Hybrid Culturalism in Mexico

Puebla, MX Catedral de los Angeles

Mexico City, MX 

Puebla, MX Downtown Shopping Center

Puebla, MX This home is where the Mexican Revolution (un)officially began

Catedral de los Angeles aglow in the starry night, Puebla, MX

Mexico City, MX, Shopping Plaza Downtown

Mexico City, MX, dual residence with a commercial building

Mexico City, MX, Renovated Residential building

Cholula, MX, Preserved Church/School

Cholula, MX, Residential homes amidst the sprawling ruins and Cathedral

Oaxaca, MX, Benito Juarez Cathedral

Puebla, MX, Bell Towers of the Catedral de los Angeles, undergoing restorations

Hybrid Culturalism in Mexico

It is well known that Mexico is rich in cultural history and relevance. From the Native cultures to the Spanish Influence, there are many facets of Mexican life that have gained perspective through the turbulent, and yet fascinating history of its people. The photos that I have chosen are representative not only of the history of Mexico and its people, but also of the duality of the culture as it exists in the present day.

            The architecture of buildings seen throughout the trip harkens back to the vast array of influences throughout the construction of Mexico’s larger cities. The tourism board of Mexico describes the architecture as follows: “Having one of the highest numbers of UNESCO World Heritage Sites in the world is a privilege not many countries can boast. Beginning more than 2,000 years ago, Mexico's architectural heritage is a melting pot, mixing Pre-Hispanic influences, colonial style –with its own blend of Moorish, Jewish and Castilian traits–, 19th century architectural trends such as Neoclassicism, Art-Deco and Art Nouveau, and Avant-garde designs from the brilliant Teodoro Gonzalez de Leon, Pedro Ramirez Vazquez and Luis Barragan”. (www.visitmexico.com/en/architecture) These designs and concepts were easily visible in the cities we all had the opportunity to walk through. With the intricate designs and ornate decorations seen within the tile work of Mexico City homes, and the Baroque style art and construction of Puebla, it is easy to be lost in the wonderment of design and structure.

            Specifically within Puebla, I found that there was an almost seamless blending of cultures from the distant past and the current times. The Tourism Board of Mexico states that “Puebla City Centre is a UNESCO World Heritage site and it is one of Mexico’s best-preserved Spanish Colonial treasures. It contains some 2,600 designated historic buildings”. (ww.visitmexico.com) Of the architectural wonders nestled into the surrounding towns and cities, we had the pleasure of visiting some on the list of “must see sites” for Mexico, right there in Puebla. The Metropolitan Cathedral of Our Lady of the Immaculate Conception: built from 1575 – 1640, its towers (at 73.9 m; 244 f) are considered the highest in the country and even Latin America. It is noted for its marble floors, rich gold leaf interior, and awesome main altar – designed by Manuel Tolsa and depicting the kings and queens of 17th century Europe (www.visitmexico.com). I very much enjoyed the beautiful details within the church, and also the stories surrounding the placement of the bells in the towers themselves. Seeing the towers lit up against a star-lit night sky is an experience I will not soon forget. I also enjoyed our brief visit to the fort where the historic Battle of Cinco de Mayo took place. According to historical record, this site was significant because the French army was defeated by a much smaller, less endowed Mexican army at the outskirts of the city on May 5, 1862, thus providing Mexico and the U.S. with our present day celebration of “Cinco de Mayo”.

            In Mexico City, I was inspired by the combination of traditional architecture alongside modern conveniences/amenities, such as “Coca Cola” and “Forever 21” shopping centers. Among the interesting styles of buildings, mostly pre-hispanic/baroque style, is the National Palace itself; boasting a baroque façade, and scrolling images created by famed Mexican Painter, Diego Rivera. The fact that this site has been the location for governmental dealings since at least the age of the Aztecs, shines a light on the idea of “hybrid culturalism” in that the palace itself is literally built atop of ancient Aztec ruins, and remains to be a site that beckons to those seeking entertainment and community events, as well as daily business happenings of the Mexican government itself. The Zocalo was an inspiring location for me, as it centered entirely around history and culture from what seems to be two entirely different worlds The Palacio Nacional overlooks the Zócalo, more properly called Plaza de la Constitución, which has marked the city center since it was founded, as Tenochtitlán, in 1325. Though the Spanish razed the neighborhood's original Aztec buildings, they used the same stones to rebuild the capital city in Europe's image. According to legend, conquistador Hernán Cortés constructed this building with the Emperor Moctezuma's former palace.

