Norma’s Jewelry: Chatham Studio Tour, #19, December 5, 6, 13, 14

Hi everybody!  This is a little off target for Oaxaca, but most of you know that I am also a jewelry artist and my studio is open the first two weekends of December.  I’m part of the 50+ artist tour in Chatham County, NC — a juried show that is open to the public.  There’s a map and you can drive around and visit the various artist studios.  (Click on the Chatham Studio Tour on my blogroll to get to the website and the map.)  Here’s a preview of my work.  I’m closing out all my old lines and also my hand knit hats, scarves and shawls.

Francisco Toledo’s Kites

Kites, left to right: Francisco Toledo’s handmade paper kite; kite back; Eric Chavez Santiago’s Zapotec greca kite; kite back; Norma with kites.

Up in the hills in San Augustin Etla, about 30 minutes north of Oaxaca city, is the paper making workshop of Francisco Toledo.  Artists and apprentices first make the handmade paper, decorate the paper with Toledo designs using airbrush painting techniques, the fashion the art into fanciful kites that are sold there in the studio gallery or at IAGO on Macedonio Alcala in the historic center of Oaxaca near the Santo Domingo church.

The kites are decorated with figures that Toledo is famous for:  monkeys, fish, lizards, scorpions, devils, rabbits, dia de los muertos skeletal figures, bulls, cats, demons and denizens.  Art historian Teresa del Conde writes that Juchitan born artist Toledo dazzles us with his inventiveness and interpretation of divine creation, the primigenital force described in Genesis, the magical qualities of composition, the sagas of old Prehispanic codices and the iconographical aspects of his work.  Toledo is an artistic, social and political force in Oaxaca and works to create collaborations and brings people together to solve often difficult issues.

When Eric Chavez was in North Carolina in October he taught a workshop for teachers and one project was to make kites in the Toledo style and tradition.  Yesterday, on Thanksgiving morning, I held a workshop for the children who were coming to dinner.  I want to share this adventure with you.

Left to right: Norma’s painted brown paper bag before it is made into a kite; Kristin, Sierra, Soren and Cassidy making kites on Thanksgiving day.

Left to right:  Norma’s kite series, Thanksgiving Day Kite, Swirl Kite, Zapotec Greca Kite

How to make a kite:

Materials:

1.  Brown paper grocery bag opened along the seams and laid flat (you can also use wrapping paper, old newspaper, plastic trash bags, Tyvek)

2.  Flying line:  cotton twine for flying

3.  Bamboo for the frames and structure.  You can cut apart bamboo window blinds or use bamboo stakes from a garden center.  Or, use think dowel.  You will need 1 piece 24″ long for the vertical bar and one piece 18″ long for the horizontal bar.

4.  Kite decoration: acrylic paints, brushes, stenciles, sponges.

It takes us about an hour to paint and decorate the brown side of the grocery shopping bag.  Let the paint dry (about 30 minutes).  Turn the paper over and lay the sticks in a cross over the area you want for your kite (you need to check the opposite painted side to be sure the design shows where you want it to and you choose the top and the bottom).

With masking tape pieces, tape the shorter 18″ stick a distance of 10″ down from the top of the 24″ stick.  Tape the intersection where they meet liberally!  Tape down the 4 ends of the 2 pieces.

Fold the diagonal sections one at a time, making a sharp crease, so that the paper meets the cross bars.  Cut 1/2″ to 1″ away from the crease, leaving an edge to overlap on the back of the kite.  Do this for all four sides.  Use Elmer’s glue to paste the edges of the kite.  This will take about an hour to dry.  You can then tie your cotton line.  A long tail is needed to fly this kite.  You can make the tail out of the bag handles!

December 2009 Happenings! Oaxaca Textile Museum.

Reciban un cordial Saludo. Estas son las actividades en el MTO para el mes de Diciembre, espero nos puedan acompañar. Información, comentarios y/o inscripciones  favor de comunicarse  a educacion@museotextildeoaxaca.org.mx , difusion@museotextildeoaxaca.org.mx o  Tel. 501 1104- ext. 104.

Greetings!  Here are December 2009 Museo Textil de Oaxaca (MTO) activities for your information.  If you have comments or suggestions, please send them to Eric Chavez Santiago at educacion@museotextildeoaxaca.org.mx or difusion@msueotextildeoaxaca.org.mx, or telephone 501-1104 X.104.

