A few weeks ago, Manuel got in touch about his new business venture, The Latin Boutique. With his sister, Vanessa, he began importing artisanal goods from Mexico and Latin America, both to support local producers and to meet the growing demand for these kinds of items in the UK and Europe.
I absolutely loved everything handcrafted in Mexico and was really keen to find out more, so I asked Manuel a few questions about his business and why traditional Latin American products are so unique.
What inspired you to import products from Latin America to Europe?
We like these handcrafted products a lot, they have been present in our lives since I can remember. Unfortunately not everyone has the chance to travel to Latin America, so we would like to bring them to people here in Europe. Also we would like to explain which regions these products are from, so people can learn a bit about the local culture, traditions, cuisine and so on.
Why do you think there is demand for Latin American goods in Europe?
I have noticed that in Europe over the last few years the interest for Latin American culture has been growing rapidly. The number of Mexican and Peruvian restaurants has been constantly increasing as well as salsa classes and other Latin music lessons and venues.
If you could bring only one artisanal item back in your suitcase from Mexico, what would it be?
A handmade unique musical instrument from San Miguel de Allende.
Traditional Mexican castanets made from ‘corazón del mar’ seeds.
What can we do to keep supporting local and rural producers of these specialist goods in Latin America?
We help the local artisans promote their goods and we’re finding customers for them. We aim to promote Latin America as a tourist destination and we would like to encourage people to discover that amazing part of the world.
What is your best-selling product?
Tin mirrors and leather accessories.
A beautiful Mexican tin mirror, available at The Latin Boutique.
Do you have any favourite Mexican artists?
I am really impressed by works of Frida Kalho and style of Diego Rivera, and I believe that the story of their lives is very fascinating. I also find the indigenous art of Chiapas, a region located in the south of the country, especially interesting.
What is your favourite place in Mexico, and why?
My favourite place in Mexico is called San Miguel de Allende. It’s a small city located four hours north of Mexico City. I like it because it’s very quiet and with picturesque colonial architecture, the streets are paved with stones and the houses are pleasantly colourful. The local food also really unique.
San Miguel de Allende.
You can find all of Manuel’s current items at The Latin Boutique, with free shipping on UK orders over £20. You can also find out where they’ll be selling their beautiful products around Manchester and Liverpool.
In a flash, the stage is bursting with almost forty Juans and Marías whirling about at a hundred miles an hour, hankies in hand, dressed in dazzling costumes of orange and yellow like a bowl of zesty citrus fruit come suddenly to life. The first five minutes leave you simultaneously exhausted and invigorated, and that in itself lets you know it’s going to be really really Mexican.
Amalia Hernández’s Ballet Folklórico de México visited the London Coliseum in July for the first time in over twenty years as a part of the programme of events for the Mexico-UK Dual Year 2015. Dance, music, parties and celebration form such an integral part of Mexican life, and have done since time immemorial, that it’s just the perfect way to capture the essence of Mexico in one intoxicating showcase.
The dances are Mexican, of course; a varied programme of beautifully choreographed pieces that give us a political as well as historical and geographic tour of Mexico. It’s important to appreciate the impressive amount of research, training and technical ability that goes into its production (the ballet has a permanent residency at the Palacio de Bellas Artes in Mexico City as well as its internationally touring company). But the show from start to finish is just so much more: it encapsulates the vital elements of Mexican life, and, crucially, the feel of it. Essentially, it’s a complete education in Mexican spirit delivered in full volume, at breakneck speed.
One of the things I love most about Mexican culture is how inclusive it is, nowhere more evident than at the regular family fiestas where guests both young and old are trussed up in ridiculous party paraphernalia dancing alongside one another from dusk until dawn. Mexicans just really get stuck in and throw themselves into things without the stuffy self-awareness and stiff upper lip that’s so characteristic of the British. The Ballet Folklórico appeals to everyone, it’s just impossible not to get swept up in the vivacious energy that radiates from the stage. They’re having fun and they love what they do; it’s evident and contagious.
