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Monday afternoon, in the middle of a fiesta at the home of Danza de la Pluma danzante Juan Pablo González Gutiérrez, a torrential downpour came to Teotitlán del Valle.

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As I’ve mentioned, rain has been scarce this rainy season — a serious situation for a community that relies on subsistence farming.

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So, despite the fact that the dirt road in front of the house became a muddy rushing river and festivities had to be put on hold for awhile as rain blew in through openings in the tented patio, this deluge was good news and people were smiling.

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Everyone, including Juan Pablo, waited patiently for the life-giving rain to let up.

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It eventually did and he was able to dance.

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On a wet patio, surrounded by 100+ proud family members, fellow danzantes, and guests, he performed his solo dance.

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Blogger buddy Chris and I felt so incredibly honored to have been invited.  It was a truly memorable experience that we will treasure always.  Muchisimas gracias to Juan and his family and all the members of the Danza de la Pluma Promesa 2016-18 for being so warm and welcoming to us over the past couple of years.  We are going to miss you!

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I returned to Oaxaca very late last night and just in the nick of time.  As I previously noted, chiles en nogada is prepared during the month of September — El Mes de la Patria celebrating Mexico’s independence from Spain — and I was keeping my fingers crossed that it would still be available.  Thus, today (the LAST day of September) on my way back from Mercado Benito Juárez (a necessary restocking the empty larder shopping trip), when I saw the prominent “chiles en nogada” sign in front of Restaurante Catedral and heard the hostess explain to a small group of tourists that today was the last day they would be serving it, I had to seize the opportunity.

Chile en nogada with Mexican flag

Just color me happily sated by the green, white, and red of the poblano chile stuffed with a special fruit and meat picadillo, blanketed with a smooth slightly sweet walnut sauce, and garnished with parsley and pomegranate seeds.  So, mis amig@s (you know who you are) you are off the hook!

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On September 16, Mexico celebrates Día de la Independencia — marking Father Hidalgo’s call to arms (Grito de Dolores) to begin the ten-year war for independence from Spain.  However, the entire month of September is El Mes de la Patria (the month of the homeland) and streets and vendor stalls are awash with the green, white, and red of the Mexican flag.

Last week, walking down to Mercado Benito Juárez to pick up a few last-minute regalitos (little gifts) to bring up to family and friends in el norte, within two blocks I saw…

There is even a very yummy green, white, and red patriotic dish that appears in restaurants in September — Chiles en nogada.  I’m hoping it will still be on the menu when I return at the end of the month from the el norte trip.

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A local’s guide to Mexico City: 10 tips describes a mural project by Aida Mulato and Jóvenes Artesanos to help rehabilitate her Roma neighborhood following the September 2017 earthquakes.  According to the article, “The colourful murals celebrate indigenous communities and women, who continue to suffer most from the earthquakes.  The project supports the larger goals of Jóvenes Artesanos and gives various support to about 150 artisans with whom Mulato works.  With 15 murals painted already, the goal is to create a circuit of 68, representing the country’s indigenous populations.”

What an enlightened and wonderful contrast to the game of cat and mouse, street mural artists have been facing here in Oaxaca for the past few years, where many (including me) have been asking, are Color and culture, unwelcome?  However, while they may be more ephemeral than we would wish, artists are still at work on the sides of our own crumbling buildings, and murals still can be found on the walls of Oaxaca.

Enjoy them while you can, they may be gone tomorrow.

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Open doors always draw the eye; you never know what you will see.  Peering through doorway of the Biblioteca de la Fundación Bustamante Vasconcelos, never disappoints.  Across the courtyard, seasonal book sculptures can often be seen.  Currently, celebrating July’s Guelaguetza, a Tehuana’s bookish hand holds her jicapextle aloft.

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Last October, with Día de Muertos coming up, a calavera was a book work in progress, with William Shakespeare playing a bit part.

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Guelaguetza 2017 brought a danzante from the Danza de la Pluma — his neck braced by the blue and rather appropriate book, “El Tesoro de Monte Albán.”

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There have also been Christmas trees and crosses, so stay tuned.  And, if you are in town, stop by the Biblioteca de la Fundación Bustamante Vasconcelos at Labastida 117 (across from the plazuela) — even if there isn’t a book sculpture, there are usually artisans set up in the entrance, and there is always the library to check out, says this librarian.

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I meant to post this during the World Cup.  But, for a couple of reasons, you can file this under “the best laid plans of mice and (wo)men.”

