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One rite of passage is having a quieceniera when you turn 15, but it is only for girls

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Enrique Pena Nieto

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Culture of United States of America - history, people, clothing, traditions, women, beliefs, food, customs, family

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Culture of United States of America - history, people, clothing, traditions, women, beliefs, food, customs, family To-Z

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Enrique Peña Nieto was born on 20 July 1966 in Atlacomulco, State of Mexico, a city 55 miles (89 km) northwest of Mexico City. He is the oldest of four siblings; his father, Gilberto Enrique Peña del Mazo, was an electrical engineer; his mother, María del Perpetuo Socorro Ofelia Nieto Sánchez, a schoolteacher.

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The meaning of the Mexican national anthem

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The meaning of the Mexican national anthem

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English: Mexican National Anthem

National anthem of Mexico

Also known as

"Mexicanos, al grito de guerra" (English: "Mexicans, at the cry of war")

Lyrics

Francisco González Bocanegra, 1853

Music

Jaime Nunó, 1854

Adopted

September 16, 1854
1943 (anthem)

"Himno Nacional Mexicano" (instrumental, one verse)

The " Mexican National Anthem" ( Spanish: Himno Nacional Mexicano, Nahuatl languages: Mexihcaletepetlacuicalt), also known by its incipit " Mexicans, at the cry of war" ( Spanish: Mexicanos, al grito de guerra), is the national anthem of Mexico. The anthem was first used in 1854. The lyrics of the national anthem, which allude to historical Mexican military victories in the heat of battle and including cries of defending the homeland, were composed by poet Francisco González Bocanegra after a Federal contest in 1853. Later, in 1854, he asked Jaime Nunó to compose the music which now accompanies González's poem. The national anthem, consisting of ten stanzas and a chorus, effectively entered into use on September 16, 1854.

Lyrics competition

On November 12, 1853, President Antonio López de Santa Anna announced a competition to write a national anthem for Mexico. The competition offered a prize for the best poetic composition representing patriotic ideals. Francisco González Bocanegra, a talented poet, was not interested in participating in the competition. He argued that writing love poems involved very different skills from the ones required to write a national anthem. His fiancée, Guadalupe González del Pino (or Pili), had undaunted faith in her fiancé's poetic skills and was displeased with his constant refusal to participate in spite of her constant prodding and requests from their friends. Under false pretenses, she lured him to a secluded bedroom in her parents' house, locked him into the room, and refused to let him out until he produced an entry for the competition. Inside the room in which he was temporarily imprisoned were pictures depicting various events in Mexican history which helped to inspire his work. After four hours of fluent (albeit forced) inspiration, Francisco regained his freedom by slipping all ten verses of his creation under the door. After Francisco received approval from his fiancée and her father, he submitted the poem and won the competition by unanimous vote. González was announced the winner in the publication Official Journal of the Federation (DOF) on February 3, 1854.

Music competition

A musical composition was chosen at the same time as the lyrics. The winner was Juan Bottesini, but his entry was disliked due to aesthetics. This rejection caused a second national contest to find music for the lyrics. At the end of the second contest, the music that was chosen for González's lyrics was composed by Jaime Nunó, the then Catalonian-born King of Spain's band leader. At the time of the second anthem competition, Nunó was the leader of several Mexican military bands. He had been invited to direct these bands by President Santa Anna, whom he had met in Cuba. About the time that Nunó first came to Mexico to start performing with the bands, Santa Anna was making his announcement about creating a national anthem for Mexico. Nunó's anthem music composition was made like masterpieces of classical music, with a high quality in composition, and was chosen. Out of the few musical compositions submitted, Nunó's music, titled "God and Freedom" (Dios y libertad), was chosen as the winner on August 12, 1854. The song was officially adopted as the Mexican national anthem on Independence Day, September 16 of that same year. The inaugural performance was directed by Juan Bottesini, sung by soprano Claudia Florenti and tenor Lorenzo Salvi at the Santa Anna Theatre.

Officially since 1943, the full national anthem consists of the chorus and 1st, 5th, 6th, and 10th stanzas (with the chorus interspersed between each stanza and performed again at the end). The modification of the lyrics was ordered by President Manuel Ávila Camacho in a decree printed in the Diario Oficial de la Federación. When the national anthem is played at sporting events such as the Olympic Games and the FIFA World Cup, an abridged form (chorus, stanza I, chorus) is used. An unofficial semi-abridged form (chorus, stanza I, chorus, stanza X, chorus) has gained some acceptance in television and radio programming.

Official (Spanish)

English translation

Estribillo:
Mexicanos, al grito de guerra
el acero aprestad y el bridón.
Y retiemble en sus centros la Tierra,
al sonoro rugir del cañón.
Y retiemble en sus centros la Tierra,
¡al sonoro rugir del cañón!

