As comunidades quilombolas no Brasil possuem uma relação essencial com o território, pois, por meio da relação com a terra, as quilombolas autoafirmam a sua identidade étnico-racial. Este estudo reflete sobre como as mulheres do quilombo da Pinguela, localizado no interior do estado da Bahia, Brasil, constroem a sua identidade. O projeto foi desenvolvido a partir do Photovoice e de narrativas construídas nos marcos do diálogo autêntico e da sororidade. Os resultados revelam as principais questões vivenciadas pelas mulheres em seus cotidianos, como a disputa pelo território e a valorização da terra, além do cuidado com a comunidade e relações sociais baseadas na solidariedade. O estudo evidenciou o silenciamento histórico e constante das dificuldades enfrentadas por essa população, assim como a necessidade urgente de implementação de políticas públicas que reconheçam e respeitem os valores e direitos da população quilombola brasileira.

Quilombola communities in Brazil have an essential relationship with territory, as it is through their relationship with the land that Quilombolas affirm their ethnic-racial identity. This study reflects upon how women from the Pinguela quilombo in inland Bahia, Brazil, construct their identity. The project was developed using photovoice and narratives were created within a framework of authentic dialogue and sisterhood. The findings reveal the main problems faced by the women in their daily lives, including territorial disputes and valorization of land, as well as caring for the community and social relationships based on solidarity. The study evidenced the historic and constant silencing of the hardships faced by this population and the urgent need for the implementation of public policies that recognize and respect the values and rights of the Quilombola population in Brazil.

Las comunidades quilombolas en Brasil tienen una relación esencial con el territorio, puesto que por medio de la relación con la tierra las quilombolas autoafirman su identidad étnico-racial. Este estudio reflexiona sobre cómo las mujeres del quilombo de Pinguela, localizado en el interior del estado de Bahia, Brasil, construyen su identidad. El proyecto se desarrolló a partir del Photovoice y de las narrativas construidas en los marcos del diálogo auténtico y de la hermandad. Los resultados revelan las principales cuestiones vividas por las mujeres en su cotidiano, como la disputa por el territorio y la valorización de la tierra, además del cuidado con la comunidad y relaciones sociales basadas en la solidaridad. El estudio puso en evidencia el silenciamiento histórico y constante de las dificultades enfrentadas por esta población, así como la necesidad urgente de implementación de políticas públicas que reconozcan y respeten los valores y derechos de la población quilombola brasileña.

ABSTRACT This article brings some notes about the short film Choque cultural, directed by Zelito Viana, whose thread is the historic interview by Celso Furtado to the director in Rio de Janeiro in 1975. We contextualize the interview and the circumstances that brought them together. Without intending to do cinematographic criticism, we connect Furtado’s speech and the images from Zelito’s film and we relate Furtado’s reflections in the interview with the works he published in the period around the making of the short film and in the 1980s and 1990s.

RESUMO Este artigo traz algumas notas sobre o curta-metragem Choque cultural, dirigido por Zelito Viana, cujo fio condutor é a histórica entrevista de Celso Furtado ao diretor no Rio de Janeiro em 1975. Contextualizamos a entrevista e as circunstâncias que os reuniram. Sem a pretensão de fazer crítica cinematográfica, conectamos a fala de Furtado e as imagens do filme de Zelito e relacionamos as reflexões de Furtado na entrevista a suas obras publicadas no período em torno da realização do curta-metragem e nas décadas de 1980 e 1990.