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On the wall outside the Salon de la Fama cantina (corner of M. Bravo and Porfirio Diaz), artist Efedefroy captured the mashup dreams of Mexican football (soccer) fans.  The beloved singer/actor Jorge Negrete, wearing the jersey of El Tri and hoisting the 2018 World Cup.  Alas, despite the “María” tattoo (La Virgen? No, probably 3rd wife María Félix), it was not to be.

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It’s been a rainy season that “is not” more than “is.”  However, tonight around 6:00 PM, I heard the unmistakable sound of rain and looked out the window.

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This is incredibly good news for the mostly subsistence farmers in the valley of Oaxaca, as crops have been struggling and reservoirs are low.

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The lack of rain has even impacted weavers who rely on plants, rather than chemicals, to dye their yarn.

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We have also had a little hail along with continuing thunder and lightning.

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Two hours and counting… Giving thanks to Cocijo (Zapotec god of rain, thunder, and lightning) and hoping this isn’t a one hit wonder.

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If it’s Sunday, it must be market day in Tlacolula de Matamoros.  However, it’s not just the market (one of the oldest and biggest in Oaxaca) that keeps me returning, it’s also the prevalence of fabulous murals decorating walls and sides of buildings.  Unfortunately, here in Oaxaca city, there has been a growing intolerance by the powers-that-be to these cultural and often political expressions. However, in Tlacolula, they seem to be encouraged and celebrated — and the Tlacolulokos collective has elevated mural painting to a high art form.

We discovered their latest mural a few weeks ago as we were navigating out way through Tlacolula on our way back from the Feria del Barro Rojo in San Marcos Tlapazola.  As with their previous work, using iconic imagery they continue to explore and honor the strength of the beautiful and brave Zapotec women of Tlacolula — this time, in what seems to be a “blue period.”

I was more than a bit puzzled by the above and very prominent words featured on the mural and had to do a little research — after all, that’s what librarians do!  It turns out, “Tokiolula” refers to the 1960s and 1970s when the Tlacolula market was known for selling cheap and often counterfeit goods — mostly from Asia.  That ended in the 1980s, but, unfortunately, has been creeping back.

As for Guish-Bac… “in Zapotec dialect of Tlacolula, Guish Bac is said to mean ‘in the middle of the sky’ or ‘in the middle of the path'” (Revista Cultural Bení Guish Bac Gulal – my translation) and, according to the footnotes in this dissertation, it refers to “people from Tlacolula.”

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During la Guelaguetza, the Desfiles de Delegaciones brought masked men (appearances to the contrary, most are men) to the streets of Oaxaca.  From San Andrés Zautla delegation, the Danza de los Jardineros…

 

along with the village viejos (old men).

 

The guys and “gal” from the Danza de los Diablos of Santiago Llano Grande.

 

From the delegation of the Diosa Centéotl, Santa María Zacatepec.

 

The masked Danza de los Diablos dancers of San Sebastián Tecomaxtlahuaca.

 

Danza de la Pluma subalternos from Teotitlán del Valle and Villa de Zaachila.

 

Carnaval dancers from Putla Villa de Guerrero.

 

Never a dull moment in Oaxaca!  Click on photos for enlarged images.

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In the hour leading up to the Guelaguetza Desfile de delagaciones, last minute prep work…

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Mask

Makeup application

Props at the ready…

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Monos

Mezcal containers

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Human parade participants sit and wait…

Cart and gals

Danza de la Pluma danzante

Musicians

Women and masked man

And, spectators hang out on the sidewalks…

Women on cell phones

What did we all do before cell phones?

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As I write, Diosa Centéotl 2018 is presiding over this year’s first Lunes del Cerro (Mondays on the Hill).  This is corn planting season and the figure of the goddess Centéotl represents the deity to whom rituals were offered to guarantee a good harvest.  She was elected from among 27 young indigenous women, representing the eight regions of the state of Oaxaca.

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The first stage of the competition was held Friday morning at the Jardín del Pañuelito, with contestants speaking about their regions and communities.  During stage two, later in the afternoon, the participants talked about their distinctive clothing.  (For a few photos, check out Of Goddesses and Food.)  The judges, including Las Quince Letras cocinera and ambassador of traditional Oaxaca cooking, Celia Florian (2nd from right), then deliberated.

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Saturday morning the venue moved to the elegant early 20th century Macedonio Alcalá theater where at least 500 people listened as the “Court” of the Diosa Centéotl was announced:  Hillary Naxhiely López (San Blas Atempa), Adriana Ramón Guzmán (de Asunción Ixtaltepec), Yoali Josabet López Quiroz (Santo Domingo Tehuantepec), Socorro Hernández Santiago (Putla Villa de Guerrero), and María del Carmen Vásquez Díaz (Santa María Tlahuitoltepec).

