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Posts Tagged ‘documentary’

Today, the 20th of November, Mexico commemorates the 108th anniversary of the beginning of the Mexican Revolution. It raged on for ten years, as various factions battled for power, and the peasantry fought for, in the words of Emiliano Zapata, ¡Tierra y libertad!  (Land and liberty!)

From the smallest of pueblos to the mega metropolis of Mexico City, most every town and city has a street named 20 de noviembre, including Oaxaca.  In addition, Oaxaca has a 20 de noviembre market, where you will find Conchita, my favorite chocolate store, Pasillo de Humo (hall of smoke/grilled meats), aisles of stalls filled with bread, and lines of counters offering menudo and other traditional street food — a very popular destination for locals and adventurous tourists.

Alas, the Mexican Revolution has a complex and bloody history — 1.9 to 3.5 million lives were lost, revolutionary leaders assassinated each other in turn, and promises were repeatedly broken.  The goals of land, water, liberty, justice and law for the peasantry and workers went unrealized.   However, once the armed conflict ended, a cultural revolution began that celebrated and honored working people, peasants, and Mexico’s indigenous roots and helped to forge a new Mexican identity.  As the documentary The Storm That Swept Mexico concludes:

“If we celebrate the revolution, it appears as though we are celebrating the status quo: the miserable conditions of the farmers, workers and the average Mexicans.  And if we are the inheritors of that revolution, then there is nothing to celebrate. Now if we think of the Revolution as an explosion of creative energy then I think we do have reason to celebrate because it was a movement to create a nation more just, more equal, more honest, and an identity we could be proud of.”

To highlight a Oaxaca connection, today’s NVI Noticias published the article, Enciende Madero mecha revolucionaria; Visita Oaxaca en 1909, about Francisco I. Madero’s visit to Oaxaca to light the fuse of revolution in this remote state.

By the way, in 2005, Article 74 of Mexican labor law established the third Monday of November as the “official” holiday — thus following the USA’s “time-honored tradition” of creating 3-day holiday weekends and setting the stage for the bargain hunting shopping extravaganza promoted as Buen Fin.

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In the last five years one million Mexicans residing in the US have returned to Mexico, including children and youth who were born or raised in the US.  Una Vida, Dos Países presents the stories of these transborder youth, highlighting their experiences living between two countries, cultures, languages and education systems, and exploring their parents’ decisions to return to their home country after living undocumented in the US.

Thirty seconds into the new documentary, Una Vida, Dos Países by Tatyana Kleyn, tears began welling up.  Set in Ciénaga de Zimatlán and Tlacolula de Matamoros, both in the central valley of Oaxaca, the places and faces were so very familiar and it hurt to hear the anguish in their voices and see the sadness in their eyes.

I love Oaxaca and, at this stage of my life, have chosen to immerse myself in a foreign culture.  However, these kids didn’t have a choice.  One day, they are normal “American” kids — going to school, playing with friends, speaking English in bustling towns and cities in the USA.  And the next day, they are uprooted from all that is familiar to find themselves “transfronterizos,” living in small rural pueblos bound by a millennia of tradition, surrounded by strangers who are speaking languages, Spanish and/or Zapoteco, they are either not fluent in or don’t know at all.  In addition, they are forced to navigate a school system that has little or no understanding of the culture shock they are experiencing.

What more can I say?

Early in the film, Melchor’s father says, “This is my family, this is my house, not a beautiful house, but when you want to come here, the door is open for you, for everybody.”  Oh, that governments would exhibit that same generous hospitality.

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Yesterday, the city of Oaxaca celebrated its 483rd birthday as a Spanish chartered city.  Early in the morning bells were rung, Las Mañanitas was sung, tamales and atole were served, an air force flyover buzzed the city several times, multiple musical events were held, a convite paraded through the streets, fireworks exploded from the Plaza de la Danza, and more, and it continues.  I was going to write about it, but…

Today a more urgent anniversary requires our attention:  Mexico Marks 7 Months Since 43 Ayotzinapa Students Disappeared.  Family, fellow classmates, friends, and supporters around the world keep their names alive and cry for justice.  And artists continue to reach into our minds and hearts through their music, artwork, and film making.

In the documentary, Ayotzinapa’s 43 Disappeared: Family & Friends Remember, we hear the voices of their classmates and relatives. They don’t trust the official story and are determined to find out what happened.

Near the end of the song, “La Patria Madrina,” from her new album, Balas y Chocolate (Bullets and Chocolat), Lila Downs chants the Ayotzinapa 43 mantra that can be seen and heard all over Mexico, ¡Vivos los llevaron, vivos los queremos!  (They were taken alive, and we want them back alive!)

