Pueblo: Sky City (Old Acoma), Acomita, and McCartys. The Acoma Pueblo tribe is a federally recognized tribal entity^[3]. The historical land of Acoma Pueblo totaled roughly 5 million acres; now only 10% of this land is in the hands of the community.^[4] According the 2010 United States Census, 4,989 people identified as Acoma.^[5] The Acoma have continuously occupied the area for over 800 years^[6], making it the oldest continuously inhabited communities in the United States.^[7]

Synonymy[link]

The word "Acoma" is from the Acoma and Spanish word Acoma, or Acú, which means "the place that always was" or "People of the White Rock". "Pueblo" is Spanish for "village". Pueblo refers to both the people and the unique architecture of the Southwest.^[4]

Language[link]

The Acoma language falls in the Keresan language group.^[4] In Contemporary Acoma Pueblo culture, most people speak both Acoma and English. Elders might also speak Spanish.^[3]

History[link]

Origins and early history[link]

Pueblo people are believed to have descended from the Anasazi, Mogollon, and other ancient peoples. These influences are seen in the architecture, farming style and artistry of the Acoma. In the 1200s the Anasazi abandoned their canyon homelands due to climate change and social upheaval. For upwards of two centuries migrations occurred in the area, and Acoma Pueblo would emerge by the 13th century.^[4] This early founding date makes Acoma Pueblo one of the earliest continuously inhabited communities in the United States.^[7][8]

The Pueblo lies on a 365-foot mesa, about 60 miles west of Albuquerque, New Mexico. The isolation and location of the Pueblo has sheltered the community for over 1,200 years, seeking to avoid conflict with neighboring Navajos and Apaches.^[8]

European contact[link]

The Acoma Pueblo had contact with Spanish explorers heading north from Central America; all generally peaceful interactions.^[8] Francisco Vásquez de Coronado's expedition described the Pueblo in 1540 as "one of the strongest places we have seen." Upon visiting the Pueblo the expedition "repented having gone up to the place." The only access to the Acoma Pueblo during this time was a set of almost vertical stairs cut into the rock face. It is believed Coronado's expedition was the first European contact with the Acoma.^[8]

Mission San Esteban Rey, ca. 1641, photo by Ansel Adams, c.1941

More recent view of the same building: architectural modifications are apparent.

By 1598, relationships with the Spaniards had declined. In December of that year, the Acoma heard that Juan_de_Oñate had intended on colonizing the area. The Acoma ambushed a group of Oñate's men, killing 11 of them, including Oñate's nephew. The Spanish took revenge on the Acoma, burning most of the village and killing over 600 people and imprisoning approximately 500 others. Prisoners of war were forced into slavery and men over 25 years old had their right foot amputated. A row of houses on the north side of the mesa still retain marks from the fire started by a cannon during the Acoma War.^[8]

Survivors of the Acoma Massacre would recover and rebuild their community and Oñate would proceed to force the Acoma and other local Indians to pay taxes in crops, cotton and labor. Spanish rule also brought Catholic missionaries into the area. The Spanish renamed the pueblos with the names of saints and started to construct churches at them. New crops were also introduced to the Acoma, including peaches, peppers and wheat. A royal decree in 1620 created civil offices in each pueblo, including Acoma, with a governor to go along with the office. In 1680 the Pueblo Revolt took place, with Acoma participating.^[8] The revolt brought refugees from other pueblos. Those that eventually left Acoma would go on to form Laguna Pueblo.^[9]

The Acoma would suffer from smallpox epidemics and raiding from the Apache, Comanche and Ute. On occasion, the Acoma would side with the Spanish to fight against nomadic tribes. The Acoma would proceed to practice their religion in secrecy. Intermarriage and intraction also became common between the Acoma, other pueblos and Hispanic villages. These communities would collide to form the culture of New Mexico.^[10]

San Esteban Del Rey Mission[link]

Between 1629 and 1641 Father Juan Ramirez oversaw construction of the San Estevan Del Rey Mission Church church. The Acoma were ordered to build the church, moving 20,000 tons of adobe, straw, sandstone and mud to the mesa for the church walls. Ponderosa pine was brought in by community members from Mount Taylor, over 40 miles away. At 6,000-square-feet, with an altar flanked by 60-foot-high wood pillars handcarved in red and white designs representing Christian and Indigenous beliefs, the structure is considered a cultural treasure by the Acoma, despite the slave labor used to build it. In 1970 it was placed on the National Register of Historic Places^[11] and in 2007 it became the 28th designated National Trust Historic Site; the only Native American site designated with the latter title.^[8]

