Mexican Teens Ass

Mexican Teens Ass
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Tenancingo, Mexico, widely considered the sex trafficking capital of the world, is the single largest source of sex slaves sent to the US, according to the US State Department.
The city was highlighted in a recent Newsweek article describing new city-to-farm sex pipelines , in which prostitutes from Mexico working mostly in Queens, New York are delivered to farms by traffickers to have sex with migrant workers.
Before they are trafficked to the US, women and girls as young as 14 are routinely kidnapped from villages surrounding Tenancingo by men who trick, threaten, and even seduce them into working for the illicit sex trade.
“Many kids [in Tenancingo] aspire to be traffickers,” Emilio Munoz Berruecos, who grew up in the next village and runs a local human rights center, told the NY Daily News . “This is a phenomenon that goes back half a century.”
The phenomenon likely started when agricultural work became scarce, forcing men to find other ways to make money. " It is something that has become intergenerational in Tenancingo," Alice Brennan , producer of Fusion's documentary “Pimp City" , told Here & Now. "When many of the factories closed down, some enterprising young men decided to try their hand at selling women and realized how profitable it was."
Luxurious mansions belonging to trafficking clans — nicknamed “calcuilchil” or “houses of ass” by locals in their indigenous Nahuatl language — line Tenancingo's side streets in what is an otherwise modest town in southern Mexico.
These grand homes actually aid pimps in recruiting prostitutes, who are usually from rural villages where such grandeur does not exist, according to the BBC .
“The entire community isn’t OK with it," Rosario Adriana Mendieta Herrera, who runs a state women’s collective, told the NY Daily News. " However, to say something against the traffickers is seen as dangerous."
What many of the town's residents fail to realize, however, is that the prostitutes are not willing participants. Tenancingo pimps are masters of manipulation — trafficking clans (which are really just informal organizations led by families) send their most handsome men, often called "romeos," to pick up young women at bus stops or in parks. They pretend to be wealthy salesmen and seduce the women into following them.
One woman told the NY Daily News that she was held captive for two months by her "boyfriend" in Tenancingo after going there to "meet his family."
" [These are the men] who said that they loved them, that they were going to have children together, and it's really tragic because the pimps are so smart,” Lori Cohen, an attorney at Sanctuary for Families who has worked with dozens of victims of the Tenancingo rings, told Fusion. “They figured out how to get to the core of these very traditional values that these victims have.”
While some women are coerced, others are kidnapped and have no choice at all. One Mexican woman, Miranda, tells Fusion that she was forced into prostitution at 14 after accepting a ride home from a "friendly" man named "Rudolfo" who she met in the park. He took her to his home in Tenancingo where he beat and raped her.
"He told me that even if I was screaming, that no one would hear me and no one would help me,” Miranda told Fusion. A feeling of helplessness is instilled in victims to prevent them from trying to escape.
Even if they were to escape, there is little chance that the women would ever see their captors behind bars. Only 17 of the 3,000-5,000 pimps in Tenancingo were convicted in Mexico between 2010-2013, Fusion reported, and enforcement in the US does not fare much better.
American police departments spend 22 times more fighting drugs than fighting human trafficking despite that fact that 18,000 women are trafficked into the US every year, according to the State Department.
Miranda was one of the few victims who received justice. After being extradited to the US, her pimp was sentenced to nearly 20 years in prison for sex trafficking.
“For what he has done to all of us, [he] deserves so much worse than a lifetime in prison," Miranda said in her testimony, according to Fusion. "But that is judgment that only God can pass."

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Photographer Édgar Olguín's project is turning heads across the capital.

Lorena Muñoz-Alonso ,
February 5, 2015

The photographer Édgar Olguín has responded to the mass kidnapping and presumed killing of 43 students in the Mexican state of Guerrero with a powerful photographic series.
The project, Poner el cuerpo: sacar la voz (which roughly translates as “to show one’s body, to raise one’s voice”), is comprised of 14 photographs of young men and woman in the nude in public spaces across Mexico City, including public buses, subway carriages, desolate streets, and bridges.
Their naked bodies have been painted with a series of protest slogans and hashtags—chanted and shared by many in the aftermath of the tragedy—including “It was the army,” “State Murderer,” “Four Months of Impunity,” “#I’vehadenough,” and “We keep fighting 43.”
The messages allude to the events that took place on the night of September 26, 2014, when a group of over 100 students from the Raúl Isidro Burgos school in Ayotzinapa marched towards the historical city of Iguala to protest against the local government’s hiring and funding practices, which they considered discriminatory. The all-male teacher training college has a marked left-wing bias and a long association with student activism.
The students’ plan was to disrupt the annual conference of the National System for Integral Family Development, which was being held in Iguala by the local president of the organization, María de los Ángeles Pineda Villa, wife of the mayor of Iguala, Jose Luis Abarca. But the students were intercepted by municipal police before they got to their destination.
Versions of the events that followed vary depending on the sources. According to police reports, the students had hijacked three buses, which the police chased and opened fire on. (The student union says the students were only hitchhiking.) Six people were killed and 25 wounded during the chase. A group of students escaped and reconvened on the scene to speak to reporters. It was then when they were seized by police and hauled into police vehicles, never to be seen again.
From the Poner el cuerpo: sacar la voz series (2014–15), by Édgar Olguín
Last November, BBC reported that three members of a crime gang, arrested in connection to the disappearance, had confessed to killing more than 40 students, which, they claimed, had been handed over to them by the municipal police. They shot the students, some of whom they thought belonged to a rival gang, and burned their bodies at a rubbish dump near Cocula. Last week, Mexican authorities concluded that the missing 43 students had been murdered.
Up 70 people have been arrested in connection to the case. Sixteen police officers are currently imprisoned under aggravated murder charges. The mayor of Iguala and his wife were also arrested last November, after fleeing the city and going into hiding for weeks.
The case shocked Mexico and the international community, with countless tokens and demonstrations of outrage and consternation against what’s seen by many as a collusion between officials and organized crime.
Olguín began working on Poner el cuerpo: sacar la voz shortly after the students’ disappearance, even before their tragic fate had been discovered. The naked body, understood as a symbol of unity and sincerity, was paramount to the project from the onset. “In contemporary society, a naked body has become a more alarming sight than a burned cadaver on a front page,” Olguín told La Jornada .
The artist spoke of the insults and sideway glances that he and his subjects received while in the process of taking the photographs but also of the signs of support and encouragement expressed by numerous passers-by.
Olguín released his series through a Tumblr page , in the last week of January, coinciding with the four-month anniversary of the massacre. “From the very beginning, our aim was to exhibit the project in the largest gallery of the world: the Internet,” Olguín explained. “We did not want to commodify this project.”
From the Poner el cuerpo: sacar la voz series (2014-2015), by Édgar Olguín
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