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Archive for the ‘Culture’ Category

On the eleventh day of the eleventh month at the eleventh hour, I attended a press conference for the official unveiling of the website for a new play.  The play, La [medio] diezmada (the half-decimated), will have its world premiere on December 22 at the Teatro Juárez in Oaxaca.

4 cast members and writer/director/producer standing in front of a projection of the home page of the website.

Cast members:  Hugo Alberto Díaz Reyes, Mariela Blanco López, Esmeralda Aragón Zárate, and Fortunato Chávez, with Kurt Hackbarth (middle)

One of the inspirations for writer/director/producer, Kurt Hackbarth, was a photo he had seen of a half-alive/half-dead face in a sand painting.  In one of those amazing coincidences, I’d actually photographed the very same tapete de arena laid out on the Alameda in Oaxaca during Los días de muertos in 2009.

Sand painting with skulls on left and arm and leg of skeleton in middle.

Here is my close-up of the half living/half-dead face from the tapete above; the same face that triggered Kurt’s imagination…

Sand painting close-up of half and half face.

… and I cropped and used for the website banner.

Three half alive/half skull faces

If you find yourself in Oaxaca on December 22, I encourage you to attend this world premiere!  By the way, it’s a comedy!

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196 years after his execution, Generalísimo José María Morelos y Pavón has returned to Oaxaca.  Filming is underway on the film tentatively titled “Morelos,” chronicling the last three years of the life of one of Mexico’s most revered heroes

José María Morelos y Pavón painting

Costumes hang ready for quick costume changes.

Men's costumes hanging on rolling rack.

Mexican independence fighter extras await the Spanish language equivalent of ACTION!

Male actors in freedom fighter costumes stand on sidewalk

Serious cameras are ready to film the action.

Large professional film camera

Horses and their riders have taken over the surrounding streets.

Man in freedom fighter costume riding a horse

Like all movie sets, it’s, hurry-up and wait!

Independence fighter standing next to horse.

Muy guapo, is all I can say!  The horses… the horses…

Independence fighter walking towards camera, horse in background

You can lead a horse to water…

Independence fighter in between two horses drinking water from a trough

The set designer has taken Constitución back two hundred years…

Camp site

The newly paved cobblestone street and sidewalks have been covered in dirt and buildings and even trees have been aged.

Dirt sidewalk and aged looking buildings and tree.

Though the film covers a time in the life of Morelos that is distinguished more by politics than military action, “dead bodies” line Constitución.

Three "dead" dummies on dirt street

“Morelos” is directed by Antonio Serrano and stars Dagoberto Gama, in the title roll.  Filming is also scheduled to take place in Veracruz, Tlaxcala, Puebla, Hidalgo, Morelia (named for Morelos), and Mexico City.   It is produced by Luis Urquiza and los Estudios Churubusco, with support from Conaculta, Imcine, and the governments of the states.

Freedom fighters sitting and waiting

I imagine it’s release will be a major event… can’t wait!

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On the road during los Días de muertos led us to Santiago Apóstol in the municipality of Ocotlán de Morelos…

Profusion of flowers against whitewashed graves

Entering their Panteón, the play of light and shadow and explosion of greens, reds, oranges, yellows, and magentas against whitewashed graves was stunning.

Multicolored flowers surrounding whitewashed tomb

Unique artistry was evident in each of the cemeteries we visited.

Multicolored flowers surrounding a grave

One of the special and fragrant features here was the rose petals scattered atop graves.

Pink and red rose petals covering a grave

Have I mentioned…  No matter where one seems to go in Oaxaca, the senses are filled!

Over view of whitewashed graves and the profusion of flowers

More to come…

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What can I say about last night’s Lila Downs concert at the Guelaguetza Auditorium?  It was one of those clear, mild and star-filled Oaxaca evenings.  The glowing auditorium beckoned and encouraged us as we made the steep walk up the street and then stairs to the hillside site, that overlooks the city.

