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Huatulco

Continuing My Dream: Empowering the Future of Rural Youth

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By Britt Jarnryd

In rural communities, attending high school requires more than academic effort; it also means long distances, high costs, and emotional challenges that many families simply cannot take on. In response to this reality, the “Continuing My Dream” scholarship was created—an initiative deeply committed to supporting young people with limited resources who want to continue their education but live far from upper-secondary schools.

Currently, 16 students are part of this new program. Each one has received comprehensive support that includes school supplies, footwear—both athletic shoes and formal shoes—and financial assistance to cover enrollment, uniforms, and other essential academic expenses. In addition, they receive a monthly stipend for transportation, food, rent, and basic needs, ensuring that financial limitations do not become an obstacle to their education.

As an essential part of digital learning, every scholarship recipient received an iPad, a tool that allows them to access online libraries, educational platforms, and resources that broaden their study and academic development opportunities.However, the project goes far beyond financial aid.

“Continuing My Dream” includes a network of six mentors- professionals and volunteers who are strongly committed to fostering each student’s personal and academic growth. Through in-person and online sessions, the students participate in workshops on soft skills, leadership, English, math, study habits, and self-awareness, strengthening their confidence, future vision, and life skills.

Join us in transforming lives.Every step we take is possible thanks to those who believe in education as a driver of change. Today more than ever, your support can change the course of a life. Every donation—big or small—becomes a real opportunity for young people who dream of studying and building a better future for themselves and their communities.

We invite you to learn more about this and other projects at Bacaanda.org.

Donate, share, support… and be part of this growing chain of dreams. Together, we can go further.

Huatulco

Wearing My Roots: A Queen’s Journey Through the Vela 27

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By Daira Moreno —

When I reflect on my roots, I picture myself beautifully dressed in Tehuana attire. It brings me back to my ancestors, especially my grandmother. The beauty of these dresses lies not only in their embroidery, but in the way they are passed from one generation to the next. Today, only a few artisans still know how to make Tehuana attire in its traditional form. The Zapotec language, along with the traditional techniques, is at risk of disappearing. Wearing the dress is an act of resistance, a way to keep our identity alive. The reaffirmation of Zapotec identity through the figure of the Queen of the Vela 27, embodied in my own experience of wearing the Tehuana dress, is a form of empowerment for the people of my town, the Ixtepecanos. It is also a way of preserving our culture at a time when many traditions are being lost in an increasingly globalized world.

Ciudad Ixtepec’s cultural identity lives within its traditional attire, the Tehuana dress, and in the fact that only a few artisans continue to make it in the old way. This fragility, of both language and dressmaking, shows how urgent it is to preserve these parts of our heritage. The Tehuana attire has also found its place in the larger story of Mexico. Iconic figures such as Frida Kahlo and Salma Hayek embraced it, drawing inspiration from Isthmus women and, in Hayek’s case, from her own Ixtepecana roots. Lupe Vélez immortalized the style in her film La Sandunga, helping introduce Oaxacan culture to national and international audiences. Many consider the Tehuana costume the most beautiful in Mexico. These cultural references strengthen the idea that Zapotec identity carries a significance that must be protected.

In this piece, I offer a brief reflection on my experience as queen of the Vela 27 and on the meaning of a Vela, with special attention to the clothing I wore throughout the five-day celebration which culminates in the coronation, where I step into the same role my mother and cousin once held, continuing a legacy begun by my grandmother, one of the festival’s founders.

This year, I served as queen of the Renombrada Vela 27, held in honor of San Jerónimo Doctor. It is characterized by dancing throughout the entire night, waiting for dawn to arrive. “Vela” is the name given by the friars to the indigenous festivities dedicated to the deities called “Za” or “Binnizá,” meaning “men of the clouds,” according to the agricultural calendar. With evangelization, these rituals were transformed into patron-saint festivals dedicated to Catholic saints, following the mission and religious order of the friars during the colonial period. The word vela comes from velar, meaning “to stay awake, to keep vigil all night,” which remains at the heart of the celebration today.

One of the most striking parts of the Vela is that all attendees must wear the Tehuana gala dress; otherwise, they are not permitted to enter. Women showcase their finest traditional gala dresses and high heels, each one striving to look as spectacular as possible. Men must wear a plain white guayabera with no floral embroidery.