Half a millennium, and several governments, later, this is still the center of all the action (www.viator.com).

It makes me happy to think that there can be a dual existence between what has made a people, and what continues to shape those people. The idea of respecting where you came from is given a definition and a beautiful face within the old buildings of Mexican cities. Hopefully this information has enlightened some of you who may or may not have gotten to experience them in the flesh, as I and my classmates have!

Sources:

www.visitmexico.com tourism board of Mexico, 2014

www.viator.com trip advising, 2014

Churches of Mexico

Our first day in Mexico city!!  This is a side picture of Mexico Cathedral.  About 6:15 in the early evening.  It was overcast and misting but so exciting to be in Mexico. 7/11/14

Cholula.  The Great Pyramid. Nuestra Senora de los Remedios bult on top of the Great Pyramid  This beautiful church was built in May of 1574.  The tile reminds me of  the Talavera tile that we saw in Cholula.  Very low on cash but still bought a small piece to put on the window sill! 7/12/14

A sideview of Nuestra Senora de los Remedios. 7/12/14

A small sanctuary connected to Nuestra Senora  de los Remedios 712/14

Close to Nuestra Senora de los Remedios 7/12/14

This is the Santo Domingo Church in Oaxaca.  Gorgeous, very old church.  Due to size and location it  was a very useful church during the revolutionary wars of Mexico. 7/13/14

The Church of Santa Maria.  Located about 22 miles outside of Oaxaca . Situated next to an old friend the magnificent Tule Tree. 7/26/14

This massive tree is between 1,200 to 3,000 years old.  The trunk circumference is a "wow factor" of 137.8ft and 116ft in height!  The Zapotec legend  that it was planted by the Aztec Wind God and Priest named Pechocha 7/26/14

Saint Francis of Assisi Church in Coyoacan,  Mexico.  Frida Kahlo's home town.

8/5/14

 azul y blanco tile back splash  with cross.  Lovely. 7/14/14

Puebla Cathedral.  I really enjoyed

the story that our guide shared with our group about  the largest bell being lifted by the angels. 8/5/14

Puebla de los Angeles

Our host Michelle prepared a delicious Italian meal that night!  Fantastic house and view of the Sierra Madre Mountains.  We climbed Mt. Picacho the next day. 7/26/14

The summit of Mt. Picacho 7/26/14

Catholicism in Mexico seems to be a very strong cohesive in the  Mexican culture and Mexico's rich history.  Throughout my stay in Mexico I noticed many Catholic churches.  There was a sense of religious reverence among many people I encountered.  A culture of faithful who bring their issues, joys, prayers and problems to the cross.   I think that perhaps the cross road/common ground of religion for the Aztec people and the importing of Catholicism from Spain would be prayer.  When all else fails we pray for divine intervention.  A hand of grace or a shower of rain for crops.  The Spanish seemed to find a common denominator when they tortured, conquered and dominated the Aztec people.  "The conquest of Mexico was part of the Spanish colonization of the Americas. The Spanish had been awarded this territory by a Pope named Alexander V1 in 1493, and as far as they were concerned the land and its wealth was rightfully theirs.  They saw nothing of value in the indigenous culture, and more or less set out to systematically destroy everything that had no monetary value."  To me this is tragically displayed in Diego Rivera's mural illustrating Mexico's sometimes torrent history.

My Catholic faith has always bend  a kind of compass built within my life.  Guiding without a spoken word only a feeling, probably defined as faith.   However,  I will have say that sometimes I struggle when I consider the beauty of Catholicism and of its use in serving  as a directive for another countries selfish want at the expense of indigenous people.  This trip has helped me to look deeper into what might seem natural but might have an undertone of indoctrination of a country of people with an inheritance and  belief of  how important nature truly is to humanity's survival. Through  Mexico's  historic struggle of self/ and of the "other " , she  came to understand Catholicism partly through the great story of Juan Diego.  Often we need more than just words or violence.  I believe the people of Mexico saw through Juan Diego's miraculous experience with Our Lady a sign of hope spearheading Catholicism. 