With an abundance of sombreros and criminally tight trousers, and enough elaborate stomping to get Michael Flatley toe-tapping, the show is hugely entertaining, a visual and aural delight. The performance, like the culture, is totally immersive, not just literally (when the company dances with the audience in the aisles), but emotionally, too. It’s cheeky and romantic, raucous and unapologetic. There are shouts of encouragement amongst compadres on the stage: “¡Eso!” and “¡Viva México!”, and streamers are thrown bountifully into the auditorium. Just the same as you’ll find when visiting Mexico, they don’t just want you to enjoy it, they want to you to share it: it’s an open invitation to empathise with their national pride – an honour indeed as it’s hugely cherished and was notably hard-won.
I can’t talk about the Ballet Folklórico without giving the musicians – the mariachi and jarochos (who belt out the tunes as well as mastering their handheld instruments) – the praise they deserve. The show is not only a dancing triumph but a musical extravaganza. And I’m pretty sure they’re the only nation who could fit two full-blown fiestas into a couple of hours. It’s no mean feat, and a thoroughly enjoyable one. When you’ve got a British audience in one of the UK’s most prestigious venues whooping and cheering on their feet, I think you can safely say you nailed it.
You’ve now missed the opportunity for a slice of fiesta with your afternoon tea (hopefully they won’t wait another twenty years), but, as if you needed an excuse to go to Mexico, the Ballet Folklórico is performed throughout the year at the Palacio de Bellas Artes in Mexico City and tours internationally.
This article was originally written for Mexico Retold.
Despite the lengthy break (insert torrential apology here) this blog definitely isn’t finished, I still have a long list of posts to write, and not a day passes when I don’t think of Mexico. In the meantime, I’ve been reading a lot, and I’m currently reading an incredible book with a passage I wanted to share. I know lots of people who have so kindly supported this blog are similarly wandering-minded, people who have shared that inexplicable but unignorable pull I felt before I went to Mexico, to escape the confines of my home country, culture and everything I knew. We all have our own reasons for going, but whether it’s borne of a simple boredom and restlessness or a valiant quest for the meaning of life, there’s a common denominator: we are compelled to question, to learn, to explore.
Culture and identity have been key themes explored during my time in Mexico and documented here, and just a short step on from analysing personal culture and sense of identity lays a broader international and political perspective: ideas of nationalism and borders, territories and boundaries. Stepping outside our own culture is hugely liberating; it is, metaphorically and physically, like stepping outside of your self. The freedom to form our own thoughts and opinions is a luxury we just seldom have the time or capacity for when we’re lodged prohibitively amidst the everyday doldrums of school, studies, work, politics; even the smaller cycles perpetuated by pressures and consensus amongst family and friends. And they’re just the external factors, never mind the pressure we put upon ourselves, the neverending drip of doubts that seep through layers of consciousness like acid rain. We might be struck by the odd bolt of inspired thought, but never seem to have the freedom to explore them fully, to develop our true selves as we’d like to.
“But let’s just suppose. What if the whole deal – orientation, knowing where you are, and so on – what if it’s all a scam? What if all of it- home, kinship, the whole enchilada – is just the biggest, most truly global, and centuries-oldest piece of brainwashing? Suppose that it’s only when you dare to let go that your real life begins? When you’re whirling free of the mother ship, when you cut your ropes, slip your chain, step off the map, go absent without leave, scram, vamoose, whatever: suppose that it’s then, and only then, that you’re actually free to act! To lead the life nobody tells you how to live, or when, or why. In which nobody orders you to go forth and die for them, or for god, or comes to get you because you broke one of the rules, or because you’re one of those people who are, for reasons which unfortunately you can’t be given, simply not allowed. Suppose you’ve got to go through that feeling of chaos and beyond; you’ve got to accept the loneliness, the wild panic of losing your moorings, the vertiginous terror of the horizon spinning round and round like the edge of a coin tossed in the air.
You won’t do it. Most of you won’t do it. The world’s head laundry is pretty good at washing brains: Don’t jump off that cliff don’t walk through that door don’t step into that waterfall don’t take that chance don’t step across that line don’t ruffle my sensitivities I’m warning you now don’t make me mad you’re doing it you’re making me mad. You won’t have a chance you haven’t got a prayer you’re finished you’re history you’re less than nothing, you’re dead to me, dead to your whole family your nation your race, everything you ought to love more than life and listen to like your master’s voice and follow blindly and bow down before and worship and obey; you’re dead, you hear me, forget about it you stupid bastard, I don’t even know your name.”