The use of gold, coins, and ornaments in the festivities has its roots in practices of prestige and offering. In the case of coins, their presence is more recent, linked to the arrival of the Trans-Isthmus Railway and the port of Salina Cruz in the late 1800s and early 1900s. Gold in women’s attire also symbolizes the empowerment of Isthmus women, as well as well-being, economic stability, and even wealth. The use of minted coins changes the meaning significantly, which is why I emphasize empowerment.

Many of the pieces I wore are family heirlooms, and when I put them on, I feel the presence of my grandmother, my mother, and the women in my family who have kept these traditions alive. Each garment reflects the work of artisans whose techniques are at risk of disappearing.

To understand the significance of each day and the meaning behind every outfit, it is helpful to look at the schedule of the Vela 27 and the Tehuana attire I wore throughout the celebration.

The Vela 27 Schedule:
September 26 (evening): The festivities begin with the Calenda (traditional street parade) at 8 p.m., continuing until 2 a.m. The streets of Ixtepec come alive with dancing, fireworks, and music, announcing the start to the Vela 27. That evening, I wore a coordinated skirt and huipil made with the cadenilla technique, featuring pink and yellow greca designs crafted by the artisan Francisco Javier Reyes Vázquez from San Blas Atempa. My hairstyle followed the traditional style of the women of Ixtepec: two braids intertwined with a pink ribbon and adorned with artificial flowers. To complete the muda, I wore a three-strand espejito azucena necklace with a calabaza pendant in pearls and gold filigree, along with matching earrings and a bracelet made from 2.5-peso Mexican coins embellished with rubies and alejandrina.

2nd Day of Activities:
September 27 (morning): The queen’s Mañanitas begin at 7 a.m. and include serenades, prayers, and dancing. The organizers of the Vela attend, making it one of the most beautiful moments of the celebration, filled with emotion as the family prepares for the day. Breakfast is offered at the queen’s home to those who came to serenade her, and gifts are given to the attendees. This festivity also commemorates the birthday of the patron saint, San Jerónimo Doctor. For my muda during the Mañanitas, I wore a circular stylized yellow rabona skirt with a hand-stitched cadenilla huipil. I accessorized with a choker made of hinged coins and matching cross-shaped earrings.

September 27 (evening): The most significant and symbolic day of the Vela 27 gathers about 3,000 people. It begins at 9 p.m. and lasts until 7 a.m. The highlight of the event is the queen’s coronation, which includes her arrival, her first dance, and her speech. Past queens, as well as the queen from the previous year, also make their appearances. After the ceremony, the community spends the rest of the night dancing. On the day of my coronation, I proudly wore an original, hand-embroidered traditional dress crafted by the artisan Antonia Morales Lobo from the town of Santa Rosa de Lima. This community is distinguished by its mastery of the Tehuana gala dress, an art practiced by both its women and men. The making of this outfit was commissioned a year in advance.

The dress is a replica of one of my mother’s gala dresses, which she wore when she served as queen in 1985, although for my version I chose a garden of yellow Castilian roses. The outfit consists of the enagua (skirt) and the huipil (blouse). I also wore a gold fleco made of gusanillos and canelones, a distinctive accessory that sets the queen apart from the general public. My hair was styled in gathered braids with a rosette at the nape of the neck and a floral adornment on the left side, leaving the top free for the crown. The crown and its matching scepter were crafted exclusively for my reign by the master goldsmith Hugo Charo from the town of San Blas Atempa. My Tehuana attire was complemented by a set of gold doblón dos María jewelry and a matching ahogador, along with a bracelet, rings, earrings, and a hair brooch. All of these are family heirlooms in gold, passed down from generation to generation.

September 29: The lively and colorful Regada de Frutas fills the streets with decorated buses carrying the queens or captains, who toss food and gifts to the townspeople. Horses, bulls, and captains in traditional attire parade alongside, accompanied by children’s orchestras playing music from the buses. This day symbolizes giving back to the community.