19th and 20th century[link]

During the 19th century, the Acoma people, while trying to uphold traditional life, also adopted aspects of the once-rejected Spanish culture and religion. By the 1880s, railroads brought the pueblos out of isolation. In the 1920s, the All Indian Pueblo Council gathered for the first time in over 300 years. Responding to congressional interest in appropriating Pueblo lands, the U.S. Congress passed the Pueblo Lands Act in 1924. Despite successes in retaining their land, the 20th century proved culturally hard for the Acoma. Protestant missionaries and schools came into the area and the Bureau of Indian Affairs forced Acoma children into boarding schools. By 1922, most children from the community were in boarding schools.^[10]

Present day[link]

Today, about 300 two and three-story adobe buildings reside on the mesa, with exterior ladders used to access the upper levels where residents live. Access to the mesa is by a road blasted into the rock face during the 1950s. Approximately 30^[9] or so people live permanently on the mesa, with the population increasing on the weekends as family members come to visit and tourists, some 55,000 annually, visit for the day.

Ansel Adams - National Archives 79-AA-A02

Acoma Pueblo has no electricity, running water or sewage disposal^[9]. A reservation surrounds the mesa, totally 600-square-miles. Tribal members live both on the reservation and outside it.^[8] However, contemporary Acoma culture remains relatively closed.^[3] According to the 2000 United States census, 4,989 people identify as Acoma.^[5]

To this today, many Acoma people disapprove of Juan de Oñate being called New Mexico's founder. In 1998, after a statue was erected as a tribute to Oñate at the Oñate Monument Center in Alcalde, someone cut off the bronze statue's right foot with a chainsaw.^[8]

Culture[link]

Governance & reservation[link]

A view from the Acoma Pueblo mesa.

Acoma government was maintained by two individuals: a cacique, or head of the Pueblo, and a war captain, both who would serve until their deaths. Both individuals maintained strong religious connections to their work, representing the theocracy of Acoma governance. The Spanish would eventually impose a group to oversee the Pueblo, but, their power was not taken seriously by the Acoma's matters. The Spanish group would work with external situations and comprised a governor, two lieutenant governors, and a council. The Acoma also participated in the All Indian Pueblo Council, which started in 1598 and arose again in the 20th-century.^[12]

Today, the Acoma maintain approximately 500,000 acres of their traditional land. Mesas, valleys, hills and arroyos dot the landscape which averages about 7,000 feet in altitude with about 10 inches of rain each year. Since 1977, the Acoma have acquired land through several land purchases, increasing their land base. On the reservation, only tribal members can own land and almost all enrolled members live on the property. The cacique is still active in the community, and is from the Antelope clan. The cacique appoints tribal council members, staff and the governor.^[3]

In 2011 Acoma Pueblo and the Pueblo of Santa Clara were victims of heavy flooding. New Mexico supplied over $1 million to fund emergency preparedness and damage repair for victims and governor Susana Martinez requested additional funding from the Federal Emergency Management Agency.^[13]

Warfare and weaponry[link]

Historically, engagements in warfare were common for Acoma, like other Pueblos. Weapons used included clubs, stones, spears and darts. The Acoma would go on to serve as auxiliaries for forces under Spain and Mexico, fighting against raids and protecting merchants on the Santa Fe Trail. After the 19th-century raiding tribes were less of a threat and Acoma military culture began to decline. The war captain position would eventually change to a civil and religious function.^[6]

Architecture[link]

A traditional wooden ladder on a dwelling. To the right is a set of stairs which is used to access the building in contemporary times.