It’s from Salman Rushdie’s The Ground Beneath Her Feet, which follows three peoples’ lives knitted closely together only to unravel wildly throughout this tragic tale. I haven’t finished it yet but I highly recommend it. And I’m totally poaching “the whole enchilada” for my everyday lexicon. In the book, Rushdie explores themes of home, belonging, escapism and identity, as well as their consequences. His writing is as questioning and provocative as any work of political non-fiction, and while I’m back in England, it’s literature I turn to to give my mind the taste of liberty it craves.
There is such immense opportunity in independence; when chatting with friends we have likened extended travels to a kind of rite of passage¹ to peace of mind, self-knowledge and realisation. What makes us happy? What do we really care about? What do we value most? Egotistical though it seems, to leave our loved ones behind and spend so much time thinking about ourselves, it’s more like a simultaneously selfish and selfless finding and losing: you lose yourself in the bigger picture, and you find your place in it. We come home, and by all superficial appearances things go back to how they were, yet we continue to live in a heightened state of awareness and autonomy. What an incredible privilege to have had that experience.
Having a British passport gets me practically anywhere in the world, with relative ease. Many passports don’t have that kind of international leverage, and it’s just one of an endless list of consequences of that long-established global order that breeds a warped sense of cultural and national superiority and creates a kind of NIMBYism on a global scale. Having a sense of national pride isn’t wrong, but it is dangerous. It is natural to feel love for a country you have grown up in, to feel a sense of reciprocal obligation, but there is nothing natural about incarcerating others in the country they were born in, condemning them to a life of poverty and misery because they had the misfortune of not being born elsewhere. It’s so valuable to get out, to question our politics and motivations, open our hearts, feed our minds, and nourish our souls, for ourselves and for humanity. And to remember that even if we go back in, we’re not going backwards.
Image by one of my favourite artists, Lisa Congdon
Footnote:
1. The concept of the rite of passage was innovated by anthropologist Arnold van Gennep to describe rituals that initiate members into various stages of society, such as transition into manhood or marriage. His major work was Les Rites de Passage (1909), in which he observes a tripartite sequence in ritual observance: separation, transition, and incorporation. One hundred years on, we are truly global citizens: could the 21st century rite of passage be about getting out not getting in?
I am very excited to be publishing this guest post by Ellie Cusack, an English culture-enthusiast who fell in love with everything Mexican while living in Puebla. You can read more on her experience of Mexico on her blog, Tea and Tacos, at elliecusack.wordpress.com.
Puebla’s Top Tipples
Puebla’s highly specialist cuisine is often lauded to be amongst the best in Mexico, and its best-known culinary dishes are well documented (and nowhere better than here on Soy Poblana!). But besides the more obvious tequila and mezcal, Puebla is also home to some lesser-known, but no less delicious, beverages. Here’s my pick of Puebla’s best sips: Pasita It’s obligatory to use the words rustic, characterful and artisanal to describe La Pasita. It is indeed all those things, but more plainly speaking it’s a dusty time machine back to Puebla of old, 1916 to be precise, when the famous cantina was first…
When I first saw Ellie’s blog Tea and Tacos, I was immediately drawn to the name. It perfectly blends the Mexican and the English and it made me smile, as do so many of her posts. You can read in every word, just how much Ellie has fallen in love with Mexico and the family that she lives with. She was therefore a perfect person to guest post on Mexico Retold. I hope you enjoy her piece all about the Christmas Posada, by line two I already had a big smile on my face! Happy Christmas to everyone…
Omar is the archetypal patriarch, and never more in his element than when hosting a traditional Mexican fiesta surrounded by his nearest and dearest and whoever else wants to tag along – everybody’s welcome. They say that his sizeable paunch doesn’t house an enormous stomach but his corazoncote – his giant heart. Like…
Firstly, apologies for not writing for the longest period of time since my arrival, the last month has been somewhat eventful. I went on holiday to the Riviera Maya, where my parents met me to share a blissful ten days of rest and relaxation (pretty sure they wouldn’t word it exactly like that); I had my last day at work – boo hoo; and my nephew who wasn’t due to be born until January decided he wasn’t to miss out on a sleigh-full of presents so arrived a month early. All these have made things a bit hectic writing-wise; I have been a terrible blogger and neglected Day of the Revolution, and the Day of the Virgin of Guadalupe, and numerous trips which I will catch up on in due course, but in terms of my life in Mexico, a big shift has occurred. I came back from holiday and everything was different. Suddenly I had only ten days left at work. Suddenly I had passed the 11 month mark – only a month left to go. And suddenly I realised that Puebla had become home.