1. www.sacred-distinctions.org
2. http://oncedelivered.net
3. enwikipedia.org

Culinary Arts: The Core of a Culture

One of the best ways to navigate through a foreign culture is to allow your mind, your appetite, and your taste buds to guide you from one signature taste to another. When someone mentions "authentic Mexican food", some of the most instantaneous responses you are likely to encounter in the U.S. include, among others: Taco Bell, Hacienda, nachos, burritos, enchiladas, tacos, guacamole, and anything associated with the rapidly growing Tex-Mex fast food chains. In Mexico, however, the culturally accepted determination of what constitutes "fast food" might be perceived as abnormal through the eyes of the visiting travelers as they roam the crowded streets of some of the most visited cities in the country. Most “fast food” in Mexico comes from street vendors as opposed to large chains, a trend seen from the Federal District of Mexico City to Puebla and Oaxaca City. The astounding and unique ingredients that most commonly constitute fast food in Mexico not only represent the Mexican culture, but also symbolize the distinctive ethnography of a particular geographical region. 

Mexico is one of the fastest-growing, economically developed countries in Latin America, and travelers can expect to experience many interesting things. The first thing that stood out to me, for example, other than the smell of gasoline and the terrifying driving style that seemed to be a constant among the various cities I visited, is the smell of street food and the sight of street vendors. Rather than sitting down in a restaurant to enjoy their meal, as tends to be the norm in the United States, street food has become the fast food for many developing countries such as Mexico. Over a million working class people reside in Mexico City, alone, and tortas, taquitos and tacos vendors serve as convenient and comforting food for both the hardworking people in the city as well as those who are struggling to maintain a family. It is interesting to note that this food does not greatly differ from the food served centuries ago in the same areas. In present day Mexico, for example, the food is still served the same way it was decades ago when agriculturalists brought their lunch to the field: typically these meals consisted of a simple form of protein wrapped with corn tortillas. With corn, or maize, being native to Central and South America, a typical Mexican meal is almost always accompanied by corn products of some sort such as tortillas or tostadas. Nowadays, however, with special dietary needs and also to accommodate visitors, flour tortillas are also available for serving upon request.

Before the Spanish Conquest in the 16^th century, the indigenous population’s basic protein was derived from colorful beans as well as “turkeys, quails and plump little dogs [known as Xoloitzcuintle, Mexican hairless dog] bred especially for table cooking”[1]. Upon the arrival of the early settlers, the Spaniards introduced domesticated animals such as cattle, chicken, and pigs to the New World – introductions that have since enriched the indigenous cuisines with exceptional flavors, most notably the in meat fillings consumed with corn tortillas otherwise known as tacos. One of the most common taco ingredients, by Mexican standards, is tripa, also known as tripe. Whether the intestine is taken from a cow or a pig, its preparation is the same: the animal intestine is cleaned, seasoned and cooked before consumption. In addition, animal hearts, stomachs, tongues, livers, and even brains can be eaten when cooked properly and served on a plate. Why? Because all parts of the animal are comestible and nothing should be wasted, according to traditional practices. For as long as I have lived, growing up in the Chinese culture has allowed me to include the consumption of animal intestine as part of my nutritional intake. The thought of eating animal intestines did not bother me until I moved to the U.S. It is thought-provoking that Northern Americans believe that only certain parts of the animal is “good” for eating, and that, because of this idea, the thought of partaking in any part of the intestine is either gross or dirty. Because these parts are considered inedible, this cultural perception completely eliminates the parts and discards the fact that intestines are also a source of nutrients. In Oaxaca, insects, larva or worm known as chapulines, or grasshoppers, gusanos, or larva are commonly eaten and served as local favorites because it is a source of protein. As part of the indigenous practice of hunting and gathering before the beginning of agriculture and animal domestication, insects were often collected as a source of protein for centuries across the globe throughout different cultures. People have been consuming insects to meet their basic nutritional needs in order to survive in underdeveloped regions. However, the process of westernization has deceived, mislead, brainwashed and imposed later generations with their egocentric ideology. Fortunately, despite the growing influence of the West, ancient methods and traditional practices have continued to prevail in dominant civilizations such as Mexico as individual states recognize both their indigenous language and culture and Spanish influence as part of their national identity.

