Community Partners
Visit the tables of our community partners throughout the museum and learn more about their work: New York Folklore, the Institute for Mesoamerican Studies at the University at Albany, and Herencia Cultural Mexicana.
Partner Cultural Organizations & Groups
Herencia Cultural Mexicana
An active group of about 40 individuals in the Capital Region of New York dedicated to learning about, preserving, and showcasing Mexican heritage through traditional folkloric dance across New York State.
Mission: Educate the next generation of the Mexican immigrant community about their cultural roots, encouraging pride and teamwork through dance and community activities. Share the rich, diverse cultural expressions of Mexico and its indigenous groups with the broader Upstate New York community to foster intercultural understanding.
Triquis Sin Fronteras
Prominent community and cultural advocacy group formed around 2003 in the Capital District (including Albany and Schenectady) to support the indigenous Triqui population from Oaxaca, Mexico.
Focus Areas: Cultural promotion, language preservation, and immigrant rights.
Context: The Capital Region is home to one of the largest and fastest-growing Triqui populations outside of Mexico, currently numbering well over 1,000 people.
Pulso de Barro
A Kingston-based music collective whose name translates to "pulse of life." Led by María Puente Flores and Mateo Cano, the group hosts ceremony-celebrations rooted in Son Jarocho.
Tradition: Son Jarocho is a 400-year-old musical tradition from the Gulf Coast of Veracruz blending African Yoruba rhythms, Andalusian melody, and indigenous voices.
Instruments & Focus: Uses jarana, requinto, leona, quijada, tarima, maracas, and marimba to create fandangos designed as shared spaces for community connection and collective liberation.
Featured Artists & Tradition Keepers
Luz Ruiz — Oaxacan Traditional Dances
Master folk dancer originally from Miahuatlán, Oaxaca; relocated to the U.S. in the late 1990s and settled in Albany in 2012. Began dancing at age 6 in community gatherings and the annual Guelaguetza festival. Later joined the Casa de la Cultura in Oaxaca to perform with regional dance ensembles. Founded a local Oaxacan folk dance group of adults and children in 2012, serving as its sole instructor. The group performs across the region, including at the annual Guelaguetza in Poughkeepsie. Specializes in Oaxacan dances such as Danza de la Pluma (Feather Dance), Flor de Piña (Pineapple Flower), Jarabe del Valle, Chilenas, and Sones.
Master Susana Martinez — Oaxacan Triqui Huipil
Triqui speaker born in the Mixteca Region of Oaxaca; moved to Albany in 2019, joining family members who have lived in the Capital Region for four decades. Master weaver who learned to create traditional huipiles at age 10 from her mother, grandmother, and community members. Weaves several times a week using the traditional pre-Hispanic Telar de Cintura (backstrap loom). Crafting a single garment takes several months. Active participant in local Triqui social and cultural celebrations, continuing the tradition of weaving as a shared social activity among women.
Isabel Velasco — Mexican Cartonería
Third-generation cartonería artist originally from El Sauzal, Veracruz (born to Oaxacan parents). Has lived in Poughkeepsie since 2002. Learned the craft from her mother and grandmother, who originally made piñatas and art for social events and during tough sugarcane harvest seasons. Teaches workshops on cartonería, catrinas, piñatas, masks, and papel picado in local schools, libraries, and community centers. Her creations are central to Poughkeepsie’s annual Day of the Dead celebrations.
Traditional Art Forms & Concepts
About the Huipil & Backstrap Loom
Garment Structure: A loose-fitting tunic made from up to three rectangular woven panels (lienzos) joined with stitching or ribbons, featuring openings for the head and arms. Length varies from short blouses to floor-length gowns.
Cultural Significance: Worn by indigenous women across central Mexico and Central America. Styles, fabrics, and decorative elements indicate the wearer's specific ethnicity, community, and social status.
Craftsmanship: Ceremonial versions are woven on pre-Hispanic backstrap looms (Telar de Cintura) and decorated with integrated woven designs, embroidery, lace, and ribbons. In Triqui belief, weaving looms and techniques are considered sacred gifts tied to specific deities.
About Mexican Cartonería
Technique: Traditional Mexican folk art using papier-mâché (layered paper, paste, and structural wire or cardboard) to create complex 3D sculptures. Deeply tied to community celebrations and Day of the Dead altars (ofrendas).
Key Figures & Objects
Calacas: Lifelike or whimsical skeletons participating in daily activities.
Calaveras: Vibrantly painted decorative skulls and masks.
Catrinas: Elegant female skeletal figures dressed in 19th-century high-fashion attire.
Alebrijes: Fantastical, brightly colored imaginary creatures.
Miniatures & Specialty Figures: Padrecitos de garbanzo (chickpea-headed monks), entierritos (figures in coffins), and skeletal marionettes.
Traditional Objects: Piñatas, festive masks, dolls, and mojigangas (large puppets).