Guelaguetza auditorium glowing with red lights at night

In true, “hey, it’s Mexico” style, we were unsure of the time…  The posters, billboards, and concert’s Facebook page said, 8 PM.  However, our tickets (purchased from TicketMaster… ugh!) said 7 PM.  Needless to say, we were in line by 6:45.  Our, off to the side, front row seats left much to be desired, but once the Afro-Caribbean rhythms of Columbiana, Totó la Momposina and her way hot band began, it didn’t matter.

Totó la Momposina

Although, she initially confused Xalapa with Oaxaca (with the expected laughter and a few catcalls), Totó la Momposina won the crowd over and all were well warmed up for Oaxaca’s favorite daughter.  Lila opened with an offering of mezcal and track number one, “Mezcalito,” from her new CD, Pecados y Milagros (Sins and Miracles).

Lila Downs in white

Totó la Momposina joined her on stage, as on the CD, to sing “Zapata Se Queda,” a tribute to the spirit of Mexican revolutionary hero, Emiliano Zapata.  Other songs followed, a rebozo (shawl) was added, and the lighting changed…

Lila wearing a magenta rebozo with orange/red lighting

Lila then donned a beautiful serape from one of the master weavers of Teotitlán del Valle to sing, “Fallaste corazón.”

Lila Downs wearing a serape.

She dedicated, “Palomo’s Comalito,” to all the women who make tortillas in Mexico.  A knowing smile crossed our faces.  On Wednesday, we had been invited to the home of Emilia and Zacarias Ruiz in Teotitlán del Valle, where we honored the souls of their departed, by savoring Emilia’s delicate tamales and silky smooth and complex mole AND where we were informed by son, Antonio, that Emilia is featured in the music video for “El Palomo del Comalito.” (She’s the woman making tortillas.)

This was my first time seeing Lila Downs live.  I’d listened to last year’s free concert, at the Plaza de la Danza, from my terrace, but it doesn’t compare with seeing her in person…

Lila Downs kneeling, wearing traditional Tehuantepec headdress

I think this was the costume change for her beautiful and haunting rendition of “La Llorona.”  I can’t resist also showing the back of this traditional Isthmus of Tehuantepec headdress, known as a “bidaani quichi.”

Back of the headdress

A sublime and spectacular evening to close a sublime and magical week…  ¡Muchisimas gracias, Oaxaca!

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And then there were the impossibly cute kids taking part in the comparsa…

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… to the fabulously fabulous and ridiculous; a traditional comparsa on the morning of November 2, 2011.  After hiking up to the top of the hill in Vista Hermosa (beautiful view), Etla, following the sound of music, a surreal sight unfolded…

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We tagged along with the band, dancers, and their friends and neighbors, up and down the hills, navigating steep dirt paths, as they played, danced, drank mezcal, and stopped in front yards for much-needed rest and refreshments of caldo de pollo (chicken soup), pan de muerto (Days of the Dead bread), and mezcal… of course!

By the way, did I mention, these guys and (one) gal, had been playing and dancing all night long?!!

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The tapetes de arena are finished and cover the stone flooring of the Plaza de la Danza.  Always difficult to photograph, the following are an experiment in cropping.

Centro de Educación Artística Miguel Cabrera

Casa de Cultura de Tlacolula de Matamoros

Escuela de Bellas Artes de la Universidad Autónoma Benito Juárez de Oaxaca

Several other organizations participated and among the unsigned are tapetes de arena from Casa de las Artesanías de Oaxaca, Sociedad Civil de Maestros Oaxaqueños del Arte Popular, and Grupo Colectivo Camaleón.

Walk with us…

And for those in el norte…

A happy and safe Halloween!

 

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Tourists are arriving by planes, buses, and automobiles.

Human scupture of palm

The streets, hotels, restaurants, and shops of Oaxaca are filling for los Días de Muertos.   Hopefully, before they depart…

Back view of palm leaf female sculpture

…they will spread a little wealth; and, when they return to their homes, they will sing Oaxaca’s praises.  Alas, their comings and goings won’t be by train.  Passenger train service is no more and the old railroad station opened as the Museo del Ferrocarril Mexicano del Sur in 2003.

And that is where you will find this shapely resident, as you come and go.