When I left the UK, I didn’t cry saying goodbye to anyone, not even at the airport. There were moments when a little welling in the ducts threatened to ruin my steely facade, but the ruling emotion was far more casual excitement at the unknown adventures to come than cautious apprehension (you will find the proof in my initial posts!). However, after ten months away, I was obviously ridiculously excited to see my parents. Our holiday was great: it made me realise how adult I’ve been this year (though I manage to hide it quite well), and I had an opportunity to share with them a slither of my experience here. Saying goodbye, however, was awful. Ten days together after so long apart was nothing but a merciless teaser. When I left the UK I knew I’d miss them, but not how much. Now I knew how difficult it was, it was much harder to say goodbye again. Silly really, because I knew I’d be seeing them again in a mere six weeks, but the heart does not always obey the head, and the prospect of a Christmas away from home was a tricky one.
The journey back to Puebla was spent stifling tears through a ragged tissue. As they always do, our holiday had gone far too quickly. But just a few hours later, there were my host mum and dad waiting for me at the bus station in Puebla, and how wonderful it was to see them! I gabbled away all the way back to the house, catching up on everything I’d missed and filling them in on all of our visits. It wasn’t depressing to be arriving back in Puebla rather than in England, but comforting. And that was when it hit me: Puebla really isn’t just a place I’m staying any more, it’s the place I’ve made home. It shouldn’t be surprising – it’s an essential part of minimising homesickness to try and immerse yourself completely and make your new location home as quickly as possible, yet in the back of your mind there are the constant reminders that it isn’t what you’re used to – the language, the people, the traffic, the climate – a subtle but persistent resistance to an unfamiliar culture that isn’t your own. I didn’t realise how normal life in Puebla had become until I left and came back again. And it’s a double edged sword, because now I am not only longing to go home, to be with my loved ones and surrounded by home comforts, but also all too aware that I have loved ones and home comforts here.
Then, all of a sudden, my nephew, due to be born the very day of my arrival back in England, pops his little self out (with some surgical assistance) wayyyyy before we were expecting him! I was already feeling anxious about making it back before he graced us with his presence, and the shock I went into upon hearing of his birth was agonising. Those precious first minutes, hours, days and weeks, I am missing – and will be counting down until the moment I squidge his fleshy little hands in mine. Not to be too dramatic (totally out of character), but it felt like somebody plunging an armoured fist through my chest before slowly and ruthlessly wrenching out my heart not to be comforting my sister through such a simultaneously tremendous and terrifying time. Anybody who has been away from home for any period of time can sympathise with this kind of longing I’m sure. I just had to remind myself to be grateful that it was a joyous event I was missing, and thankful that everyone is okay – surely much easier to deal with than if something tragic had happened while I was away (which was actually my biggest fear about leaving). Nonetheless, I sobbed, and sobbed, and sobbed, until there was no sob left and I’d given myself a headache. Unfortunately, I fear this may have started a trend which will continue until my departure and quite possibly some time into my arrival…¡más chillona que nunca!
Also, good to remember that it’s not all about me, and I’m not the only one missing my family. My host family are missing their son, who is in Germany as part of the exchange programme that allows me to be in Mexico; without their daughter who lives far away up in the north of Mexico; and without their Dad who has gone to spend Christmas with his daughter and her husband’s family. My host mum had to stay behind to look after her elderly mother (and me), so I have as much responsibility to nurture them in this season of love and family as they do me. I’ve enjoyed over 20 years of Christmases not just in England, in my home town, but in the very same house, so I’m excited to see what Christmas here has in store. And Mexico never disappoints on the celebration front. With a seasonal calendar full of fun festivities, my birthday, and a family holiday booked for over the New Year, my last month is sure to fly. What an incredible year it has been and I’m absolutely determined to make the most of every moment until the last.
“There’s no need to rush home now the baby’s been born, stay a bit longer,” say my host family.
“Remember that you’re only on loan and I do want you back,” says my mum.
Suddenly the prospect of going home has become a lot more wrought with emotion than leaving ever was.