Estrofa I

Ciña ¡oh Patria! tus sienes de oliva
de la paz el arcángel divino,
que en el cielo tu eterno destino
por el dedo de Dios se escribió.
Mas si osare un extraño enemigo
profanar con su planta tu suelo,
piensa ¡oh Patria querida! que el cielo
un soldado en cada hijo te dio.

Estribillo (x1)

Estrofa V

¡Guerra, guerra! sin tregua al que intente
De la patria manchar los blasones!
¡Guerra, guerra! Los patrios pendones
En las olas de sangre empapad.
¡Guerra, guerra! En el monte, en el valle
Los cañones horrísonos truenen,
Y los ecos sonoros resuenen
Con las voces de ¡Unión! ¡Libertad!

Estribillo (x1)

Estrofa VI

Antes, patria, que inermes tus hijos
Bajo el yugo su cuello dobleguen,
Tus campiñas con sangre se rieguen,
Sobre sangre se estampe su pie.
Y tus templos, palacios y torres
Se derrumben con hórrido estruendo,
Y sus ruinas existan diciendo:
De mil héroes la patria aquí fue.

Estribillo (x1)

Estrofa X

¡Patria! ¡Patria! Tus hijos te juran
Exhalar en tus aras su aliento,
Si el clarín con su bélico acento
los convoca a lidiar con valor.
¡Para ti las guirnaldas de oliva!
¡Un recuerdo para ellos de gloria!
¡Un laurel para ti de victoria!
¡Un sepulcro para ellos de honor!

Chorus:
Mexicans, at the cry of war,
assemble the steel and the bridle,
and the Earth trembles to its core
to the resounding roar of the cannon.
and the Earth trembles to its core
to the resounding roar of the cannon!

1st stanza

Encircle Oh Motherland!, your temples with olives
the divine archangel of Peace,
for in heaven your eternal destiny
was written by the finger of God.
If, however, a foreign enemy would dare
to profane Your ground with their sole,
think, Oh beloved Motherland!, that Heaven
has given a soldier in every son.

Chorus (x1)

Stanza V

War, war! with no mercy to any who shall try
to tarnish the coats of arms of the Motherland!
War, war! The national banners
Shall be drenched in the waves of blood.
War, war! On the mountain, in the valley,
The cannons thunder in horrid unison
and the sonorous echoes resound
with bellows of Union! Liberty!

Chorus (x1)

Stanza VI

O, Motherland, if however your children, defenseless
With their necks bent beneath the yoke,
May your fields be watered with blood,
May their footsteps be printed with blood.
And your temples, palaces and towers
Shall collapse with horrid clamor,
And your ruins continue on, whispering:
Of one thousand heroes, the Motherland once was.

Chorus (x1)

Stanza X

Motherland! Motherland! Your children assure
to breathe until their last for your sake,
if the bugle with its bellicose accent
calls them together to battle with courage.
For you, the olive wreaths!
For them, a reminder of glory!
For you, a laurel of victory!
For them, a tomb of honor!

An urban legend about the copyright status of the anthem states that years after its first performance, family sold the musical rights to a German music publishing company named Wagner House. Originally, Nunó was supposed to have turned the music rights over to the state in exchange for a prize from the Mexican government. However, according to the myth, the copyright changed hands again, this time to Nunó himself and two Americans, Harry Henneman and Phil Hill.

In reality, this is not correct. It is true that Nunó, Henneman and Hill did register the music with the company BMI (BMI Work #568879), with the Edward B. Marks Music Company as the listed publisher of the anthem. This might be the version that some have suggested is copyrighted in the United States. However, United States copyright law declares the Mexican anthem to be in the public domain inside the United States, since both the lyrics and music were published before 1923. Furthermore, under Mexican copyright law, Article 155 states that the government holds moral rights, but not property rights, to symbols of the state, such as the national anthem, coat of arms and the national flag.

In the second chapter of the Law on the National Arms, Flag, and Anthem ( Ley sobre el Escudo, la Bandera y el Himno Nacionales), the national anthem is described in very brief terms. While Articles 2 and 3 discuss in detail the coat of arms and the flag, respectively, Article 4 mentions only that the national anthem will be designated by law. Article 4 also mentions that a copy of the lyrics and the musical notation will be kept at two locations, the General National Archive and at the National Library, located in the National Museum of History ( Biblioteca Nacional en el Museo Nacional de Historia).