During the Regada de Frutas, we rode on a float designed to match the colors and floral motifs of the outfit I wore that day. With great pride, I wore a huipil and enagua featuring multicolored orchids. This traditional ensemble from Salinas del Marqués, an agency of the municipality of Salina Cruz, Oaxaca, was crafted by the artisan Francisco Gallegos. The design itself was created by my mother, making it especially meaningful. The technique used for this dress is crochet work with yellow filled stitching. The outfit was completed with a two-strand lazo, a choker (ahogador), earrings, a bracelet, and a ring.

October 1 (noon): A mass is held in honor of the Vela 27’s patron saint, San Jerónimo Doctor. Afterward, the queen and princesses take a long walk accompanied by the music group until they arrive at the lavado de olla, where the founding members and the community await them. To enter the church and offer floral arrangements to San Jerónimo Doctor, I wore a yellow velvet Tehuana dress created with two traditional techniques known as flor en medio. The central floral motif was made using crochet work, while the edges featured geometric stitched patterns. I also wore the traditional gold fleco, and on this occasion the jewelry I used included a doblón necklace and a choker (ahogador) of great sentimental value, as both pieces belong to my mother. This dress was crafted by the artisan Francisco Javier Reyes Vázquez from the town of San Blas Atempa. This Tehuana dress uses an ancient technique that is now being revived, since velvet (terciopelo) is rarely used in contemporary Tehuana dressmaking.

As the final notes of the Vela faded, I realized that this experience was not only a personal honor but a reminder of the responsibility we carry. The Tehuana dresses, the rituals, the music, and the devotion of the community showed me how culture survives through practice, through memory, and through each generation choosing to keep it alive. Serving as queen of the Vela 27 strengthened my belief that our heritage is not something of the past, but a living tradition that continues to shape who we are.

Huatulco, San Miguel de Allende

Four Fashionable Mexican Heads of State

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By Marcia Chaiken and Jan Chaiken —

Fashion statements have been made for millennia by the Heads of State in Mexico. Whether in pre- or post-Columbian eras, the most important political Mexican figures have always signaled their relationship with the common people (and sometimes with their gods) with their attire. Here are the fashion statements made by four of the most known.

King Pakal the Great, (aka K’inich Janaab Pakal), who ruled over Palenque from age 12 for 68 years until his death in 683, may be best known for interpretations of engravings on his sarcophagus that led him to be called the Mayan astronaut or time traveler. The engravings show him sporting paraphernalia that looks like space flight equipment. But whether he was human or extraterrestrial, his funeral dress clearly indicates that he was considered more than a mere mortal. Adorned with a king’s ransom of jade, from his death mask to the multiple ear pieces, necklaces, bracelets, and rings, even in death he was an impressive sight. The jade mask is most startling because of the inlay of obsidian “eyes”.

Many engravings of Mayan rulers show them wearing elaborate headdresses. But anthropologist Alyce de Carteret described the primary fashion piece of Mayan rulers: “A bark-paper headband adorned with a diadem of jade or shell was bound to the heads of rulers the day they acceded to the throne.” However, existing clay figures of Pakal show him wearing a bird mask, a headdress of quetzal feathers and a long elaborate gown decorated with necklaces of jade. We can surmise that the gown was made from finely woven cotton, since only the wealthiest Mayans could afford that material.

Montezuma (aka Moctezuma II) was the 9th ruler of the Aztec Empire and was the head of state for eighteen years until his death in 1520. Unlike Pakal whose living attire requires some conjecture, Montezuma was well known to the conquistador Cortez, who arrested him.

He was an impressive fashion figure on first formal meeting. His headdress alone was spectacular and described as including “the green upper tail coverts of the quetzal bird, the turquoise feathers of the cotinga, brown feathers from the squirrel cuckoo, pink feathers from the roseate spoonbill, and small ornaments of gold.” His mantle or cape was completely embroidered in primary colors, and the designs depended on the day, the audience and the ceremony he was attending. He rarely wore the same outfit twice, keeping a small army of embroiderers constantly busy. His outfit was completed with a loincloth and sandals – some of jaguar skin, most with jewels.

For the most solemn occasions, much of the finery was omitted, and Montezuma wore a simple loincloth and a dark cape decorated with skulls. After his arrest, Montezuma was not required to wear today’s orange jump suit but rather continued as a figurehead under Spanish rule and wore his diminishing costumes until he died of his wounds after an uprising of his former subjects.