The indigenous people of Mexico utilized the wealth of flora and fauna as culinary ingredients that have formed fusion cuisine as diverse as the number of indigenous language spoken all around in the world. Not only have they embraced the European influence, they have transformed their traditional recipes into a distinctive taste that can only be acquired through the blending of regional and European roots. Based on the tropical climate of Mexico, fruits such as mangos, guava, papaya, pitaya (dragon fruit), cacao, tuna (fruit), and other fruits native to the area have flourished since the pre-Colombian period. It is not only these native plants, fruits, and trees provided, however, that have had a profound impact of the culinary arts in Mexico: tropical plants and fruit trees of Asiatic origins, for example, have also thrived in the region. More specific examples include rambutan: a red, soft spikey peel with sweet white flesh for eating and a single seed that resembles the lychee native to Southeast Asia; chicozapote, a brown fruit the size of a fist with orange colored flesh for eating with a black seed in the center; negrozapote, a green colored fruit with black flesh that can grow to be up to the size of a grapefruit, commonly used for making refreshments; and pomegranate, a red/orange fruit with honeycomb style compartments of small red seed. This impressive cultural culinary fusion can be found in one of the signature dishes in Puebla: Chile en nogada, poblano chile stuffed with either meat or cheese inside coated with egg batter, deep fried, with a sweet fruity peanut cream sauce garnished with pomegranate seeds and fresh herbs. Huauzontle, a Mexican vegetable related to the common American weed goosefoot that vaguely resembles broccoli[2], prepared the same way as chile relleno, stuffed with cheese and baked with tomato sauce on top. Another indigenous delicacy that many westerners would turn down upon would be a traditional dish called huitlacoche, charcoal colored corn fungus that grows spontaneously on crops are harvest and collected to be stirred fried along with onions, tomatoes and chilies served as a main entrée or as a side dish based on availability. Nopal, cactus plant, with the spines cut and pickled in vinegar to soften the over texture, can also be found on the restaurant menu as a salad or as an appetizer baked with cheese on top with a side of guacamole and pico de gallo as shown in one of the pictures. Amongst the ingredients that are included in a restaurant, the great Mother Nature also have a way to provide for those who are outdoors, if you know what you’re looking for. While hiking up Mount Picacho in Teotitlán del Valle, our guide Luis picked and showed us an natural herb that smells faintly like lemongrass but tastes like fresh squeezed lime juice when you chew on the stalk and the leaf of the plant. The sour liquid of the plant stimulates large amount of saliva at first contact that quenches the thirst almost immediately. As we slowly approach the peak, Luis says that the herbal plant only pertains in the Southern region of Mexico where altitude is above 1,500km or higher. While visiting Cholula in Puebla, another native plant called Cuajiniquil- a species of legume in the Fabaceae family[3], or, in my opinion, an oversize peapod-like plantain looking fruit with cotton-like flesh for eating contains a unique blend of mild sweet taste that also generates saliva in your mouth is also known for soothing thirst is available on the path up to the church sold by a local Aztec vendor. From natural plants that relieves the thirst, to agua de Jamaica- a common drink made from boiled dried hibiscus flowers, horchata- delicious milky beverage made from ground nuts, seeds, and grains originate from Spain[4] that has now embedded in the Mexican, and other Latin American culture, as it is infused with regional ingredients that becomes an essential beverage that is distinctly Mexican, pulque- an indigenous fermented drink made from the maguey plant that typically contains the alcohol content equivalent to a craft beer, and to mescal- the distilled liquor successfully created from agave plants through methods introduced by the Spaniards during the colonial period that the state of Oaxaca takes pride in celebrating the economic phenomenon by sponsoring an annual mescal festival since 1997 to accompany the annual Guelaguetza festivity[5] in the month of July. Since the pre-Hispanic period, to post-Colonial times, and contemporary Mexican society, culinary inspiration continues to originate from both the wealth of the flora and fauna as well as the cultural infusion.

The overnight stay in Teotitlán del Valle under the wonderful hospitality of our host, Michelle, was a remarkable evening that best exemplifies the core value of food in culture. The conversation corresponded over traditional hot chocolate accompany by artisan bread- made by a local Zapotec family illustrating just one of the ancient traditions closely followed today- and chocolate chip with walnut cookies freshly baked from the western style oven, filled the kitchen with the aroma of cacao that continues to provoke the best intercultural moments at the exchange of languages, culture and traditions over the dining table.

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[1] Isabel Hood, The Spanish Inflluence in Mexican Cuisine, BellaOnline’s Mexican Food Editor. http://www.bellaonline.com/articles/art8892.asp.8/15/2014.

[2] Huauzontle. Wikipedia.

[3] Cuajiniquil. Inga micheliana. Wikipedia.

