Category Archives: 2020
December 2023
Editor’s Letter
By Jane Bauer
“Perfection is achieved not when there is nothing more to add, but when there is nothing left to take away.”
Antoine de Saint-Exupery
One of my favorite things is to rearrange a room and I have found that many spaces benefit from having things removed rather than added. The trouble is we get so attached to having stuff and having things the way they are.
Even if you don’t consider yourself as someone who concerns themselves with design, most of us add our own signature to a space. Think for a moment about your living room, picture it in your mind if you aren’t there. Visualize each item that you have chosen and ask yourself why? Is it for its sentimental tie to a past event – a display of photographs perhaps? Maybe the object has a practical use – a candy dish, or a foot roller you keep tucked under the couch. Why have you arranged the furniture the way it is – to maximize light or seating faced towards the television set?
What about the colors? Were you intentional as you filled this space or did it become layered over itself with time? What might be taken away? How does the room reflect who you are and your habits?
In this issue our writers explore design. We didn’t limit the topic to home design or architecture or clothing and it was fascinating to see what people came up with. From papel picado, to the clothes we wear to the buildings we spend our lives in, what is clear is that no corner of our lives is untouched by design. Unknowingly, we have each curated our lives, piece by piece over time.
You may not consider yourself a symbol of design but the truth is that we all are. Our style is reflected in our clothes, our haircut, our living room, even the plates we choose to eat our dinner off.
As we approach this commercial season what if instead of adding more stuff to our ever-growing piles, we became intentional about the spaces and objects we already have? Decluttering your space has been shown to reduce stress and anxiety, and lead to greater creativity.
Let’s lighten our load as we vault into 2024!
Papel Picado
By Julie Etra
The first time I saw them, I had no clue what these colorful and seemingly whimsical hanging, decorations were. Perforated placemats? Rectangular doilies?
Papel picado (literally, perforated paper), also known as banderitas (little flags), is the traditional hand-crafted, brightly colored decoration seen throughout Mexico. Papel picado is hung from wooden dowels or string, a bit like laundry on the line, during numerous celebrations and holidays, including patriotic/historical events, coming-of-age parties for girls (quinceañeras), baptisms, Christmas, and Day of the Dead (more about that later).
Amate – Early Mexican “Paper”
Before the arrival of the Spaniards, “paper” was derived from thin bark, called amate (amatl in Nahuatl), and was used primarily to create codices (pre-Hispanic manuscripts) common in the Aztec and Mayan cultures. Painted codices depicted history, customs, land ownership, sacred rituals, and a variety of other painted symbols. Most of the pre-Hispanic codices were destroyed by the Spaniards, although the creation of codices by both indigenous peoples and the Spanish continued.
Amate is derived from various fig trees; several species were used depending on the location. These included Ficus aurea, strangler fig, and Ficus cotinifolia, predominant in the Maya civilization. The oldest known amate paper in Mesoamerica was made in what is now the state of Jalisco from Ficus aurea, and dates to 75 CE. Other species of Ficus were used in what is now Morelos.
Pre-Hispanic peoples also used amate to decorate religious shrines and accompany burials – these decorations are thought to be the early antecedents of papel picado, and its use in Day of the Dead celebrations, although there is mixed evidence on whether their makers used cutouts as part of these decorations.
Today, amate is used not for papel picado, but in bark paintings, an artisanal, handmade traditional art form. Bark paintings depict culture and rural and folkloric life through colorful and vivid landscapes. Scenes portrayed include parties, parades, weddings, cock fights, and bucolic farms. No doubt you have seen these paintings for sale in Huatulco, in the zocalo in La Crucecita or Santa Cruz, and in many shops.
Historical records indicate that the bark from the small Jamaican nettletree (Trema micranthum) was also used to make paper; its use has been recently resurrected by the Otomi people of the altiplano (high plain) of central Mexico. Volcanic rock was and still is used to beat the bark, which is then soaked overnight to soften in preparation for painting or applying embroidery.
Papel Picado of Today
Forty-odd years after conquering Mexico and other areas of Latin America, Spain colonized Asia, ruling the Phillipines from 1565 to 1898. From there it began trade with China; one of its most interesting imports to Spain, and then Mexico, was papel de china, colored Chinese tissue paper, or papel de seda, silk paper from Japan.
