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Archive for the ‘Celebrations’ Category

In pre-pandemic years, on December 11, the day before Día de la Virgen de Guadalupe, little boys, dressed as Juan Diego and little girls (las Malinches) in traditional indigenous traje (costume), waited patiently in long lines with parents and grandparents to enter the Templo de Nuestra Señora de Guadalupe (at the north end of Llano Park) to be blessed. Once they exited, at least fifteen “Guadalupe grotto” settings, and the photographers who constructed them, competed for pesos for portraits of the children placed in these elaborate stage sets.

This year, no doubt due to the pandemic, when I arrived in the afternoon, the church doors were closed, there were half the “Guadalupe grotto” sets, and almost no children around — despite the carnival rides, games of chance, food stalls, and tchotchke vendors filling the park and beckoning. The little girl in the last photo was the only child I saw being photographed. Click on Guadalupe’s children and The kids are all right for photos of adorable niñas and niños from previous years.

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Tomorrow may be Día de la Virgin de Guadalupe, but she is never far from sight no matter the day or place.

May 25, 2021 – Somewhere between Oaxaca’s airport and Barrio de Jalatlaco.
July 5, 2021 – Convite in Teotitlán del Valle.
January 3, 2021 – Outside the Iglesia de San Matias Jalatlaco.
August 11, 2021 – Along a sidewalk in Oaxaca de Juárez.
December 13, 2020 – Vendor offerings on the sidewalk of the Macedonio Alcalá.

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December is a noisy month in Oaxaca. The cohetes (all bang, no bling rockets) began shattering the sound of silence yesterday and, except possibly during the middle of the night (I fell asleep to the bangs and booms) have continued unabated today. Why? you might ask. December 8 is the day Oaxaca celebrates her very own Virgen de Juquila. Next up, on December 12, along with the rest of Mexico, there will be festivities honoring the Virgen de Guadalupe, and finally on December 18 the Reina y Patrona de Oaxaca (Queen and Patroness of Oaxaca), la Virgen de la Soledad (Virgin of Solitude) will have her day.

In the meantime, under clear blue skies and temperatures in the 80s (Fahrenheit), the city sparkles with Christmas decorations.

Alameda de León, across from the cathedral
Alameda de León, across from the cathedral
Andador Turístico, Calle Macedonio Alcalá
Andador Turístico, Calle Macedonio Alcalá
Barrio de Jalatlaco
Barrio de Jalatlaco

Today’s breaking news: According to the Director of Culture and Tourism, on December 23 the annual, and extremely popular, Noche de Rabanos (Night of Radishes) will be held in person, but with reduced participation and a change of venue — the Plaza de la Danza.

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The evening of October 31, I heard the unmistakable sounds of a procession coming down the street — but not the raucous cacophony of a muerteada which, given the date, I was expecting. No, this was the slow dirge-like and repetitive hymn of a religious procession. Needless to say, I grabbed my camera, keys, and cubreboca (mask) and headed out the door. The Catholic church has dedicated the month of October to honor the Virgin Mary with the recitation of the Holy Rosary. This being the last Sunday of October, María traveled through the streets of Barrio de Jalatlaco through the generous mayordomía (stewardship) of the families Robles Tamayo and García Robles.

Upon her return to Templo de San Matías Jalatlaco, she was greeted by a less than solemn scene of Día de Muertos revelers in costumes and face paint, no doubt looking for a muerteada (aka, comparsa). According to the book, Day of the Dead: When Two Worlds Meet in Oaxaca, the muerteada allows the dead “to ‘occupy’ a living body, either a muerteada participant or an audience member, for a time, and therefore enjoy the entertainment directly rather than vicariously.” I suspect for some, it was just an excuse to party.

However, a muerteada did come to my neighborhood the following night. Again, I grabbed camera, keys, and cubreboca and ventured out to check it out. The craziness was only just getting started and would undoubtedly go on most of the night. Besides, not even half the people were wearing masks, so, after twenty minutes and twenty plus photos, I went home.

The sacred and profane that is Mexico.

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Day of the Dead altars and their offerings to the departed vary from region to region and, within those regions, from family to family. Ofrendas (offerings) are an integral part of Día de Muertos. They are a beacon to the departed, an ephemeral work of art, and the sum of their lovingly chosen parts. As you can see from the photos below from several in Barrio de Jalatlaco, even on public display, they are intensely personal and creative.