Chapter 5 of the Law goes into more detail about how to honor, respect and properly perform the national anthem. Article 38 states that the singing, playing, reproduction and circulation of the national anthem are regulated by law and that any interpretation of the anthem must be performed in a "respectful way and in a scope that allows [one] to observe the due solemnity" of the anthem. Article 39 prohibits the anthem from being altered in any fashion, prohibits it from being sung for commercial or promotional purposes, and also disallows the singing or playing of national anthems from other nations, unless you have permission from the Secretary of the Interior (Secretaría de Gobernación) and the diplomatic official from the nation in question. The Secretary of the Interior and the Secretary of Public Education (Secretaría de Educación Pública), in Article 40, must grant permission for all reproductions of the national anthem to be produced, unless the anthem is being played during official ceremonies carried on radio or television. Article 41 states that the national anthem is required to be played at the sign-on or sign-off of radio and television programming; with the advent of 24-hour programming schedules in the 1990s and 2000s, many stations now do so at or as close to midnight and 6 a.m. local time as possible by interpretation of the former traditional times of sign-on and sign-off. The extra requirement for television programming is that photos of the Mexican flag must be displayed at the same time the anthem is playing.

Article 42 states that the anthem may only be used during the following occasions: solemn acts of official, civic, cultural, scholastic or sport character. The anthem can also be played to render honors to the Mexican flag and to the President of Mexico. If the national anthem is being used to honor the national flag or the President, the short version of the anthem is played. Article 43 says that special musical honors may be paid to the President and the flag, but no more than once during the same ceremony. Article 44 says that during solemn occasions, if a choir is singing the anthem, the military bands will keep silent. Article 45 says that those who are watching the national anthem performance must stand at attention ( firmes) and remove any headgear. Article 46 states that the national anthem must be taught to children who are attending primary or secondary school; this article was amended in 2005 to add pre-school to the list. The article also states that each school in the National Education System ( Sistema Educativo Nacional) will be asked to sing the national anthem each year. Article 47 states that in an official ceremony in which is need to play another anthem, the Mexican anthem will be played first, then the guest state's national anthem. Article 48 states that at embassies and consulates of Mexico, the national anthem is played at ceremonies of a solemn nature that involves the Mexican people. If the anthem is played outside of Mexico, Article 48 requires that the Secretary of External Relations (Secretaría de Relaciones Exteriores), through proper channels, must grant permission for the national anthem to be played and will also ensure that the anthem is not sung for commercial purposes.

At the time the Mexican national anthem was written, Mexico was still facing the effects of a bitter defeat in the Mexican-American War at the hands of the United States. The country felt demoralized and also divided, due to the cession of more than half of its territory due to its defeat to the United States. According to historian Javier Garciadiego, who spoke at a 2004 ceremony commemorating the 150th anniversary of the national anthem's adoption, the song disregards divisions and strife and encourages national unity. On that same date, Mexico City and other parts of the country stopped what they were doing and performed a nationwide singing of the national anthem. Individuals from other countries also participated, mostly at diplomatic offices or at locations where a high concentration of Mexican expatriates are found. The national anthem has also been described as one of the symbols of the "Mexican identity".

On the rare occasions when someone performs the national anthem incorrectly, the federal government has been known to impose penalties to maintain the "dignity" of the national symbols. One example is when a performer forgot some of the lyrics at a association football match in Guadalajara, she was fined $400 MXN by the Interior Ministry and released an apology letter to the country through the Interior Ministry. Another infamous case is that of banda musician Julio Preciado, who performed the national anthem at the inauguration of the Caribbean Baseball Series in 2009; El Universal reported that "in a slow tone that has nothing to do with the rhythm of the National Anthem, the singer literally forgot the lyrics of the second stanza and mixed it with others", this earned the fanfare of those who were present at the stadium (and those watching it live on TV), some of the people attending the inauguration started shouting the phrases " ¡sáquenlo!, ¡no se lo sabe! ¡fuera, fuera!" (Get him out! He doesn't know it! Out, out!).

In addition, the national anthem is sometimes used as a kind of shibboleth: a tool against people who might not be "true Mexicans" (a "fake Mexican" being a migrant from another Latin American country, who pretends that he or she is from Mexico. The suspected are asked to sing Mexico's national anthem and it is widely expected that only "true Mexicans" will know the lyrics and tune and thus will be able to sing it. In one case, a young man of Afro-Mexican descent was stopped by police and forced to sing the national anthem to prove his nationality. In a separate incident in Japan, police officers asked four men to sing the Mexican national anthem after they were arrested in Tokyo on charges of breaking and entering. However, when the men could not sing the song, it was discovered that they were Colombians holding forged Mexican passports. They were later charged with more counts on theft of merchandise and money.

