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Archive for the ‘Culture’ Category

Yesterday was Día de la Bandera (Flag Day) in Mexico.  Hmmm, I don’t think these were the flags they had in mind…

The flags that were flying on the streets of Oaxaca were those carried by the members of the Integrantes del Frente de Organizaciones Sociales, Campesinas, Urbanas, Pesqueras y del Transporte (FOSCUPT), an umbrella group of more than forty social organizations, peasants, urban workers, fishers, and transport workers.  Thousands marched from the Fuente de las Ocho Regiones (Fountain of the 8 Regions) to the zócalo.  Besides flags, there were banners and burros…

And Devils Dance street theater from an Afromexicano group, probably from the Costa Chica.

After marching and playing for miles, the destination was reached; the bote player took a break and gals from San Pablo Tijaltepec went and got something to drink.

According to this article, the mobilization was to reject bad structural policies and funding cuts being made in the peasant sector and requesting the federal government turn their eyes to Oaxaca.  In addition, Jesus Romero López, leader of FOSCUPT, among other demands, called for justice for the social and political leaders who have been killed and for better urban planning, stating that the city is growing in a disorganized way, often resulting in neighborhoods with no water, electricity, or paved streets.

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If it’s Sunday, it must be market day in Tlacolula de Matamoros.

Women doing their marketing.

Women doing their marketing, and the men who follow.

Carne for the carnivores

Carne, right off the hoof, for the carnivores.

Delicious dining for the rest of us!

And, delicious dining for all!

Another delightful domingo in Oaxaca.

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We used to ride, baby
Ride around in limousines  P1060799We looked so fine, baby
You in white and me in green

P1050480Drinking and dancing
All inside and crazy dream

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Well now look at your face now baby
Look at you and look at me

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We used to shine, shine, shine, shine
Say what a pair, say what a team

P1060804We used to ride, ride, ride, ride
In a long [white] limousine*

Saturday is wedding day in Oaxaca.

*Lyrics from Black Limousine by the Rolling Stones.

 

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Carnaval in San Martín Tilcajete means devils…

Pirates and clowns…

Unknown creatures from the imaginative minds of their creators…

And these masterpieces from this village known for its wood carving…

Carnaval in San Martín Tilcajete also means men dressed as women, a mock wedding, and young men covered in motor oil running through the village with belts of cowbells ringing.  Stay tuned…

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February 14th isn’t just a day for lovers.  In Mexico, it is known as the Día del Amor y la Amistad (Day of Love and Friendship).  Oaxaca’s balloon, chocolate, and flower vendors do a booming business and restaurants are usually filled to capacity with friends, sweethearts, and families.

Heart decorations hanging on tree

I fell in love with Oaxaca the first time I saw her when visiting a friend in 2007.  Who wouldn’t when the guitars and harmonies of Trio Santo Domingo drew us to the zócalo on a balmy August evening!  Thus, my gift to you on this day of love and friendship:

La amistad es lluvia de flores preciosas”  (Friendship is like a shower of precious flowers) —  line from a Nahuatl poem.

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Sunday, we returned to San Juan Guelavía, in search of Teresa, the gal from last week’s post about the Feria del Carrizo.  With her address, family name, and measurements in hand, I was hoping to commission her to make a couple of lampshades for me.  However, there are no detailed street maps for these small villages, so we had to rely on the tried and true, stopping to ask for directions, method.

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Outside the church (which, for some reason, was closed this week) we asked, “Where is calle 5 de mayo?”  This is a village with a population of less than 3,000 people, thus the reply, “Who are you looking for?”  We said, “Teresa.”  He responded, “She makes baskets?”  Us, “Yes.”  Him, “Hmmm… which family?”  Fumbling with my notes, I came up with, “Hipolito!”  “Ahhh, sí!”

Then directions rapidly cascaded from his mouth to our ears.  They included many derechos, derechas, a puente, and dos tienditas.  All of this was in Spanish and we turned to each other and asked, “Did you get all that?”  We concurred, probably 80%.  Hey, we’re getting better at this.  Of course, we made a wrong turn or two, went too far south on 5 de mayo, and had to ask a few more people along the way, but eventually we found it!

