Campesino a Campesino tells the inspiring story of a true grassroots movement: poor peasant farmers teaching one another how to protect their environment while still earning a living. The first book in English about the farmer-led sustainable agriculture movement in Latin America, Campesino a Campesino includes lots of first-person stories and commentary from the farmer-teachers, mixing personal accounts with detailed analysis of the political, socioeconomic, and ecological factors that galvanized the movement. Campesino farmer leading a farmer to farmer training session in Mexico by Eric Holt-GimenezMany years ago, author Eric Holt-Gim�nez was a volunteer trying to teach sustainable agriculture techniques in the dusty highlands of central Mexico, with little success. Near the end of his tenure, he invited a group of visiting Guatemalan farmers to teach a course in his village. What he saw was like nothing he had known. The Guatemalans used parables, stories, and humor to present agricultural improvement to their Mexican compadres as a logical outcome of clear thinking and compassion; love of farming, of family, of nature, and of community. Rather than try to convince the Mexicans of their innovations, they insisted they experiment new things on a small scale first to see how well they worked. And they saw themselves as students, respecting the Mexicans' deep, lifelong knowledge of their own particular land and climate. All they asked in return was that the Mexicans turn around and share their new knowledge with others--which they did. CAC campo3_photo by Food FirstThis exchange was typical of a grassroots movement called Campesino a Campesino, or Farmer to Farmer, which has grown up in southern Mexico and war-torn Central America over the last three decades. In the book Campesino a Campesino, Holt-Gim�nez writes the first history of the movement, describing the social, political, economic, and environmental circumstances that shape it. The voices and stories of dozens of farmers in the movement are captured, bringing to vivid life this hopeful story of peasant farmers helping one another to farm sustainably, protecting their land, their environment, and their families' future.

Photographer Richard Sharum travelled across Cuba to document the lives of isolated farmers, or 'Campesinos, ' and their wider communities at a time of national transition. The histories of these communities have formed the backbone of Cuba, and yet they are rarely depicted in photographic representations of the country. Sharum began researching Campesino communities in late 2015 and his resulting black and white photographs depict the intertwined relationship of people and the land they depend on.

Becoming Campesinos argues that the formation of the campesino as both a political category and a cultural identity in Mexico was one of the most enduring legacies of the great revolutionary upheavals that began in 1910. The author maintains that the understanding of popular-class unity conveyed by the term campesino originated in the interaction of post-revolutionary ideologies and agrarian militancy during the 1920s and 1930s. The book uses oral histories, archival documents, and partisan newspapers to trace the history of one movement born of this dynamic—agrarismo in the state of Michoacán.

This pioneering work demythologizes and reinterprets the company's history from its origins in California's farm labor struggles to its successes in Europe and on Broadway until the disbanding of the original collective ensemble in 1980 with the subsequent adoption of mainstream production practices.

Theatre of the Sphere is Luis Valdez’s exploration of the principles that underlie his innovations as a playwright, teacher, and theatrical innovator. He discusses the unique aesthetic, more than five decades in the making, that defines the work of his group El Teatro Campesino—from shows staged on the backs of flatbed trucks by the participants in the Delano Grape Strike of the 1960s to international megahits like Zoot Suit. Opening with a history of El Teatro Campesino, rich with Valdez’s insights and remembrances, the book’s first part provides context for the development of the Theatre of the Sphere acting method. The second part delivers the conceptual framework for Valdez’s acting theory and practice, situating it in Mayan mathematics and metaphysics. The third part of the book applies this methodology to describe the "viente pasos," the 20-element exercise sequence that comprises the core practice of El Teatro Campesino—strengthening the body, balance, precision, and flexibility but also leadership, collaboration, observation, vulnerability, trust, and expression of passion; of consciousness of time, place, self, community, language, and belief; of honour, faith, morality, and commitment. The book concludes with the full text of Valdez’s poem, "El Buen Actor/El Mal Actor," and a comprehensive bibliography for further study. This is a vital and indispensable text for today’s actor, as well as scholars and students of contemporary theatre, American and Chicano performance, and the process of theatre-making, actor training, and community performance.

"The time of freedom" was the name that plantation workers-campesinos-gave to GuatemalaÆs national revolution of 1944-1954. Cindy Forster reveals the critical role played by the poor in organizing and sustaining this period of reform.Through court records, labor and agrarian ministry archives, and oral histories, Forster demonstrates how labor conflict on the plantations prepared the ground for national reforms that are usually credited to urban politicians. She focuses on two plantation zones that generated exceptional momentum: the coffee belt in the highlands around San Marcos and the United Fruit Company's banana groves near Tiquisate. Although these regions were unlike in size and complexity, language and race, popular culture and work patterns, both erupted with demands for workersÆ rights and economic justice shortly after the fall of Castañeda in 1944. A welcome balance to the standard "top-down" histories of the revolution, Forster's sophisticated analysis demonstrates how campesinos changed the course of the urban revolution. By establishing the context of grassroots mobilization, she substantially alters the conventional view of the entire revolution, and particularly the reforms enacted under President Albenz.

He shows that although most campesinos received no land at all, those who did get land were unable to obtain the inputs needed to farm efficiently. In addition, inflation and unfavorable terms of trade have further eroded reform benefits.

"Centered upon contemporary daily life in a small village on the shores of Lake Atitlan, Guatemala, Campesino illustrates the complex interrelationships among local, national, and international events. Written in a simple and readable style, the diary will be valuable not only for anthropology students, but for anyone interested in contemporary Guatemala and Central America."--Choice "One of the most interesting books written about the Maya Indians of Guatemala, this fascinating work is unique in the sense that it is written in the form of a biography and presents the views of how all these conflicts affects those at the bottom. . . . This is a book that anyone interested in ethnic studies and in humanity in general should read."--Explorations in Sights and Sounds "This volume is an instant classic."--Latin America in Books "Prof. Sexton is to be highly recommended of another excellent work which will be very useful to scholars and lay readers truly interested in the life and struggles of the Indian peoples."--Latin American Indian Literatures Journal

This collection includes one-act plays by the famous farmwork theater, El Teatro Campesino, and its director Luis Valdez; one of the first fully realized, full-length plays by Valdez alone; and an original narrative poem by Luis Valdez.