Though the de facto language of Mexico is Spanish, there are still people who only speak indigenous languages. On December 8, 2005, Article 39 of the national symbols law was adopted to allow for the translation of the lyrics into the native languages. The official translation is performed by the National Institute of Indigenous Languages ( Instituto Nacional de Lenguas Indígenas).

Officially, the national anthem has been translated into the following native languages: Chinanteco, Hña Hñu, Mixteco, Maya, Nahuatl and Tenek. Other native groups have translated the anthem into their respective language, but it has not been sanctioned by the Government.

Nahuatl Lyrics
Ihcuca yaotl tenochnotzas mexihca
ticanacan temicti tepuztli
ihuan huelihqui ma tlacohcomoni
ihcuac totepuz cueponiz nohuian

Tlazohtlalnan ximoixcuaxochtlali
in pahcayotl nemiliztli cecnitlaca,
ilhuicapa monemiliz nochipa
omohcuilo ica imahpiltzin toteo.

Tlaquinequizque in huehca chanehque
motlalticpac quintlalizque in icxihuan
tlazohtlalnan xicmati ca mopilhuan
quin yecanaz toteotzin ipan yaotl.

Yaotl yaotl in aquin yaotenchuaz
quin tlilehuaz in tlazohilalan,
yaotl yaotl in tlazohtlalnan pantli
ma paltilo ihtech xalatlyezpozonal.

Yaotl yaotl ipan ixtlahual in cuactla
ihcuac mocaquiz temictiani tepuztli,
inanhquilo in tlaototoponal
tlamach tzatziloz nemaquixtiliz

Achto tiquin mopilhuan tazohtlalnan
cuatlanepantetech iquechpa motemahca
mamoyeznalocan in tlen ixtlahuahme,
ihpan eztli icxihuan quintlaliz

Ihuan moteocalhuan, hueicalhuan tzilinal
mahuetzican ica tlalcocomonal
ihuan cemihcac quitozqui in tapanzol
miac mahuiztli oyeni tlazohtlalnan.

Tlazontlalnan mopilhuan mitzilhuia
ca nochipa mopampa mihmiquizque
tla technotzaz in yaoltlapitzalli
ica itenyo huclihqui quemhmanian.

Inic tehuatl iztaque xochime
inic yehuan ce ilhuica ilnamiquiliz
cente tlatzaca tlatlaniliz moaxca
ce mahuiztic tecochtli inic yeh.

Ihcuac yaotl tenochtzaz mexihca
ticanacan temicti tepuztli
ihuan huelihqui ma tlalcohcomoni
ihcuac totepuz cueponiz nohuian.

Second page of music and lyrics

1. ^ Galindo y Villa, Jesus (1907). Anales del Museo Nacional de Mexico, 1907. Mexico: Imprenta de Museo Nacional. pp. 456-457.

2. ^ Embassy of Mexico in Serbia and Montenegro Mexican Symbols-Himo. Retrieved March 19, 2006. Archived February 22, 2012, at the Wayback Machine

3. Secretary of External Relations ^ History of the Mexican Anthem. Retrieved March 15, 2006. (in Spanish)

4. Administration of Ernesto Zedillo ^ National Symbols of Mexico Archived 2006-04-25 at the Wayback Machine. Retrieved March 15, 2006.

5. ^ San Diego Union Tribune Mexicans celebrate 150 years of national anthem with worldwide sing-along Archived 2007-03-13 at the Wayback Machine September 15, 2004. Retrieved March 15, 2006.

6. US Copyright Office ^ Copyright Term and the Public Domain in the United States. Retrieved March 16, 2006. Archived July 4, 2012, at the Wayback Machine

7. Secretary of Education ^ Mexican Copyright Law. Retrieved March 15, 2006 (in Spanish) Archived February 20, 2008, at the Wayback Machine

8. ^ "Ley sobre el Escudo la Bandera y el Himno Nacionales" (PDF) (in Spanish). Government of Mexico. 2006-06-03. Archived from the original (PDF) on June 19, 2009.

9. ^ Associated Press "Woman fined for bungling Mexican anthem". Archived from the original on June 28, 2012.. October 2004. Retrieved March 20, 2006.

10. ^ "Julio Preciado se equivoca al entonar el Himno Nacional (in Spanish)". El Universal. 2009.

11. College Street Journal ^ FP Antonieta Gimeno Attends Conference on Black Mexicans Archived 2009-04-29 at the Wayback Machine. Retrieved March 20, 2006.

12. ^ Diario Oficial de la Federación-Decree allowing for translation of the anthem into native languages. December 7, 2005. Retrieved January 11, 2006.