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On the right side of the dirt road, heading south, there is a painted number 46 slightly visible on concrete pole.  It made sense that #48 might be behind the Mini Super and so we pulled in and began walking to the back.

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People began materializing and we kept repeating, “Teresa.”  Then, there she was, emerging from sitting under a tree, recognizing us from last week, and smiling broadly!  Immediately, two chairs were brought out and placed in the shade for us.  The warm and welcoming hospitality of Oaxaqueños is something to behold.

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It’s a family business and once Teresa and I had worked out the size and shape for the two lampshades, the littlest guy above, brought out a small basket with a 15 peso price sticker.  I asked him if he had made it, and he very proudly nodded “yes.”  Needless to say, I couldn’t resist.

We will return in ten days to pick up my new lampshades and, perhaps, make a few other purchases.

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February 2, besides being Groundhog Day in the USA, is Candelaria in Mexico.  And so, late Monday morning, I went in search of Niño Díos.  None was to be found in the vicinity of the Cathedral.  Only the traditional red huipiles of the female Triqui members of MULT caught my eye.

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I continued my quest, heading up to Templo de Nuestra Señora de Guadalupe.  However, as I walked through Llano park, no one was carrying a Niño Díos, dressed in this year’s finery, to the church to be blessed.  Only a giant red horse sculpture by Oaxaqueño artist, Fernando Andriacci (and its red feedbag?) was there to see.

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I turned west and headed for home, hoping I might possibly spot a Niño Díos as I passed Templo del Carmen Alto.   But no, only a red-shirted water delivery man caught my eye.

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Funny, if we allow ourselves to see things as they are and not as how we expect them to be, we can return home with something completely different and delightful from what we had set out to find.

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This poster for a Feria del Carrizo arrived in my email inbox a few weeks ago.  There are ferias (fairs) for just about everything, so why not, carrizo?  Plus, I’d never been to San Juan Guelavía, though I’ve noticed the sign announcing its exit every time I’ve gone to or from Teotitlán del Valle and points south on route 190.

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The uninitiated might ask, what is carrizo?  As the Wikipedia entry advises, “Carrizo” should not be confused with “chorizo” the pork sausage.  Carrizo (aka, Arundo donax, Spanish cane, Giant cane, Wild Cane, and Colorado River weed) is a tall perennial cane that one can easily spot growing along river banks in Oaxaca.  (It kind of looks like bamboo.)  In fact, if you see a stand of carrizo, you can be almost certain there is a stream nearby.  Along with constructing shade structures, window coverings, and mezcal cups, one of its most common uses is in woven basketry.

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They range from the simple and utilitarian to the elegant shapes and complex designs that make them a works of art.

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And, to those in search of hard-to-find lamps and lampshades, check out the work of Teresa.  With measurements of my cast iron standing lamp (in desperate need of a new lampshade) in hand, I plan to pay a visit, muy pronto, to her studio at 5 de mayo, #48 in San Juan Guelavía.

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In the meantime, a-tisket, a-tasket I bought a carrizo basket.  And, it’s already elicited several compliments!

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Of course, when the band played, La Mayordomía, this little girl knew exactly what baskets are for!

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Artistry under blue sky and sun, with delicious food, a terrific all-girl band, surrounded by warm and welcoming people.  It was a wonderful way to spend a Sunday.

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4:40 PM - Bloqueo by motos at  the corner of Morelos & Crespo

4:45 PM – Bloqueo (blockade) by moto-taxis at the corner of Morelos & Crespo

5:10 PM - Lucha Libre presentation at Oaxaca Lending Library by artist Charles Barth

5:10 PM – Lucha Libre presentation at Oaxaca Lending Library by artist and Lucha Libre fan, Charles Barth

6:50 PM - Fire above Xoxocotlán seen from Casita Colibrí.

6:45 PM – Fire above Xoxocotlán seen from Casita Colibrí.

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A nuevo vecino arrived in the neighborhood a few days ago…

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And, I’m guessing, he’s not happy.

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Besides skeletons, my grandson is obsessed with the movie Cars.  While I was visiting, catastrophe struck (at least, in the mind of an almost 3-year old) — one of his Lightning McQueen cars disappeared!

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Leo, I think I found “Queen” — alive and well and parked on Calle Matamoros.