EXPOSICIONES: Coming Expositions: Animated Plots: A Zoological Textile Exposición en curso: “Tramas animadas, un zoológico textil”

· Sábado 13 de diciembre de 2008, 20hrs – Inauguración exposición “Nudos teñidos. Ikat, Plangi y Tritik”

· Saturday, December 13, 2008, 8 p.m., Opening Reception: “Tie Dyeing: Ikat, Plangi and Tritik”

TALLERES Y PRESENTACIONES: Workshops and Presentations

PRESENTACIÓN: PROCESOS DE ELABORACION DE LOS TEXTILES A Presentation on the process of textile weaving and dyeing in Oaxaca. Entrada libre, dirigido al público en general. Free and open to the public.

Descripción: Presentación visual de los tipos de fibras, telares, técnicas de tejido y teñido utilizadas en Oaxaca Description: A visual presentation of the types of fibers, looms, and weaving and dyeing techniques used by weavers in Oaxaca.

Sábado 6 de Diciembre 4:00-5:00 pm (español). Saturday, December 6, 4-5 p.m. (Spanish)

Sábado 27 de Diciembre 4:00-5:00 pm (inglés). Saturday, December 27, 4-5 p.m. (English)

TALLER DE TEJIDO (incluye todos los materiales). WEAVING WORKSHOP (includes all materials)

Descripción: Cada participante tejerá sobre un telar de marco un textil de 20×40 cm con la técnica del tejido simple. Each participant will weave a 20 x 40 cm textile using a simple weaving technique on a frame loom.

Duración: 10 horas. This is a 10 hour workshop, five days, 2 hours per day. Schedule: Lunes 22, Martes 23, Viernes 26, Sábado 27 y Lunes 29 de Diciembre de  11:00am a 1:00pm. [Monday, December 22, Tuesday, December 23, Friday, December 26, Saturday, December 27, and Monday, December 29, from 11 a.m. to 1 p.m.]

Cupo: 10 participantes, dirigido a público en general a partir de 14 años. Limited to 10 participants, age 14 and older.

Donativo: 250 pesos. Cost is $250 pesos per person.

Impartido por: Eric Chavez- Servicios educativos MTO. Instructor is Eric Chavez Santiago, coordinator of educational services, Museo Textil de Oaxaca.

TALLER: TEÑIDO SOBRE LANA CON COLORANTES NATURALES (incluye materiales y muestrario) WORKSHOP: DYEING WOOL WITH NATURAL COLORS (includes materials)

Descripción: Durante los 3 días de taller los participantes conocerán los materiales tintóreos, su fijación y aplicación sobre fibra de lana, cada participante tendrá un muestrario con las recetas utilizadas al finalizar el taller.

Description: During the three workshop days, participants will learn about dye materials and the dyeing process, and how the dyes are absorbed by the wool. Each participant will develop and use dye recipes to apply during the final workshop.

Duración: 18 horas. Length of Workshop: 18 hours. Jueves 11, Viernes 12 y sábado 13 de diciembre de 10:00am – 2:00pm y de 3:00pm – 5pm. Thursday-Saturday, December 11-13, 10 a.m. to 5 p.m. (1 hour lunch break).

Cupo: 10 participantes, dirigido tejedores y público en general. Limited to 10 participants. Weavers and the general public are invited.

Donativo: taller 3 días: 500 pesos. Cost for the three-day workshop: $500 pesos.

Donativo por día: 200 pesos. If participants are only able to attend for one day, the cost is $200 pesos.

Impartido por: Eric Chavez- – Servicios educativos MTO. Instructor is Eric Chavez Santiago, coordinator of educational services, Museo Textil de Oaxaca.

TALLER: TIÑE TU PLAYERA CON AÑIL (incluye añil, no incluye playera de algodón) T-SHIRT DYEING WORKSHOP USING INDIGO (includes indigo dye, does not include cotton T-shirt)

Descripción: Cada participante podrá crear un diseño simple y teñir  su playera en añil con la técnica de teñido de reserva con nudos y pinzas. Description: Participants will create a simple design and dye a T-shirt using indigo (blue) dye. The technique is known as tie-dye, created by making knots and using clothespins.

