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Archive for the ‘Creativity’ Category

Now that the Zócalo has been cleared of street vendors

A not so wretched refuse bin stands out.

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Art imitating life?

Wall in Oaxaca on Plazuela del Carmen Alto. (Art by Tupac Emiliano)

Or, life imitating art?

On Avenida Benito Juárez, Teotitlán del Valle

You decide!

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A mural celebrating the life and music of composer and violinist Macedonio Alcalá has joined a bust of fellow Oaxaqueño composer Álvaro Carillo in the Jardín Carbajal (Macedonio Alcalá at Cosijopi).  The mural by Uriel Barragán Bouler was unveiled August 22, 2019 in commemoration of the 150th anniversary of the death Macedonio Alcalá. The composer is best known for his piece, “Dios nunca muere” (God Never Dies) — a song that has become Oaxaca’s unofficial anthem and provided the artist with the theme of the mural.

Mural of composer Macedonio Alcalá

According to one legend: While Macedonio Alcalá was convalescing from a serious illness, he was visited by a group of indigenous people from Tlacolula de Matamoros, who asked him to compose a waltz for their festival of the Virgen de la Asunción. Subsequently, the flutist José Maqueo went to see him, and noticing the poverty stricken situation of Macedonio Alcalá, without him noticing Maqueo left twelve pesos under the pillow. The next day the composer found the money and told his wife: “Look, God never dies, always comforts the afflicted,” and he immediately began writing “Dios nunca muere.”

Whether it’s true or not, it’s a lovely story to accompany a lovely waltz.

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Who knew that there was an amazing garden, built on a former garbage dump, and open to the public in Xoxocotlán? Not me, until a friend mentioned it and invited me on a field trip to visit.

Thus, a few days ago, I found myself at Vives Verdes — a delightful labor of love — a marriage of plants, recycling, art, education, and the environment.

Nine years ago architect, Francisco Martínez began a project of landscaping a healing, artistic, and environmental garden — not only utilizing plants, but also converting found objects into planters and whimsical art.

Vives Verdes incorporates more than 200 species and 2000 plants — mostly from Oaxaca, but also from other arid climates throughout the world.

A water catchment system utilizing paths, beds, and ponds irrigate the garden and no chemicals are used.

Vives Verde is open to the public and school groups. It is located in the Las Culturas neighborhood of Santa Cruz Xoxocotlán, Oaxaca.

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I can’t think of a better way to honor the memory of Maestro Toledo, than to acknowledge, encourage, and celebrate young artistic talent. “Disguise the new water pipes,” she (the dueña) said.

And, so, Ulises, the 18 year old handyman/mozo in our apartment complex complied — and we were all impressed.

From what we gathered, Ulises had no formal artistic training. Yet, next thing we knew, courtesy of Uli, a rat had invaded our compound!

Soon thereafter, Uli had added Mara and Notte (our resident gatitos/cats), a tree, and a colibri/hummingbird to the scene.

Uli continued to explore his talent.

And, we now have a fierce, but lovely, jaguar on the scene! If only, every young person had the opportunity to explore their inner talent.

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Oaxaca is in mourning. Last night, word of the passing of one of her greatest champions, Maestro Francisco Toledo was announced by Mexico’s president — an indication of the importance and esteem the Maestro is held. Born in Juchitán, Oaxaca on July 17, 1940, Toledo died in Oaxaca city on September 5, 2019, at age 79.

This morning outside the Instituto de Artes Gráficas de Oaxaca (IAGO), which he founded and funded.

Besides being a world renown artist, he was a fighter for social justice and the environment, a very generous philanthropist, and crusader for the respect of indigenous peoples and character of Oaxaca. People are still chuckling over the unique form of protest he led when a McDonald’s threatened to open in the zocaló.

This morning, inside the Instituto de Artes Gráficas de Oaxaca (IAGO).

We awoke this morning to see the gigantic Mexican flag that flutters above the city of Oaxaca flying at half staff and large black bows, indicating a family in mourning, had been fastened above many of the institutions that benefited from Toledo’s philanthropy.

Biblioteca Pública Central Margarita Maza de Juárez – Oaxaca’s main public library.

The streets of Oaxaca are little more subdued today — less laughter, music muted, and even the traffic doesn’t seem as chaotic.

On the sidewalk outside the Instituto de Artes Gráficas de Oaxaca (IAGO).

A public tribute to the Maestro is scheduled for 2:00 PM today at the Teatro Macedonio Alcalá.

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In commemoration of International Day of the World’s Indigenous Peoples, Mexico’s Instituto Nacional de los Pueblos Indígenas (INPI) is hosting a Fiesta de la Diversidad Indígena de Oaxaca.