Acoma Pueblo has three rows of three-story, apartment-style buildings which face south on top of the mesa. The buildings are constructed from adobe brick with beams across the roof that were covered with poles, brush and then plaster. The roof for one level would serve as the floor for another. Each level is connected by ladders, serving as a unique defensive aid; the ladders are the only way to enter the buildings, as the traditional design has no windows or doors. The lower levels of the buildings were used for storage. Baking ovens are outside the buildings, with water being collected from two natural cisterns. Acoma also has seven rectangular kivas and a village plaza which serves as the spiritual center for the village.^[12]

Family life[link]

Traditional child raising involved very little discipline. Couples were generally monogamous and divorce was rare. Funerary rites involved ceremony and quick burial after death, followed by 4 days and nights of vigil. About 20 matrilineal clans were recognized by the Acoma. Education was overseen by kiva headmen who taught about human behavior, spirit and body, astrology, ethics, child psychology, oratory, history, dance and music.^[6] Horses would come to the Pueblo in the 17th century, introduced by the Spanish. Traditional clothing for men involved cotton kilts and leather sandals. Women would wear cotton dresses and sandals or high moccasin boots. Rabbit and deer skin was used for clothing and robes, as well.^[6]

Since the 1970's Acoma Pueblo has retained control over education services, which have been keys in maintaining traditional and contemporary lifestyles. They share a high school with Laguna Pueblo. Alcoholism, drug use, and other health issues are prominent on the reservation and Indian Health Service hospitals and native healers cooperate to battle health problems. Alcohol is banned on the Pueblo^[14]. The nearest hospital is at Laguna Pueblo. Today, 19 clans still remain active.^[3]

Religion[link]

Traditional Acoma religion stresses harmony between life and nature. The sun is a representative of the Creator deity. Mountains surrounding the community, the sun above and the earth below help to balance and define the Acoma world. Traditional religious ceremonies may revolve around the weather, including seeking to ensure healthy rainfall. The Acoma also use kachinas in rituals. The Pueblos also had one or more kivas, which served as religious chambers. The leader of each Pueblo would serve as the community religious leader, or cacique. The cacique would observe the sun and use it as a guide for scheduling ceremonies, some which were kept secret.^[10]

Many Acoma are Catholic, but blend aspects of Catholicism and their traditional religion. Many old rituals are still performed.^[3] In September, the Acoma honor their patron saint, Saint Stephen. For feast day, the mesa is opened to the public for the celebration. Over 2,000 pilgrims attend the San Esteban Festival. The celebration beings at San Esteban Del Rey Mission and a carved pine effigy of Saint Stephen is removed from the altar and carried into the main plaza with people chanting, shooting rifles, and the ringing of steeple bells. The procession then proceeds past the cemetery, down narrow streets, and to the plaza. Upon arriving at the plaza, the effigy is placed in a shrine lined with woven blankets, which is guarded by two Acoma men. A celebration follows with dancing and feasting. During the festival vendors sell goods like traditional pottery and cuisine.^[8]

Subsistence[link]

Before contact with the Spanish, Acoma people ate corn, beans and squash, primarily. Mut-tze-nee was a popular thin corn bread. They also raised turkeys, tobacco and sunflowers. The Acoma hunted antelope, deer, and rabbits. Wild seeds, berries, nuts and other foods were gathered. After 1700 new foods are noted in the historical record. Blue corn drink, pudding, corn mush, corn balls, wheat cake, peach-bark drink, paper bread, flour bread, wild berries and prickly pear fruit all became staples. After contact with the Spanish, goats, horses, sheep and donkeys were raised.^[6] In contemporary Acoma, other foods are also popular such as apple pastries, corn tamales, green-chili stew with lamb, fresh corn and wheat pudding with brown sugar.^[8]

Irrigation techniques such as dams and terraces were used for agricultural purpose. Farming tools were made of wood and stone. Harvested corn would be ground with hands and mortar.^[6]

Economy[link]

Historical Acoma economic practices are described as socialistic. Labor was shared and produce was distributed equally. Trading networks were extensive, spreading thousands of miles throughout the region. During fixed times in the summer and fall trading fairs were held. The largest fair was held in Taos by the Comanche. Nomadic traders would exchange slaves, buckskins, buffalo hide, jerky, and horses. Pueblo people would trade for copper and shell ornaments, macaw feathers, and turquoise. The Acoma would trade via the Santa Fe Trail starting in 1821, and with the arrival of railroads in the 1880s, the Acoma became dependent on American made goods. This dependency would cause traditional arts such as weaving and pottery making to decline.^[6]

The Sky City Cultural Center

Today, the Acoma produce a variety of goods for economic benefit. Agriculturally they grow alfalfa, oats, wheat, chilies, corn, melon, squash, vegetables and fruit. They raise cattle and have natural reserves of gas, geothermal and coal resources. Uranium mines in the area provided work for the Acoma until their closings in the 1980s, after that, the tribe has provided most employment opportunities, however, high unemployment rates trouble the Pueblo. The legacy of the uranium mines has left radiation pollution, causing the tribal fishing lake to be drained and some health problems within the community.^[3]

