Tag Archives: mexico
SMA February 2026
The Year of the Horse
By Roger D. Jones—
There are moments in history when humanity is asked, softly but unmistakably, to remember what it once knew. The horse has always been one of our greatest teachers.
Before machines carried us forward, horses did. Before modern medicine, they carried the wounded. Before therapy had a name, horses regulated our nervous systems with their presence, rhythm, and breath. Across cultures and continents, the horse has symbolized freedom, endurance, sensitivity, and profound intelligence.
Year of the Horse is an invitation to slow down. To listen. To restore a relationship that has quietly suffered in an age of speed and extraction.
Why 2026 Is the Year of the Horse
In the Chinese lunar calendar, 2026 marks the Year of the Horse, beginning with the Lunar New Year in February. In Chinese tradition, the Horse represents energy, intelligence, loyalty, perseverance, and freedom, as well as a deep sensitivity to environment and leadership. The Horse is not ruled through force—it responds to clarity, trust, and mutual respect. When treated well, it gives everything. When misunderstood or pushed beyond its limits, it suffers quietly.
In places like San Miguel de Allende, where tradition, artistry, and community remain deeply woven into daily life—this symbolism feels especially present. Here, the relationship between humans, animals, and land is not abstract, but lived, observed, and felt.
Edgar Cayce and the Future Role of the Horse
The American mystic and healer Edgar Cayce (1877–1945) spoke of a future in which humanity would need to rebalance—between technology and nature, intellect and intuition, power and compassion. In several readings, Cayce suggested that horses would again become essential not as beasts of labor, but as agents of healing, emotional regulation, and spiritual grounding.
Cayce emphasized that horses respond to the inner condition of humans rather than command alone. In this way, they reveal imbalance without judgment and harmony without words. Whether approached as prophecy or symbolism, his insight aligns with both ancient wisdom and modern science: horses help humans remember how to be whole.
Horses as Healers: Living Examples
Across the world, and increasingly here in central Mexico, equine-assisted healing therapies are offering quiet, powerful support to people navigating emotional and neurological challenges.
Autistic children often experience improved emotional regulation, focus, and nonverbal communication when working with horses, whose calm presence and predictable rhythms provide a sense of safety without verbal interaction.
Veterans and first responders coping with post-traumatic stress frequently find that horses respond to their internal state with honesty and without stigma, helping restore trust, confidence, and nervous-system balance.
Individuals dealing with trauma, grief, or major life transitions often report that time spent with horses creates space for presence, emotional release, and reconnection—especially when traditional talk-based therapies fall short.
These outcomes are not based on force or training tricks, but on relationship, consistency, and respect. The Year of the Horse is not a campaign and not owned by any organization or individual. It belongs to anyone willing to approach horses with humility, patience, and respect. You do not need to own a horse to participate. You only need to care.
Editorial Note
For readers wishing to engage directly with equine rescue and education efforts highlighted in this year-long series, visit http://www.EsperanzaEquina.com.
Poem: Parrot’s Roost
By Julie Sullivan
Who made the world
Who made the mango trees and the parrots
Who made this mango tree
Whose branches bend under the heavy weight of green mangoes that hang heavily above my head like big green teardrops ready to fall.
Who made the parrots
the ones who arrive each morning squawking about the new day to roost in the mango tree I see from my bedroom window.
The green ones who leave each evening flapping and squawking their warning about evening.
Their wings flapping and showing a flash of red under their wings as they soar above my head
I get a glimpse. like a little girl showing off her red underwear on the swing.
I don’t know exactly what prayer is, but I do know how to face the sun as it rises and feel the cool breeze caress my face.
I know how to be still and notice.
How to admire all of creation and be hopeful and patient as life unfolds before me like a mango slowly turning from green to yellow.
I know how to listen to the ocean crashing on the rocks and imagine the colors of the fish swimming over the coral reef. I know how to watch the baby turtle make its journey across the sand only to be swept away by the next wave. Doesn’t everything ripen and fall too soon.
Tell me what will you do with your one wild and precious life.
Julie Sullivan is from Baltimore, Maryland where she taught reading at a private school for many years. Before moving to Huatulco in 2022, she lead a poetry and creative writing group called Women With A Story. This poem was inspired by Mary Oliver’s Summer Day.
Pulse of Life in Polychromy: Abdías García
By José Palacios y Román—
In every corner of Oaxaca State, we find characters who, in their fullness, weave their stories onto canvases imbued with sweet colors and ancestral references. The earthly force of ancestral roots, and connections with influences from other cultures, African, Eastern, and European, that impact our culture give us a unique cosmogonic vision that is manifested in art.
Creators express this wealth of emotions and feelings through the art of painting to remember our primordial origin: that of the tlacuilos who translated philosophy, thoughts, and history into aesthetic language in pre-Hispanic codices.