And, on walls throughout Mexico, our attention is called to the missing 43 students from the Escuela Normal Rural Raúl Isidro Burgos, teachers’ college in Ayotzinapa, Guerrero.

Oaxaca de Juárez

Oaxaca de Juárez

Mexico City

Mexico City

Mexico City

Mexico City

Oaxaca de Juárez

Oaxaca de Juárez

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The souls  have departed.   And, following 33 hours of travel, my BFF (along with her alebrijes by Alberto Perez and the Xuana family, a traditional black and white rebozo, bottle of Del Maguey mezcal from Chichicapa, several bags of Conchita chocolate, and a fabulous mohair rug woven by Antonio Ruíz Gonzalez), has returned home to the frigid climes of Alaska.  However, gal pal, souls, and the mortals with whom we shared the past, have left warm and lasting memories.  They have also left an exhausted gringa, whose brain feels like one of those overloaded small trucks one (more than occasionally) sees on the roads here.  With every nook and cranny filled, they move at a snail’s pace, be it along a pot-holed dirt road or the carretera, balancing their top-heavy loads.

Our week began on October 29, when the sounds of a band Pied Piper-ed us down the street and around a corner to a comparsa of high school students, who were taking part in a competition of using recycled products for their costumes and floats.  Alas, the rains came and eventually chased us home.

On October 30, delectable dining (lunch at La Biznaga and dinner at Los Danzantes) nourished multiple museum visits and allowed us to join the standing-room-only crowd at the Oaxaca Lending Library (without rumbling stomachs) to watch the wonderful new documentary, La Festividad de los Muertos, chronicling Day of the Dead in Teotitlán del Valle.

Then there was Thursday, the 31st….  A shopping expedition for flowers, sugar skulls, bread (pan de muertos), and two 10-foot long stalks of sugar cane to form the arch over my altar.  I carried them the 10-blocks home on my shoulder (sheesh, they are heavy) and carefully navigating the busy sidewalks.  According to BFF, I provided pedestrians and passengers in buses,cars, and taxis much entertainment.  I didn’t see a thing — I was just trying not to trip, fall, or whack anyone in front, behind, or to the sides of me!

Once the candles, photos, bread, chocolate, beverages (cervesa, mezcal, and water), and meaningful objects to our departed were in place; flowers arranged and cempasuchitl (marigold) petals scattered; and the arching sugar cane affixed to the wall surrounding our ofrenda, we made our way down to the beginning of the CEDART comparsa.

Later in the evening, we drove up to the panteón in Santa María Atzompa.  Passing the bright lights and crush of food, flower, pottery, and other vendors that line the entrance and finally emerging from under the arched gateway, the candlelit ethereal beauty of the cemetery on this night never ceases to take my breath away.  Of course, it wasn’t all exquisite and unearthly enchantment.  This is Mexico and so there was also a (very loud) band and the cervesa and mezcal flowed freely.  I’m sure the difuntos (deceased) enjoyed themselves and partied hardy with the living until the sun rose.  And then all slept.

On the other hand, we left at a reasonable hour, as we were only at the mid-point of our Día de los Muertos marathon.  More to come…

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Last night I joined a standing-room-only crowd for the book launch of Grandes Maestros del Arte Popular de Oaxaca (Grand Masters of Folk Art of Oaxaca) at the Centro Académico y Cultural San Pablo, in Oaxaca city.  This beautiful 340+ page book was the joint effort of the Fundación Alfredo Harp Helú, Fomento Cultural Banamex, the State of Oaxaca, and CONACULTA (National Council for Culture and the Arts).

Cover of the book

The press was there in full force, as was governor Gabino Cue, benefactor Alfredo Harp Helu, and a number of other movers and shakers on Oaxaca’s cultural scene.  Many of the artisans were also in attendance and several posed for photographs holding their copy of the book at the reception that followed.

One of the artisans who was not there was the late potter, Dolores Porras from Santa María Atzompa, as Parkinson’s disease had claimed her on November 1, 2010.  Four pages in the book are devoted to this maestra of pottery and her pioneering work with glazes.  Examples of her work can be seen all around Oaxaca, including these scattered in the garden at the hotel, Las Golondrinas.

Vase in the shape of a woman's face and rounded body

Her work has inspired imitation, but as is evident in these pieces, her whimsy, creativity, and sense of proportion would be difficult to match.

Urn with the face of a woman.

I want to thank potter Michael Peed for pointing out these hidden treasures…

Tall vase in the shape of a woman.

following a showing of his loving documentary, Dolores Porras: Artista Artesana de Barro Santa María Atzompa.  (Click here for an excerpt on YouTube.)

DVD front and back covers

And then there is this one, I discovered on my own, the very next day — on a bathroom shelf, no less — at Casa Linda

Vase with image of a woman, with pointy breasts.

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