Tourism[link]

Tourism is a major source of income for the tribe.^[3] In 2008 Pueblo Acoma opened the Sky City Cultural Center and Haak'u Museum at the base of the mesa, replacing the original which was destroyed by fire in 2000. The center and museum seek to sustain and preserve Acoma culture. Films about Acoma history are shown and a cafe serves traditional foods. The architecture was inspired by pueblo design and indigenous architectural traditions with wide doorways in the middle, which in traditional homes make the bringing of supplies easier, and flecks of mica are in the windowpanes, a mineral which mesa windows are made of. The complex is also fire resistant, unlike traditional pueblos, and they are painted light pinks and purples, to match the landscape surrounding it. Traditional Acoma artwork is exhibited and demonstrated at the Center, including ceramic chimneys crafted on the rooftop.^[8] Arts and crafts also bring income into the community.^[3]

Acoma Pueblo is open to the public by guided tour the majority of the year. Photography of the Pueblo and surrounding land is restricted. Tours and camera permits are purchased at the Sky City Cultural Center^[3]. While photography may be produced with permit, video recordings, drawings and sketching is prohibited.^[15]

The Acoma Pueblo also has a casino and hotel, the Sky City Casino Hotel. The casino and hotel are alcohol-free and is maintained by the Acoma Business Enterprise, which oversees most Acoma businesses.^[14]

Arts[link]

At Acoma, pottery remains one of the most notable artforms. Men created weavings and silver jewelry, as well.^[6]

Acoma pottery[link]

Acoma pottery dates back to over 1,000 years ago. Dense local clay, dug up at a nearby site, is essential to Acoma pottery. The clay is dried and strengthened by the addition of pulverized pottery shards. The pieces are then shaped, painted and fired. Geometric patterns, thunderbirds, and rainbows are traditional designs, which are applied with the spike of a yucca. Upon completion, a potter would lightly strike the side of the pot, and hold it to their ear. If it pot did not ring, then the pot cracked during firing. If this was found, the piece would be destroyed and ground into shards for future use.^[8]

Communities[link]

• Acomita
• Anzac
• McCartys
• Sky Line

Notable Acoma Pueblo people[link]

• Norma Jean Ortiz, traditional pottery artist
• Marie Chino, traditional pottery artist
• Vera Chino, traditional pottery artist
• Lucy Lewis, traditional pottery artist
• Simon J. Ortiz, poet, author, and educator
• Anton Docher, "The Padre of Isleta", served as a priest in Acoma during his long period in Isleta.^[16]

See also[link]

• San Estevan Del Rey Mission Church
• Acoma Indian Reservation
• List of Indian reservations in the United States
• Solomon Bibo
• Enchanted Mesa

Further reading[link]

• Minge, Ward Alan and Simon Ortiz. Acoma: Pueblo in the Sky. Albuquerque: University of New Mexico Press (1991). ISBN 0-8263-1301-9

References[link]

External links[link]

Wikimedia Commons has media related to: Acoma Pueblo

• Official website for the Pueblo of Acoma
• NetChannel Land about the Acoma Pueblo
• Official website for the Sky City Casino and Hotel
• 87 photographs of Acoma from 1934 Historic American Buildings Survey, Library of Congress.

v t e Municipalities and communities of Cibola County, New Mexico, United States County seat: Grants City Grants Town Milan CDPs Acomita Lake Encinal Laguna Mesita North Acomita Village Paguate Paraje Pinehill Seama Skyline-Ganipa Unincorporated communities Bluewater Village Candy Kitchen Fence Lake Mountain View San Mateo Indian reservations Acoma Pueblo Laguna Pueblo‡ Zuni Indian Reservation‡ Footnotes ‡This populated place also has portions in an adjacent county or counties

Coordinates: 34°53′50.92″N 107°34′53.92″W / 34.8974778°N 107.5816444°W / 34.8974778; -107.5816444

Marcos Witt
Pastor Marcos Witt
Background information
Birth name	Jonathan Mark Witt Holder
Born	(1962-05-19) May 19, 1962 (age 50) San Antonio, Texas
Occupations	Pastor, Singer-songwriter, Musician, Recording artist,
Instruments	Vocals, Piano, Percussion
Years active	1986–present
Labels	CanZion, Sony BMG
Website	http://www.canzion.com/marcoswitt

Marcos Witt (born May 19, 1962), is an American, four-time Latin Grammy Award-winning Christian singer and pastor.