Papel picado surged in popularity in the colonial era (19th century) in the state of Puebla. Indigenous workers on large haciendas, who were more or less indentured servants, were forced to buy what they needed in the “company store” on the hacienda. Tissue paper was often a form of payment to the workers, or they bought it themselves. Imported Chinese cut-paper stencils were also popular; Mexican craftspeople used them as the Chinese did, to create designs for painting and woodcarving – and for papel picado.
Papel picado in its current form most likely originated in the town of San Salvador Huixcolotla in the state of Puebla, east and south of Mexico City (Huixcolotla means “place of the curved spine” in Nahuatl). At least four artisans from San Salvador Huixcolotla are known to have developed designs and produced the cut-paper banners; as the Mexican revolution came to an end, papel picado production spread beyond Puebla into next-door Tlaxcala, and then beyond. On September 22, 1998, the state of Puebla published a decree that declared San Salvador Huixcolotla a Cultural Heritage site and the cuna (cradle, or birthplace) of papel picado.
San Salvador Huixcolotla is no longer the only town in Puebla where the papel picado artisans and workshops are located; other Puebla centers of production are San Martín Texmelucan, Zacapoaxtla, and Tehuacán. Indeed, papel picado is made in many Mexican cities and towns, as well as in the southern and southwestern United States.
Making Authentic Papel Picado
While mass-produced papel picado is often cut by machine, particularly when made in the U.S., and some papel picado is now made of plastic film for added durability, there are dedicated artisans still practicing the art of hand-made papel picado. Outstanding papel picado is characterized by the density of the cuts and the elaborate, diverse designs, which commonly include legends, flowers, animals, patron saints, and other religious figures depending on the event or holiday.
Up to 100 hojas (sheets) of tissue paper, or other thin papers such as rice paper, can be stacked up; sometimes they are folded, which makes matching patterns. The stencil pattern (patron) is drawn on sturdy manila paper, derived from hemp, which is placed on the top of the stack of hojas.
The stencil is then cut into the sheets with mallets and chisels (fierritos), which provide greater accuracy and more detail than scissors. Once cut, the sheets are separated and glued to threads, which can reach more than five meters (16.5 ft.) in length; these are called guides, strips or pasacalles (pass over the streets).
For Día de Muertos, papel picado is hung over streets and on the ceilings of shops, in homes and draped over ofrendas (altars commemorating deceased loved one). For this holiday, patterns of skulls and other objects typical of ofrendas, such as food, flowers, and alcohol (particularly tequila) prevail. Of the four elements (fire, water, earth, and air) that appear on the Day of the Dead altars, the banderitas represent air.
Red and green paper dominate Christmas papel picado, while weddings are dominated by white hojas, representing lace, and frequently depicted with doves, hearts, and other appropriate figures.
If you ever put on parties or events that reflect your Mexican experience, you really need to include some banderitas – you can buy a 14-foot plastic “paper full of wishes” banner on Amazon for $7.99. As for the bark paintings, we purchased two a few years ago in Oaxaca City. They are inexpensive and a lot of fun – and, they’re earthquake-proof since they don’t shatter and can be hung safely anywhere.
Threads Through Time: Tracing the Tapestry of Naturally Derived Textiles in Mexico
By Kary Vannice
Mexico’s rich textile heritage is a colorful historical narrative interwoven with indigenous traditions and the imprints of European influence. From the earliest known fibers (1400 BCE) to the contemporary fusion of craftsmanship and innovation, textile weavers and designers have left their mark on the Mexican culture.
Mexican Textiles – Indigenous and Colonial Roots
The genesis of Mexican textiles can be traced to 1800 BCE, when fibers of the chichicaste plant (much like stinging nettle) were skillfully woven into fabric fragments. The pre-Hispanic era brought about the artful integration of native fibers like yucca, palm, willow and maguey. Cotton, which is not native to Mexico, made its first appearance much earlier, around 3000 BCE. Obtained through conquest and trade among ancient societies, cotton assumed a revered status and its use was restricted to the elite.
In pre-Spanish culture, textile making was not merely a technique, but a sacred gift bestowed upon women by the gods. The backstrap loom, a lightweight, mobile loom made of wood and a strap that is wrapped around the back, was exclusively operated by women, and played a central role in weaving fabrics. In those times, the intricate process of weaving, spinning, and embroidering held more than cultural significance – some fabrics were also used as currency.
The Spanish conquest ushered in a transformative era for Mexican textiles. New fibers arriving from Europe, like silk and wool, reshaped the industry. The imported foot treadle loom, often seen in Mexico today, mechanized weaving and lead to an explosion of production and a pivotal shift in the textile trade.
