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Posts Tagged ‘skulls’

In my effort to “step away” from the US election news, I went in search of the fourteen chairs of the “Silla Calavera” project scattered throughout restaurants and hotels in the city — a creative and calorie-burning distraction!

Artist: Juana Vicente Ortega Fuentes, decorative painter; displayed at Pitiona restaurant. Title: Levantada de Cruz (Raised Cross).
Artist: Fabián Pacheco, metalwork artisan; displayed at Gozobi restaurant. Title: Tradición y costumbre (Tradition and practice).
Artist: Francisca Calvo, wooden alebrije artisan; displayed at Pitiona restaurant. Title: Platicando sobre las costumbres de mi pueblo (Talking about customs of my people).
Artist: Jesús Sosa Calvo, wooden alebrije artisan; displayed at Hotel Parador. Title: Como ves te ves (As you see you see).

The project arose as an idea to spread the traditions of Oaxaca through artistic creations using an object of daily life — a comforting and comfortable seat, where each artist, through their creativity and respect for the dead, exposes the face of a skull.

Artists: Taller de Barro Zamani, polychrome clay artisans; displayed at Terranova restaurant. Title: Muertos que viven (The dead who live).
Artists: Erika Nancy Carrillo Carreño, Montserrat Mandujano, Eliézer Vargas García, artesanas de la Costa oaxaqueña; displayed at Hotel Trébol. Title: Colores de vida y muerte (Colors of life and death).
Artist: Colectivo Zegache (Alejandro Mendoza, Eleuteria Pacheco Mendoza, Edith Santo Méndez, Nancy Martínez Gaspar); displayed at Hotel Casa Garay. Title: Dxi tu gúl (Zapotec, unable to translate).
Artist: Meletón Lazo, surrealist artist; displayed at Hotel Ferri. Title: Flor de piña (Pineapple flower dance).

Unfortunately, this next chair had been disassembled by the time I arrived, but here, in two parts, the back and the seat.

Artist: Gabriel Sosa, wooden alebrije artisan; seat back at Los Danzantes restaurant. Title: Fiesta de colores (Festival of colors).
Artist: Gabriel Sosa, wooden alebrije artisan; seat at Los Danzantes restaurant. Title: Fiesta de colores (Festival of colors).

The artisans, I think with great success, sought to capture and share their roots, customs, and traditions.

Artist: Marcos Lucero, painter; displayed at Hotel Santa Rosa. Title: Bii tugul/Viento de muertos (Wind of the dead).
Artist: Juan Lazo, landscape painter; displayed at El Asador Vasco restaurant. Title: La muerte es mas vida (Death is life).
Artists: Paulino Ramirez and Eduardo Ramirez, painting and wooden alebrijes; displayed at Restaurant Casa Palmeras. Title: La última luz (The last light).
Artist: Alfonso Canseco Peligro, graphic artist; displayed at La Mala restaurant. Title: Siéntate, vamos a tomar (Sit down and let’s drink).
Artists: Luis Lazo and family, textile artists; displayed at Hotel Casa Vertiz. Title: Ciclo de vida (Cycle of life).

Yesterday, the chairs were removed from the restaurants and hotels. Tonight, with an inaugural celebration, they went on display at ARIPO until November 15, 2020. For purchase after that date, contact Matlacihua Arte or individual artists.

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For my skeleton loving grandson, the 2020 skeletons, catrinas, and catrines hanging around Oaxaca.

Seen on the sidewalks, businesses, and balconies of Oaxaca on November 1 and 2 — during these days we welcome and celebrate with our departed.

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Even the recycling bins in Oaxaca are getting into the spirit of Day of the Dead.

Calle Independencia side of the Catedral de Nuestra Señora de la Asunción
In front of the Iglesia de Guadalupe
Zócalo side of the Catedral de Nuestra Señora de la Asunción

And cempasúchil (marigolds) to beckon the difuntos (departed), plastic bottles, and tin cans.

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Calaveras, calacas, catrins, and catrinas, oh my!  (Click images to enlarge.)