As comunidades quilombolas no Brasil possuem uma relação essencial com o território, pois, por meio da relação com a terra, as quilombolas autoafirmam a sua identidade étnico-racial. Este estudo reflete sobre como as mulheres do quilombo da Pinguela, localizado no interior do estado da Bahia, Brasil, constroem a sua identidade. O projeto foi desenvolvido a partir do Photovoice e de narrativas construídas nos marcos do diálogo autêntico e da sororidade. Os resultados revelam as principais questões vivenciadas pelas mulheres em seus cotidianos, como a disputa pelo território e a valorização da terra, além do cuidado com a comunidade e relações sociais baseadas na solidariedade. O estudo evidenciou o silenciamento histórico e constante das dificuldades enfrentadas por essa população, assim como a necessidade urgente de implementação de políticas públicas que reconheçam e respeitem os valores e direitos da população quilombola brasileira. pois terra étnicoracial. étnicoracial étnico racial. racial étnico-racial Pinguela Bahia sororidade cotidianos solidariedade brasileira

Las comunidades quilombolas en Brasil tienen una relación esencial con el territorio, puesto que por medio de la relación con la tierra las quilombolas autoafirman su identidad étnico-racial. Este estudio reflexiona sobre cómo las mujeres del quilombo de Pinguela, localizado en el interior del estado de Bahia, Brasil, construyen su identidad. El proyecto se desarrolló a partir del Photovoice y de las narrativas construidas en los marcos del diálogo auténtico y de la hermandad. Los resultados revelan las principales cuestiones vividas por las mujeres en su cotidiano, como la disputa por el territorio y la valorización de la tierra, además del cuidado con la comunidad y relaciones sociales basadas en la solidaridad. El estudio puso en evidencia el silenciamiento histórico y constante de las dificultades enfrentadas por esta población, así como la necesidad urgente de implementación de políticas públicas que reconozcan y respeten los valores y derechos de la población quilombola brasileña. étnicoracial. étnicoracial étnico racial. racial étnico-racial Pinguela Bahia hermandad cotidiano solidaridad brasileña

Quilombola communities in Brazil have an essential relationship with territory, as it is through their relationship with the land that Quilombolas affirm their ethnic-racial identity. This study reflects upon how women from the Pinguela quilombo in inland Bahia, Brazil, construct their identity. The project was developed using photovoice and narratives were created within a framework of authentic dialogue and sisterhood. The findings reveal the main problems faced by the women in their daily lives, including territorial disputes and valorization of land, as well as caring for the community and social relationships based on solidarity. The study evidenced the historic and constant silencing of the hardships faced by this population and the urgent need for the implementation of public policies that recognize and respect the values and rights of the Quilombola population in Brazil. territory ethnicracial ethnic racial identity Bahia sisterhood lives solidarity

Abstract: This study analyses Marlene NourbeSe Philip’s poetic book Zong! (2008) by focusing on select “i-mages,” or poetic images as proposed by the poet, that “re/membering” the massacre occurred on board the slave ship called Zong in 1781 configure symbolic acts of poetic and restorative justice. These poetic images confront and metaphorically “exhume” the archive of the transatlantic slave trade and “exaqua” the memory of the Caribbean sea in order to poetically repair history in the Caribbean and contribute to free its future by inscribing in the transatlantic cultural and historic memory dimensions of the humanness that were and continue to be denied to the Afro-descendants in the Americas, and by creating ways to work through and heal the historic trauma caused by the genocide and dehumanization from emotional, psychic, and spiritual perspectives.

Resumen: Este estudio analiza el libro poético Zong! (2008) de Marlene NourbeSe Philip enfocándose en i-mágenes seleccionadas, o imágenes poéticas como propone la poeta, que re/membrando la masacre ocurrida a bordo del barco de esclavas/os llamado Zong en 1781 configuran actos simbólicos de justicia poética reparativa. Estas imágenes poéticas confrontan y metafóricamente exhuman el archivo del comercio de esclavas/os transatlántico y exaguan la memoria del mar a fin de reparar poéticamente la historia del Caribe y contribuir a liberar su futuro, inscribiendo en la memoria cultural e histórica transatlántica dimensiones de la humanidad que fueron y continúan siendo negadas a las y los afrodescendientes en las Américas, y creando vías de procesamiento y sanación del trauma histórico causado por el genocidio y la deshumanización desde perspectivas emocionales, psíquicas y espirituales.