Mexican Textiles Travel the World
Wool and silk imports, coupled with the introduction of sheep and silkworms, catapulted Mexico into the global textile scene by the late 1500s. This period marked a significant exchange of textile knowledge and resources between Europe and the Americas.
Over time, European textile techniques became assimilated into the rich tapestry of Mexican craftsmanship. This influx of new materials spurred innovation among native weavers and resulted in a fusion of styles and patterns. Mexican textiles became sought-after commodities and unique fashion statements throughout Europe.
Native weavers began exporting their diverse range of handcrafted garments and homemade items to international markets. Their designs showcased the distinctive aesthetic of Mexican culture, characterized by vibrant colors, intricate patterns, and the use of naturally dyed fibers.
During the 19th century, the introduction of steam-powered machines opened new horizons for the textile industry in Mexico. By the late 19th century, textile production and distribution emerged as a dominant force in the country’s manufacturing sector and Mexico’s textiles became known the world over.
When industrial sewing machines became available in the early 20th century it brought about another chapter in textile production and catalyzed a new phase in the industry – the production of finished clothing.
Despite the transition to modern textile production, the influence of ancient techniques endures. Weaving has become a cultural narrative and the artisans committed to preserving traditional methods not only sustain the authenticity of Mexican textiles but also foster a sense of continuity between generations.
Mexican textiles have emerged as international representatives of cultural craftsmanship. Their global recognition reflects the adaptability of Mexico’s textile industry, which today honors its heritage while at the same time embracing contemporary trends (see Brooke O’Connor’s article elsewhere in this issue).
Sustainable Tradition, Environmentally Ethical
Mexico’s long-standing traditional approach to textile production, rooted in sustainable and ethical practices, aligns with the growing global emphasis on environmentally conscious fashion. Mexican designers and industry leaders continue to push the boundaries of sustainable textile innovation. In 2019, the Mexico-based company Adriano di Marti, went to the Milan (Italy) Leather Fair and presented a vegan leather made from nopal cactus called Desserto. The company has developed a version of the leather called Desertex for use in automobiles; they are now working on using agave fiber, a waste byproduct of the tequila-making process, to produce a third vegan leather, Desserto Agave, for use in the fashion industry. Adriana di Marti also produces cactus yarns for woven fabrics.
The enduring history of naturally derived textiles in Mexico is a testament to the cultural richness that transcends time. Mexican textiles narrate a saga of centuries, embodying a cultural legacy that continues to flourish in the tapestry of modern life.
The Afterlife and the Mexican Revolution
By Randy Jackson
Concepts of the afterlife have shaped culture and behavior throughout human history, from the building of the Pyramids of Egypt, to the celebration of Día de los Muertos today. Whatever we think the afterlife is “like,” including the materialist concept of no afterlife at all, influences our worldview and how we interact with other people.
From Heaven and Hell to Spiritism
Western thought regarding the afterlife has evolved through time. The concepts of Heaven and Hell did not exist in early Christianity. Christian dogma evolved from the belief in an afterlife of deep sleep until the final judgment at the end of time. Over the centuries Heaven and Hell became eternal rewards or punishments based on the conduct of humans during their time on earth. This concept remained foundational through the centuries. Then in the late 1800’s, a movement that became known as Spiritism (Spiritualism in the U.S.), arose first in Europe and spread throughout the world, particularly among the elite and educated classes. Spiritism held a belief that the afterlife was a continuity of individual consciousness, a concept similar to Eastern religious thought. Spiritism also held the concept that spirits in the afterlife could be communicated with.
One adherent of this view was Francisco Madero, the elected president of Mexico after the downfall of Porfirio Díaz. Madero may have channeled the spirit of Benito Juárez for advice in the early days of the Mexican Revolution.
Madero and the Rise of Spiritism
For a variety of reasons, Spiritism flourished in popularity around the turn of the 20th century. A turn away from the orthodoxy of mainstream religion was a particularly strong cause in the United States. New religions, such as Mormonism and the Seventh Day Adventist Church, were founded in this period, in what is known as the “Second Great Awakening,” a religious revival movement in the U.S. (c. 1795-1835). (The original “Great Awakening” was similar and started in Great Britain, flourishing in the colonies from the 1730s-1770s.)