Galería Shadai – Flowers, papel picado, candles, incense, pan de muertos, fruit, nuts, a casserole, and beverages.

And, there is a catrina tapete de arena (sand carpet) made of sand, beans, and flowers.

However, the only photo is of Maestro Francisco Toledo placed on a side pedestal.

Los Pilares Hotel and Restaurant – Flowers, papel picado, catrinas and catrins, candles, fruit, pan de muertos, and beverages.

And, there is a beautiful floral arch.

No photos of loved ones, but it’s a love story to the state of Oaxaca.

Family ofrenda – 5 de mayo at the corner of La Alianza. Family photos of the departed take center stage with papel picado, cempasúchitl (marigolds), and skeletons playing supporting roles.

Then there are those magnificent floral candles like one sees in Teotitlán del Valle.

And, lest the departed can’t find their way home in the greatly expanded city, an old photo and skeletons await outside the altar alcove to show the way.

Last but not least, my altar and offerings. It was a creative challenge to set up in the new Casita Colibrí.

It’s smaller than previous years, but I have figured out a way to make it bigger and better next year.

A yellow (color of death in pre-hispanic southern Mexico) tablecloth; papel picado (cut tissue paper) signifying the union between life and death; cempasúchitl (marigolds) and flor de muerto from the Sierra Norte, their scent to guide the spirits; and cresta de gallo (cockscomb) to symbolize mourning. There is salt to make sure the souls stay pure and chocolate, peanuts, pecans, apples, mandarin oranges, and pan de muertos (Day of the Dead bread) to nourish them. The sweet smell of copal incense and its smoke help guide my loved ones to the fiesta I have prepared for them. There is water to quench their thirst, as they travel between worlds, not to mention mezcal and cervesa (beer). And, there are the tangible remembrances of my departed — photos and some of their favorite things.

With candles lit and incense burning, I’m loving it and hoping my very dearly departed will find it warm, nourishing, and welcoming.

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My new neighborhood, Barrio de Jalatlaco, has a long history — one that predates the arrival of the Spanish. Community spirit and traditions are strong, including making her departed feel welcome during Día de Muertos. Thus the bright orange and spicy scent of the flor de muerto, cempasúchitl (flower of the dead, marigolds) are everywhere.

Papel picado, in seasonal colors, ripple above the streets and cast fluttering shadows.

Floral arches welcome the living and the departed.

And skeletons are seen hanging out in doorways, windows, and sidewalks.

Tomorrow, altars and their offerings.

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Oaxaca is getting ready for the annual arrival of her difuntos (souls of the dead), so a pause in the Day in the country posts is in order. Blue sky or grey, ran or shine, and village or city, they come…

Oaxaca City
Villa de Zaachila
Villa de Zaachila

They come to eat and drink…

Villa de Zaachila
Oaxaca City
Villa de Zaachila

They come to sing and dance, contemplate life and death, and be with loved ones.

Villa de Zaachila
Villa de Zaachila
Oaxaca City

Our hearts are filled with joy to welcome them to the fiesta we have lovingly prepared in their honor.

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Thursday is market day in Villa de Zaachila. Thus, once we turned off the carretera, we crawled our way into town joining scores of other cars, trucks, tuk tuks, motorcycles, bicycles, pedestrians, dogs, and the occasional goat. The scenes were pure country village. Once parked, we meandered our way along the street stalls, stopping to examine their wares and chat with vendors.

However, our stomachs were grumbling and our trajectory was set — Zaachila’s mouthwatering barbacoa de chivo (goat) beckoned!

Once sated, we went in search of Zaachila’s beautifully decorated pan de muerto (Day of the Dead bread). It was still a little early in the season but, zigzagging up and down the bread aisles, we eventually found a couple of vendors and bought a few to be placed on our ofrendas.

Being members of the “clean plate club” and needing to walk off our very filling lunch, we walked toward the Templo de Santa Maria de la Natividad to begin the Muertos mural walk to the Panteón. However, before even reaching the church, we were stopped in our tracks by this massive and incredibly moving mural dedicated to the victims of Covid-19.

New Day of the Dead murals had been painted along calle Coquiza since I was last in Zaachila two years ago and I will post pictures later. In the meantime, next stop — a mezcal palenque in Zimatlán de Álvarez.

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Feliz Día Nacional del Maíz (Happy National Day of Corn).