Cuetzalan is a small town set high in the hills of the Sierra Norte, about three and a half hours from Puebla. Its hot, rainy, humid climate make it incredibly fertile and home to an astounding level of biodiversity. It is known for its strong indigenous traditions and Nahuatl-speaking Totonac Indian population, but tourism has rapidly increased since it was declared a Pueblo Mágico in 2002.
The town is named after the exquisite (and almost extinct) quetzal bird, native to Mexico and Central America, who makes its home in cloud forests at high altitude. It’s a beautiful, delicate little creature with plumage of red, green and blue, which was considered sacred by ancient Maya and Aztec people. Most famously, Aztec emperor Moctezuma II (ruler at the time of the Spanish conquest) wore an elaborate headdress of quetzal feathers on a base of gold encrusted with precious stones: it is currently on display at the Museum of Ethnology in Vienna, and the Mexicans are more than miffed about it. The quetzal continues to be the emblem of Cuetzalan, the crest of which inspires the headdress of the local indigenous Quetzal Dance, and this distinctive circular shape is depicted in all sorts of souvenirs sold there from napkin holders to necklaces.
Just outside of Cuetzalan is the archaeological site of Yohualichán: it consists of five pre-Hispanic buildings once home to the Totonac people, who were until the 19th century the world’s main producers of vanilla and whose territory stretched right from the highlands of northern Puebla to the coast of Veracruz. Set up on high with spectacular views over the jungle valley below, the site is very impressive. And as we so often find in Mexico, right outside the site is the church built by the Spanish when they arrived and tried to eradicate indigenous Mexican beliefs and traditions.
Yohualichan
The church outside of Yohualichan
Mexican man
Snakes on display found on the grounds of Yohualichan…mind your step!
Yohualichan
Yohualichan
Yohualichan
Pepper corns drying on the roof
Fun with the family
Also just outside of Cuetzalan is the Jardín Botanical Xoxoctic, a beautiful botanical garden which shows, protects and develops much of the area’s natural wildlife, including an astounding range of orchids, coffee, cinnamon, passion fruit, bamboo. Additionally, there is a wonderful butterfly sanctuary and a tree which ‘bleeds’ red sap, the SangredeGrado (Dragon’s Blood).
Little owl caterpillar at Xoxoctic
Butterfly at Xoxoctic
Gin plant at Xoxoctic
The deeply curving roads in the area are nausea-inducing – you’ll need to alleviate your symptoms as soon as you arrive with some of the best local cuisine – tayoyos. Like little squashed dough balls, they are made from maize, filled with a spiced mix of chick pea and avocado, and topped with green or red salsa (or go for both to create the bandera, Mexican flag).
Tayoyos with a mix of standard and blue maiz
Delicious tayoyos
Cuetzalan’s remote location makes its central Zócalo (main square) and Parroquia (parish church) seem particularly impressive, and one wonders how on earth they were built long before proper roads and modern machinery. A big attraction for weekend tourists is the Sunday tianguis, its bustling market. Local people descend from the hills to the town in their thousands to sell their wares, and you can find pretty much anything. There is an amazing variety of handmade souvenirs at very reasonable prices, including lots of jewellery made from coffee beans, hand-embroidered blouses and beautiful rebozos, a kind of traditional Mexican wrapped scarf.
The tianguis
Traditional ‘casuelas’
Pots made from dried pumpkins
Making a ‘rebozo’
Seed jewellery
What an off license looks like in the middle of the Mexican jungle
Every kind of bean
Lots of fresh produce
No shortage of chillis
Turkeys aren’t just for Christmas
Cobbled streets
Inside La Parroquia
Traditional wax decorations inside La Parroquia
La Parroquia with a pole for voladores right outside
The Zocalo
The view from our hotel room
Inside our hotel, a very traditional Mexican interior
A short climb up the steep hillside away from the Zócalo is the church charmingly called Los Jarritos, which means ‘little jugs,’ named after the little jugs which decorate its tower.
Los Jarritos
Los Jarritos
A breathtaking vista from Los Jarritos
It is especially lovely to wander the peaceful streets at night when there is a refreshing lack of traffic and minimal light pollution. Just opposite Los Jarritos is the bar Peña Los Jarritos which is a great relaxed hideout for the evening: it hosts its own pole for voladores who perform in the dark amongst the fireflies, making for a truly magical experience.