Biography[link]

Marcos Witt is the second born of three children to Jerry and Nola Witt, a young American missionary couple. The Witt family moved to Durango, México, in 1964 and they started a missionary outreach. The work was unexpectedly halted after Jerry's death that same year.

Years later, Marcos’ mother, Nola Holder, found a companion in Frank Warren and remarried. Warren embraced the vision God had originally given Jerry and Nola as his own and together they would begin to build new churches in Durango, México. The second marriage not only provided a husband for Nola, but equally important, a father figure for Marcos, Jerry, and Felipe. Later, the couple would give birth to two additional children, twin daughters Nola and Lorena Warren.

Marcos' education began with basic studies at the American School of Durango. He then studied classical music at the University of Juarez (Durango, México) and eventually he started his theological studies at International Bible College in San Antonio, Texas. Currently, Marcos is working towards his masters degree at Oral Roberts University in Tulsa, Oklahoma.

He is also pastor of the Spanish Christian congregation at the megachurch Lakewood Church in Houston, Texas.

His daughter, Elena Witt, sang "Cristo, Amante de mi Alma" on the album "Alegria."

Career[link]

In 1986, musician, songwriter, singer, author, speaker and pastor, Marcos founded CanZion Producciones when he recorded his first project, “Canción a Dios”. Today he has recorded 30 projects that are available on cassette, CD, and (his latest projects) on DVD. He has sold over 10,000,000 copies of his records in México, the United States and Latin America.^{[citation needed]}

In 1994, Marcos founded CanZion Institute, a school dedicated to the preparation of worship leaders and music ministers. Today there are over 3,000 students attending the 28 campuses of the Institute in 10 different countries throughout the United States, Latin America, and Europe.^{[citation needed]}

Marcos has written ten books including Adoremos, which has recently been translated to English, Portuguese and French and Qué hacemos con estos músicos in Portuguese. Between 2009 and 2012, more than 3,000,000 people have attended Marcos's concerts in some of the main venues of Latin America. Concerts have been held in such places as "El Estadio Veléz Sarsfield" in Argentina, "Figali Convention Center" in Panama,"El Estadio Nacional de Cuzcatlán" in El Salvador, "El Estadio Monumental" in Ecuador, "El Estadio El Campín" in Colombia, "El Palacio de los Deportes" and "El Estadio Azteca" in México City, just to name a few.

Since the year 2000, Marcos has participated in over 100 leadership conferences and seminars organized by LIDERE, a company dedicated to the equipping of leaders and pastors.

In 2001, Marcos received the Award by the People for his outstanding musical career; the award was presented by Ritmo Latino.

On September 15, 2002, Marcos was appointed the Senior Pastor of the Hispanic congregation at Lakewood Church, one of the largest churches in the United States. The Hispanic congregation of Lakewood Church has an active and growing congregation of more than 6,000 people and a TV program which airs every week in over 20 countries and can be watched live on the internet.

In September 2003, Marcos also received a Latin Grammy in the category of Best Christian Album, for “Sana Nuestra Tierra” (“Heal Our Land”). In November of that same year, Marcos recorded “Recordando Otra Vez” (“Remembering Once Again”), at the LA Sports Arena. This recording brought CanZion into the secular market because of its distribution agreement with Sony, who already had a solid plan for promotion and marketing in this area. Included in Marcos’ schedule is his frequent attendance to The White House, for diverse events in representation of the Evangelical Hispanic Community.

In 2004, Marcos received his second Latin Grammy for Best Christian Album for the recording of “Recordando Otra Vez”.

On November 2, 2006, Witt received his third Latin Grammy for Best Christian Album for the recording of "Dios es Bueno" (God is Good).

On October 31, 2006, he released "Alegría" (Joy) which was recorded live in the country of Chile. On April 26, 2007, the album "Alegría" won a Latin Billboard Award for Best Christian/Gospel Album of the Year. Running up with the nominees: Salvador, Jaci Velasquez and Fernando Ortega.