Empress Carlota (née Princess Charlotte of Belgium) was the one and only empress of Mexico for a very short reign from 1864 to 1867. She and her husband Maximillian were placed on the throne by Napoleon III. Given their very progressive ideas about educating and raising up the Mexican populace, they were quickly deposed and Maximillian was shot.

Although the royal couple’s ideas about ruling Mexico were violently rejected, Carlota’s fashion sense was much more captivating. Given her wish to become the benefactor of “her people,” she began to combine European fashion with the costume of the hoi polloi of Mexico. Although the wide skirts and rich materials were retained, the bodice of her dresses and overskirt resembled the china poblana traditional dresses worn by Mexican women – especially on occasions celebrating Mexican identity. She also adopted the bright primary colors of Mexican dress.

Her rule was short-lived but her incorporation of Mexico’s traditional styles into high fashion has lived on. Many of the high-fashion designers of Mexico today merge traditional embroidery or decorations into ultra-modern designs. Just walk down Avenida Presidente Masaryk in CDMX today, and fashions based on Carlota’s innovations come alive.

Presidente Claudia Sheinbaum The first woman president in Mexico, who took office almost two years ago, is scrutinized for fashion as no president ever before. She uses this attention to benefit women all over Mexico. For ceremonial occasions, in addition to her presidential sash, she often wears replicas of dresses from different regions of the country including the huipil, the china poblana, the Tehuana (from Oaxaca) and the Chiapaneca. The many artisans who create and decorate her dresses are publicly noted and often find themselves swamped with orders from ordinary citizens and beyond.

Of course, given her intense meeting and travel schedule, she also slips into comfortable pants and blouses. But the styles are business-appropriate. And unlike the wives of many heads of state, she avoids expensive designer clothes and instead wears fashions that are affordable for the majority of working Mexicans.

From Pakal to Sheinbaum, the Mexican heads of state have had distinctive styles worn as political statements. Some such as Carlota and Montezuma have had ruinous careers. Some such as Pakal and hopefully Sheinbaum have made positive contributions to lives of their people. All will likely be remembered for what they wore.

Drs. Marcia and Jan Chaiken have been married for 62 years and have published many justice system research reports together.

 

 

Huatulco

Poker of Queens

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By José Palacios y Román

Any time is a good time to bring together talents. Just as in ancient times, Alexandria gathered wise men in its library; beautiful Athens, thinkers and philosophers; Florence was the cradle of the Italian Renaissance with artists, political scientists, inventors; and so, more recently, Silicon Valley, with technologists and innovators…

In Huatulco, four talented local women who love the art of painting and who have come to paint through different paths will converge to exhibit half a dozen of their most recent works on Friday, November 14th at 6:30 p.m. at the Copalli Art Gallery in the Tangolunda hotel zone. Each one will present their own creative proposal, creating a synergy that fosters recognition, enjoyment, and reflection, sharing their most recent creations with the local population, seasonal residents, and visitors or tourists.

The four female figures resemble each other and join together to share the exhibition title “Poker of Queens,” a symbolic game where, like a Tarot deck, there are hidden messages, subtle intuitions, chance, and the connection to other realities. The conjunction of the painters: Edna Guzmán, Julieta Valadéz, Aranza León, and Alma Drew, each with her own unique style, offers original pieces with the healthy desire to come together and exhibit their paintings, carefully chosen for this art show.

With this first exhibition, the Copally Art Gallery inaugurates the 2025-2026 season of the Weekend Art Show series for three consecutive years. This edition focuses primarily on local artists. This time, the artists are Edna Guzmán, recognized for her extensive career; Julieta Valadéz, from a family of artists and expressive in her painting; Aranza León, trained in academia with great creative force; and Alma Drew, versatile in her proposals and tireless in her pictorial work.

The opening will feature live music by Ilhui LomeVal, a welcome cocktail, and the presence of the four artists for a shared love of art. Poker de Reinas will be on display from November 14th to December 6th, 2025.

Huatulco

Los Pream to Open the Winter Season of Amigos de la Música Huatulco

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By Jesús López Aguilar

From Santa María Tlahuitoltepec and heirs to the Ayuujk Jää musical tradition, Los Pream is a collective of musicians whose artistic paths are as broad as they are diverse. Through their evolution, they have forged a new sonic identity rooted in the rhythmic foundations of the Mixe communities of Oaxaca’s Sierra Norte, blending these with improvisational elements from genres such as jazz, funk, Balkan, and suun.