Duración: 4 horas. Length of workshop: 4 hours.

Sábado 20 de Diciembre 10:00 am-2:00pm. One Day, Saturday, December 20, 10 a.m. to 2 p.m.

Cupo: 15 participantes, dirigido a niños y al público en general a partir de 10 años. Limited to 15 participants, for children age 10 years and older.

Donativo: 100 pesos. Cost for the workshop is $100 pesos.

Impartido por: Eric Chavez – Servicios educativos MTO. Instructor is Eric Chavez Santiago, coordinator of educational services, Museo Textil de Oaxaca.

HISTORIAS PARA HILAR Y COSER: STORIES FOR SPINNING AND SEWING

Para niños de 5 a 23 años. For ages 5 to 23 years old.

Horario: 10:00 A 13:00 hrs y de 17:00 A 18:00 hrs. Hours: 10 a.m. to 1 p.m. and 5-6 p.m. De lunes a viernes (CERRADO MARTES), from Monday to Friday (closed Tuesday).

Relatos mágicos y divertidos, juegos populares, dichos y refranes,  actividades artesanales e información del Museo Textil para dar a conocer y compartir entre los niños la gran diversidad y belleza de los textiles en el mundo.

Amusing and magical stories, popular games, sayings and refrains, craft activities and interesting information from the Oaxaca Textile Museum in order to know, share, and experience the beauty and diversity of world textiles.

Contact information: Informes e inscripciones educacion@museotextildeoaxaca.org.mx , difusion@museotextildeoaxaca.org.mx ,  Tel. 501 1104- ext. 104

TODAS ESTAS ACTIVIDADES SE LLEVARÁN A CABO EN EL MTO. HIDALGO 917, CENTRO, OAXACA. All activities will be held at the Museo Textil de Oaxaca, Hidalgo Street #917, Historic Center of Oaxaca.

Saludos,

Eric Chávez Santiago

Servicios Educativos

Museo Textil de Oaxaca

Hidalgo 917.  Centro, Oaxaca  68000

Tel: (951)5011104 – 5011617 Ext.104

www.museotextildeoaxaca.org.mx

Quick, Post-Election Note From Eric Chavez

I have been reading that NC and Virginia made history in the US by voting democrat this year! this is amazing, it makes me wanting to visit with you soon! a lot of people here is excited of having Obama as president of the US.

Anyway, there are things going on in the city of Oaxaca, today, I prepared a lecture for tomorrow, I will present how to dye cellulose fibers to a group of artists and weavers, this is fun and I am glad to see more and more people interested on this things. There are so many things going on in the city, so many workshops and reading clubs and book fairs and movie festivals. This year in the book fair we´ll have Paul Auster from the US doing reading clubs and workshops, there will be concerts, etc. I am really getting to know more about our city now that I live in it.  I am taking so many pictures with my new camera, I love it!

I wish I was there to see this exhibit, thanks for the link. I was thinking that I would like to visit California next year and go to LA and maybe dysneyland hahaha!

La tinta grita/The Ink Shouts: The Art of Social Resistance in Oaxaca, Mexico http://www.fowler.ucla.edu/incEngine/?theme=fowler_main&content=information_manager&information_manager_id=81

December Holidays in Oaxaca

Winter holidays – during the Christmas season and through the New Year – are a perfect time to visit Oaxaca (Wah-Ha-Kah). The daytime sun is warming and the evening chill is perfect for strolling wrapped in a hand woven robozo (shawl). Festive, brightly colored cut paper flags hang from the tops of buildings and drape across narrow cobblestone streets. Glorious deep cardinal red Buena Noche (red poinsettia) are planted like a carpet throughout the beds of the Zocalo and adorn the arched entry doors of village houses. Doorways are draped in ribbon and twinkle with electric lights.

December 12: Fiesta de la Virgen de Guadalupe

This annual celebration is held throughout Mexico, but in Teotitlan The Dance of the Feather is performed during this day in the church courtyard to celebrate Guadalupe´s anniversary.