This paper introduces the application of technology solutions into the realm of bridge inspection methodologies in South Africa, aiming to enhance the current visual bridge inspection methodology. Unmanned Aerial Vehicles (UAVs) can be used as an alternative to collect bridge image data, and point cloud models can be created from captured images by using photogrammetry software. For this study, accredited bridge inspectors were approached to complete TMH 19 inspection sheets of bridge structures using only the point cloud models and captured images, as a proposed new inspection methodology. This paper compares historic inspection ratings and the point cloud inspection ratings to investigate the effectiveness and practicality of the new proposed inspection methodology. The study concluded that bridge inspectors could identify and rate critical defects of bridge structures using the new inspection methodology, but there are limitations and specific use cases that need to be identified.

Abstract Inspecting historic buildings with non-destructive techniques can contribute to obtaining information about the in-service status of a given building without damaging its parts. Damages map prepared by digital photogrammetry and the application of façade Thermography assessment are non-destructive techniques and possible due to technological advances. The present work aimed to apply non-destructive inspection techniques of the façade on the Zoroastro Artiaga Museum, of Art Deco Architecture, using two techniques: generation of damages map by orthoimage created from Aerophotogrammetry and the method of Damage Factor, and application of the thermographic image analysis technique. For the generation of damages map, the relevance of using UAV was observed, since for this technique it is essential to use this equipment to capture images perpendicular to the plane of the façade, when thinking about using the method by Dense Stereo Matching. The damages map generation and the analysis of the Damages Factor allowed the quantification of the incidence of pathological manifestations. The analysis of thermographic images made it possible to understand which factors contributed to the emergence of pathological manifestations, such as the possible presence of excess moisture, favoring, for example, the formation of efflorescence. It is concluded that the application of these techniques can be safely used for inspection and prior diagnosis and that the Thermography was important to identify non-visible damages to the façade, such as moisture extensions, since it was not possible to visually delimit the entire existing area of moisture through damages map generated by Aerophotogrammetry.

Abstract In this paper, we discuss a segment of the movie The cemetery of lost souls (2020), by Rodrigo Aragão, as an image of horror that can “disassemble the history”(DIDI-HUBERMAN, 2015) and rediscover the idea of a nation through contemporary Brazilian horror cinema. We start with the notion of Benjaminian dialectical image proposed by Didi-Huberman (2015) contrasting the segment of Aragão’s movie with other images that portray the same historic moment at different periods, such as: The first mass in Brazil (1859-1861), by Victor Meirelles, The discovery of Brazil (1937), by Humberto Mauro, and Terra em transe (1967), by Glauber Rocha. We have noticed recurrences and ruptures in the aesthetic modes of portraying the same subject, prioritizing sometimes the naturalism and other times the allegory. From this perspective, Aragão’s movie establishes itself as a new method of reading this historic moment, privileging horror and conflict in order to think about the history of the country and its current context.

Resumo Neste texto discutimos uma passagem do filme O cemitério das almas perdidas (2020), de Rodrigo Aragão, como uma imagem de horror que pode desmontar a história (DIDI-HUBERMAN, 2015) e redescobrir a ideia de nação com base cinema de horror brasileiro contemporâneo. Para isto, partimos da noção de imagem dialética benjaminiana proposta por Didi-Huberman (2015) contrapondo o trecho do filme de Aragão com outras imagens que retratam o mesmo momento histórico em diferentes períodos, como: A primeira missa no Brasil (1859-1861), de Victor Meirelles, O descobrimento do Brasil (1937), de Humberto Mauro, e Terra em transe (1967), de Glauber Rocha. Notamos reincidências e rupturas nos modos estéticos de tratar o mesmo tema, priorizando ora o naturalismo, ora a alegoria. Nesta perspectiva, o filme de Aragão se estabelece como uma nova chave de leitura para este momento histórico, privilegiando o horror e o conflito para pensar a história do país e o contexto atual.

