Participants

The project was possible because of the many Wixáritari participants, including teachers from Tatuutsí Maxakwaxi whose story we codesigned [‘Awiekame (Feliciano Díaz Sotero), Haiyira (Agustín Salvado Martínez), Hakaima (Viviana Ortiz Enrique), Matsiwima (Graciela Ortiz Sotero), Muwieritemai (Eduardo Madera de la Cruz), Turiniiwe (Everardo de la Cruz Ramírez), ‘Utsiekame (Carlos Salvador Díaz), Wamatsika (Fermín Santibáñez Madera), Itiama (Apolonia de la Cruz Ramírez), Iiríyiwi (Cerefino Carillo Díaz), Xitákame (Julio Ramírez de la Cruz) – Translator];

Designers Cassie McDaniel, Avery Smith, and the BFA Graphic Design Class of 2006, University of Florida;

Faculty: Dr. Sarah Corona Berkin, Universidad de Guadalajara; Maria Rogal, University of Florida; and Melanie Davenport, Georgia State University.  

Background

Westernized Mexicans in central Mexico know little about the Wixárika (commonly called Huichol) culture. One common misconception or misunderstanding is in relationship to time. For example, many Wixárika must return to their community during the summer to plant, yet find it difficult to leave a 40-hour per week job in a city because others perceive their actions as unnecessary or frivolous. We considered how to use communication and design methodologies to teach Mexican youth concepts central to the Wixárika community (“others” in this region). Additionally, the international component of this project required students, most who had never been to Mexico, to think outside the box in terms of representation, language, economic and cultural disparities, and “otherness.”

Objectives

Our communication objective was to visually represent the Wixárika (Huichol) concept of time, heretofore an oral tradition, based on the traditions of one town—San Miguel Huaixtita. However, the underlying conceptual framework was intercultural communication—one that of the project dictated that our intention was to situate both the Wixárika and western cultural conceptions of time on the same plane, thereby equalizing their positions and creating a mutual understanding of different cultural belief systems. An added benefit was to further explore how we, as graphic designers in the United States, can communicate with and for others and to position one’s self in an intercultural framework—one that tries to break away the hierarchies and lends itself to a humanistic and inclusive approach.

Research/Strategy

This project relied in particular on input from the faculty of the Centro Educativo Tatuutsi Maxakwaxi, San Miguel Huaixtita, Jalisco, México. Throughout this project, we worked together to refine the narrative, which is based on the lived experiences of the community in San Miguel. During this project the faculty provided generous support, guidance, and insight into their cultural traditions. 

When we began this project, a primary concern was our social and cultural responsibility to the Wixárika community. This concern was at the foundation of our decision-making processes—in the ideation and design phases—in the visual and written language of the final calendar. We began the project with a proof concept for one of six seasons. We considered how the primary target audience (Mexican and Wixárika youth) would use the calendar, which, in turn, guided both the calendar structure and visual language. 

Outcomes

The interior of the calendar illustrates the important activities in the cycle of the Wixárika year and positions this in relative relation to the western calendar, which includes Mexican holidays. This circle is held in place by a brad which facilitates rotation. The back of the calendar explains the activities of the “seasons” in 3 languages – Wixáritari, Spanish, and English. In addition, Sarah Corona wrote a short essay to explain the overarching concepts of Wixárika time and their connection to natural cycles.