December 15-23: Posadas in Teotitlan del Valle

In Teotitlan de Valle, the faithful join daily evening posadas that wend their way through the narrow streets and alleyways of villages, following a band that plays Sousa-like marching music and church elders who carry the Virgin, swinging copal incense and select men and women balancing hand-rolled beeswax candles to light the way. Each year nine families are chosen to host the Virgin Mary on each of the nights before Christmas eve.  Each night represents the nine months of Guadalupe’s pregnancy.  The processionals are led by the hosting family carrying sculptures of Jose (Joseph) and Maria (Mary) through the main streets of the village before delivering them to the next posada house.  Each host family invites relatives and friends to celebrate the honor with them, and the revelry continues through the night with songs, prayer, music, food and drink.  On the last night, the Ultimate Posada (La Posada Ultima) is the most special for the chosen family because they become godparents to the birth of Jesus, who appears in the creche that night to join Joseph and Mary.

December 23: La Noche de los Rabanos (Night of the Radishes)

These are giant red horseradishes grown on farms in the Ocotlan region of Oaxaca, carved into dioramas depicting religious and village life – imagine it and there will be a radish carved to look like it. The lines start to form around the Zocalo at around 4 p.m. and can extend for 12 square blocks. People come from throughout the state of Oaxaca and tourists descend from around the world. The outdoor cafes surrounding the Zocalo are packed and it is difficult to find a seat – squatters arrive early and never get up. People are careful to eat and drink very slowly. There is a raised platform walkway that funnels viewers around the periphery of the staging and display area. Throughout the night, the radish carvers wield big squirt bottles of water to freshen their displays to prevent wilting. The Grand Prize is $10,000 USD!

We like to get there early, around mid to late afternoon, when there are fewer people so we are there as the final carving is being done and the finishing touches are put on – a hat placed on a radish head, a hoe fixed with a toothpick into the hand of a radish farmer, a cross tilted to just the right angle in the arm of a radish priest. Last year, we got to the Zocalo too late, and found snaking lines that had no end, so we crossed through the line and entered into the center of the plaza, able to see a rear view of what was going on, craning our necks to get a glimpse of the radish scenes before us. It was fun to talk to the farmers this way.

December 24: Christmas Eve in Templo Santo Domingo

The gold altar of Santo Domingo Church is never more resplendent than it is on Christmas Eve. If you are going to midnight mass, be certain to arrive and get a seat by 10:30 p.m. otherwise it is standing room only in the back of the church. Overflow is outside the church doors in the chill December air. The entire service is in Spanish and it is punctuated with responsive reading and choral music.

Christmas eve is celebrated in Teotitlan just like everywhere else in Mexico.

December 25: Parade of the Buses

Yes, this is a day off for the bus drivers, who bring their families with them to the city to ride in the parade. Bus drivers own their own buses, and they come from all the surrounding villages to participate. The buses are festooned with flowers, crepe paper, and all sorts of holiday decorations. Family members smile and wave – they remind me of the floats in the Rose Parade. A posada of buses. A sight to behold.

No one works on Christmas day; it is a time to visit with family.

December 31:  Las Cuevitas– Pedimento

Teotitlan villagers walk up to the “pedimento” which they call cuevitas because there are several little caves around this hill.  Folklore has it that an image of the Virgin of Guadalupe was found here and it is considered a sacred place.  People stay overnight to receive the new year here and believe that if you ask for anything you want on January 1st, it will come true during the year.

In Oaxaca City on December 31, families usually have a big dinner together to receive the new year.  At midnight, 12:00 a.m., they eat 12 grapes and ask for 12 wishes.

January 1: New Year in Teotitlan del Valle

The entire village goes by foot or car or tuk-tuk (moto-taxi) to the holy area just outside the village in the foothills that is dotted with caves. There is a grotto there to make an offering of prayers for a healthy and happy new year. The tradition is to bring a picnic and gather up stones from the landscape, build a dream house, make a wish, and the dreams will come true. The first year that we went, we were the only non-indigenous participants. In recent years, we have seen more visitors participating with local Zapotec community members in the ancient celebration.