The Mixe musicians — Vladimir Medina (keytar), Konk Balam (guitar), Mario Rubén Cardoso (trumpet), Andrés Vargas (trumpet), Facundo Vargas (trombone), Oscar Martínez (tuba), and Jonás Uriel (drums) — make up Los Pream. Most are conductors of philharmonic orchestras and accomplished composers who merge the musical traditions of their homeland with global sounds.

During their recent European tour, Los Pream performed with Africa Express, a project led by musician and producer Damon Albarn, best known for his work with Blur and Gorillaz. Critics praised the group for their bold and innovative fusion of sounds, as well as their electrifying performances and commanding stage presence.

In Albarn’s own words, following their performance at the 2024 Bahidorá Festival in Mexico: “We needed a brass band — something to strengthen the Africa Express show. Los Pream brought an essential sound throughout the entire performance and creative process… A group like theirs was exactly what the project needed.”

Los Pream embodies a rare fusion of tradition and innovation. Their music celebrates cultural diversity and creativity, offering a window into the evolving Ayuujk sonic identity.

They will open the Winter Season of Amigos de la Música Huatulco with a Gala Concert on December 6 at 7:00 p.m. at Hotel Dreams Huatulco. The concert will take place outdoors, in the seaside garden of this stunning venue.

Huatulco

Nothing Wasted: The Beauty of Leftovers

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By Jane Bauer

I once met someone who told me their least favorite food was leftovers. When you hear the word leftovers, you might picture day-old pizza or a casserole that has overstayed its welcome. But leftovers can be the start of something delicious—far beyond simply heating them up for another round of the same old, same old.
Here are a few dishes that are enhanced by leftovers:

Leftover: Stale Bread
Solution: French Toast
In French, it’s called Pain Perdu—“Lost Bread.” I’ve always found the name poetic. It conjures an image of a piece of stale bread sitting on the counter of a Parisian apartment. This isn’t bread for the birds or the trash, it’s magic waiting to happen.

Crack an egg into a bowl, pour in a little milk, and add a dash of cinnamon or vanilla. Beat with a fork until blended. Slice your bread, then heat a frying pan and add just enough fat—butter or oil—to keep things from sticking.

Dredge the bread in the milk mixture until the outer layer absorbs some of the liquid—don’t let it get soggy. Fry until the slices turn a beautiful golden brown. Plate and drizzle with syrup.

Super hack: Have a jar of jam that’s been sitting in your fridge forever? Add the jam to a small saucepan with a bit of water. Simmer slowly, stirring until you have a warm jam sauce. Add more water as needed to reach your desired texture.

Leftover: Corn tortillas
Solution: Chilaquiles (a.k.a. Nachos for Breakfast)

One of the best Mexican breakfasts is, in essence, a celebration of leftovers. Tortillas are typically sold by the kilo—a lot for just a couple of people. You can wrap them in a dishtowel and place them in a plastic bag to stretch their life another day, but really, tortillas are best eaten fresh.

So what to do with the extras? Make totopos—corn chips. Cut the tortillas into quarters. Heat about an inch of vegetable oil in a saucepan. When it’s hot, drop in a few pieces and fry until firm, but not brown. They’ll continue cooking after you remove them, so if they’re already brown in the pan, they’ll end up overdone. Place on paper towels to drain.

Now you’re ready for chilaquiles. Heat about half a cup of your house salsa (because of course, you always have one). When it’s hot, toss in a handful or two of totopos, stirring gently until they’re coated in the sauce. Plate immediately—don’t let them linger or they’ll get soggy. Top with cheese, sliced onions, avocado, and a dollop of cream.

Salsa Roja
8 Roma Tomatoes
1 jalapeño
3 garlic cloves
½ teaspoon of salt
Roast or boil ingredients. Blend. Season to taste. For extra heat add a couple of chile de arbol (small dried chiles).

Leftover: Boiled or roasted potatoes
Solution: Bauernfrühstück (Farmer’s Breakfast)

My last name is Bauer and as a girl my father would often make this dish on Sunday mornings. This German dish is all about turning yesterday’s potatoes into today’s comfort food. —it’s a rustic skillet of fried potatoes, eggs, and whatever else is on hand.