 

 

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Strolling up Macedonio Alcalá on Sunday, I stumbled on an exhibit and workshop being set up in the middle of this walking street, courtesy of Puntos de Encuentro, Primer Festival de Artes Visuales Oaxaca 2011 (Meeting Points, the First Visual Arts Festival, Oaxaca 2011).

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Reason number ??? (I’ve lost count) why I love Oaxaca!!!

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Yesterday, a couple of gal pals and I headed south of the city to San Martín Tilcajete.

Colorfully painted buildings
They were in search of alebrijes (hand-carved and intricately painted wooden creatures).  We shared the roads…

Herd of goats and goat herders on a dirt road

and the sidewalks with local inhabitants.

Green grasshopper with yellow and black markings on sidewalk.

With real critters like this, it’s no wonder the carvers and painters of San Martín Tilcajete are inspired to imagine and create the beautiful and fanciful.

Intricately painted wooden bookmarks topped with colorful creatures.

I hadn’t planned to buy anything, but couldn’t resist a colibrí refrigerator magnet, to add to my growing collection of hummingbirds… both real and imagined!

Brightly painted wooden refrigerator magnet

While there, we discovered San Martín Tilcajete will be holding an exposition at the end of the month to showcase, promote, and (hopefully) sell Oaxacan folk art.

Poster for the exposition of Oaxacan folk art on Oc. 28 - Nov. 3

In addition, the Oaxaca Lending Library will be presenting a slide show on Oaxacan Folk Art on October 26.

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Octavio Paz, writing about the Mexican independence movement in The Labyrinth of Solitude:

The eighteenth century prepared the way for the Independence movement.  In fact, the science and philosophy of the epoch… were necessary intellectual antecedents of the Grito de Dolores.  [p. 118]

…the insurgents vacillated between Independence (Morelos) and modern forms of autonomy (Hidalgo).  The war began as a protest against the abuses of the metropolis and the Spanish bureaucracy, but it was also, and primarily, a protest against the great native landholders.  It was not a rebellion of the local aristocracy against the metropolis but of the people against the former.  Therefore the revolutionaries gave greater importance to certain social reforms than to Independence itself:  Hidalgo proclaimed the abolition of slavery and Morelos broke up the great estates. 

Banner on Oaxaca's Municipal Building; reproduction of mural by José Clemente Orozco of Miguel Hidalgo y Costilla.

The Revolution of Independence was a class war, and its nature cannot be understood correctly unless we recognize the fact that unlike what happened in South America, it was an agrarian revolt in gestation.  This is why the army (with its criollos like Iturbide), the Church and the great landowners supported the Spanish crown… [p. 123]

Paz, Octavio.  The labyrinth of solitude, the other Mexico; Return of the labyrinth of solitude; Mexico and the United States; The philanthropic ogre.  New York:  Grove Press, 1985

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Seen at the Biblioteca Pública Central Margarita Maza de Juárez on Friday…

Heart on the right?  Don’t mess with this librarian!

Shhhh…

Whew!  just part of an eye-catching exhibition at the library.

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My Spanish language abilities are progressing little by little (poco a poco).  However, one thing my wonderful and extremely patient Spanish teacher, Laura Olachea, has neglected to cover is Madre-isms; those too numerous to count and unique to Mexican Spanish, expressions that the mamas, hijas, and hermanas for the most part never use, at least not in mixed or polite company.

Of course, being that one doesn’t know what one doesn’t know, I was oblivious!  Oblivious, that is, until I read Norma Hawthorne’s review of the new book, Madre: Perilous Journeys With a Spanish Noun, by Liza Bakewell.  Intrigued, I purchased the book when I was in el norte in June and immediately plunged in.

Cover of book, Madre: Perilous Journeys With a Spanish Noun, by Liza Bakewell

In July, while I was immersed in the “madre” minefield, Liza arrived in Oaxaca for some much-needed R & R, to write an article or two, and to promote her book.  I had the pleasure of getting to know her (she’s warm, smart, and funny), eat one of Aurora’s (you will meet her in the book) empanadas, and assist with setting up a couple of speaking engagements.  The first, in English, was at the Oaxaca Lending Library, where the audience was overwhelmingly women and, as expected, mostly gringas.  There was much surprise and laughter as Liza read excerpts from the book, expanded on points, and answered numerous questions.