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English: Mexican National Anthem National anthem of Mexico Also known as "Mexicanos, al grito de guerra" (English: "Mexicans, at the cry of war") Lyrics Francisco González Bocanegra, 1853 Music Jaime Nunó, 1854 Adopted September 16, 18541943 (anthem) "Himno Nacional Mexicano" (instrumental, one verse) The " Mexican National Anthem" ( Spanish: Himno Nacional Mexicano, Nahuatl languages: Mexihcaletepetlacuicalt), also known by its incipit " Mexicans, at the cry of war" ( Spanish: Mexicanos, al grito de guerra), is the national anthem of Mexico.

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My great great Abuela Cucita came from Mexico to California in 1919

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My great great Abuela Cucita came from Mexico to California in 1919

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A rite of passage is a ceremony or ritual of the passage which occurs when an individual leaves one group to enter another. It involves a significant change of status in society. In cultural anthropology the term is the Anglicisation of rite de passage, a French term innovated by the ethnographer Arnold van Gennep in his work Les rites de passage, The Rites of Passage. The term is now fully adopted into anthropology as well as into the literature and popular cultures of many modern languages.

In English, Van Gennep's first sentence of his first chapter begins:

"Each larger society contains within it several distinctly separate groupings. ... In addition, all these groups break down into still smaller societies in subgroups."

The population of a society belongs to multiple groups, some more important to the individual than others. Van Gennep uses the metaphor, "as a kind of house divided into rooms and corridors." A passage occurs when an individual leaves one group to enter another; in the metaphor, he changes rooms.

Van Gennep further distinguishes between "the secular" and "the sacred sphere." Theorizing that civilizations are arranged on a scale, implying that the lower levels represent "the simplest level of development," he hypothesizes that " social groups in such a society likewise have magico-religious foundations." Many groups in modern industrial society practice customs that can be traced to an earlier sacred phase. Passage between these groups requires a ceremony, or ritual rite of passage.

The rest of Van Gennep's book presents a description of rites of passage and an organization into types, although in the end he despairs of ever capturing them all: "It is but a rough sketch of an immense picture ...." He is able to find some universals, mainly two: "the sexual separation between men and women, and the magico-religious separation between the profane and the sacred." (Earlier the translators used secular for profane.) He refuses credit for being the first to recognize type of rites. In the work he concentrates on groups and rites individuals might normally encounter progressively: pregnancy, childbirth, initiation, betrothal, marriage, funerals and the like. He mentions some others, such as the territorial passage, a crossing of borders into a culturally different region, such as one where a different religion prevails.

Rites of passage have three phases: separation, liminality, and incorporation, as van Gennep described. "I propose to call the rites of separation from a previous world, preliminal rites, those executed during the transitional stage liminal (or threshold) rites, and the ceremonies of incorporation into the new world postliminal rites."

In the first phase, people withdraw from their current status and prepare to move from one place or status to another. "The first phase (of separation) comprises symbolic behavior signifying the detachment of the individual or group ... from an earlier fixed point in the social structure." There is often a detachment or "cutting away" from the former self in this phase, which is signified in symbolic actions and rituals. For example, the cutting of the hair for a person who has just joined the army. He or she is "cutting away" the former self: the civilian.

The transition (liminal) phase is the period between stages, during which one has left one place or state but has not yet entered or joined the next. "The attributes of liminality or of liminal personae ("threshold people") are necessarily ambiguous."

In the third phase (reaggregation or incorporation) the passage is consummated [by] the ritual subject." Having completed the rite and assumed their "new" identity, one re-enters society with one's new status. Re-incorporation is characterized by elaborate rituals and ceremonies, like debutant balls and college graduation, and by outward symbols of new ties: thus "in rites of incorporation there is widespread use of the 'sacred bond', the 'sacred cord', the knot, and of analogous forms such as the belt, the ring, the bracelet and the crown."

Laboratory experiments have shown that severe initiations produce cognitive dissonance. It is theorized that such dissonance heightens group attraction among initiates after the experience, arising from internal justification of the effort used. Rewards during initiations have important consequences in that initiates who feel more rewarded express stronger group identity. As well as group attraction, initiations can also produce conformity among new members. Psychology experiments have also shown that initiations increase feelings of affiliation.

Initiation rites are seen as fundamental to human growth and development as well as socialization in many African communities. These rites function by ritually marking the transition of someone to full group membership. It also links individuals to the community and the community to the broader and more potent spiritual world. Initiation rites are "a natural and necessary part of a community, just as arms and legs are natural and necessary extension of the human body". These rites are linked to individual and community development. Dr. Manu Ampim identifies five stages; rite to birth, rite to adulthood, rite to marriage, rite to eldership and rite to ancestorship. In Zulu culture entering womanhood is celebrated by the Umhlanga.