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A beautiful scepter, carved and painted by Jacobo and María Ángeles from San Martín Tilcajete, waited in the wings to be presented to the new Diosa Centéotl.

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And, the winner was… Francisca Pérez Bautista from Santa María Zacatepec.  A member of the Tacuate ethnic group in the Sierra Sur region of Oaxaca, she was wearing the traditional cream-colored huipil with red ribbons and embroidery.  On her head, she wore the customary bowl-shaped jícara head covering made from the fruit of the calabaza tree.

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There was a twenty-minute break in the action — the governor, Alejandro Murat, was delayed in traffic.  In the interim there was much affection and camaraderie displayed among the contestants.  Eventually, he arrived and presented the scepter to Francisca.

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There was no rest for the new Diosa Centéotl.  Her official duties began immediately — a luncheon with the Guelaguetza delegations, followed by leading the desfile of delegations through the city’s streets.

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Teotitlán del Valle’s Danza de La Pluma Promesa 2016-2018 guys (and two little gals) came, saw, and conquered Oaxaca city yesterday.

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Quetzalli del Rayo Santiago Ruiz (Malinche) and Elizabeth Hernández Gutiérrez (Doña Marina)

After a rehearsal at the Guelaguetza Auditorium, followed by a lively (if various Facebook videos are to be believed) luncheon with the other delegations, they arrived, raring to go, at the Guelaguetza desfile (parade) gathering point in front of Jardín Conzatti.

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Marcos Vicente Gutiérrez (Capitán de puerta 1º)

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Juan Pablo González Gutiérrez (Vasallo 3º)

Along with the other Guelaguetza delegations, they posed for photos requested by the crush of media, tourists, and locals.

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Sergio Gutiérrez Bautista (Moctezuma) on right

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Florentino Martínez Ruiz (Subalterno 2º) and Juan Bautista Zárate (Subalterno 1º)

And this year, unlike their last appearance two years ago, it didn’t rain on their parade.  Following their banner and band, they danced their way through the streets of the city under a brilliant late afternoon sun.

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Tapete by the late Pedro Gutiérrez, father of danzante, Denes Luis Gutiérrez Martínez

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Edgar Daniel Ruiz Ruiz (Vasallo 8º) in foreground

For more of the danzantes from Teotitlán del Valle at the desfile, check out the blog post from Chris.  Next up, tomorrow morning’s performance up on Cerro Fortín!  For those of you, like me, without tickets, check THIS SITE and/or CORTV for live (en vivo) links to each Guelaguetza performance.

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Below is the Guelaguetza 2018 calendar of the main events.  For details of these and other “Julio, mes de la Guelaguetza” (July, month of the Guelaguetza) activities in and around the valley of Oaxaca, click HERE.

calendario guelaguetza 2018

The list of delegations by date, time, and the dance they will be performing follows.  By the way, a note about the dancers:  Seeing it as an honor, they come to perform at their own expense.  However, one way to give back, at least to the artisans of their communities, is to do your shopping at the Expo Feria Artesanal (listed above).

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And, bookmark THIS SITE and/or CORTV for live (en vivo) links to each performance.

(ps)  For those in town:  People keep asking me what the route will be for the two Saturday Desfiles de Delegaciones — which over the past several years keeps changing.  Unfortunately, I don’t know and the only answer I get is the tourist kiosk reps pointing to the Calendario de Eventos Principales  (top of page).  If I find out anything more substantive, I will try to post before Saturday.

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“Toto, I’ve a feeling we’re not in Kansas anymore.”

All you have to do is click your heels together three times and say “There’s no place like Oaxaca.”

And you too can be a Tehuana in Oaxaca.

Seen on the wall outside Wearable Art Textile Studio, Gurrión 110 — across from the south side of Santo Domingo.

Update:  Artist is Froy Padilla Aragón (aka, Efedefroy).  Check out an article (en español) about him HERE.

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The Danza de la Pluma weapons of war consist of a small paddle (pala/macana) held in the left hand and a sonaja (rattle) held in the right (see images of danzantes in July 9 post).

The sonajas are decorated gourds attached to a deer leg or antler.  During the dance, they mark the compass points and their sound is used to scare the opponents.

Each wooden pala is uniquely carved and decorated and serves as a baton and a shield in this dance that recreates the battles between the Spanish conquistadors and Moctezuma, his warriors, and allied kings.

Even Malinche (Quetzalli del Rayo Santiago Ruiz) carries a sonaja and a pala during parts of the dance.  And, check out the reversible pala of Juan Pablo González Gutiérrez — red weaving surrounded by alebrije-like painting on one side and blue weaving and painting on the other.  You can click on images to enlarge them.  The creativity never ceases to amaze!

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