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Blogger buddy Chris and I have been talking about returning to Santa María Tlahuitoltepec since our first visit in May 2013.  Time flies when you’re having fun and it took the current Theft of a cultural kind controversy to motivate us to hit the long and winding road up into the Mixe.  To reach our our journey’s end in the Sierre Norte, our road trip took a little over two and a half hours from the city — on a much improved route 179, I might add.

179 to Tlahui

Reaching the center of town, known for its musical literacy and textiles, Tejas, a youth band, was warming up on the multipurpose municipal basketball court.

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Their performance was part of the Domingos de Concierto (concert Sundays).  We joined villagers to watch and listen.

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Most all of the women “of a certain age” were wearing the traditional dress that is a symbol of this community.

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However, our stomachs began grumbling and led us in search of comida.  The comedor we had been directed to wasn’t open but there were women sitting under the portales selling tamales.  This gal’s amarillo tamales (3 for 10 pesos) were muy sabrosos!

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Once we had eaten, fed a couple of street dogs the crumbs (until a woman walking softly and carrying a big stick, chased them away), and our energy levels were restored, we walked across the street to the sextagonal textile kiosk — the day’s destination.

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We headed to Artesanias Kojpk Okp, the tiendita of Doña Honorina Gómez Martínez, the embroiderer we had met on our previous visit to Tlahuitoltepec.  Ahhh, yes, she was well aware of the Inspiration or plagiarism dispute with French designer, Isabel Marant, that even Vogue UK has covered.  As I later discovered, she spoke for the embroiderers at the press conference held at Oaxaca’s Textile Museum ten days ago.

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This spirited, strong, and delightful woman has been embroidering for 46 years and, as she explained at the press conference, “my heart tells me what I’m going to embroider because I have it in memory, born with that idea or feeling, experience, it is the daily life as Mixe.  It is a representation of blood, food, and nature. ” [translated from the original Spanish]

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She recognized us and she and her assistant (husband? son?) were more than willing to plunge into piles of her creations, pull down blusas hanging on the walls, and dismantle displays.  Here is the blusa and ceñidore I came home with…

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Should you be inclined to go to the source, but can’t manage a trip up into the Mixe, as always, she will have a stall in July at the special artisan market in Oaxaca city during La Guelaguetza.  She can also be contacted by telephone:  01 283 596 26 05 and cell:  951 198 79 42.

Stay tuned for a blog post on Oaxaca-The Year After…  (Chris has a lot more photos to weed through!)

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To all the loving fathers (biological and adoptive), stepfathers, grandfathers, and father figures everywhere, may you continue to do what you do.

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¡Feliz Día del Padre a todos!

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La Guelaguetza is coming.  However, the drama/comedy/telenovela/fairly tale (you take your pick) that is the Guelaguetza Auditorium velaria (canopy) has again grabbed Oaxaca’s headlines.  “Why?” you might ask.  Good question!  Perhaps a little history is in order…

Once upon a time and for a very long time, the auditorium, perched on Cerro del Fortín high above the beautiful city of Oaxaca, was velaria-less — no canopy to protect spectators and performers from sun and rain.  However, in 2009 the Big Bad Wolf, who was then the governor and in need of some good PR, decided to spend 104 million pesos to build a roof over the auditorium.  The people did not like the governor, they did not like the expense, and they most certainly did not like the design — the word, el pañal (the diaper) frequently tripped off the tongue of many when describing it.  Alas, the workmanship left much to be desired and the 2010 Guelaguetza had to be relocated to the university soccer stadium.  The people were not happy!

By July 2011, a Prince Charming had replaced the Big Bad Wolf as governor, a new velaria was in place (though it still looked like a diaper), and La Guelaguetza returned to the hill overlooking the city.  Cue mild applause.

Guelaguetza AuditoriumAlas, the lackluster clapping came to an abrupt halt one evening in March 2012, when a moderate wind ripped the right wing (I kid you not) off.  A sign?

Guelaguetza Auditorium with missing wing. A poll at the time ran 2:1 against replacing the velaria.  Of course, no one listens to the people, though a week later, for the safety of all, the left wing of the cover was also removed.

Guelaguetza auditorium without the wings; Mexican flag on the left.Guelaguetzas 2012, 2013, and 2014 came and went and not much more came to pass.  Yours truly even experienced the abbreviated velaria at last year’s performance, though I kept glancing up at the structure to make sure it was still intact.