[4] Nicole Akoukou Thompson. Horchata: The History of the Delicious Beverage & How to Make it at Home. http://www.latinpost.com/articles/3801/20131116/horchata-the-history-of-the-delicious-beverage-how-to-make-it-at-home.htm. 8/15/2014.

[5] Festival of Mezcal. Wikipedia.

Tripa/cecina (tripe/dried meat), intestines commonly eaten  as a type of tacos. Mexico City. 7-12-2014

Cuahiniquil, (fruta de vaina), cotton like sweet tasting pods. Cholula, Puebla. 7-12-2014.

Carne de res y chilaquiles. Homestay lunch. Oaxaca City. 7-15-2014.

Chapulines (grasshoppers) on Guacamole, local delicacy served at a restaurant, Oaxaca City. 7-16-2014

Sopa Azteca. Homestay meal. 7-18-2014.

Arbol de guayaba (guava tree) in Monte Albán site, 7-19-2014. 

Gusanos en mezcal in the display area in the Mezcal Festival in Oaxaca City. 7-25-2014. 

Piña de agave ready for roasting in the pit as the primary step into making mezcal.  7-26-2014.

Fresh sliced mangos with chile y sal and a squeeze a lime, outside of Hierve el Agua.

Traditional hot chocolate served with artisan bread made by a local Zapotec family in Teotitlán. 7-26-2014.

Tuna (prickly pear), Mt. Picacho, Teotitlán del Valle. 7-27-2014.

Citrus flavored herb to quench thirst introduced by Luis, the hiking guide to Mt. Picacho in Teotitlán. 7-27-2014.

Rambutan, tropical fruit native to Southeast Asia sold in the Zócalo in Oaxaca City, 8-1-2014.

Chicozapote, sold near the zócalo, Oaxaca City. 8-1-2014

Nopales (cactus) baked with cheese served at a local restaurant in Oaxaca City. 8-4-2014.

Huitlacoche (maize fungus) on the left, Carne asada, Cuacamole. Restaurant in Puebla. 8-5-2014.

Chiles en nogada, stuffed pepper with sweet creamy sauce and pomegranate, signature dish of Puebla.  8-5-2014.

Flor de Jamaica (hibiscus flower) for making beverages that is commonly served in restaurants. Market in Puebla. 8-5-2014.

Xoloitzcuintle (Mexican hairless dog) commonly bred for consumption during the pre-Hispanic time, Teotihuacan, 8-6-2014

Huauzontle, an edible Mexican vegetable related to the "goosefoot" family commonly served at restaurants.  Wikipedia. 

Indigenous Representations in Contemporary Art and Architecture

7/11/14 - Palacio de Bellas Artes, Mexico City - Jaguar Warrior Head

7/11/14 - Palacio de Bellas Artes, Mexico City - Eagle Warrior Head

7/11/14 - Palacio de Bellas Artes, Mexico City - Tlaloc Door Ornamentation

Construction on this building originally began in 1904 but wasn’t inaugerated until 1934. At the beginning, the structure was intended to be finished by 1910 as part of the 100 year anniversary of Independence. However, construction conflicts arose as did the Revolution and put a halt on the project. However, given the timing, this building offers a look at two different periods in Mexican history: the end of the regime of Porfirio Diaz with his nod to European style and the Revolutionary period with the final work housing murals by of the most renowned Mexican muralists of the time (Mexican Tourist Board 2012).  For the artists of the Revolution, it was “The return to native values, spiritual and artistic, which is a simplified description of modern Mexican art, in the case of the founders of this new tradition often occurred by way of modern European art” (Brenner 2002).

7/13/14 - Instituto Cultural Oaxaca, Oaxaca, OAX - Protest Poster with Speech Bubbles and Footprints

We were no strangers to protests while in Mexico. This image uses footprints as an indicator for movement or pathway. It also uses speech bubbles, which are commonly seen in codices indicating, communication. Examples of these forms of iconography are present in the mythology of Aztec origin codex:

8/8/14 - Museo Nacional de Antropologia, Mexico City - Excerpt from Aztec Origin Codex

7/13/14 - Porfirio Diaz (Road? Avenue?), Oaxaca, OAX - Bridge Ornamentation Featuring (likely) Cosijo

7/13/14 - Porfirio Diaz (Road? Avenue?), Oaxaca, OAX - Bench with Unknown Figures

Zapotecas make up the largest group of indigenous peoples in Oaxaca and as such, it was common for us to see descriptions at museums and archaeological sites offered in Spanish, English, and Zapotec. It was also common for deities and artistic styles attributed to the Zapotecas to appear throughout the city. Though I cannot be certain about the deity on the bench, the style is reminiscent of the geometric patterns commonly found in Mitla. The image Cosijo on the bridge is nearly identical to several ceramic sculptures we viewed at the Museo de las Culturas de Oaxaca.