Slice up your leftover boiled or roasted potatoes. Heat a generous spoonful of butter or oil in a frying pan, and toss in the potatoes until they start to crisp and brown at the edges. Add chopped onions, peppers, or bits of ham if you have them.When everything smells irresistible, pour in a few beaten eggs and let them set slightly before stirring. You want a balance between soft and crisp, not scrambled.

Season with salt and a generous amount of pepper, maybe a sprinkle of fresh herbs if you have some around.

Each of these dishes celebrates the beauty of using what’s left—transforming the forgotten and the stale into something comforting and new. A reminder that good food doesn’t begin with perfection. It begins with creativity, care, and respect for what we already have. In the kitchen, as in life, nothing needs to go to waste.

Jane Bauer is the owner/operator of Café Juanita and the Chiles & Chocolate Cooking School.

Huatulco

El Sueño Zapoteco A.C. / Bacaanda Foundation: Smart Rural Schools That Transform Lives

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By Britt Jarnryd

With nearly 17 years of uninterrupted work, El Sueño Zapoteco A.C. / Bacaanda Foundation works tirelessly to open paths of opportunity in the most vulnerable rural communities along the coast and in the southern Sierra of Oaxaca. Recognized as an authorized nonprofit organization in Mexico, the United States, and Canada, it is committed to a clear purpose: to provide children and young people with a dignified, equitable, and quality education.

Today, that dream has taken shape through the Smart Rural School project—an innovative initiative designed to strengthen learning in Spanish and mathematics by incorporating technology, ongoing teacher training, and educational mentorship as essential pillars. This comprehensive model combines digital tools, pedagogical development, and financial support for rural teachers, dignifying their work and reducing teacher turnover—one of the main challenges in rural areas.

The program’s goals include expanding meaningful learning, encouraging the use of technology in teaching, developing digital and socio-emotional skills, and ensuring that teachers remain in their communities. In addition, systematic evaluations track academic progress, guaranteeing continuous improvement in educational outcomes.

Each classroom is equipped with a smart screen, iPads (one for every two students), educational applications, satellite internet, and digital programs for Spanish and mathematics. Thanks to joint efforts and the commitment of our partners, all of our rural schools are now connected to satellite internet—opening the doors of knowledge to the world.

For the 2025–2026 school year, the program is being implemented in 52 rural schools, benefiting 57 teachers and more than 550 students. The results are evident: improved reading comprehension, stronger logical-mathematical thinking, more motivated teachers, and school communities strengthened by hope.Yet much remains to be done. We invite you to be part of this dream:Sponsor a school and transform the life of a community.

Contribute to the monthly cost of satellite internet that keeps the connection to learning alive.Support teacher training or sponsor a rural teacher, ensuring their development and permanence. Every donation plants the seeds of the future. Join El Sueño Zapoteco A.C. / Bacaanda Foundation and together let’s continue building an Oaxaca where education transforms lives and keeps dreams alive.

 

Huatulco

Huatulco’s Next Wave: Adapting to Mexico’s Changing Tourism Priorities

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By Randy Jackson

Each year, when we arrive at La Bocana for the first time, boogieboards tucked under one arm, we stop to see how the forces of nature have reshaped the beach since our last visit six months earlier. The sand is never the same; sometimes subtly shifted, sometimes dramatically reformed. But we always adapt. We watch the waves, find the rhythm, and surf. Huatulco, too, is shaped by forces of change, not only hurricanes and earthquakes but shifts in national policy and priorities. These changes may not be as visible as a redrawn shoreline, but they carry consequences just the same.

A New Presidency, Old Currents

This year, Mexico marks the first anniversary of President Claudia Sheinbaum’s term. She has been celebrated for breaking gender barriers and bringing a more academic tone to politics. But for resorts like Huatulco, the most significant shifts began earlier. The rethinking of tourism as an economic driver, along with the changes implemented by agencies like FONATUR, took root under the administration of former President Andrés Manuel López Obrador. So far, Sheinbaum appears poised to follow those policies.

