For more than five centuries, the Plaza Mayor (or Zócalo) in Mexico City has been the site of performances for a public spectatorship. During the period of colonial rule, performances designed to ensure loyalty to the Spanish monarchy were staged there, but over time, these displays gave way to staged demonstrations of resistance. Today, the Zócalo is a site for both official government-sponsored celebrations and performances that challenge the state. Performance in the Zócalo examines the ways that this city square has achieved symbolic significance over the centuries, and how national, ethnic, and racial identity has been performed there. A saying in Mexico City is “quien domina el centro, domina el país” (whoever dominates the center, dominates the country) as the Zócalo continues to act as the performative embodiment of Mexican society. This book highlights how particular performances build upon each other by recycling past architectures and performative practices for new purposes. Ana Martínez discusses the singular role of collective memory in creating meaning through space and landmarks, providing a new perspective and further insight into the problem of Mexico’s relationship with its own past. Rather than merely describe the commemorations, she traces the relationship between space and the invention of a Mexican imaginary. She also explores how indigenous communities, Mexico’s alienated subalterns, performed as exploited objects, exotic characters, and subjects with agency. The book’s dual purposes are to examine the Zócalo as Mexico’s central site of performance and to unmask, without homogenizing, the official discourse regarding Mexico’s natives. This book will be of interest for students and scholars in theater studies, Mexican Studies, Cultural Geography, Latinx and Latin American Studies.

This book presents a case study of one of Latin America’s most important and symbolic spaces, the Zócalo in Mexico City, weaving together historic events and corresponding morphological changes in the urban environment. It poses questions about how the identity of a place emerges, how it evolves and, why does it change? Mexico City’s Zócalo: A History of a Constructed Spatial Identity utilizes the history of a specific place, the Zócalo (Plaza de la Constitución), to explain the emergence and evolution of Mexican identities over time. Starting from the pre-Hispanic period to present day, the work illustrates how the Zócalo reveals spatial manifestations as part of the larger socio-cultural zeitgeist. By focusing on the history of changes in spatial production – what Henri Lefebvre calls society’s "secretions" – Bross traces how cultural, social, economic, and political forces shaped the Zócalo’s spatial identity and, in turn, how the Zócalo shaped and fostered new identities in return. It will be a fascinating read for architectural and urban historians investigating Latin America.

For more than five centuries, the Plaza Mayor (or Zócalo) in Mexico City has been the site of performances for a public spectatorship. During the period of colonial rule, performances designed to ensure loyalty to the Spanish monarchy were staged there, but over time, these displays gave way to staged demonstrations of resistance. Today, the Zócalo is a site for both official government-sponsored celebrations and performances that challenge the state. Performance in the Zócalo examines the ways that this city square has achieved symbolic significance over the centuries, and how national, ethnic, and racial identity has been performed there. A saying in Mexico City is “quien domina el centro, domina el país” (whoever dominates the center, dominates the country) as the Zócalo continues to act as the performative embodiment of Mexican society. This book highlights how particular performances build upon each other by recycling past architectures and performative practices for new purposes. Ana Martínez discusses the singular role of collective memory in creating meaning through space and landmarks, providing a new perspective and further insight into the problem of Mexico’s relationship with its own past. Rather than merely describe the commemorations, she traces the relationship between space and the invention of a Mexican imaginary. She also explores how indigenous communities, Mexico’s alienated subalterns, performed as exploited objects, exotic characters, and subjects with agency. The book’s dual purposes are to examine the Zócalo as Mexico’s central site of performance and to unmask, without homogenizing, the official discourse regarding Mexico’s natives. This book will be of interest for students and scholars in theater studies, Mexican Studies, Cultural Geography, Latinx and Latin American Studies.

The story of a young couple with no prior sailing experience who set out to circle the world. Four years later they return as circumnavigators. An inspiring look at what it takes to achieve the dream of sailing around the world, and proof that it can be done.

Cabana Anthology, drawn from the sought-after, sumptuous biannual Cabana magazine, celebrates the most luxurious personal statements in interior design, lifestyle, architecture, and all related luxuries. Founded in 2014 by Martina Mondadori Sartogo, Cabana Anthology features the very best photography, interviews, profiles, and features from the publication's first five formative years and offers an extraordinary mix of topics, interiors, objects, and visual essays from contributors ranging from Justine Picardie, Patrick Kinmonth, and Christian Louboutin to Lauren Santo Domingo and Gianluca Longo, photographed by the likes of Miguel Flores-Vianna and Tim Beddow. With astonishing production values not seen since the legendary Flair magazine of the 1950s, this new book--which will be a true collector's item--is a must-have for regular subscribers, as well as art and design aficionados who missed out the first time around. Due to the unique cloth binding of this book, covers may vary slightly from the example shown here, and will be shipped to customers at random.