Abstract Les Cahiers Français, a francophone magazine edited in Montevideo between 1936 and 1948, had as its principal goal, to serve the propaganda of the educational institutions of the French Society of Education, conceived as essential instruments of the gallic cultural diplomacy in Uruguay. During the Second World War, the publication sought to engage the local community in efforts to provide material and moral support to the people affected by the conflict and to sustain France’s cultural hegemony in the country. In this paper, from the perspective of the theory of emotions, I examine two discursive strategies employed by the magazine to draw the involvement of its Uruguayan readers into the confrontation: the narrative of the historic friendship between both countries, based on the images of war cooperation in the 19th century, and the publication of representations of the suffering of France as a result of its defeat and occupation by Hitler’s armies.

Resumen Les Cahiers Français, revista francófona editada en Montevideo entre 1936 y 1948, tuvo como principal cometido servir a la propaganda de los establecimientos educativos de la Sociedad Francesa de Enseñanza, concebidos como instrumentos destacados de la diplomacia cultural gala en Uruguay. Durante la Segunda Guerra Mundial la publicación procuró comprometer a la comunidad local en la ayuda material y moral a los afectados por el conflicto y en el sustento de la hegemonía cultural de Francia en el país. En este trabajo estudio, desde la perspectiva de la teoría de las emociones, dos estrategias discursivas empleadas por la revista para conquistar la implicación de los lectores uruguayos en la contienda: el relato de la amistad histórica entre los países, con base en el imaginario de la cooperación guerrera del siglo XIX, y la difusión de representaciones del sufrimiento de Francia a raíz de su derrota y ocupación por los ejércitos de Hitler.

RESUMO A segunda metade do século XX foi marcada pela revisão e crítica à ideologia do movimento moderno e por novas abordagens dos conceitos de cultura e de história, cujas reverberações estenderam-se aos bens culturais. O objeto do patrimônio começou a abranger novas temporalidades e naturezas de valor patrimonial e passou a ser aplicado a tipologias materiais e imateriais, momento em que produz uma mercadoria e um objeto de consumo. Inseridas nesse contexto, as cores das superfícies arquitetônicas refletem as práticas de preservação e os princípios gerais que norteiam as intervenções. Nesse cenário, este artigo enfatiza as narrativas imagéticas e identifica a recorrência de atitudes estruturantes na base das intervenções cromáticas em bens culturais edificados. Identificadas como paradigmas, fundamentam-se no culto ao valor de novidade, em tendências cromáticas como o uso do amarelo na arquitetura historicista e no turismo cultural. O artigo analisa a existência de tais paradigmas a partir de intervenções cromáticas realizadas em bens culturais edificados no Brasil. O referencial teórico aborda o conceito de imagem urbana e é fundamentado nas reflexões de Jean Baudrillard, Guy Debord, Pierre Jeudy, no restauro crítico de Cesare Brandi e na interpretação cultural contemporânea de Flávio Carsalade. Os resultados demonstram que apesar do discurso teórico consolidado que preconiza a análise caso a caso, na prática as decisões projetuais cromáticas não refletem as tendências atuais da teoria da restauração e revelam que a questão da cor no patrimônio cultural não foi superada e deve ser discutida em toda sua complexidade histórica, teórica e fenomenológica.

ABSTRACT The second half of the 20th century was marked by the revision and critique to the modern movement ideology and by new approaches to culture and history, whose reverberations extended to cultural goods. With that, the notion of cultural heritage expands and incorporates material and immaterial typologies, producing a commodity and an object of consumption. In this context, the colors of architectural surfaces reflect the preservation practices and general principles guiding the interventions. This article emphasizes the narratives of urban images and identifies the recurrence of certain paradigms - which express the value of novelty within a chromatic trend, such as the use of yellow in historicist architecture and the cultural tourism - on the basis of chromatic interventions conducted in Brazilian historic buildings. The theoretical framework consists of the reflections of Jean Baudrillard, Guy Debord, and Pierre Jeudy; the critical restoration of Cesare Brandi; and the cultural interpretation of Flávio Carsalade. Results indicate that, although the consolidated theory recommends a case-by-case analysis, in practice, design decisions are not supported by current trends in restoration theory, besides revealing that the issue of chromatic interventions in cultural heritage has not been overcome and should be discussed in its historical, theoretical, and phenomenological complexity.