On October 2, 2007, he released his most recent recording "Sinfonía del Alma" (Symphony from the Soul) which he recorded and dedicated for his father who had recently died a year earlier.

On November 8, 2007, Witt received his fourth Latin Grammy for Best Christian Album for the recording of "Alegría" (Joy).

Personal life[link]

In 1986, Marcos married Miriam Lee and together they have four children. The couple's firstborn, Elena, is married to singer Harold Guerra, who is signed to Canzion Records, the recording company that was founded by Marcos Witt.^[1]

Discography[link]

Bibliography[link]

• Adoremos. Editorial Caribe: Distributed by Editorial Betania, 1993, ISBN 0-88113-195-4
• Qué hacemos con estos músicos?. Editorial Caribe, 1995, ISBN 0-88113-160-1
• A Worship-Filled Life . Creation House, 1998, ISBN 0-88419-543-0
• Enciende Una Luz. Casa Creacion, 2000, ISBN 0-88419-559-7
• Cómo Ejercer la Verdadera Autoridad. Casa Creacion, 2002, ISBN 0-88419-816-2
• Decida Bien. Casa Creacion, 2003, ISBN 0-88419-869-3
• Dile adiós a tus temores . Atria Books, 2007, ISBN 0-7432-9087-9, ISBN 978-0-7432-9087-6

Awards[link]

Latin Grammy Awards^[2]

• 2003: Sana Nuestra Tierra – Best Christian Album
• 2004: Recordando Otra Vez – Best Christian Album (Spanish Language)
• 2006: Dios es Bueno – Best Christian Album (Spanish Language)
• 2007: Alegría – Best Christian Album (Spanish Language)

GMA Dove Awards

AMCL Awards

Premios AMCL

Is the Artist with more AMCL Awards in the History

• 1987: Vocalista Masculino del Año
• 1988: Artista del Año
• 1989: Artista del Año
• 1991: Tu y yoÁlbum Tradicional o popular del Año
• 1992: Cuan Hermoso Canción del Año
• 1992: Te Anhelo Álbum del Año
• 1992: Productor del Año
• 1995: Compositor del Año
• 1995: Productor del Año
• 1995: Temprano yo te buscare (en vivo) Videoclip del Año
• 1992: Venció Álbum en Vivo del Año
• 1996: Poderoso (en vivo) Videoclip del Año
• 1997: Amo a Cristo ( en vivo Argentina 1995) Videoclip del Año
• 1998: Entrare a Jerusalem Álbum Tradicional o Popular del Año
• 1999: Enciende una Luz Álbum del Año
• 1999: Productor del Año
• 1999: Enciende una Luz Videoclip del Año
• 2000: Homenaje a Jesus Álbum en Vivo del Año
• 2001: El Volvera Álbum en Vivo del Año
• 2004: Recordando Otra Vez Álbum Tradicional o Popular del Año
• 2004: Autor de la poesía Intervención Musical del Año -dueto con Maria del Sol-
• 2006: Dios es Bueno Álbum en Vivo del Año
• 2006: Lluvias de Ayer y Hoy Álbum Tradicional o Popular del Año
• 2006: Dios es Bueno DVD DVD del Año
• 2006: No es un Misterio Intervención Musical del Año - trio con Alex Campos y Coalo Zamorano-
• 2007: Sinfonía del Alma Álbum Instrumental/Clásico/Coral del Año
• 2009: Sobrenatural DVD DVD del Año
• 2009: Sobrenatural DVD Tour del Año
• 2011: 25 Concierto Conmemorativo Álbum en Vivo del Año
• 2011: 25 Concierto Conmemorativo DVD del Año
• 2011: 25 Concierto Conmemorativo Evento Musical del Año

Premios AMCL

References[link]

External links[link]

• Marcos Witt on Myspace
• Song/Ministry links

Silvio Rodríguez
Background information
Birth name	Silvio Rodríguez Domínguez
Born	(1946-11-29) November 29, 1946 (age 65)
Origin	San Antonio de los Baños, Havana Province, Cuba
Genres	Nueva trova
Occupations	Singer-songwriter
Instruments	Guitar, vocals
Years active	1967–present
Website	www.silviorodriguez.org

Silvio Rodríguez Domínguez (born November 29, 1946 in San Antonio de los Baños) is a Cuban musician, and a leader of the nueva trova movement.