7/15/14 - José López Alavez (Road? Avenue?), Oaxaca, OAX - Mural by artists Búho Villamil and Lucia Rivera G.

I looked for an explanation for this particular image and was unsuccessful. The artists who created this vivid mural have created many other beautiful pieces and I recommend looking them up on Facebook. Besides the image, one of the most striking features about this mural that I noticed is the color pallette. It seems to me that the artists chose to stick with traditional colors and hues that were often used on not only the frescos, but the exteriors of buildings. These ranges of colors were seen on ceramic sculptures in the Museo de las Culturas de Oaxaca, on the frescos in Teotihuacan, and on the recreated exterior of the Temple of Quetzalcoatl featured in the Museo Nacional de Antropologia in Mexico City.

7/16/14 - José López Alavez (Road? Avenue?), Oaxaca, OAX - Mural Image 1: Note the Speech Bubble in Yellow to the Right of the Large Window

7/16/14 - José López Alavez (Road? Avenue?), Oaxaca, OAX - Mural Image 2.

I originally had seven pictures of this mural because it was covering a wall that spanned nearly half of a block. Beyond the one speech bubble visible in Image 1, there are also geometric patterns similar to those seen at Mitla. The images used in this mural vary, though I commonly saw small sections which resembled compasses. For several known ancient Mesoamerican cultures, the cardinal directions were important to elements in religion and spirituality. To further reinforce the common use of indigenous elements or imagery, take a moment to use Google Street View for this section of wall to see how it was previously adorned: https://www.google.com/maps/@17.076205,-96.722913,3a,75y,130.58h,75.75t/data=!3m4!1e1!3m2!1s8prNkJ4q2I4AHFbJIbLjzQ!2e0

7/26/14 - Carretera Internacional, Oaxaca, OAX - Monument to Benito Juarez (the glyph likely represents "Oaxaca")

This is one of many monuments/memorials for Benito Juarez. Juarez, known also for his Zapotec heritage, has become a figure of mythical proportions and is widely celebrated throughout the world. This monument celebrates his life and accomplishments. It includes a glyph that to the best of my searching appears to be the symbol for “Oaxaca" featured in the bottom left-center of the mosaic.

8/7/14 - Filomeno Mata, Garden of the Triple Alliance, Historic District Mexico City -  Bronze Castings of Two of the Three Leaders of the Aztec Triple Alliance: Izcoatl and Nezahualcoyotl

Mexico City was once the seat of the Aztec rule and though very colonialized, there are references to the former occupants. In the image above are two of the three leaders responsible for the Triple Alliance:  Nezahualcoytl of Texcoco, Izcoatl of Tenochtitlan, and Totoquihuatzin of Tlacopan. These three worked to create a unified Mexica rule over the surrounding cities.

The image below adorns the Palacio Nacional and presents the State symbol of Mexico situated between an Eagle Warrior and a Spanish Conquistador. This building was established at the time of conquest and was specifically built on the ruins of the palace of Mocteczuma Xocoyotzin on orders by Hernan Cortes.

8/7/14 - Palacio Nacional, Historic District, Mexico City - The Eagle in the Emblem Faces an Aztec Eagle Warrior

8/3/14 - Plaza Santo Domino de Guzman, Oaxaca, OAX - Image 1: The Base is Reminiscent of Carved Tzompantli Skulls

8/3/14 - Plaza Santo Domingo de Guzman, Oaxaca, OAX - Image 2: The Base is Reminiscent of Carved Tzompantli Skulls

These sculptures were another interesting addition to the Plaza de Santo Domingo de Guzman in Oaxaca. From a distance, the engravings on the animals look glyph-like, but they are not. The bases of each animal (not specifically indigenous to the country) are covered with skulls. I was not able to locate further information regarding the artist or their intent behind each engraving, however, the style of the skulls resemble those seen at Templo Mayor in Mexico City:

8/8/14 - Tenochtitlan, Mexico City - Tzompantli

8/7/14 - Interior Palacio Nacional, Historic District, Mexico City - Section of Diego Rivera Mural Highlighting Pre-Conquest Indigenous Groups

Diego Rivera’s mural inside the Palacio Nacional accounts the history of the Mexican people from the time of Quetzalcoatl to 1930. Impressively, Rivera does not hold back in painting painful, tragic, and even controversial events. He illustrates the abuses that were heaped upon the Aztecs by the conquerors and finishes this mural by illustrating the abuses heaped upon the laborers by elite.