Rites of passage are diverse, and are found throughout many cultures around the world. Many western societal rituals may look like rites of passage but miss some of the important structural and functional components. However, in many Native and African-American communities, traditional rites of passage programs are conducted by community-based organizations such as Man Up Global. Typically the missing piece is the societal recognition and reincorporation phase. Adventure education programs, such as Outward Bound, have often been described as potential rites of passage. Pamela Cushing researched the rites of passage impact upon adolescent youth at the Canadian Outward Bound School and found the rite of passage impact was lessened by the missing reincorporation phase. Bell (2003) presented more evidence of this lacking third stage and described the "Contemporary Adventure Model of a Rites of Passage" as a modern and weaker version of the rites of passage typically used by outdoor adventure programs.

In various tribal and developed societies, entry into an age grade-generally gender-separated-(unlike an age set) is marked by an initiation rite, which may be the crowning of a long and complex preparation, sometimes in retreat.

The first day of school, whether the first overall or the first in a specific phase prior to postsecondary education

Graduation

Some academic circles such as dorms, fraternities, teams and other clubs practice hazing, ragging and fagging. Szecskáztatás, a mild form of hazing (usually without physical and sexual abuse), is practiced in some Hungarian secondary schools. First-year junior students are publicly humiliated through embarrassing clothing and senior students branding their faces with marker pens; it is sometimes also a contest, with the winners usually earning the right to organize the next event. Fraternities and sororities, like other private societies, often have codified initiation ceremonies as ritual separating candidates from members.

Vocational/professional

Castration in some sects and special castes

Dental evulsion, among various cultures of Africa, Asia and Oceania.

Earlier seasons of the television series Survivor typically include a rite of passage prior to the final immunity challenge. Though the specifics of this rite of passage vary based on the customs and traditions of the host country, most rites of passage include a lengthy walk to the final challenge along which the remaining castaways pass the torches of every eliminated contestant from that season. There have been variations on this walk, such as seasons in which the remaining contestants paddle a boat to the final challenge and drop the torches into the ocean along the way.

Aronson, E. & Mills, J. (1959) "The effect of severity of initiation on liking for a group." Journal of Abnormal and Social Psychology', pp. 177-181.

Bell, B.J. (2003). "The rites of passage and outdoor education: Critical concerns for effective programming". The Journal of Experiential Education. 26 (1): 41-50. doi:10.1177/105382590302600107. S2CID 143370636.

Cushing, P.J. (1998). "Competing the cycle of transformation: Lessons from the rites of passage model". Pathways: The Ontario Journal of Experiential Education. 9 (5): 7-12.

Festinger, L (1961). "The psychological effects of insufficient rewards". American Psychologist. 16 (1): 1-11. doi:10.1037/h0045112.

Garces-Foley, Kathleen (2006). Death and religion in a changing world. ME Sharpe.

Kamau, C (2012). "What does being initiated severely into a group do? The role of rewards". International Journal of Psychology. 48 (3): 399-406. doi:10.1080/00207594.2012.663957. PMID 22512542.

Keating, C. F.; Pomerantz, J.; Pommer, S. D.; Ritt, S. J. H.; Miller, L. M.; McCormick, J. (2005). "Going to college and unpacking hazing: A functional approach to decrypting initiation practices among undergraduates". Group Dynamics: Theory, Research, and Practice. 9 (2): 104-126. CiteSeerX 10.1.1.611.2494. doi:10.1037/1089-2699.9.2.104.

Lodewijkx, H. F. M.; van Zomeren, M.; Syroit, J. E. M. M. (2005). "The anticipation of a severe initiation: Gender differences in effects on affiliation tendency and group attraction". Small Group Research. 36 (2): 237-262. doi:10.1177/1046496404272381. S2CID 146168269.

Morgenstern, Julian (1966). Rites of Birth, Marriage, Death, and Kindred Occasions among the Semites. Cincinnati.

Turner, Victor (1967). "Betwixt and between: the liminal period in rites de passage". Forest of symbols: aspects of the Ndembu ritual. Ithaca: Cornell UP. pp. 23-59.

Turner, Victor W. (1969). The Ritual Process. Penguin.

Van Gennep, Arnold (1909). Les rites de passage (in French). Paris: Émile Nourry. Lay summary - Review by Frederick Starr, The American Journal of Sociology, V. 15, No. 5, pp 707-709 (March 1910).

--; Vizedom, Monika B (Translator); Caffee, Gabrielle L (Translator) (1977) [1960]. The Rites of Passage. Routledge Library Editions Anthropology and Ethnography (Paperback Reprint ed.). Hove, East Sussex, UK: Psychology Press. ISBN 978-0-7100-8744-7.