Mi orgullo es mi raiz, el maíz (My pride is my root, the corn).

But what would corn be without the hands that have cared for it for hundreds of years.CONABIO (National Commission for the Knowledge and Use of Biodiversity)

Sin Maíz No Hay País (Without corn there is no country)!

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If it’s Saturday, it must be boda (wedding) day in Oaxaca. I caught this one as it was leaving Templo de San Matías Jalatlaco in the requisite post-ceremony procession that would stop traffic as it wended its way through the streets of the neighborhood.

While the wedding party may not have been as grand as the Saturday weddings at the over-the-top ornate Templo Santo Domingo de Guzmán, this one had all the festive elements of a boda in Oaxaca.

A brass band setting the tempo.
Chinas Oaxaqueñas dancers.
A bride and groom boogieing on down the street.
Bride and groom monos.
Giant marmota spinning the names of the bride and groom — Carolina and Alfredo.
And the real life bride and groom cracking each other up as they begin their married life together.

What’s not to love about a Oaxaca wedding?!!!

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Under the shade of the 361 year old Coquito de la Iglesia de Jalatlaco tree, onlookers (and bloggers like yours truly), dignitaries, media, and the artists of the Tlacolulokos collective gathered for the inauguration of the previously mentioned new mural in Jalatlaco.

“Nuestro sol se ha ido” mural in Barrio de Jalatlaco.

The mural, “Nuestro sol se ha ido” (Our sun has gone) is a collaboration between Rolande Souliere of the “Anishinaabe” people in Canada and the Zapotec Tlacolulokos urban art collective from Oaxaca’s central valley.

Indigenous Encounter Canada/Mexico, “Our sun has gone” by Tlacolulokos and Rolande Souliere.

The mural’s inauguration was live streamed on Facebook on the Secretaría de las Culturas y Artes de Oaxaca page.

Media and dignitaries gathered in the atrium of the Templo de San Matías Jalatlaco.

Unfortunately, Rolande Souliere could not travel to Oaxaca. However she described some of the symbolism of the mural: “We decided to portray the mythological beings of the Canadian thunderbird and the Zapotec deity of the Cosijo throne, these fantastic beings are responsible for the thunder and rain that the world experiences and that come together thanks to the clouds…. symbolic imageries such as Zapotec patterns, the route of thunder and the four directions of the first nations represented by the colors red, black, yellow and white… important signifiers in both communities since they represent the continuation of indigenous culture in contemporary society.”

Inaugural ribbon cutting (Canadian Ambassador wearing white shirt in center and artist Dario Canul on the far right) for the “Nuestro sol se ha ido” mural.

Dario Canul, representative of the Tlacolulokos colective further explained, “The mural, ‘Our sun has gone,’ is a representation of celebration, life, rain, thunder, and tears that all indigenous peoples have shed over time.”

Drone filming the inauguration of the “Nuestro sol se ha ido” mural.

The inauguration launched the 2-1/2 week long Encuentros indígenas: Canadá-Oaxaca 2021 (Indigenous encounters: Canada-Oaxaca 2021) — a series of activities in Oaxaca city and surrounding villages — that runs from September 20 to October 8, 2021.

Tlacolulokos artists in front of the mural, “Nuestro sol se ha ido” mural.. Dario Canul (center).

In remarks by Graeme C. Clark, the Canadian Ambassador, at the inaugural event and reports from this article, the collaboration seems to be an expression of the mea culpa by the Canadian government with regard to their historic treatment of the first peoples of the territory that is now called Canada. Better late than never. The indigenous peoples of the USA are still waiting.

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Decorations in green, white, and red began going up the first of September.

Papel picado flying above calle Ignacio Aldama in Barrio de Jalatlaco.

No, it’s not beginning to look a lot like Christmas.

Window of a school in Barrio de Jalatlaco.

The entire month of September is designated the Mes de la Patria — a month celebrating Mexico’s independence from Spain — a war which began on September 16 1810 and finally ended 200 years ago on September 27, 1821.

Mexican flag flying in the yard of one of my neighbors in Barrio de Jalatlaco.

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Another year of Covid-19 means another year without an up close and personal Guelaguetza on the last two Mondays of July. Like last year performances and events are going virtual. However, unlike last year, when video of the dancing was taken from the years 2017 to 2019, this year the delegations will be performing live from their villages.