IMG_4933 The end of our story?  No, of course not!  In January, Sinfra (Ministry of Infrastructure and Sustainable Land Management) declared the saga must go on.  Thus, in March of this year, it was trumpeted throughout the land that work on a brand new velaria was to commence.  There would be no cost to the people, as the original company, the Big Bad Wolf’s friends at Lonas Lorenzo, would be footing the bill, and work would be completed in time for this year’s Guelaguetza.  Though the people did not cheer, down came the old…

P1090865Completed in time for this year’s Guelaguetza, did I write?  Well, into every tale a little drama must fall — today’s Noticias heralded the news that, alas and alack, due to a labor dispute, the work will not be finished in time for next month’s Guelaguetza performances.  The people are not surprised.  The world turns and the saga continues…

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I walk past the Museo Belber Jimenez at least every other day and its brilliant blue walls always make me smile.  If you’re in the neighborhood, you can’t miss it!  In mid April, not long after undergoing a major renovation, a city bus lost control and crashed into the museum.  Fortunately no one was seriously injured, but the window, grating, and wall on the Tinoco y Palacio side of the museum were damaged.

By the time I left in mid May for the trip north, all had been repaired.  And then a few days before returning to Oaxaca, blog reader BJ wrote to tell me there was a “beautiful new mural” on the west wall of the museum.  She was right — it’s stunning and deeply moving.

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P1090808Muchisimas gracias to Museo Belber Jimenez for inviting Lapiztola to enhance the exterior of the museum and our lives with the beautiful mural and its message from Beti Cariño.

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I’m baack in home sweet home Oaxaca!  Exciting flight — Andrew Zimmern and crew were on the little Embraer from Houston to Oaxaca.  I see an episode from Oaxaca on Bizarre Foods in the future.  Chicatanas, anyone?

Got home, turned on the lights — indoors and out, threw open the doors and windows, and found a couple of  welcome home gifts from my night blooming cereus.

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While I’ve been in el norte, Oaxaca’s rainy season has really kicked in.  Thus, the garden is blooming, the hills are lush and green, and I had no hot water this morning.   Ahhh… it’s good to be home!

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Looking forward to tomorrow’s return to Oaxaca, though not sure what I will find.  So, in preparation, a little street art, apropos of nothing…

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… and everything.

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VW Beetles aren’t the only tricked out small vehicles on the road in Oaxaca.  While not allowed in the city, tuk-tuks (moto taxis) have become indispensible in ferrying passengers into the villages from bus and colectivo stops along the carreteras and up, down, and around the often narrow and dirt paved streets within villages where cars remain a luxury.  You haven’t lived until you’ve ridden one down a rocky embankment, forded a stream, and then climbed back up the bank on the other side — all without tipping over or getting one’s feet wet.  Talk about the little engine that could!

Most are utilitarian looking.  However, one day these tricked out tuk tuks appeared above the Plaza de la Danza.

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If you’ve got a little money and a large imagination, voilà!

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High in the mountains of the Sierra Norte, the village of Santa María Tlahuitoltepec sits perched on a ridge top in Oaxaca’s Mixe region.  The terrain is rugged and unforgiving; it took rescue crews ten hours, much of it on foot, to reach the municipality following a lethal mudslide at the end of an extremely wet 2012 rainy season.  Eight months later, in May of 2013, when blogger buddy Chris and I ventured up there for their Fiesta de Mayo, we still had to detour around the remains of the slide.

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Santa María Tlahuitoltepec, May 11, 2013.

Despite the harsh conditions and its remote location, Santa María Tlahuitoltepec is home to the Center for Musical Training and Development of Mixe Culture and it is estimated that 70% of the population can read music and many who can’t, play by ear — a source of great pride.

Guelaguetza desfile, July 28, 2012

Guelaguetza desfile, July 28, 2012

In addition to the musical talents of its residents, the village is known for the intricately embroidered blouses the women make and wear.  The design of both the cut of the blouse and the patterns of embroidery are uniquely Santa María Tlahuitoltepec.  If you see someone wearing one on the streets of Oaxaca, you know immediately where it came from.  I have a blouse and Chris bought a couple to decorate the walls of his house.

Santa María Tlahuitoltepec, May 2013.

Santa María Tlahuitoltepec, May 11, 2013.