ABSTRACT The Spaniards built the Royal Road of the Interior Land in the colonial times of Mexico. Such a road ranged between Mexico City and Santa Fe, New Mexico, USA. Some remnants still survive in Mexico, but their geographic location, position, length and condition are not well known. By means of fieldwork and a search of historic records left by the Spaniards, three segments of the Royal Road were identified. Three high-resolution multispectral images from the Pleiades satellite were acquired. Such images cover three zones where the Royal Road segments were located, and fieldwork was carried out. Due to degradation, the segments of the Royal Road show a low contrast with respect to the surroundings but a distinctive texture. A procedure of enhancement and sharpening was applied to the images based on the Vector Laplacian operator and Principal Component Analysis (PCA). Such a procedure enhances the texture and the edges of the Royal Road segments. An RGB false color composite formed by the Laplacian operator, the first principal component, and band 4, produced an image where the Royal Road segments are clearly observed. By means of fieldwork, the geographic coordinates and condition of the Royal Road segments were identified.

RESUMEN Los españoles construyeron el Camino Real de Tierra Adentro en los tiempos de la colonia de México. Tal camino corría entre la Ciudad de México y Santa Fe, en Nuevo México, USA. Algunos remanentes aun sobreviven en México, pero su localización, longitud y condición no son bien conocidas. Por medio de trabajo de campo y de una investigación de los registros dejados por los españoles, se identificaron tres segmentos del Camino Real. Se adquirieron tres imágenes multiespectrales de alta resolución del satélite Pleiades. Tales imágenes cubren tres zonas donde fueron identificados los segmentos del Camino Real y se llevó a cabo un trabajo de campo. Debido a la degradación, los segmentos del Camino Real muestran bajo contraste con respecto al entorno pero una textura distintiva. Se aplicó un procedimiento de realce y agudizamiento a las imágenes con base al operador Vectorial Laplaciano y al análisis de componentes principales (ACP). Tal procedimiento realza la textura y los bordes de los segmentos del Camino Real. Un compuesto RGB falso color formado por el operador Laplaciano, la primera componente principal y la banda 4, produjo una imagen donde los segmentos del Camino Real son claramente observados. Por medio de trabajo de campo se identificaron las coordenadas y las condiciones de los segmentos del Camino Real.

Abstract A working class theater play: The Song of Victory. The Chinaca Scene in 1867 presents the moment a chinaco group in Michoacan receive the news of the republican triumph. Jacobo Dalevuelta (writer) and Carlos González (painter and artistic director) used the historic reason to create a nationalist cultural artifact. A unique representation composed of a script and images was carried out on stage at the National Stadium on May 5, 1927. In the staging, a type of Chinaco participated which expressed a Mexican identity in reflection, emerging from an eclectic mix of various modern and nationalist proposals as evidence of the revolutionary period and of a world in crisis in formation and perspective of the artists.

Resumen La obra de teatro de masas El canto de la victoria. Escena chinaca en 1867 presenta el recibimiento de la noticia del triunfo republicano por parte de los chinacos de Michoacán, motivo histórico que Jacobo Dalevuelta (escritor) y Carlos González (pintor y director artístico) utilizaron para crear un artefacto cultural nacionalista, compuesto por guion, imágenes y única representación en escena, llevada a cabo el 5 de mayo de 1927 en el Estadio Nacional. En la puesta en escena participó un tipo de chinaco, expresión de una identidad mexicana en reflexión, surgido a partir de la mezcla ecléctica de diversas propuestas modernas y nacionalistas, lo cual deja evidencia del periodo revolucionario y de un mundo que apenas estaba formándose, y también da cuenta de la perspectiva de los artistas.