Remigio Mestas: Textile Museum of Oaxaca Exhibition

“Remigio Mestas: A Mirror on the Rich Textiles of Oaxaca” Exhibition at the Museo Textil de Oaxaca November 9, 2008 to February 16, 2009

Here is an exhibition you won’t want to miss if you are in Oaxaca through mid-February.  Sr. Remigio Mestas has an incredible shop in the arcade next to Los Danzantes Restaurant on the main pedestrian thoroughfare in the old city — Alacala Macedonio.  There are gorgeous textiles from throughout Oaxaca, including handwoven fabrics you can make up into your own huipil, tablecloth, bedspread or pillow, as well as traditional garments that are ready-to-wear.  Below are the program notes for the new exhibition.

Remigio Mestas: Espejo de la Riqueza Textil del Estado de Oaxaca

Remigio Mestas hace brillar las cualidades del buen hacer del tejido y bordado, es un hombre que ama y disfruta su trabajo. Originario de Yalalag, Villa Hidalgo en el estado de Oaxaca, Remigio emigró a la capital del estado cuando tenía cuatro años y vivió rodeado de personas trabajadoras e involucradas en el mundo del textil. Su madre tejía en telar de cintura y también sabía coser a máquina. Su padre confeccionaba camisas y pantalones de manta, ambos eran muy creativos y pronto los hijos aprendieron el oficio y llevaban sus mercancías a vender al mercado.

Remigio Mestas illuminates the process of quality weaving and embroidering. He is the embodiment of someone who loves and enjoys his work. A native of Yalalag, Villa Hidalgo in the State of Oaxaca, Remigio emigrated to the capital of Oaxaca with his family when he was four years old. He was surrounded by family who were immersed in the creative textile traditions of Oaxaca. His mother wove on a backstrap loom and used a sewing machine, while his father made shirts and muslin trousers. Their children soon learned to weave and sew, and took the handmade clothing to sell at the market.

Un día la señora Dolores Cruz Palacios y su hija Mari Cruz Rosales le preguntaron a la mamá de Remigio si no sabía de alguien que pudiera ayudarles con sus ventas en el mercado Labastida. El pequeño Remigio, que en ese entonces tenía siete años, les pidió permiso a sus padres para trabajar con las señoras. Al principio dudaron, pero al ver tanta insistencia del niño, aceptaron que fuera si tanto lo deseaba. Entonces Remigio iba por las mañanas a la escuela y por las tardes trabajaba. Al año, las señoras lo invitaron a vivir con ellas y él aceptó, porque siempre se sintió bien acogido. Le gustaba el trabajo y relacionarse con los artesanos y además se sentía a gusto con aquella familia, integrada por la abuela, su hija y dos alegres niñas: Jorgina y Ana Pérez Castellanos.

One day Ms. Dolores Cruz Palacios and her daughter Mari Cruz Rosales asked Remigio´s mother if she knew someone who could help them to sell at the Labastida market. Young Remigio, who was 7 years old, asked permission from his parents to work with the women. His parents hesitated then agreed when they saw how much Remigio wanted to do this. Each day he attended school in the morning and worked during the afternoon. A year later, the women invited Remigio to join their family and live with them. Of course, he agreed because it was a very comfortable household comprising three generations of women -– a grandmother, her daughter, and two happy grandchildren – Jorgina and Ana Perez Castellanos.

Desde entonces, Remigio admiraba el arte popular, especialmente el trabajo de los tejedores. Pronto notó cuáles piezas estaban mejor concebidas que otras, supo distinguir las regiones en que se elaboraban los textiles, los distintos tipos de tejidos y bordados, así como la utilización de fibras y tintes naturales. También se daba cuenta que había materiales industrializados que deterioraban la calidad de los textiles tradicionales.

Since then, Remigio admired popular art, the work of artisans, and especially the work of the weavers. Soon he noticed which pieces were better quality than others. He learned to distinguish the regions where the textiles originated, the different weaving and embroidery techniques, the use of fibers and natural dyes. He also noticed that pieces made with industrialized materials detracted from the quality of traditional textiles.

En 1978, doña Dolores y su hija fundaron una tienda ubicada a un costado del templo de Santo Domingo y al poco tiempo Mari Cruz y Remigio abrieron un nuevo local en la misma calle al que llamaron “artesanías de Oaxaca” con un giro más artístico y mejorando la calidad de la mercancía. Más tarde, este negocio cambió el nombre a “Juana Cata”, como se le conoce actualmente. En ese entonces, Remigio era un joven que estudiaba la secundaria, se dedicaba al comercio y comenzó a hacer trabajos tallados en madera.