Liza Bakewell at the Oaxaca Lending Library showing her book, Madre...

The second speaking engagement, the following evening, was at the Instituto de Artes Gráficas de Oaxaca (IAGO) and was conducted all in Spanish.  And here, surrounded by the Rini Templeton exhibit, I looked around and noticed the majority of people attending were Mexican men.  However, like Guillermo Fricke, Director of IAGO, people listened closely, occasionally chuckled knowingly, and stayed to ask questions and make respectful and thoughtful comments.

Guillermo Fricke listening to the talk by Liza Bakewell at IAGO

It was a much more reserved gathering than the day before, but no less attentive and appreciative.  And, reflecting on previous events and observations and now reading Labyrinth of Solitude, by Octavio Paz, I’m coming to understand, except for fiestas, that is the Mexican way.  Though, I wonder, if it had been all Mexican women in attendance, would it have been different?  I think so.  There is something about the bond women share that crosses boundaries and cultures….

However, thanks to Liza, at least while in Mexico, I may never utter the word, madre, again!

(ps)  If your local library doesn’t have Madre: Perilous Journeys With a Spanish Noun, ask them to order it!

(pps)  Another insightful review of Madre has just appeared on GlobetrotterGirls.com

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Tomorrow marks the 100th anniversary of the birth of comedian, actor, writer, and producer, Cantinflas.

Cantinflas head shot with hat on

Fortino Mario Alfonso Moreno Reyes was born in the Santa María la Redonda neighbourhood of Mexico City, and grew up in the tough neighborhood of Tepito. [4] He made it through difficult situations with the quick wit and street smarts that he would later apply in his films. After an unsuccessful attempt to enter the United States through California, he became a prizefighter in his teens as a source of income.[5] His comic personality led him to a circus tent show, and from there to legitimate theatre and film.  [Read full Wikipedia entry]

Reading the following article recalled fond memories of watching Cantinflas on the big screen in the films, Pepe and Around the World in Eighty Days and, on our black and white TV, in old Mexican-made movies.  Like Charlie Chaplin’s little tramp character, even as a child, I “got” and identified with the everyman characters Cantinflas portrayed and understood he was often the smartest character in the story.

Mexico Marks Century Of Comic Cantinflas’ Birth

MEXICO CITY August 11, 2011, 05:23 am ET
It is hard to think of a Mexican Everyman without turning to Cantinflas, the tattered, droopy-pants character created by comic Mario Moreno in the “tent theaters” of Mexico’s slums in the 1930s.

With the approach of Friday’s centenary of his birth, he has been celebrated as a touchstone of Mexican national identity, fondly remembered for his convoluted doublespeak and clever underdog persona he portrayed for nearly six decades until his death in 1993.

He is best known in the rest of the world for his turn as David Niven’s resourceful valet in “Around the World in Eighty Days,” but the pencil-mustached Cantinflas contributed something much deeper in Mexico… Cantinflas reflected the poorer side of Mexico that gets by on its wits… Wise behind his seeming illiteracy, able to snowball the pompous with a stream of clever but meaningless verbiage, Cantinflas was able to make the transition to movies, where he can still be seen winning out over snobs, bureaucrats and corrupt politicos….  [Read full article]

(ps)  Update:  from the NPR program, All Things ConsideredThe Chaos And Comedy Of Mexico’s Cantinflas.   h/t  gg

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Currently, the Instituto de Artes Gráficas de Oaxaca is exhibiting the work of Rini Templeton; three rooms of her iconic work.  For those who may not be familiar with the name, there is a good reason…

For 20 years an extraordinary artist-activist named Rini Templeton drew struggles of grassroots people in the United States, Mexico and Central America. She made thousands of drawings, didn’t sign them and gave them away freely, so her name remains unknown while her work is widely known, used and loved.  [Read full biography at RiniArt.org]

As the former director of a labor library and archive, the exhibition kindled so many wonderful memories of this talented, committed, and inspiring woman’s work.

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