He is considered Cuba's best known folk singer and known for his highly eloquent and symbolic lyrics. Many of his songs have become classics in Latin American music, such as Ojalá, Playa Girón, Unicornio and La maza. He has released nearly 20 albums.

Rodríguez, musically and politically, is a symbol of the Latin American left wing. His lyrics are notably introspective. His songs combine romanticism, love (even eroticism), revolutionary politics, and idealism.

Biography[link]

Rodríguez was born on November 29, 1946 in San Antonio de los Baños, a fertile valley in Havana Province known for its tobacco crop. He was raised in a family of poor farmers. His father, Víctor Dagoberto Rodríguez Ortega, was a farmer and amateur poet who supported socialist causes. His mother, Argelia Domínguez León, was a house wife. On many occasions Rodríguez has spoken how his love of music was developed by his mother, who would pass time singing boleros and songs from Santiago. Although Rodríguez had an uncle who played the bass, his mother had a far greater influence. Later, she also collaborated with him on a few musical works.

When the Revolution led by Fidel Castro triumphed in January 1959, Rodríguez was only 13 years old, and, like most Cubans of his generation, became involved in the new Revolutionary enthusiasm. He participated in the Literacy Campaign held in 1961, and then started working as a comics designer in a magazine. During this period a friend of his, Lázaro Fundora, taught him how to play the guitar.

Guitar playing took a major role in his life while he was doing his military service in the army, during 1964, but it wasn't until 1967, with his first television experience, that he started to become well known and influential among Cuban revolutionary youth. With pro-revolution yet very independent lyrics (together with his very informal dress code), Rodríguez soon attracted the animosity of some members of the new Culture Ministry, which was devoted to the eradication of the United States' influence in Cuban culture. In this context, a very important role was played by the cultural institution Casa de las Américas and its then director Haydée Santamaría, the former a respected revolutionary who participated in the Moncada barracks assault of 1953 and sister of Abel Santamaría, who was tortured and killed after the failure of the assault. Haydée Santamaría became a protective mother-figure of the young composers and of several of his colleagues at the time. Casa de las Américas became the home not only for the new Cuban trovadores but also for many other Latin Americans on the left. It was in this institution that Rodríguez met Pablo Milanés, and Noel Nicola, who along with Rodriguez would become the most famous nueva trova singers and composers.

In 1969, for almost five months, he worked as part of the crew on the fishing boat Playa Girón, and during this fertile episode he wrote 62 songs, among which are the famous "Ojalá" and "Playa Girón." The lyrics and music of these songs became a book named Canciones del Mar. In 1976, he decided to join Cuban troops in Angola, playing for the soldiers.

After more than 40 years of artistic work, Rodríguez has now written a vast number of songs and poems (said to be between 500 and more than one thousand), many of which have never been set to music and probably never will be. Although his musical knowledge has been continuously increasing (counting among his teachers the famous Cuban composer Leo Brouwer), he is more widely praised for the poetry in his songs than for the accompanying music. His lyrics are a staple of leftist culture throughout the whole Spanish-speaking world, and he has been banned from the media during several of the dictatorial regimes that ruled Latin America in the late 1970s and early 1980s.

His debut album was Dias y Flores, launched in 1975. Al Final de Este Viaje and Cuando Digo Futuro feature songs he composed before Dias y Flores. He reached international popularity in the early 1980s with Rabo de Nube and, in particular, Unicornio. In the early part of his career his work displayed a fair amount of revolutionary optimism. Mujeres, released in 1979, is in contrast a romantic and highly intimist album. In the middle of his career, Silvio Rodriguez experimented with sounds and rhythms departing from his trademark acoustic guitar, accompanied by the group Afrocuba (e.g. in Causas y Azares). At maturity, Silvio Rodriguez thoroughly purified his sound through a return to acoustic guitar, great care and sophistication in the voice, and exclusive control of the production process from beginning to end. His lyrics became more introspective, at times even self-absorbed or self-justifying, expressing melancholic longings about the shortcomings of real-life socialism in Cuba while vindicating idealism and revolutionary hope amongst the youth. The trilogy, called Silvio, Rodriguez, and Dominguez (his first name, his father's last name, his mother's last name) displays sound artistic talent. The doubts, absent in the early part of his career, also correspond to the fall of communism worldwide and the so-called Special Period in Cuba. An unnoticed recurrent theme in the lyrics of the early part of his career is that of death, particularly although not only as associated with guerrilla warfare. In contrast to the explicitness of his early songs and political positions, there was a displacement of emphasis in his later years toward fantasy and dreams. Both, however, are about an alternative that is not present but is called for, or what Laclau would call a longing for a "missing fullness". This is true politically, romantically, and existentially. In a similar way, the unusual confessional tone of many of his songs allows for an unorthodox combination of transgression, eroticism, longing, and at times (probably accurate) self-deprecation in many of his lyrics.