Abstract Participatory cultural heritage management involves collaboration of different proposals and participants. In this article, the initiative that allows to register graphically the relevant built heritage of the historic center of the city of Cuenca by means of photogrammetry, and the management of it in a Geographic information System have been developed. The photographic study of the property or object is carried out (from multiple angles) by using individual or mounted on drone’s cameras. Certain processes, supported by specialized software, are applied to this material to obtain a mosaic of images with which it is possible to obtain the correction of the perspective in the images (photogrammetry). Printable digital products are obtained in two-dimensions (paper) and three-dimensions (resins) forms with scale and precision. Compared to other procedures, this proposal has several advantages: ease, speed, low costs, good quality of the products. Although, we must also acknowledge some limitations. After the development of the project, it can be established that the technical and methodological availability allows to obtain a digitally documented information model integrated into a Geographic Information System; which has property information (cadastral record), delimitation of the areas of heritage value, representation of the two-dimensional and three-dimensional buildings, access to the respective website.

Resumen La gestión participativa del patrimonio cultural supone la colaboración de diferentes propuestas y actores. En ese sentido, se ha desarrollado la iniciativa descrita en el presente artículo, la misma que permite por medio de fotogrametría, registrar gráficamente el patrimonio edificado relevante del centro histórico de la ciudad de Cuenca y gestionarlo en un Sistema de Información Geográfica. Usando cámaras fotográficas individuales o montadas en drones, se procede el levantamiento fotográfico del inmueble u objeto (desde múltiples ángulos), a este material se le aplican ciertos procesos, apoyados en software especializado, para obtener un mosaico de imágenes con el cual se puede conseguir la corrección de la perspectiva en las imágenes (proceso conocido como fotogrametría) con lo que se obtienen productos digitales imprimibles en formas bidimensionales (papel) y tridimensionales (resinas) con escala y precisión. Comparativamente con otros procedimientos, tiene varias ventajas: facilidad, rapidez, costos bajos, calidad, aunque evidencia ciertas limitaciones. Luego de la elaboración del proyecto, se puede establecer que las disponibilidades técnicas y metodológicas permiten conseguir un modelo de información documentada digitalmente e integrada en un Sistema de Información Geográfica; el cual dispone de información predial (ficha catastral), delimitación de las áreas de valor patrimonial, representación de las edificaciones bidimensional y tridimensionalmente, acceso al respectivo sitio web, y un potencial amplio para la catalogación, clasificación, mantenimiento, recuperación, estudio y promoción del patrimonio edificado.

The portrait of slain anti-apartheid revolutionary, Steve Bantu Biko, has been variously transfigured and commodified in political and consumer discourse since his death in 1977. This process is evident in the reproduction of Biko's portrait on garments and décor accessories. At the time of his death, a commemorative T-shirt hastily printed for his funeral was promptly banned. Three decades later, images of Biko's face adorned tank tops and cushion covers displayed in trendy, upmarket boutiques. The focus in this article is the appropriation and reproduction of Biko's portraits in a selection of South African fashion and décor designs. I ask whether the images of radical political figures are necessarily domesticated or denuded of subversive power once rendered and consumed as fashionable, retro accessories. If invoking Biko's name, as Ahmed Veriava and Prishani Naidoo (2008:234) suggest, is to invoke a legacy of struggle and sedition, what new meanings arise when historic signifiers of this icon are consumed as retro fashions? These questions are explored within the context where Biko's work and image are given new prominence by young black activists who were born in a democratic South Africa, but are not yet enjoying the freedoms that Biko's generation fought and died for.

Since the nineteenth century, the photographic record has been an invaluable source of historic information. Photographs, as social documents, may not only show the materiality of an epoch, they might also display, from disciplinary and methodological perspectives, the ideas of the world shared by a social group. From sociocultural studies and heeding the proposal of the calling roundtable, we propose to retrieve a photo series captured by the Casasola and sheltered by the archive named after them. The photographs were taken during the last years of the Porfiriato and up to the beginning of the nineteen twenties; most of them in the context of the Mexican Revolution. The selected images give us the opportunity to meditate about the discourses that can be read from gender perspective, showing how in the different places and practices in which social daily life goes by, we reproduce symbolically a series of ideas and practices that contribute to maintain the patriarchal discourse and fortify the limits imposed by gender.