In 1978, Ms. Dolores and her daughter founded a shop located next to the Santo Domingo Church and little later Mari Cruz and Remigio opened a new shop on the same street called “Artesanias de Oaxaca” with a more artistic touch and higher quality merchandise. Later, this business changed its name to “Juana Cata,” as it is now known. During that period, Remigio was attending junior high school, operating a business and beginning to create woodcarvings.

En 1996, Remigio terminó sus estudios universitarios de contador público y supo que su pasión era relacionarse con los tejedores y si algo tenía claro era que se iba a dedicar a esa noble tarea que también era su vida. Así, Remigio conseguía textiles bellísimos, piezas únicas que sólo en su tienda se podían encontrar y comenzó a tener una clientela interesada en obtener obras de exquisita factura, realizados con materiales finos. Interesado en los colorantes naturales, Remigio comenzó a teñir hilos para dárselos a los tejedores y fue de esta manera que inició una nueva etapa en el textil oaxaqueño.

In 1996, Remigio earned a degree in accounting. He also realized that his passion was to relate with weavers and he was certain he wanted to dedicate his life to this purpose. Remigio sought out only the most beautiful, unique textiles to sell in his shop, and began to build a clientele interested in purchasing exquisite handcrafted pieces made with only the finest materials, including those made with natural dyes. His interest grew and he began to dye yarn and provide them to weavers, and in this way a new era for Oaxaca textiles began.

En 2002, el éxito de Remigio lo llevó a abrir otra hermosa tienda en Casa Vieja, en la calle peatonal más concurrida de la ciudad. Con una clientela cautiva, el local se ha convertido en un punto obligado para los amantes de los textiles de Oaxaca. En 2006, por los problemas políticos y sociales, y la ausencia de turismo en la ciudad de Oaxaca, Remigio inauguró otra tienda en San Miguel de Allende, en el estado de Guanajuato. Su preocupación era continuar con el apoyo a sus paisanos indígenas, a sus tejedores.

In 2002, Remigio´s success led him to open shop in Casa Vieja, located on Alacala Macedonia, the busiest pedestrian street of the city. With a captive clientele, the shop has became a “must visit” stop for lovers of Oaxaca textiles. In 2006, due to societal unrest and the resulting absence of tourism in the city of Oaxaca, Remigio opened another shop in San Miguel de Allende, in the state of Guanajuato. His commitment was to continue supporting his fellow indigenous people — his weavers.

Remigio es conocido por la generosidad de sus conocimientos, de ahí su éxito como un maestro que disfruta enseñar a sus clientes las características de cada textil. Con ternura explica la procedencia de la pieza, los materiales en las que se realizó, el significado del diseño, la utilización de tintes naturales y destaca la belleza de la prenda. Trabajador honesto y comprometido con los artesanos, Remigio ha logrado sensibilizar a sus clientes y concibe cada pieza como si fuera un tesoro. El comprador siempre sale satisfecho de valorar el trabajo, el tiempo y la calidad de la prenda adquirida.

Remigio is known for the generously sharing his knowledge. He is a master who enjoys teaching customers about the qualities and intricacies of each textile. Tenderly, he explains the origin of the piece, the materials with which it was made, the meaning of the designs, and the use of natural dyes. Each piece is a treasure. Remigio has succeeded in raising awareness for highest quality artisan made textiles. He represents the weavers with honesty and commitment. Customers leave his shop satisfied and appreciate what they have purchased.

La visión de Remigio ha logrado mejorar notablemente el textil oaxaqueño. Su experiencia y su origen indígena han sido factores fundamentales para haber contactado a los mejores tejedores del estado y muchos de ellos han podido comprender que al mejorar la calidad de los hilos, su trabajo luce más y es mejor remunerado. Sin duda, esta contribución es el reflejo de un hombre generoso, que creció en un ambiente de trabajo y constancia, sensible a las manos de los artesanos de Oaxaca y capaz de transformar una pieza en verdadera obra de arte.