En route home, about two hours from Puebla and one hour from Cuetzalan, is the town of Zacapoaxtla. It is like a smaller, quieter version of Cuetzalan and is famed for the brave contribution its population made to the Batalla Cinco de Mayo. It’s worth stopping by for a wander, toilet stop, and to fill up on tayoyos (again) before heading home.
The centre of Zacapoaxtla
Visitors complain that the ‘original’ Cuetzalan is now little more than a legend owing to the huge boost in tourism it has seen in recent years. This may be true, but there’s no doubt that the increase in visitors provides an important flow of business for the locals, who are able to maintain their life and culture in the hills rather than flock to the cities. Furthermore, they benefit from being able to sell directly to consumers rather than through a middle-man who would take a handsome wedge of the profit. It’s also a fantastic opportunity for Mexicans young and old to escape from the cities and enjoy a slice of the incredibly beautiful nature and wildlife their homeland offers.
One of the most important elements of Day of the Dead celebrations in Mexico is the making of an ofrenda – a number of offerings arranged around an altar. Day of the Dead is the time of year when the deceased come back to Earth to visit their friends and family, so Mexicans feel that is very important to do everything they can to firstly facilitate this journey, and secondly give the souls a very warm welcome. The ofrendas vary hugely in size and design, but almost all Mexican families will make one in their home; there are many compulsory components, although these too vary slightly by region.
Pre-Conquest Aztecs dedicated most of the month of August to the goddess of death Mictecacihuatl, but the influence of the Catholic Church that arrived with the Spaniards moved it to coincide with All Saints Day on November the 1st and All Souls Day on the 2nd. The current Day of the Dead festivities are therefore a result of ‘spontaneous syncretism’ between Pre-Hispanic celebrations of death and the Catholic tradition of All Saints. It is really interesting to see the different elements mixed together and there are many kinds of ofrendas, some of which have a more religious, indigenous or regional emphasis. For example, the ofrenda at my work was centred on teaching the children about Mexico’s pre-Hispanic traditions (including hot chocolate made from the water used to washed the body of the deceased!); Puebla’s public ofrendas featured famous Poblano characters and a lot of local talavera pottery; and the ofrendas in Huaquechula had a far more heavily Catholic flavour. Authentic ofrendas (as opposed to those made for tourists) are always dedicated to specific individuals, and the first Day of the Dead after somebody has died there is always a huge party held in their honour; in the following years a smaller ofrenda is made.
Some of the essential elements of the ofrenda are:
Cempasúchitl – also known as flordemuerto (flower of the dead), it is the bright orange-yellow marigold which fills the markets and the streets in the run up to and throughout Day of the Dead celebrations. The bright and strongly scented flower is crucial for decorating the altar to make it pretty and colourful; the petals are scattered on the floor around the ofrenda and in a path to the front door in order to guide the deceased to those awaiting them.
A glass of water – this is really important for quenching the thirst of the dead, who have had a long and difficult journey from the afterlife back to Earth.
Copal – the incense burned at the altar, with the belief that its strong and distinctive aroma calls the spirits.
Candles – a number of candles are lit to light the way, again to help the spirits find their home on Earth.
Hojaldra – also known as pandemuerto (bread of the dead). There are many types of pandemuerto, but hojaldra is by far the most popular and recognisable for its distinctive shape which represents the tomb, skull and bones.
Food and drink – the ofrenda is always decorated with the person’s favourite food and drink.
Toys and sweets – if the deceased is a child, toys and sweets are also included to make sure that the spirit feels happy and at home when they visit.
The copal incense which is burned
Mountains of flowers
Candy skulls
Hojaldra bread
The ofrendas are generally installed from the 28th of October to the 2nd of November. The 28th is dedicated to those who died violently or suddenly in accidents; at noon on the 31st the souls of children are awaited; on the 1st of November adults who died naturally are welcomed; and the 2nd of November is the day of graveside vigils when people visit cemeteries in their thousands to clean and decorate the graves, eat their beloveds’ favourite foods, and pass the day and night recalling stories and memories of the lives lost.
At work we made an ofrenda to accompany Day of the Dead celebrations with the children, therefore it is a more child-oriented one with lots of sweets, candy and chocolate skulls, brightly coloured papel pikado, sticks of sugar cane and bright flowers.