Another factor that moved western thought towards a different view of the afterlife was the groundbreaking publication in 1859 of “The Origin of Species” by Charles Darwin. The acceptance that life arose on earth through a natural process rather than divine creation was an intellectual paradigm shift that is still reverberating today. Spiritism, fully embracing evolution as a concept, holds that evolution of individual consciousness continues in the afterlife.
The spiritual beliefs of Francisco Madero were consistent with these concepts. Francisco Ignacio Madero González (1873-1913) was from one of the wealthiest Mexican families of the time. He was educated in France and the United States. In the international educated elite circles where Madero moved, the concepts of Spiritism were widely held. The Spiritist held that there were seven hierarchical realms in the afterlife; Spiritism postulated lower “hell-like” realms, up to realms very much like our physical realm, through to higher angelic realms, and ultimately a realm where individual consciousness (the soul) merged with the divine.
This afterlife view of Spiritism, in which individual consciousness can evolve to higher realms, is fundamentally intertwined with the concept of reincarnation. But reincarnation back into our physical realm wasn’t seen as something that happened immediately. Rather, there is time between lives where spirits are believed to exist in the afterlife realm of their evolutionary attainment. This “between lives” period of the afterlife enables mediums to connect to the spirit of the deceased. In the case of Madero’s mediumship, most of his initial contact, he believed, was with his younger brother Raul, who had died at age three.
In 2011 (paperback 2014), C.M. Mayo published Metaphysical Odyssey into the Mexican Revolution: Francisco I. Madero and His Secret Book, Spiritist Manual. In numerous interviews about the work, she makes the point that Madero’s spiritual beliefs are fundamental in understanding the motivations and actions of the person who is credited with initiating the Mexican Revolution.
Madero’s Spiritism and the Mexican Revolution
In 1908, Madero published La sucesión presidencial en 1910, after the long-serving president and dictator, Porfirio Díaz announced in an interview with American journalist James Creelman, that Mexico was ready for democracy and that he would retire in 1910. Díaz subsequently changed his mind, Madero organized the anti-reelection opposition, Díaz had Madero imprisoned, and proceeded to rig the election for yet another term. Madero escaped from prison and while residing in San Antonio, Texas, wrote a manifesto, the “Plan of San Luis Potosí,” considered the founding document of the Mexican Revolution. (Recall that the Mexican Revolution was more of a series of regional conflicts than a clear war; it might have ended in 1917, with the establishment of the Mexican Constitution, but fighting continued on for years.) Madero’s writing led to the overthrow of Porfirio Díaz and Madero’s winning the interim presidential election of 1911.
Historians have given Francisco Madero a couple of significant titles: “Apostle of Democracy” and “Father of the Revolution.” He has been frequently described as having been a decent and honest man. In 2013, Michael Benjamin Amoruso, a doctoral student at the University of Texas in Austin, published a paper for the American Academy of Religion annual meeting, “A Transcendental Mission: Spiritism and the Revolutionary Politics of Francisco I. Madero, 1900-1911.” (The author is now an Assistant Professor of Religious Studies at Occidental University in Los Angeles). Amoruso argued that Madero “understood his political action as the earthly component of spiritual struggle.” Madero expresses a
prescriptive Spiritist vision, in which democracy represents a triumph of human’s “higher nature” over the “base, selfish passions” of Porfirio Díaz and his regime.
In his memoir, Madero wrote that beings in the afterlife instructed him in moral and spiritual matters. The political documents that launched the ousting of Porfirio Díaz were likely channeled from a source noted by Madero as “Jose.” Other journals from his channeled works were noted as being from “BJ,” considered by some to be Benito Juárez, the president of Mexico who preceded Porfirio Díaz.
Madero’s beliefs and practices of Spiritism were not a secret in Mexican society of the time. There were cartoons in Mexico City newspapers lampooning the president performing seances; the press described Madero as a “loco que se comunicaba con los muertos” (a madman who talks with the dead). In 1913, a segment of the army rebelled against Madero, and General Victoriano Huerta joined them. Huerta had risen to General under Porfirio Díaz, and Madero apparently did not completely trust him but felt he needed him.
The rebellion resulted in a coup d’etat – aided by the U.S. – against Madero; Huerta had Madero and his Vice-President, José María Pino Suárez, murdered in an alley within the week. Madero was 39; Suárez 44. The New York weekly newspaper The Sun trumpeted huge headlines: “MADERO AND SUAREZ SHOT DEAD ON WAY TO PRISON.” Madero’s overthrow and execution seemed to have nothing to do with his beliefs in the evolution of individuals across lifetimes towards a selfless growth in divine love. His fate was rather a raw power grab by Huerta.