Remigio´s vision has had a notable impact on the textiles of Oaxaca. Because of his experience and indigenous origins, he has been successful in contacting and guiding the best weavers of the state and many have understood and responded by improving the quality of the yarns they use. As a result, their work is higher quality and can command a higher price. Without doubt, this contribution reflects on his generosity, his constant work and perseverance, and sensitivity for the hand work created by Oaxacan artisans and capability to transform something into a truly great piece of art.

El Museo Textil de Oaxaca rinde homenaje a Remigio Mestas por su habilidad para comprender, experimentar y sorprender al mundo con su trabajo en beneficio del textil mexicano.

The Museo Textil de Oaxaca pays homage to Remigio Mestas for his ability to understand, experiment and surprise the world with his work that benefits Mexican textiles.

********

Written by Maria Isabel Granen Porrua, November 2008, translated by Eric Chavez Santiago with assistance from Norma Hawthorne

Easy Recipe: Pumpkin Bread with Oaxaca Chocolate and Raisins

Fabulous for Thanksgiving!

I made this the other day for Janet and Eric Chavez Santiago who were visiting from Oaxaca and they inhaled it. We even toyed with the idea of starting a bakery just because this is SO delicious! The Oaxaca chocolate adds a dark chocolate-cinnamon-almond bite to excite usually boring pumpkin bread. For a special treat, serve with vanilla ice cream.

Step One:  Stir Together Dry Ingredients

1 ¾ cups pre-sifted white flour
1 teaspoon ground cinnamon
1 ¼ teaspoon baking soda
1 teaspoon salt

½ teaspoon baking powder

½ cup dark or golden raisins

½ cup Oaxacan chocolate, coarsely chopped

Step Two:  Combine Milk and Vanilla — Set Aside

1/3 cup milk
1/2 teaspoon vanilla

Step Three:  Cream Together …

5 1/3 tablespoons unsalted butter, at room temperature
1 cup sugar
2 large eggs
1 cup pumpkin puree

In a large bowl, cream together butter and sugar until smooth using a wooden spoon or electric mixer. Beat in eggs one at a time. Add pumpkin and beat on low speed until just blended. Add the flour mixture in three additions, alternating with milk and vanilla mixture, beginning and ending with flour. Stir until smooth.

Step Four:  Spray and Bake

Using spray cooking oil, lightly spray a loaf pan. Line with parchment paper. Pour batter into a greased loaf pan and bake at 350 degrees until toothpick inserted in center comes out clean, about one hour.

Diagramming the Altar of the Dead: Dia de los Muertos

Beginning in pre-Columbian times in the Zapotec culture, the dead are remembered through ofrendas (offerings).  Each year the souls of the dead return to earth to partake with the living the foods they enjoyed when they were alive. The ofrenda rests on an altar dedicated to the dead relatives who are only able to return if their path is lit and they can find their way through the underworld.  The ofrenda and altar is constructed around the elements of underworld, earth and sky.  Here is the interpretation, as told by Eric Chavez Santiago.

Level One — Sky:  represents religion and the sacred.

Level Two — Earth:  this is the main part of the altar since it contains most of the characteristics elements including photos of the people remembered, food, fruits and beverages.  This area is divided into four equal parts representing the four elements of the earth and the four seasons of the year.  Summer is represented by the image of the person remembered, the salt cross, fruits, bread and food, sugar skulls, flowers, and chocolate.  A glass of water or mezcal represents spring.  Fall is represented with candles, fire, which is necessary to mark the path of light to guide the dead from the underworld to earth.

Level Three — Underworld: This the the place where the dead and the souls of purgatory rest.  It is the road towards the world of the living where the dead need a guide represented by the candles marking the four cardinal points. This is represented with copal incense to purify the atmosphere, a vase of white flowers to symbolize purity and tenderness, and yellow flowers to symbolize richness, and a small carpet as an offering for rest.

The ofrenda that Eric and Janet Chavez Santiago constructed at the University of Notre Dame’s Snite Museum of Art was in honor of their grandfather, Jose Chavez Ruiz, a master weaver who died at the age of 85 in 2006.   He took the family design of the caracol (snail) to the next level, achieving a special technique to create a difficult to execute curved design, replicating those carved in the Zapotec temples of 700 AD.  The Chavez Santiago family continues to create tapestries in the traditions of their forefathers.