La Guelaguetza 2021 schedule of cultural events:

July 19, 2021 – Morning delegations and dances:

July 19, 2021 – – Evening delegations and dances:

July 26, 2021 – Morning delegations and dances:

July 26, 2021 – – Evening delegations and dances:

Transmissions can be viewed at CORTV– on local television, their YouTube channel, and on their Facebook page.

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In Teotitlán del Valle, the fiesta honoring Preciosa Sangre de Nuestro Señor Jesucristo is the most important one of the year. It lasts eight days, includes two convites (processions), several special masses, and (in non Covid years) two fireworks’ displays. However, the highlight for visitors and villagers is the four performances of the Danza de la Pluma by the Grupo de Danza de Pluma Promesa.

El Picacho, the sacred mountain, watches over the village and the dancers.
The choreography includes athletic leaps, twists and turns, and complex footwork.
Maneuvering the penachos/coronas/headdresses as the dancers navigate the step takes strength and timing.

The Danza de la Pluma is a ritual re-enactment of the Spanish conquest.  The full version is told in 41 bailes (dances) and lasts from early afternoon into the night.  It is danced by folkloric groups throughout the valley of Oaxaca. However, in Teotitlán, it is a three year religious commitment. 

Rattles, paddles, and breastplates of old coins are part of the dancers’ costume.
In Teotitlán del Valle, Moctezuma’s penacho features the symbol of Mexico: Eagle and serpent on a cactus.
Moctezuma, accompanied by a Danzante, with Doña Marina and La Malinche

Moctezuma, Danzantes, Subalternos, Malinche, and Doña Marina are selected years in advance and make a promise to their god and, thus, their church and community to learn and perform the dance at each of the four annual major religious festivals in the village and any other special occasion they are called upon to dance.

La Malinche.
The dance divides the historic person of Doña Marina and La Malinche into two characters.
Doña Marina.

A 20+ piece orchestra accompanies the dancers, playing a musical score mostly comprised of waltzes, polkas, mazurkas, quadrilles, and schottisches. The first time I saw the Danza de la Pluma, I experienced a bit of cognitive dissonance at the contrast between the costumes and the music. A little research (after all, I’m a librarian) provided the explanation. At the end of the 19th century, when all things European were being celebrated in Mexico, an orchestra playing European music replaced the original indigenous teponaztli (drum) and chirimía (flute).

Subalterno providing a little comic relief.
Wearing their trademark cross between a boar and bear wooden black masks, Subalternos posing for the camera.
Subalterno taking a break from his Aide-de-Camp duties of offering water to the dancers, dealing with wardrobe malfunctions, clearing debris from dance floor, and entertain spectators.

On two of the days the dancers dance for four hours and the other two, they dance for seven hours. The sun can be brutal and the wind can wreak havoc with the penachos. I don’t know how they do it — their stamina is astounding! I only managed to attend a few hours each at three of the performances. However, I will be back in September for the Natividad de la Virgen María fiesta.

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A much needed pause in nesting at the new Casita Colibrí was in order. Teotitán del Valle’s patronal festival of the Preciosa Sangre de Cristo beckoned. The pandemic had closed the village for many months and precluded attending any of the 2020 fiestas. However, with mask on, I returned to spend three days. First on the schedule was Monday evening’s convite (procession) inviting the community to the fiesta.

Lining up in front of Iglesia Preciosa Sangre de Cristo for the convite.
Canastas ground level before being lifted onto the heads of the young unmarried women chosen to participate.
Cohetero (aka, rocket man) mugging before lighting the fuse.
Anticipating the big bang!
Tambor player who has walked many miles.
Young percussion player with many miles yet to walk.
As the shadows lengthened, the convite wound its way through the streets of Teotitlán del Valle.
Doña Marina, Moctezuma, and La Malinche bringing up the rear.
Villagers gather at their favorite location to watch the passage of the convite.
Convite taking over the main street in Teotitlán del Valle.
Danzantes under the watchful gaze of El Picacho.
Subalterno keeping on keeping up.
The return trip to the iglesia.
After almost an hour, the convite re-entered the atrium of the iglesia.
Watching and contemplating — the end.

The last festival in Teotitlán that I attended, before Covid-19 turned the world sideways, was the Fiesta de La Virgen del Rosario in October 2019. The warm welcome I received at the convite on Monday was incredibly touching and I admit to tearing up a little as it began.

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