--; --; -- (2010) [1960]. The Rites of Passage (Reprint ed.). Routledge. ISBN 978-0-415-61156-5.

Hatzopoulos, Miltiades B., "Macedonian Cults" (as "Cultes et rites de passage en Macédoine"), Athens & Paris, 1994

Devine, A.M., "Review: Macedonian Cults", The Classical Review, New Series, Vol. 46, No. 2 (1996), pp. 279-281, Cambridge University Press on behalf of The Classical Association

Padilla, Mark William (editor), "Rites of Passage in Ancient Greece: Literature, Religion, Society", Bucknell University Press, 1999. ISBN 0-8387-5418-X

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A rite of passage is a ceremony or ritual of the passage which occurs when an individual leaves one group to enter another. It involves a significant change of status in society. In cultural anthropology the term is the Anglicisation of rite de passage, a French term innovated by the ethnographer Arnold van Gennep in his work Les rites de passage, The Rites of Passage.

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Hello! My name is Kassandra and this is my project on my heritage.

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Hello! My name is Kassandra and this is my project on my heritage.

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¡Hola! Mi nombre es Kassandra y este es mi proyecto en mi herencia.

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The country I am writing about is Mexico.

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The country I am writing about is Mexico.

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Traditional Tamales (Pork) Recipe - Food.com

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This tamale recipe is about as traditional as you can get, although I use a roast instead of the whole pig head that many use. These take about all da

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On Cinco de Mayo here are large parades that feature people dressed up as Mexican and French soldiers. Vendors sell traditional Mexican foods as well as patriotic clothing and accessories for people to wear during the celebration. There is also sometimes a reenactment of the Mexican’s victory over the French troops that takes place in Puebla for visitors and residents to attend.

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On Cinco de Mayo here are large parades that feature people dressed up as Mexican and French soldiers. Vendors sell traditional Mexican foods as well as patriotic clothing and accessories for people to wear during the celebration. There is also sometimes a reenactment of the Mexican’s victory over the French troops that takes place in Puebla for visitors and residents to attend.

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The Angel of Independence, most commonly known by the shortened name El Ángel and officially known as Monumento a la Independencia ("Monument to Independence"), is a victory column on a roundabout on the major thoroughfare of Paseo de la Reforma in downtown Mexico City.

El Ángel was built in 1910 during the presidency of Porfirio Díaz by architect Antonio Rivas Mercado, to commemorate the centennial of the beginning of Mexico's War of Independence. In later years it was made into a mausoleum for the most important heroes of that war. It is one of the most recognizable landmarks in Mexico City, and it has become a focal point for both celebration and protest. It resembles the July Column in Paris, the Berlin Victory Column in Berlin and Columbus Monument in New York City.

The base of the column is quadrangular with each vertex featuring a bronze sculpture symbolizing law, war, justice and peace. Originally, nine steps led to the base, but due to the sinking of the ground, an ongoing problem in Mexico City, fourteen more steps have been added.

On the main face of the base facing downtown Mexico City, an inscription reads La Nación a los Héroes de la Independencia ("The Nation to the Heroes of Independence"). In front of this inscription is a bronze statue of a giant, laureled lion that guides a child, which symbolizes, according to Rivas Mercado, "the Mexican people, strong during war and docile during peace."

Next to the column is a group of marble statues of some of the heroes of the War of Independence. The column itself is 36 metres (118 ft) high. The structure is made of steel covered with quarried stone decorated with garlands, palms and rings with the names of Independence figures. Inside the column is a two-hundred step staircase that leads to a viewpoint above the capital. The Corinthian-style capital is adorned by four eagles with extended wings from the Mexican coat of arms used at the time.

Crowning the column is a 6.7 metres (22 ft) statue by Enrique Alciati of Nike, the Greek goddess of Victory. Like other similar victory columns around the world, it is made of bronze covered with 24 k gold (restored in 2006), and weighs seven tons. In her right hand the Angel, as it is commonly known, holds a laurel crown symbolically above both Miguel Hidalgo's head and the nation below, symbolizing Victory, while in her left she holds a broken chain, symbolizing Freedom.

Construction of the column of independence topped by a depiction of winged victory was ordered in 1900 by President Porfirio Díaz. Antonio Rivas Mercado began to design the monument, envisioned as a column with both classical and modern elements, with bronze statues at its base. The foundation stone was laid on January 2, 1902.