Dia de Los Muertos: Day of the Dead in Teotitlan del Valle

Dia de los Muertos, Day of the Dead, is the second most important celebration in the Oaxacan village of Teotitlan del Valle after the Preciosa Sangre de Christo (Precious Blood of Christ) honoring the patron saint of Teotitlan, which is always held the first Wednesday of July (except when the first Wednesday of July is not July 1).  Things are complicated in Mexico and there are many things to celebrate.  According to Janet Chavez Santiago, who knows these things, Dia de los Muertos ranks as the fourth most important celebration across Mexico after Christmas, Independence Day and the Dia de la Virgen de Guadalupe in December.

Janet and her brother Eric just completed a Day of the Dead Altar (Ofrenda) at the University of Notre Dame’s Snite Museum of Art, where they presented a lecture about the meaning of the altar and life in their village just outside of Oaxaca City.   Janet recounts that on October 31, the day before the Day of the Dead celebration on November 1, she and her mother Dolores go to the village market to buy fresh fruit and bread and chocolate and other delicious traditional foods preferred by the loved ones who have departed. Around 1 p.m., head of the household Federico Chavez will place the foods on the altar.  (Every family in the village will have a separate altar room that is used for this and other special celebrations.)  Dolores and Janet will be busy in the kitchen preparing tamales or mole or barbacoa (barbecue).

People in the village of Teotitlan believe that at 3 p.m. on November 1 the souls of the dead relatives will arrive and begin to enter the houses of their families.  The sound of firecrackers can be heard throughout the village to usher in their welcome.  The altar rooms will be filled with sweet copal incense.  A festive table will be set in the altar room and families like the Chavez Santigos gather to each the special meal.  Then, they’ll go to visit and pay their respects to their relatives, godparents, grandparents, brothers and sisters, bringing bread, fruit, pecans, peanuts, mezcal and chocolate, to pay tribute and honor the dead of those families.  The offerings are wrapped in a specially embroidered cloth and folded in a bundle to present to the woman of the house to put on the altar.  The tradition is for honoring relationships, memories and sharing.  The visitor, in turn, is invited to sit, take some bread and chocolate, drink mezcal and catch up on family and village life.  In the Chavez home, visitors are presented with a gift of fruit, bread or tamales from the altar.

The altar is ripe with symbolism.  In Teotitlan del Valle, traditional altars are built to represent the underworld, the earth and the sky.  The earth is the table of the altar and the sky is represented by the framed images of the Virgen de Guadalupe and Jesus Christo that hang on the wall behind the altar.  An arch of sugar cane frames the images and represents a door to the sky.  Beneath the altar are lit candles, smoking incense and urns of marigold flowers.  The light and scents help the dead relatives find a path through the underworld to come to earth to revisit their relatives who have provided an altar full of favorite foods to entice their loved ones back to earth.  A framed photo Eric and Janet’s grandparents occupy a prominent place on their altar, which is also adorned with cut out colored paper that represents the air.
If grandfather loved mole Amarillo, it will be there on the altar for his lunch.  If Tia Ofelia loved candy, it will be there on the altar.  If primo Arnulfo always insisted on eating tamales con pollo con salsa verde, then chicken tamales with green chile sauce will be there for him. A glass of water or mezcal or beer is placed nearby.  The meal will be luxurious for the living and the dead.

On November 2 at exactly 3 p.m., the souls of the relatives leave through the arch to return to the sky or heaven.  Then, Teotitecos go to the cemetary at 4 p.m. to spend the night with their family members, carrying with them more marigold flowers, incense, candles and food.  This year, 2008, the dead will leave on November 3 because November 2 is a Sunday, and if it is Sunday, the doors of the cemetery will be closed.  The souls of the dead cannot leave on a Sunday.

Eric adds that you can find many different versions of The Day of the Dead in each village and the city of Oaxaca, as well as throughout Mexico.  Some believe that dead children will return on October 31 and depart on November 1 at 3 p.m. just as the adult spirits are arriving.  “Starting on October 31 through November 2, my mom puts out chocolate and soup for breakfast, then mole coloradito or mole negro for comida (lunch), and a cup of hot chocolate and bread for cena (dinner) at night.  The food on the altar changes for each meal over the three days.  That’s how we do it in Teotitlan.”