The Fourth Transformation

To understand how Huatulco fits into this national realignment, it’s helpful to revisit what AMLO called the Fourth Transformation, his sweeping effort to redefine Mexico’s relationship with markets, foreign investment, and development itself. Drawing on three foundational periods in Mexican history—independence from Spain, the 19th-century Reform movement, and the Mexican Revolution—AMLO positioned his administration as the next great change. AMLO’s Fourth Transformation (4T) marked a departure from decades of neoliberal policies, aiming to reclaim national sovereignty and redistribute power away from economic elites, allowing the state to play a more active role in development.

Whether the 4T will live up to its historical billing remains to be seen. Still, President Sheinbaum has made her stance clear: “We are going to deepen the transformation, not reverse it.” For Huatulco, like other destinations born under FONATUR’s original vision, the Bob Dylan refrain still applies: The times, they are a-changin’.

FONATUR’s Rise and Retreat

Mexico continues to invest heavily in economic development, but large-scale, master-planned tourist resorts are no longer the centrepiece. When FONATUR was created in the 1970s, its mission was to plan, finance, and build integrated tourism destinations in remote coastal areas. The federal government would install airports, roads, water systems, and other infrastructure, setting the stage for private investors to bring hotels, restaurants, and jobs. The result was supposed to be a trickle-down boost for nearby communities.

In the 1980s, FONATUR transformed a string of untouched bays along Oaxaca’s coast into the resort of Huatulco. For some time, the concept seemed viable. But like the beachgoers adjusting to new surf, FONATUR found itself navigating shifting economic currents. The global tourism market for beach resorts became crowded, and other destinations, such as Caribbean all-inclusive resorts, and even competing FONATUR projects like Cancún and Los Cabos, offered cheaper and easier alternatives to Huatulco.

From Resorts to Railways

Still, the lesson took some time to sink in. FONATUR continued launching new mega-projects, such as Loreto in Baja California. In 2007, Loreto briefly topped destination real estate sales charts. However, the 2008 global financial crisis and subsequent U.S. recession halted the momentum. Investors paused. Projects stalled. And gradually, Mexico’s tourism strategy began to shift.

Under President Peña Nieto (2012–2018), a sector-wide review led to a curtailment of FONATUR’s expansion. Funding to destinations like Huatulco focused more on infrastructure maintenance than growth. Then came AMLO, who dramatically reoriented the agency. FONATUR’s traditional role in resort development and maintenance was significantly reduced. Resources were redirected to the Maya Train, a controversial infrastructure project billed as a tourism initiative, although it is perhaps better understood as a regional economic development initiative. President Sheinbaum has embraced and extended this strategy, most recently announcing the Maya Train’s expansion into Guatemala.

For Huatulco, this confirms what many already sensed: the national spotlight has moved elsewhere. The cartoon image below may exaggerate the moment, but the message is real: while some of us wave tourists into the surf, a much larger wave of policy, budget, and priorities is cresting behind us.

Still, FONATUR isn’t gone. It remains a significant landholder in Huatulco, controlling the unsold parcels from its original 1984 expropriation. The question is whether it can be repurposed as a steward, rather than a builder, which is less about launching new resorts and more about maintaining what already exists.

A New Kind of Partnership?

A new pivot might align well with Sheinbaum’s emphasis on sustainability. For Huatulco to ride the next wave, a new kind of partnership is needed —one that brings together FONATUR, the state of Oaxaca, and local stakeholders at the same table. A coordinated strategy could target essential needs, such as water and sewage infrastructure. Revenues from FONATUR’s Huatulco land sales, combined with FIDELO’s operational expertise and input from local businesses, could support a development plan that is realistic, sustainable, and tailored to the region’s needs.

Surfing Ahead

Whatever form it takes, the priority must be to protect what sustains Huatulco’s economy while preserving the natural beauty that draws people here in the first place. If successful, it could offer a model for other FONATUR-born resorts navigating similar transitions.

As President Sheinbaum completes her first year in office, balancing domestic pressures and global uncertainties, this type of pragmatic regional initiative could represent a meaningful path forward. The wave of change is real, and while Huatulco may seem like a small fish in Mexico’s broader political sea, it is of significant importance to us Huatulcoites. And as the surfers at La Bocana know, timing and effort often make the difference between riding the wave and being pulled under.