Placed in it a gold chest with a record of independence and a series of coins minted in that epoch. But in May 1906, when the foundations were built and 2,400 stones placed to a height of 25 m, the sides of the monument collapsed, so Díaz created a study commission composed of engineers Guillermo Beltrán y Puga, Manuel Marroquín y Rivera, and Gonzalo Garita. The commission determined that the foundations of the monument were poorly planned, so it was decided to demolish the structure. The work was restarted under the supervision of a steering committee composed of engineers Beltran y Puga, Marroquin y Rivera and the architect Manuel Gorozpe, leaving the artwork in the care of architect Antonio Rivas Mercado. All the sculptures were made by Italian artist Enrique Alciati. One of the faces in the doors is of one of Rivas Mercado's daughter, Antonieta.[citation needed ]

The monument was completed in time for the festivities to commemorate the first hundred years of Mexican Independence in 1910. The inauguration was held on 16 September, the 100th anniversary of the Grito de Dolores, the shout by Father Miguel Hidalgo that was considered the initiation of Mexican independence. The ceremony was attended by President Díaz and many foreign dignitaries. Some 10,000 Mexican soldiers and contingents of foreign military forces helped mark the occasion. The main speaker at the event was Mexican poet Salvador Díaz Mirón.

An eternal flame ( Lámpara Votiva) honoring these independence heroes was installed in the base of the column at the order of President Emilio Portes Gil in 1929.

The monument suffered some damage during an earthquake on July 28, 1957, when the sculpture of the Winged Victory fell to the ground and broke into several pieces. Sculptor José Fernández Urbina was in charge of the restoration, which lasted more than a year. The monument was reopened on September 16, 1958. It survived the devastating earthquake of September 19, 1985, with some damage to the staircases and the reliefs, but none to the Angel.

On August 16, 2019, following feminist demonstrations against gender-based violence and feminicides, the monument was affected due to acts of vandalism and graffiti. The Government of Mexico City closed access for an indefinite period; but it is estimated that it could be between one and two years. However, the capital government declared justifying that the closure is due to the restoration, within the framework of a work program in Paseo de la Reforma that involves several more monuments. The restorations concluded in October 2021.

In 1925, during the administration of Plutarco Elías Calles, the remains of the following Heroes of the Mexican Independence were interred in a mausoleum under the base of the monument. At the entry to the mausoleum is a statue of William Lamport, also known as Don Guillén de Lampart y Guzmán, an Irishman who was tried by the Mexican Inquisition in the mid seventeenth century, following the discovery of his plot to achieve the independence of New Spain. He was released by the inquisition to secular authorities and executed in the auto de fe of 1659, with his remains forbidden burial in sacred ground.

The actual remains of insurgents are buried in the mausoleum:

Absent from the mausoleum is Agustín de Iturbide, who achieved Mexico's independence from Spain in 1821; his remains are in the Metropolitan Cathedral of Mexico City. President Calles excluded Iturbide when other insurgents' remains were transferred to the mausoleum in 1925.

More than 60 years after the mausoleum was erected, on September 16, 1998, it was permanently opened to the public by President Ernesto Zedillo and Cuauhtémoc Cárdenas, Head of Government of the Federal District.

On May 30, 2010, as part of the Bicentennial celebrations of the War of Independence, the remains of the National Heroes were exhumed and then escorted by the Armed Forces with full military honors to the National History Museum in Chapultepec Castle, where they were subject of studies by members of the National Institute of Anthropology and History. After these studies, the remains were temporarily exhibited at the National Palace until August 2011, when they were returned to the mausoleum.

Visitors may enter the monument, view the memorial plaques at the base level, and climb to the top of the tower. While entry is free, visitors must obtain a permit at the Cuauhtémoc borough by showing an ID. Groups of no more than six people are permitted inside the monument for about 15 minutes. With about 200 steps, the climb is arduous. The first approximately 15 stairs, located in the monument the base, are wide and comfortable. The stairs in the column itself, approximately 185, are circular, metal, very narrow and without a landing or resting point until the top. Visitors who are not in good physical shape will find the climb exhausting-it is the equivalent of climbing a 14-story building in one go, and those not comfortable in tight spaces should avoid the climb as it has insufficient room to allow others to bypass. Some staircase areas are very dark, with only a few slits to let in light. The top balcony, though narrow, offers a commanding view of the wide avenues that surround the column. The return trip down is by way of the same circular staircase.

More recently El Ángel has become the traditional gathering place for celebration by Mexico City inhabitants, particularly following Mexico national football team victories and as a focal point for political rallies.

As of March 2016, visiting inside is limited to Saturdays and Sundays from 10:00 AM to 1:00 PM.

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The Angel of Independence, most commonly known by the shortened name El Ángel and officially known as Monumento a la Independencia ("Monument to Independence"), is a victory column on a roundabout on the major thoroughfare of Paseo de la Reforma in downtown Mexico City.

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This delicious tres leches cake recipe combines 3 types of milk that soak into the cake making it extra moist. It’s topped with sweet whipped cream.