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Ahhh, it feels good to be back in the warm and wonderful Oaxaca.  There are the sounds…  I awake to church bells, followed by the loudspeaker cry of “Gas de Oaxaca” from the propane vendor.  Last night, as I was heading to bed, rockets exploded and, just now, the camote man’s steam whistle sounded, announcing tooth-achingly sweetened hot sweet potatoes and bananas.  Then there are the sights…

The walls continue to talk…  On Thursday, I saw this on Calle Morelos as I walked to the Alcalá and comida with friends.  It remembers Leonel Castro Abarca, one of the 43 still-missing students from Escuela Normal Rural Raúl Isidro Burgos teachers’ college in Ayotzinapa, Guerrero.

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On the way home from comida, I detoured to see what was to be seen on the zócalo.  Teacher tents remain pitched around the bandstand, but the walkways were free of ambulantes, and, as always, the Cathedral presided over the scene.

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Thursday, the familiar sounds of protest were irresistible.  I grabbed my camera and headed out the front gate to see a massive march by healthcare workers on their way to the Plaza de la Danza.  To be honest, tubas and cohetes would have had me out the door, too!  It was way too quiet in el norte.

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And, what can I say about last night’s sunset from the terrace?

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Naturally, a marmota and pair of monos were waiting on the plaza in front of Santo Domingo this afternoon, awaiting a bride and groom to emerge.  After all, it is Saturday — wedding day in Oaxaca!

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I wonder what my ears will hear and my eyes will see, mañana…

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More of the mural from yesterday’s post

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“¡Solo Dios perdona!” (Only God forgives!)

Seen on the same wall in Tlacolula de Matamoros where we were stopped in our tracks by the Tlacolula never dies mural in August.  Both were conceived and created by the Tlacolulokos colective.

The artists are known for fusing iconic Mexican imagery with political and social commentary and can be found on Facebook.

These traditional religious standards voice today’s messages, “against all governments” and “alive we want them.”  The latter refers to the disappeared and murdered students from the Escuela Normal Rural Raúl Isidro Burgos, teachers’ college in Ayotzinapa, Guerrero, one of whom, Christian Tomás Colón Garnica, is from Tlacolula.

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Finally over the flu, I flew to the east coast, arriving along with an arctic cold front.  Brrr… it was -14ºF early yesterday morning!!!  However, here on a frigid New York Friday…

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And, there on a sunny Tlacolula Sunday…

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A splash of red to liven up the day.

* Mural by Tlacolulokos.

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Instead of writing this blog post, I should be rendezvousing with gal pals at the de Young Museum for the Keith Haring exhibition.  However, this season it is a more perfect world for the flu virus.  Grrrr…

Thus, in the spirit of public art and social commentary, images from EmBe seen on calle Tinoco y Palacios in Oaxaca:

And, words from Keith Haring:

“One day, riding the subway, I saw this empty black panel where an advertisement was supposed to go. I immediately realized that this was the perfect place to draw. I went back above ground to a card shop and bought a box of white chalk, went back down and did a drawing on it. It was perfect–soft black paper; chalk drew on it really easily.”

“I kept seeing more and more of these black spaces, and I drew on them whenever I saw one. Because they were so fragile, people left them alone and respected them; they didn’t rub them out or try to mess them up. It gave them this other power. It was this chalk-white fragile thing in the middle of all this power and tension and violence that the subway was. People were completely enthralled.”2

“I was always totally amazed that the people I would meet while I was doing them were really, really concerned with what they meant. The first thing anyone asked me, no matter how old, no matter who they were, was what does it mean?”3

“The context of where you do something is going to have an effect. The subway drawings were, as much as they were drawings, performances. It was where I learned how to draw in public. You draw in front of people. For me it was a whole sort of philosophical and sociological experiment. When I drew, I drew in the daytime which meant there were always people watching. There were always confrontations, whether it was with people that were interested in looking at it, or people that wanted to tell you you shouldn’t be drawing there…”

“I was learning, watching people’s reactions and interactions with the drawings and with me and looking at it as a phenomenon. Having this incredible feedback from people, which is one of the main things that kept me going so long, was the participation of the people that were watching me and the kinds of comments and questions and observations that were coming from every range of person you could imagine, from little kids to old ladies to art historians.

 

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