The entire work of Silvio Rodriguez offers an intimate and introspective window into the life cycle of the artist. If the lyrics of the early part of his career are about revolutionary enthusiasm, love encounters and disappointments, as well as sensual desire, and if the middle-aged Silvio is more self-questioning, often looking backward; his most recent albums, such as Cita Con Angeles, talk in part about his life as a grandfather and has a certain focus on children, while Erase Que Se Era is the release (with all the means that come with being an established artist) of songs written early in his youth but never previously recorded. Mariposas also featured two classics composed in his youth.

Silvio Rodriguez stands out in the Spanish-speaking world for the intimacy and subtlety of his lyrics, as well as for his acoustic melodies and "chord picking." He is particularly popular amongst intellectual circles of the left in Latin America and Spain. He has also often served as Cuban cultural emissary in events of solidarity, whether in Chile (Silvio Rodriguez in Chile, 1991) or Argentina (En Vivo en Argentina, recorded in 1984), both massive concerts given shortly after the fall of the right-wing dictatorships. Cuban flags are always conspicuous in the crowd during his concerts.

In 2007, he received a doctorate honoris causa from Universidad Nacional Mayor de San Marcos in Peru.^[1] (Lima, Peru).

Rodriguez has been a major influence on many folk artists, including the Swedish artist José González.^[2]

U.S. Appearance[link]

Silvio Rodríguez has been denied a U.S. visa several times, and it was particularly controversial in 2009 when he was invited to celebrate the 90th birthday of Pete Seeger. However in 2010, he obtained a U.S. visa and performed at venues in Puerto Rico (May 30), New York (June 4 and 10), San Francisco (Oakland, June 12), Los Angeles (June 17), Washington, D.C. (June 19), and Orlando (June 23). These were his first appearances in the U.S. in 30 years.^[3][4]

Discography[link]

• 1975 - Días y Flores
• 1978 - Al Final de Este Viaje...
• 1979 - Mujeres
• 1979 - Rabo de Nube
• 1982 - Unicornio
• 1984 - Tríptico: Volumes I, II & III
• 1986 - Causas y Azares
• 1988 - Oh, Melancolía
• 1991 - Silvio en Chile (Live Concert with Irakere)
• 1992 - Silvio
• 1992 - Mano a mano (Silvio Rodríguez y Luis Eduardo Aute)
• 1994 - Rodríguez
• 1996 - Domínguez
• 1998 - Descartes
• 1999 - Mariposas
• 2001 - En Vivo en Argentina (Live Concert with Pablo Milanés)
• 2002 - Expedición
• 2003 - Cita con Ángeles
• 2006 - Érase Que Se Era
• 2010 - Segunda Cita

References[link]

External links[link]

Wikimedia Commons has media related to: Silvio Rodríguez

• Official Silvio Rodriguez's website Songs, pictures, writings (in Spanish)
• Official Silvio Rodriguez's blog - More than 5800 followers (in Spanish)
• Analysis of Silvio Rodriguez Songs Meaning of lyrics (in Spanish)
• Che, Guía y Ejemplo: - Songs of Silvio Rodriguez dedicated to Che Guevara
• Hasta Siempre Commandante - performed live by Silvio Rodriguez
• TRANS Analysis of the harmonies of Silvio's songs, socio-cultural background
• Brief reviews of Silvio's albums
• Silvio's page in Patria Grande
• Cuban Singer Complains that U.S. Didn’t Give Him Visa by the Latin American Herald Tribune
• Cuba's Silvio Rodriguez Dedicates Song to 'Che' AP, July 23, 2009
• Cuban Folk Singer Plays Rare US Show June 5, 2010
• Silvio Rodriguez Concert in USA Photo Feature by Bill Hackwell, Havana Times, June 17, 2010

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