However, in January of this year Oaxaqueña singer Susana Harp raised the alarm when she tweeted her outrage that the exclusive US department store Neiman Marcus was selling identical copies of the blouses of Santa María Tlahuitoltepec for $290 US dollars (six times what the originals cost in Oaxaca) — without even an acknowledgement of the origin of the designs.  And, last week ReMezcla (a digital publisher, creative agency, and entertainment company targeting Latino millenials) took up the issue of this kind of cultural appropriation with it’s article, The $290 Isabel Marant Huipil Rip Off That Pissed Off Oaxaca’s Mixe Community noting that, “In the case of Isabel Marant’s new ‘bohemian’ Étoile line, however, it’s hard to even muster a flimsy cultural inspiration defense, since the Oaxacan Mixe culture the clothes were ‘inspired’ by have been completely erased from the narrative.”

Dancers in action from Santa María Tlahuitoltepec

I urge you to forgo these and other high-priced knock-offs.  Instead, go to the source and buy originals from the talented artisans who created them.  And, a note to ReMezcla, especially given the subject of your article, I would have appreciated credit for your use of my photograph (above) from the Guelaguetza desfile, that I originally posted July 22, 2013.

Update:  A press conference by municipal authorities and embroiderers from Santa María Tlahuitoltepec was held on June 3 at at the Textile Museum of Oaxaca protesting the lack of respect by Isabel Marant for the creativity and work by the women of Tlahuitoltepec and the history and worldview that gave birth to their designs.

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The previously mentioned Tlacolulokos collective has brought their artistry and social commentary to a wall on the upper floor of the Casa de la Ciudad.  The mural, “Con el fuego en las manos” shows two young women, almost mirror images of each other or, perhaps, two sides of the same woman.

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The young women/woman wear the traditional clothing of San Bartolome Quialana, a village near Tlacolula de Matamoros, home of the Tlacolulokos collective.  Like communities throughout Oaxaca, much of the male population has migrated to the United States, in search of work leaving the women to carry on alone.

As the introduction to the exhibit on the Casa de la Ciudad website explains, With a critical view towards the current cultural context, Tlacolulokos group, headed by Darío Canul and Cosijoesa Cernas, seeks to question the idealized images of the Oaxacan culture, tourism product discourse, and insights from the reality currently experienced by the people of Oaxaca.

There are elements in her clothing belonging to the Latina culture of the southern United States, as the cholo bandana that she wears on her head, or the tattoos on her arms that add a critical and provocative tinge to this cultural mix, a product of migration.  [ Google translation, with a little help from yours truly]

One of the trademarks of  the Tlacolulokos group is the power their images acquire and the emotion they elicit by limiting the palette to black, white, and grays.  For more background and a better understanding of the mural, a video (en español) of the artists discussing their work can be found here.

“Con el fuego en las manos”  is scheduled to run until December 2015 at the Casa de la Ciudad (Porfirio Diaz No. 115, at the corner of Morelos in Oaxaca’s Historic District).  Hours are 9:00 AM to 8:00 PM, Monday through Sunday.

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Situated metaphorically at the busy intersection of imagery and content—and informed by history, mass media, commerce, and pop culture—stickers address both the personal and the political.  — Street Art Graphics, The Richard F. Brush Art Gallery, St. Lawrence University.

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Stick-to-itiveness:  the quality that allows someone to continue trying to do something even though it is difficult or unpleasant.

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Street art stickers — a metaphor for Mexico, methinks.

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Just so you know…  The gods are watching you on Tinoco y Palacios, between Morelos and Matamoros.

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Hmmm…. sometime between January, when I first photographed the mural and a few days ago, when I returned, an airplane landed on the tongue.

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Recently, BBCtrending posted the video, Aztec to urban — Mexico’s street art explosion, highlighting the use of Mexico’s pre-Columbian imagery in contemporary street art.  I don’t know the name of the artist who painted the mural above, but seeing the “Dioses Urbanos” of Diego Alvarez (aka, Ocote) in the video, brought it to mind.

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Long ago, in a land far, far away, I once had a Volkswagen Beetle.   It was so old, it didn’t even have a gas gauge, only a reserve tank.  My little bug would inevitably begin running out of gas when I was putt-putting up a hill, requiring me to take my foot off the gas pedal to kick over the reserve tank.  Needless to say, I would hold my breath and offer up silent prayers that I wouldn’t get rear-ended and that there was, indeed, gas in the reserve tank!  But, I loved that car…

So, only a block from Casita Colibrí, how could I resist stopping to admire this beauty?

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Made in Oaxaca — or at least, tricked out in Oaxaca.

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Ready to rally again on the Pan American Highway?  It’s just up the road apiece.