It is a four-day festival honoring and promoting the state of Oaxaca’s indigenous peoples and their communities with artesania, textiles and other products for sale, cultural performances and workshops, food booths, and even healing treatments — and it’s happening a block from Casita Colibrí in the Plaza de la Danza!

Yawi Naka – Triqui – La Laguna Guadalupe, Putla Villa de Guerrero

INPI has an excellent online atlas of the indigenous peoples of Mexico and it, along with the statistics I previously posted regarding poverty, discrimination, and the results thereof affecting Mexico’s indigenous and Afro-Mexican peoples are abysmal.

Na Jacinta Charis – Zapoteco – Juchitán de Zaragoza

According to this article (in Spanish), the charge of the INPI is to advocate for indigenous and Afro-Mexican rights and to recognize that in order for these peoples and their communities to survive, institutional efforts must be taken to guarantee their full exercise of social, political, cultural, and economic rights.

Productores de Maguey y Mezcal Lucas 2010 SPR de Ri – Zapoteco – San Isidro Guishe, San Luis Amatlán

The INPI is also attempting to advance an understanding that the family/community economy of these communities has a different production logic than the commercial market economy and that their economic model must be respected.

Organización de Medicos Indigenas Tradicionales de laCañada – Cuicateco – San Juan Bautista Cuicatlán

This festival provides a space to promote the various community projects and to showcase the artistic and cultural expressions in the city.

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Chenteñas Hazme Si Puedes – Zapoteco – San Vicente Coatlán

I’ve aready been twice to the event — talking with various vendors, buying the blouse above (along with cheese, sal de chicatanas, and olive oil with fresh organic herbs), and sitting at one of the long tables enjoying a tamal, empanada, and a jícara of tejate

The Fiesta de la Diversidad Indígena runs through late afternoon tomorrow (Sept. 1, 2019). If you are in Oaxaca city, be sure to check it out (schedule below).

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Construction is going on all over the city. A blessing or a curse?

The cross was probably put up on May 3, Día de la Santa Cruz (Day of the Holy Cross) — which also happens to be Día del Abañil (Day of the mason/stonemason/bricklayer). It is tradition for workers to erect crosses festooned with flowers at the highest point on construction sites.

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Sunday, August 18, 2019, Teotitlán del Valle celebrated the first anniversary of their Centro Cultural Comunitario de Teotitlán del Valle (CCCTV). During the day-long event, not only was there food and music, the village also celebrated passing on of their cultural riches and traditions to upcoming generations.

The Cultural Center’s, Danza de la Pluma Infantil (youth Danza de la Pluma group) donned their costumes, gathered on the Municipal Plaza, and performed dances from this ritual retelling of the Conquest. (Check out the up close and personal photos by blogger buddy Chris.)

In the CCCTV, there was an exhibition of penachos/coronas (headdresses) used in the Danza de la Pluma that were crafted in a workshop by young people from the village.

“BaáGuiish” by Laura Ruiz Mendoza. Representing the four cardinal points to give thanks for each new day.

 

Detail of “Shia guibaa” by Jesús Brayan Jiménez Lazo.

 

“La cruz de Quetzalcóatl” by Juan Mendoza Bautista.

In addition, there was also an exhibition of tapetes (rugs) designed and woven by the young people of Teotitlán del Valle.

“El alma en manos de mi arte” by Omar Mendoza Martínez.

 

“Futuro Hermoso” by Constantino Lazo Martínez.

 

“Huitzilopochtli” by Anais Adelina Ruiz Martínez.

 

“Bineéty xunuax Xigie’ (Mujer Zapoteca) woven image of his grandmother by Mario González Pérez.

Celebrating and preserving the cultural riches of the Zapotec community of Teotitlán del Valle. Can’t think of a better way to spend a Sunday. Dixeebe! Zapotec for ¡salud! cheers!

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Walking to the market, it was the light and color and composition that caught my eye — a sidewalk still life.

I zeroed in on the skill of the artist(s) and the imagery.

In one, a man in the baseball cap looking back to his ancestors and the bounty of the land. In the other, what is that in the mouth of “he who shall not be named?” And, what of the quote?

“Homeland: your mutilated territory dresses in calico and glass beads.” What does it mean? What is it from? Who is R. L. Velarde?

I found the answers in the article, The Dissonant Legacy of Modernismo. Ramón López Velarde by Gwen Kirkpatrick. The quote is from the poem, “Suave Patria” (Gentle Homeland) by Ramón López Velarde, a poet of the Mexican Revolution — a poem that “celebrates the grandeur of Mexico’s simple, rustic life, as well as its glorious indigenous past.”

The daily education of the streets — more than meets the eye!

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For someone who grew up in California and now lives in Mexico, the new exhibition at the Museo de los Pintores Oaxaqueños (MUPO), “Construyendo Puentes en Épocas de Muros Arte chicano/mexicano de Los Ángeles a México” (Building Bridges in the Epoch of Walls Chicano/Mexican art from Los Angeles to Mexico), was a must see.