In my house, a far smaller ofrenda was made, typical of those found in the ordinary houses of Puebla. Crucially, it has the photos of loved ones and little trinkets which invoke memories of them (including Sofia, the family dog!), little sugar versions of their favourite fruit, hojaldra, candles and water. The marigolds are missing, but this is only because the baby in the family was very poorly all week and there wasn’t time to buy them.
Traditional private family ofrenda
More public, tourist-friendly ofrendas were made all around the city centre, making a ‘CorredordeOfrendas‘ in a trail to follow with different themes based on Puebla’s history. These were less traditional but no less impressive.
The China Poblana taking centre stage
The Serdán siblings, Poblanos famed for their role in the Mexican Revolution
Happy skeleton figures
A skeleton lady in traditional Poblana dress
The pretty blue of Pueblan talavera makes a striking contrast with the orange marigolds
Huaquechula is a small municipality just under an hour away from the city of Puebla, whose ofrendas are famed for their grandeur, bringing tourists from near and far. It is a tradition of the town that each family which has a member who has deceased in that year will make a public ofrenda in their house. This year there were twenty-two deceased and therefore a route of twenty-two altars to visit. They are very proud of this tradition and incredibly hospitable – visitors are offered traditional Mexican refreshments such as aguadetamarindo, agua de jamaica and atole insidethehomes. The ofrendas are extremely elaborately decorated according to the gender, age, occupation and personality of the person who has died. They feature more religious aspects such as crying angels, which represent the grieving family; the photo of the deceased is indirectly viewed using a carefully positioned mirror, representing the rift between life and death; and many of their favourite things from clothing to cigarettes.
Huaquechula was a really lovely, traditional, tranquil little Mexican town, hosting a former Franciscan convent and a troupe of voladores (‘flying men’). I have already written about voladores, but I saw the best display yet in Huaquechula and managed to get some better photos so I have included them here.
As you can see, the size, scale and intention of ofrendas varies hugely, as much as the extent to which people believe that the spirits really do visit. But it doesn’t matter so much whether they do or they don’t, it’s a really lovely way to remember the dead, celebrate their lives, and share the memories.
You probably think you don’t know who or what Calavera Catrina is, but I’m sure you do, even if you don’t realise it. Mexican folk art and culture has been becoming more and more well-known in Europe, and the ‘Mexican lady’ is now a popular Halloween fancy dress choice – basically a swishy gothic-looking full length dress, a large hat with even larger feathers, and the all-important skull facepaint embellished with colourful swirly glitter around the eyes. Well this ‘Mexican lady’ is actually an iconic character called Calavera Catrina, the ‘Elegant Skull’.
Calavera Catrina originates in a zinc etching by renowned Mexican illustrator José Guadalupe Posada, produced between 1910 and 1913, which were crucial years in the beginning of the Mexican Revolution. It depicts a female skeleton wearing nothing but a flouncy hat in the style of the Mexican aristocracy emanating from European high-society fashion of the moment. The figure bears resemblance to Carmen Romero Rubio, the second wife of Mexican President Porforio Diaz, who’s turbulent time in office created much inspiration for Posada’s satirical critique of Mexican politics. Calavera Catrina is a potrait mocking Mexican natives who Posada felt were shunning their true roots in aspiring to adopt European upper class habits.
The Mexican Revolution (1910-1920) crucially led to a new appreciation of Mexico’s indigenous past, and the Calavera Catrina became a poignant symbol of Mexico’s cultural independence from the more recently Eurocentric elite. By the time Diego Rivera included Calavera Catrina in his mural Sueño de una tarde dominical en la Alameda (Dream of a Sunday afternoon along Central Alameda) in 1948, she had become a symbol of the integration of Pre-Hispanic and post-colonial ideals (Rivera’s work is notorious for its almost chaotic and contradictory ideas – he depicted communist ideals and fierce Mexican independence in any one moment, yet was highly criticised for taking commissions from US high society figures the next). Today, however, Calavera Catrina remains an important symbol of Mexican national and cultural identity, no doubt largely because of the importance of skulls and skeletons in Aztec ritual and worship.
Puebla hosted a DesfiledeCatrinas – a Parade of Catrinas – on Sunday night, which saw hundreds of Poblanas dressed up to the nines flounce through the city centre accompanied by marching bands. Much like Sussex Bonfire Night parades (but without the fire) it also featured lots of glowsticks, devils and mummies; a sign of its inevitable melding with Halloween themes in modern times.