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Stay calm… Doing it the old school Beetle way!

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Hmmm… last month’s Old VWs never die and now this post.  Bugs, of the VW variety, might just have to become a regular feature.

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The sunburned shoulders have turned brown and the leg muscles are no longer sore.  I’ve fully recovered from last Sunday’s annual Día de la Santa Cruz (Day of the Holy Cross) hike up Cerro Picacho (in zapoteco, Quie Guia Betz), the sacred mountain in Teotitlán del Valle.

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All that remains, are memories and photographs from another lovely, if strenuous, day.  The cicadas (cigarras or chicharras, en español) again provided the  soundtrack, as we wound our way up the trail from the presa (dam).  The climb begins rather benignly but rapidly gets steeper and steeper.  That little speck in the lower right of the photo below is the car — and this was less than a tenth of the way to the summit!

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At 10 AM, when we began our ascent, it was already hot and experience told us shade trees were few and far between.  We were the only extranjeros (foreigners) on the trail and were frequently passed by Teotitecos (people from Teotitlán) going up and coming down and never failing to greet us with “buenos días.”  After several rest and water sipping breaks, we eventually reached our destination.

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This 2.9 mile (4.7 km) hike took us from 5,750 feet (1,752 meters) to 6,830 feet (2,082 meters).  However, once we arrived, we were immediately offered much-needed and appreciated cups of agua de jamaica (hibiscus water) and later we were fed amarillo tamales pulled from steaming pots in the makeshift kitchen.  No doubt, the gals in this alfresco cocina appreciated the newly constructed shade structure and counter that had been bolted into the side of the mountain, as I’m sure did the young man who sat down to serenade us.

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However, the best was yet to come — the spectacular views of the village and the mountains beyond that unfold when one reaches the summit.

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Even more overwhelming is the sense of oneness with the natural world and with generations of Zapotecos who have been climbing and honoring El Picacho for thousands of years.

P1090266As I mentioned at the beginning of this post, May 3 is Día de la Santa Cruz.  The committee members who organize Teotitlán’s celebration change from year to year, so each year takes on a slightly different character.  This year brought the newly built kitchen space and, unlike last year, no foot race up the mountain and the absence of massive speakers blasting music — for which we were grateful!

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Three permanent crosses can be found atop Picacho and for Día de la Santa Cruz, all were decorated with fragrant garlands of frangipani blossoms.  A cross of concrete and stone crowns an altar and two wooden crosses, which I’ve been told were carved in Chiapas, preside above the altar and look out over the valley.

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Teotitlán (Teocaltitlán, in náhuatl) means “land of the gods.”  Sitting on top of Cerro Picacho, it certainly felt as if I was indeed gazing out at the land of the gods.

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It’s Cinco de Mayo, but in Oaxaca, like most of Mexico, it’s a business as usual kind of day; schools are in session, businesses and banks are open, and deliveries are being made.  The cervesas and mezcal may be flowing and guacamole may be served, but no more than usual.  Only in Puebla, where the significantly outnumbered Mexican troops defeated the French army in the Battle of Puebla on May 5, 1862, is it a big deal.  However, most every city and village has a street named 5 de mayo and in many, like Oaxaca, a street has been named for Ignacio Zaragoza Seguín, the general who commanded the Mexican army at the Battle of Puebla.  By the way, he was born in what was the Mexican village of Bahía del Espíritu Santo, now Goliad, Texas, USA.

As the walls of Oaxaca continue to show, it’s the current battles that remain front and center…

P1050917 copy P1080998 copy P1080893 copy P1080997 P1050398As the mother in the stencil above explains, against the odds like her ancestors 153 years ago, “I will fight today because I don’t want to see you die tomorrow.”

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Feliz Día del Niño (Day of the Child) to children everywhere!

Forever Young
by Bob Dylan

May God bless and keep you always
May your wishes all come true
May you always do for others
And let others do for you
May you build a ladder to the stars
And climb on every rung
May you stay forever young
Forever young, forever young
May you stay forever young.

May you grow up to be righteous
May you grow up to be true
May you always know the truth
And see the lights surrounding you
May you always be courageous
Stand upright and be strong
May you stay forever young
Forever young, forever young
May you stay forever young.

May your hands always be busy
May your feet always be swift
May you have a strong foundation
When the winds of changes shift
May your heart always be joyful
And may your song always be sung
May you stay forever young
Forever young, forever young
May you stay forever young.

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