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One of the most refreshing aspects of my Mexico experience were the thriving indigenous cultures. These cultures survive for a number of reasons. Firstly, there are 15 recognized languages of Mexico: a number that does not reflect the scores of dialects within those languages. Secondly, it is estimated that the Spanish were responsible for killing approximately 95% of the indigenous population. Many people of Mexico are Mestizo, a mix of indigenous and Spanish descent, however some groups have maintained purely indigenous bloodlines for hundreds of years. For these people, culture and heritage is maintained through preservation of language, dance, clothing, and often art.

Sandra Rozental writes in her piece, “Stone Replicas: The Iteration and Itinerancy of Mexican Patrimonio” about how cultural identity also exists through location. In Coatlinchan, for example, the conquered people had a relationship to a monolith of Tlaloc and their imposed patron saint, San Miguel. Each deified figure had significance. The relationship to these figures was more than pride, it was a sense of cultural ownership. When the State enacted patrimonio nacional, the ownership of history became the right of the masses and not of the few, per the demands. Patrimonio was created for numerous reasons, including to preserve the remaining history and as a means to prevent artifacts from leaving the country. However, this also meant that the government could take possession of any and all artifacts and had complete control over their use and placement. This created a deficit for the people of Coatlinchan when the State removed their Tlaloc and installed it in the Museo Nacional de Antropologia, effectively stealing a piece of history from the community that had existed around it for hundreds of years or more. “...19th-century scholars found this Coatlinchan monolith and other pre-Hispanic artifacts to be tangible traces of an ancient civilization, and an alternative, non-Spanish and non-Christian patrimonial anchor for the new geneaology of the nation” (Rozental 2014).

A supplement to patrimonio nacional is the right of the State to produce many recreations of the “reclaimed” artifacts.Though the use of recreations can have positive attributes, the abundance of recreations for particular artifacts falls into commercialization. Rozental writes, “...I analyze the multiplication of the monolith as an index of Mexican modernity in the shape of miniatures and souvenirs that materialize the State’s ideological project of mestizaje” (2014). People who have histories and mythologies invested in these original artifacts are less than enthusiastic about the reproductions. For the Tlacauches and the people of the Coatlinchan, they eventually created a life-size replica and performed a ceremony during which they imbued the statue with the powers of the original.

Yes, the State uses patrimonio nacional for the purpose of secured preservation of artifacts and national heritage. Most of the nation is mestizo, making them of mixed Indigenous and Spanish origin and there is a strong sense of nationality present. However, according to Octavio Paz in The Labyrinth of Solitude, that sense of pride was not immediate: “The Mexican and his Mexicanism must be defined as separation and negation. And, at the same time, as a search, a desire to transcend this state of exile” (1985). For Paz, exile was a sense of not belonging to either group, but rather a new group of Mexicans who were orphaned through the Conquest and continue to search for their place. Independence from Spain asserted that Mexico was something different and “After a hundred years of struggle the people found themselves more alone than ever, with their religious life impoverished and their popular culture debased. We had lost our historical orientation” (Paz 1985). The Revolution was the next step to try and reunite orphaned Mexicans with the Mexico they had fought for and inherited.

Anita Brenner shares in Idols Behind Altars: Modern Mexican Art and Its Cultural Roots:

“In the span of one generation Mexico has come to herself. Her first and definitive gesture is artistic. While the government shifts and guerillas still battle for Cristo Rey  and other interests, the builders, necessary as the destroyers, refound the nation. It is a nation which establishes a school for sculpture before thinking of a Juvenile Court, and which paints the walls of its building much sooner than it organizes a Federal Bank. Sanitation, jobs, and reliably workable laws are attended to literally as a by-product of art: for the revolution is a change of regime, because of a change in artistic style, or if one wishes a more usual description, of spirit.”

These images are mixes of the old and the new: generations of Mexicans who are still working to find themselves in the past and present.

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Bibliography:

Brenner, Anita. Idols Behind Altars: Modern Mexican Art and Its Cultural Roots. New York: Dover,

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