As well as the Catrinas and non-Catrina tag-alongs, the parade featured skeletons in all forms, shapes, and sizes. The generic name calaca is a colloquial term for skeleton in Mexican Spanish, given to the joyous skeletal figure that adorns everything around Day of the Dead. They can take male, female, or animal form (dogs are especially popular), and they’re usually in traditional Mexican costume and undertaking some kind of fun activity such as playing an instrument, singing or dancing. The jolly figurines (made of anything and everything) give the impression that the afterlife for Mexicans is just as much of a riot as the life of the living. Joy and laughter form such an integral part of Mexican life, why would the emphasis placed on pleasure and parties after death be any different?
Desfile de Catrinas
Desfile de Catrinas
Desfile de Catrinas
Desfile de Catrinas
Desfile de Catrinas
Desfile de Catrinas
Desfile de Catrinas
Desfile de Catrinas
Diego Rivera’s Sueño de una tarde dominical en la Alameda
Calavera translates as skull – they’re absolutely everywhere at this time of year and are undoubtedly the biggest symbol of Day of the Dead in Mexico. The skull obviously represents the dead, only the skulls and skeletons that adorn everything here are not grim, vacant figures at all, but jolly personalities always smiling or laughing and very often in character, for example in traditional Mexican dress, or as a nurse or mariachi musician. Mexico’s sugar and chocolate skulls are an internationally recognised symbol of Day of the Dead, and they are always brightly coloured and decorated, again demonstrating the fun of the celebration. There’s nothing haunting or spooky about the tradition, it’s about welcoming back loved ones who have died, who are only able to visit at this time each year.
In the UK we are much more uncomfortable with death, and rarely laugh at it. For that reason Day of the Dead can be misinterpreted as a little creepy and weird. However, once it is understood within the context of the Mexican culture and character it becomes apparent that it’s just an alternative way of dealing with the same emotions (of the universal experience of death), in a style that is more fitting with the Mexican approach to things in general. Mexican humour is very dark and clever, full of double entendre, and they do tend to laugh at everything no matter how disastrous, so it completely makes sense that the Mexicans take one of the most difficult and painful human experiences and spin it into something entertaining and fun.
As calavera means skull, calaverita just means little skull. Following in the traditional of double meaning in Mexican language (which can be very confusing for outsiders!), calaverita also refers to a special kind of poem which is written and shared around Day of the Dead. They are humorous rhymes which detail a prophecy of how a person is going to die. A few of my sprogs at work wrote me this Calaverita, it had me in stitches and I had to share it!
CalaveritaMaestraEllie
Estaba la maestra Ellie
comiendo un cachito de melón
cuando llego la muerte
acompañada de un viejo pelón.
-¿Que haces maestra Ellie?
-La muerte le preguntó
-Aquí, matando el hambre
-Ellie le contestó.
– ¡Matando! – La muerte se sorprendió
– Mmm, me quiere hacer competencia…
– Es lo que doña muerte pensó
– Pero no me ganará la impaciencia
– Solita se consoló.
-¡Ayudame! Le llegó su hora
– La muerte le dijo al pelón
– Ahora vamos a matarla
golpeandola con un balón.
Y así la pobrecita Ellie
nunca jamás volvió a Europa
porque la malvada muerte
se la llevó con todo y ropa.
En Juconi los niños lloraron
Pero se les olvido en un dos por tres
Porque al fin y al cabo…
Ninguno entendia su Inglés.
Loose translation:
There was Teacher Ellie eating a chunk of melon, when Death arrived accompanied by a bald old man.
“What are you doing?” Death asked her.
“I’m killing my hunger,” Ellie answered.
“Killing?!” she exclaimed, “she wants to compete with me,” thought Lady Death. “But hastiness won’t get the better of me,” she consoled herself.
“Help me! Her time has come!” Death said to the baldy. “Now we’re going to kill her, by thumping her with a ball.”
And just like that poor Ellie died, and never returned to Europe, because evil death took her with clothes and all.
In Juconi the children cried, but they forgot her in a jiffy, because in the end, after everything, nobody understood her English.
Genius!
From Sussex to Puebla, a culture mash of English and Mexican
Tea and Tacos 