I can’t imagine that Madero and Huerta ended up in the same realm in anyone’s version of the afterlife.
Email: box95jackson@gmail.com
August / September 2023
What to watch to learn about Mexican music
By Jane Bauer
Luis Miguel: the series on Netflix (2018-)
One of Mexico’s biggest musicians, Luis Miguel, was the original child star, and this series follows his rise to stardom. Encouraged by his manager father, Luis Miguel became one of the best-selling Latin music artists of all time. Actor Diego Boneta plays the title role and sings all the music and does an incredible job considering how distinct and well known Luis Miguel’s sound is. When the series was first released in 2018 it was all anybody in Mexico was talking about. Luis Miguel’s world tour kicks off on August 3rd in Buenos Aires.
Selena: the movie (1997)
Selena (1971-1995) although born and raised in Texas, this Mexican/ American singer made a huge impression in a life that was cut too short after she was murdered. In 2020 Billboard magazine listed her in third place on their list of “Greatest Latino Artists of All Time”. The movie about her life was the breakout role for Jennifer Lopez and earned her a Golden Globe Award nomination for Best Actress . There is a new Netflix series as well but I haven’t seen it yet.
Hasta Que Te Conocí (Until I Met You) (2016)
This drama series follows the roots and footsteps of the legendary Mexican singer-songwriter Juan Gabriel. The 13-episode series is based on unpublished testimonies on the icon’s journey from childhood to fame. “A story that tells how his talent led him to defy and overcome poverty, betrayals and prejudices,” reads an official description on Amazon Prime where it’s available for streaming.
Los Tigres Del Norte At Folsom Prison (2019)
Los Tigres del Norte are a norteño band from Sinaloa that was originally formed in 1968 by four brothers from the Hernández Angulo family. They are the only Mexican band to have won six Grammy awards.
In 2019, they premiered a Netflix original documentary and live album Los Tigres del Norte at Folsom Prison. The set marked the first time a musical act was allowed to film inside the prison walls since Johnny Cash’s fabled performance at Folsom in 1968.
The documentary also provided a rare, and compassionate look at Latino incarceration told through the songs of the band and the stories of the Latino and Latina inmates at Folsom Prison interviewed for the production.
January 2023
Editor’s Letter
By Jane Bauer
“Never trust anyone who has not brought a book with them.”
― Lemony Snicket, Horseradish
I love books. I can easily conjure up the memory of the feel of the carpet at the Children’s Library where I sat for hours as a girl. A few years ago I started keeping track of my reading and I average about forty-five books a year.
“How do you read so many books?” I have been asked. The secret is that I am rarely without a book at hand. Sitting in the car while gas is being pumped, lines at the bank, waiting for a friend in a restaurant – these are all slivers of opportunity to slip into another world.
If you have been to my restaurant on Christmas Eve you know how much I love books. For many years we have gifted each guest a random book. Inspired by the Icelandic tradition Jolabokaflod (Christman book flood), I like to tell people that they will get the book that is meant for them.
While I have lived in Mexico for more than half my life, I am a little disappointed to tell you that I haven’t read that many Mexican writers, but this issue is so full of fascinating writers that I can’t wait to read. I have read some Mexican writers and here are a few of my favorite books that aren’t mentioned in this issue.
Lost Children Archive, by Valeria Luiselli (2019)
The story of a woman, her husband and two children traveling from New York to Arizona. Touching upon the horrors of children being separated from their parents while searching for a different life. This novel examines identity and questions our humanity. Also check out her first novel The Story of My Teeth (2015)- it is a humourous and surreal tale that is primarily set at the Jumex Museum in CDMX.
Like Water for Chocolate, by Laura Esquivel (1990)
I was first introduced to Mexico by watching this film in a Montreal movie theater on a cold winter evening. It was easy to fall in love with this revolutionary love story that centers around food. The novel is a fun read and includes recipes.
Into the Beautiful North, by Luis Alberto Urrea (2009)
Nineteen-year-old Nayeli notices that her small town is devoid of men because they have all gone north. She heads north to find her father and to find men to return to save the town.
What all these novels have in common is the ability to weave the surreal into the every day giving the reader a different perspective on life- much as Mexico itself does.
Happy Reading,
Jane
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