In the city and villages, walls and windows, sitting and standing, happy and sad — they are everywhere in Oaxaca!

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Not all the Día de los Muertos murals in Villa de Zaachila were finished, some were still works in progress…

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with ladders and paints standing by…

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waiting for their artists to pick up the brush…

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or spray can, as the case may be.

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I first saw many of the murals in the summer of 2017 and was happy to see they are still intact, albeit some are a little faded.  Celebrated by the community, the new murals join the old and become a part of the landscape of the village.

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A regalito (little gift) to my calaca and calavera loving grandson from today’s visit to Villa de Zaachila for their first Feria del Pan de Muerto, Mole, Chocolate y Espuma.

From murals along the outer side of the panteón (cemetery) in Villa de Zaachila.  Click to enlarge images.

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For anyone who still wonders why in the world I have chosen to live in and thrive in Oaxaca, go see the latest Pixar movie, Coco.

Entrance to the Panteón de Xochimilco, Oaxaca – Oct. 31, 2017

The filmmakers “based the Rivera family — a multigenerational matriarchy headed by Miguel’s formidable abuelita, or grandmother — on real-world families with whom they embedded while visiting the Mexican states of Oaxaca and Guanajuato between 2011 and 2013.”  (How Pixar Made Sure ‘Coco’ Was Culturally Conscious)

Panteón in San Antonino Castillo Velasco, Oaxaca – Nov. 4, 2017

From the elaborately embroidered blouses and animated fantastical alebrije to the cemeteries and “life” of Día de los Muertos, Oaxaca provided an inspiration for the film.  (Coco, la nueva película de Disney-Pixar inspirada en Oaxaca)

Panteón San Antonino Castillo Velasco, Oaxaca – Nov. 4, 2017

It is the music and messiness, color and cacophony, and finding joy in just being.

Panteón San Antonino Castillo Velasco, Oaxaca – Nov. 4, 2017

“We absorbed details in every place that we visited, but the most valuable thing was the time we spent with Mexican families.”  (How Coco’s Directors Celebrated the Film’s Mexican Heritage)

Ofrenda display in the Biblioteca Pública Central de Oaxaca Margarita Maza de Juárez – Oct. 31, 2017

It is the Oaxaca of fiestas, street dogs, and papel picado.

Papel picado projected on the Basilica de Nuestra Señora de la Soledad, Oaxaca – Oct. 30, 2017

Above all, it is about the importance of family, living and dead…

Public ofrenda in the atrium of the Catedral de Nuestra Señora de la Asunción, Oaxaca – Oct. 31, 2017

“With all of its music and folklore and artwork, and the story itself, audiences so far feel Coco respects their families, living and remembered.”   (Mexico, Music And Family Take Center Stage In ‘Coco’)

Panteón Municipal de Tlacolula de Matamoros, Oaxaca – Nov. 1, 2017

And, respect for one’s heritage and traditions.

Panteón San Antonino Castillo Velasco, Oaxaca – Nov. 4, 2017

This is the Oaxaca I fell in love with and treasure.

Panteón San Antonino Castillo Velasco, Oaxaca – Nov. 4, 2017

This is the Oaxaca that captured by heart, daily enriches my life, and I call home.

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Yesterday, a sidewalk still life seen walking home from the market…

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We are travelers on a cosmic journey, stardust, swirling and dancing in the eddies and whirlpools of infinity.  Life is eternal.  We have stopped for a moment to encounter each other, to meet, to love, to share.  This is a precious moment.  It is a little parenthesis in eternity.   — Paulo Coelho

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Dressed in their best festival finery…

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The Catrinas have begun arriving in town…

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You see them loitering on street corners…

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Hanging out on balconies (I think she’s in drag)…

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All the better to see and be seen.

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However, in the end, no matter how fancy their finery and glittery their jewels, as José Guadalupe Posada wrote,

La muerte es democrática, ya que a fin de cuentas, güera, morena, rica o pobre, toda la gente acaba siendo calavera 

(Death is democratic, because after all, light-skin, brown, rich or poor, everyone ends up being a skull)

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