America is for Dreamers by Patrick Martínez

The 53 works, by a multigenerational group of twenty-nine artists of Mexican ancestry from Southern California, explore the themes, “Rebel Diamonds from the Sun,” “Imagining Paradise,” “Outsiders in their Own Home,” “Mapping Identity,” and “Cruising the Hyphenate.”

Cartonlandia by Ana Serrano

According to the introductory essay by the exhibition’s curator, Julian Bermudez, “In over 50 years of existence, the ever-evolving Chicano art has shaped itself into one of the main currents of the American creative canon.”

A Lunchtime Conversation by Ramiro Gómez

“Sitting among four cultures – the Pre-Columbian, the invasive Hispanic, Mexico itself, and the United States of America – Chicano art draws on all four and evolves out of both its roots and the decades of oppression its practitioners and their families have sustained.”

Paleta Cart by Gary Garay

“These artists have expanded their creative expression, demonstrating an agility to develop and refine their own mythologies, methodologies and philosophies. They have introduced a remarkable, original school of art into the history of art itself.”

The Closing of Whittier Boulevard by Frank Romero

If you are in Oaxaca, I highly recommend checking out, “Construyendo Puentes en Épocas de Muros.” The exhibition will run until November 10, after which it will travel to the Museo de las Artes de la Universidad de Guadalajara (Musa) and conclude its tour at the Centro Cultural Tijuana (CECUT).

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Face the facts…

she’s turned her back on you.

The walls of Oaxaca tell all.

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Remember these guys from my Everyone loves a parade post? They are known as Tiliches (aka, Los viejos, old ones) are a staple in the 3-day celebration of Carnaval in Putla de Guerrero, and a colorful part of the delegation from Putla during La Guelaguetza. Seeing them, it should come as no surprise that “tiliche” can be translated into English to mean junk, stuff, or rag.

Entering this year’s Festival de los Moles at the Jardín Etnobotánico de Oaxaca (Oaxaca Ethnobotanic Garden), guests were greeted by an exhibition of Tiliches — hosted by the newspaper archive, Hemoeroteca Néstor Sanchez.

Viejo de Tiliches – wearing the traditional costume of the Viejos/Tiliches during Carnaval in Putla.

Made of cloth, palm, and gourd with a mask of animal skin, suede gloves, and leather boots. It took one person a week to make.

Viejo Tapitas

Made from plastic water and soda bottle caps and hat of rafia. It took two people 45 days to make for a Carnaval 2018 costume contest in Putla and it weighs 30 kg. (66 lbs.)

Viejo Mecatero

Designed by Ángel Álvarez de Jesús and made from plastic rope, plastic thread, cardboard and silicone. It took seven people 45 days to make for the 2019 costume contest in Putla. It weighs 60 kg. (132 lbs.)

Viejo Azteca

Designed by Amando Herrera Villa and made of palm. It took him two months to make and weighs 15 kg. (33 lbs.)

The creativity here never ceases to amaze me. Unfortunately, the exhibition only ran from July 15 to 30, 2019. What fun it would be to go to Putla for their three day Carnaval celebration — where one can see hundreds of Tiliches dancing though the streets!

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With dancers and props arrived and prepped and streets blocked to traffic, this past Saturday’s second Guelaguetza Desfile de Delegaciones (Parade of Delegations) set off from Calzada Porfirio Díaz to again wind its way through the city’s streets.

San Carlos Yautepec, Sierra Sur

Santa Catarina Ticuá, Mixteca

San Francisco del Mar, Istmo

Danza de los Rubios – Santiago Juxtlahuaca, Mixteca

Huautla de Jiménez, Cañada

Danza de los Jardineros – San Andrés Zautla, Valles Centrales

Danza de los Diablos – Llano Grande, Mixteca

Loma Bonita, Papaloapan

H. Cd. de Huajuapan de León, Mixteca

Santiago Pinotepa Nacional, Costa

Asunción Ixtaltepec, Istmo

Danza de la Pluma – Teotitlán del Valle, Valles Centrales

Miahuatlán de Porfirio Díaz, Sierra Sur

Mezcal, pride, and joy were all in abundance!

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Saturday was a beautiful day for this year’s second Guelaguetza Desfile de Delegaciones. Nothing but sun and blue sky greeted the dancers as they arrived in buses, their large props arrived in trucks, and spectators arrived on foot — as Calzada Porfirio Díaz, north of Niños Heroes was blocked to traffic, except for the aforementioned mentioned official vehicles.

Did I mention, mezcal flowed freely, as dancers fortified themselves and the gathered onlookers? It’s all part of the prep and, by the time the parade began at 6:00 PM sharp, everyone was feeling good and more than ready!

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