Manuel Alvarez Bravo, 1934 (note avoidance of anonymity)
Manuel Alvarez Bravo, 1934
Fritz Henle, 1951 (the year before she died)
Bernice Kolko, 1954
Marian Yampolsky, , 1989
Graciela Iturbide continued the habit (see Elena Poniatowska’s introductory essay to a collection of Iturbide’s images of Tehuantepec, entitled “Juchitan A Town of Women”, and see Leigh Binford’s critique of Iturbide in “Graciela Iturbide Normalising Juchitan”).
As we have just seen, Eisenstein imagined Tehuantepec as a state of primitive nature, a womb, a garden of Eden - "Eden did not exist between the Tigris and Euphrates, but rather here, somewhere between the Gulf of Mexico and Tehuantepec". The "Zandunga" episode in centres around a dreamy beauty, not accidentally named "Concepcion" and represents a vital transition - Mexico's rebirth - between the old decadent order of the hacienda and the new post-revolutionary order. After , the Tehuana became a staple of the Mexican “national” cinema.
Fernando de Fuentes, 1937, starring Maria Luisa Zea and Lupe Velez.
In the same year we see a Tehuana modelling a new banknote, sure proof the Tehuana’s arrival as “the national”
Rafael García, 1937
Nationalist composers, such as Carlos Chávez, seeking inspiration from national musical traditions, found in Tehuantepec "sones" - particularly the - melodies and lyrics that reflected the interaction of Indian and Hispanic influences.