A partir del siglo XIX el registro fotográfico ha sido un recurso invaluable para hacer historia. Las imágenes, como documento social, permiten dar cuenta no sólo de la materialidad de una época sino también, desde diversas miradas disciplinares y metodológicas, de las ideas que sobre el mundo compartía un grupo social. Desde los estudios socioculturales y atendiendo a la propuesta de mesa convocante, proponemos recuperar una serie de imágenes fotográficas producidas por los Casasola y resguardadas en el acervo que lleva su nombre. Las imágenes se ubican entre los últimos años del régimen porfiriano y hasta el comienzo de la década de los veinte, centrándose la gran mayoría en el contexto de la Revolución Mexicana. Las imágenes seleccionadas nos permiten reflexionar sobre los discursos que se pueden leer desde la perspectiva de género, dando cuenta de cómo en los distintos espacios y quehaceres en los que transcurre la vida cotidiana, reproducimos de manera simbólica una serie de ideas y prácticas que perpetúan el discurso patriarcal y refuerzan los límites impuestos por el género.

Abstract: Landslides are geomorphological processes that occur in the earth’s relief all the time and are caused by natural and man-made factors. Such phenomena have unleashed a series of major economic and social disasters. To mitigate these problems, it is necessary to stablish the causes, the spatial patterns, and the factors that produce this gravitational phenomenon. In Mexico, a large number of landslides have occurred in recent years, many of them in the Trans-Mexican Volcanic Belt. This gravitational phenomenon has been addressed through the compilation of historical or multitemporal landslide inventories and by using the integration of diverse heuristic, statistical, and deterministic methods to produce landslide susceptibility maps. However, there are few geomorphological studies that relate the area and the frequency with which landslides affect the susceptibility of landforms. The present research is based on studies of the stream system of the Río La Cienega watershed on the estern flank of Nevado de Toluca volcano, Mexico. The climatic, topographic, and geological conditions predispose the study area to episodic landslides and debris flows that creates a hazardous situation for people living along the stream system. For example, in 1940 rainfalls triggered landslides on the up-stream of La Cienega watershed. The landslide sediments increased the destructive power of a debris flow that caused loss of life and property at the town of Santa Cruz belonging to the municipality of Tenango del Valle, State of Mexico. As a result of this event the inhabitants rebuilt the village that is currently called Santa Cruz Pueblo Nuevo, however this relocation was made without an adequate planning in the lower part of the watershed on an alluvial fan, which is prone to new and future landslides and debris flows. Despite of its importance, there is a lack of landslide inventories that aid the assessment of landslide susceptibility in the watershed. Our work is focus in two secondary rives located in the southern portion of the La Ciénega watershed. These secondary rivers are referred as La Cieneguilla 1 (ASC1) and La Cieneguilla 2 (ASC2). In both tributaries, a detailed landslide inventory and a geomorphological map were carry out in order to determine the landslide susceptibility by landforms. The methodology encompasses four main stages of analysis to assess landslide susceptibility. During the first stage, background information was collected to provide a generalized characterization of landslides processes within the watershed. Background information includes geology, land use, climate and hydrology, preexisting landslide maps and reports, etc. In the second stage, a single historic landslide inventory map was created with sets of satellite images from different time and fieldwork. One hundred seventy-nine landslides were mapped and documented in the GIS. During the third stage a geomorphological map was obtained by interpretation of aerial photographs, a digital elevation model (MDE), geology, and morphometric maps. The geomorphological map allowed to highlight the relevant landforms in the watershed. The fourth stage stablish the landslide susceptibility per landform by using the landslide frequency and the landslide area. This method follows and adapt the Washington State, Department of Natural Resources Landslide Hazard Protocol. The results show that debris slides are the most frequent processes along the two secondary rivers and have the potential to damages the town of Santa Cruz Pueblo Nuevo and other rural areas. Along the two secondary rivers, three landforms out of fourteen have the highest landslide susceptibility. In these landforms, factors such as steep slopes, geological faults, and slope morphology influence the abundance and distribution of landslides.

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