Painter Abdías García Gabriel was born on a ranch called El Paraíso, near Santa María Huatulco. The exuberant tropical aroma overcomes the daily limitations of coexistence and austerity, a lesson for life. Since childhood, he has drawn on paper and also with his imagination. This is where his dedication to painting begins, with effort, dedication, and determination.
First a path, then a trail, and finally the path to academic training at a university in the fine arts. Abdías studied drawing, various techniques, and painting. Discipline and determination have earned him recognition as an artist.
His other source of inspiration has been teaching: teaching in order to learn. He has been teaching classes since 2005 to children, youth, and adults. This activity relieves his students, who release frustrations by expressing their emotions.
Abdías is consistent with his journey in pictorial art, having found his own language and style, one that goes beyond joy, pleasure, and aesthetic enjoyment: these are creations that have filtered through his veins, sensitivity, and good taste.In front of his canvases, he provokes, recreates, nourishes, and encourages the spaces where his work is found.
I invite you to collect works by this artist who inspires taste and enjoyment with art as a creation and expression of the tropics in the Mexican Pacific the Oaxaca coast.
The opening of the exhibition will be on January 23, 2026 at 06.00 pm. Abdias will be presenting his most recent artwork “Nocturnal Dreams”, with music and wine. Entrance is free.
Oaxaca Avanza: How Art, Youth, and Community are Transforming Huatulco
By Bianca Corona—
In Huatulco, a place known for its natural beauty and strong sense of community, a group of young locals is quietly, but now very visibly, reshaping what collective action and true sense of community can look like in a small town like this. Oaxaca Avanza is a civil association formed by young people from Huatulco with a shared goal: to build alliances, create access to tools and strategies, and actively contribute to making their municipality and Oaxaca state as a whole, a better place for everyone to live in, enjoy, and prosper.
Their official public launch came to life through a project that blended art, urban renewal, and community involvement: the Corredor Mural, a once neglected pedestrian walkway located near a school close to La Crucecita, now reborn as a vibrant, colorful, and meaningful public space.
From a Forgotten Space to a Living Corridor
The inauguration of Oaxaca Avanza and the Corredor Mural was a celebration filled with energy, creativity, and gratitude. Behind that moment, however, were months of planning and a full week of intense community work. Artists, neighbors, musicians, vendors, and volunteers came together to transform a space that had long been associated with neglect, insecurity, and disuse.
What was once a grey, deteriorated corridor is now a place filled with color, intention, and life. It’s now transformed into a space where people feel invited to walk, gather, and connect directly to Huatulco’s culture, through art.
The decision to start with this corridor was deeply intentional. Oaxaca Avanza’s newly opened office is located at one end of the space, and for the team, the daily reality of seeing the area’s challenges became a call to action. The corridor borders a kindergarten, children’s play areas, and residential homes, yet had become a site for trash accumulation, vandalism, and unsafe activity.
Rather than approaching the problem through exclusion or enforcement, the group chose a different path and use artistic expression as a tool for transformation.
Art as a Collective Act
The Corredor Mural was conceived as an inclusive, collaborative project. Led artistically by renowned Oaxacan muralist Irving Cano, the initiative brought together mostly Huatulco-based artists, along with a small number from other parts of Oaxaca. Each artist worked within a shared theme, Huatulco and the Coast, while maintaining complete creative freedom within their assigned space.
The murals collectively tell a story: from marine life and coastal landscapes to human presence and local identity. Each piece reflects a personal vision of Huatulco, shaped by the artist’s own experience of growing up, living, or creating in the region.
Importantly, no artist was paid. Every participant joined voluntarily, contributing their time and talent from the heart. In return, artists were given visibility, a public platform for their work, and the opportunity to exhibit and sell their art during the week-long activation of the corridor.
Seven Days of Community in Motion
For seven consecutive days, the corridor became a living cultural space. Visitors were invited not only to see the finished murals, but to witness the creative process itself. Watching blank walls evolve day by day into powerful and colorful works of art. To encourage participation, Oaxaca Avanza organized daily pop-up markets, live music, and small community gatherings down the walkway. Local musicians performed voluntarily, artisans set up booths without fees, and food vendors rotated throughout the week, creating a dynamic and ever-changing atmosphere. Each day felt different. Some days drew families and children, others brought students, artists, or athletes. What remained constant was the sense of shared ownership and collective pride. That’s what I’d call, “Orgullo Huatulqueño.”
No Logos, No Branding, Just Purpose
One of the most striking aspects of the project is what isn’t visible on the walls… logos. The entire project was funded through personal resources and outsourced support, deliberately avoiding corporate branding or sponsorship recognition on the murals themselves. For Oaxaca Avanza, this decision was essential. The murals belong to the community, not to any brand, institution, or organization…including their own.
Beyond Art: A Broader Vision for Huatulco
While the Corredor Mural is Oaxaca Avanza’s first official public project, it is far from their first community effort. The group has been active for several years, supporting vulnerable individuals, local initiatives, sports teams, and animal protection efforts. Often executing these outreaches informally and without public visibility.
The formalization of the association and the opening of a physical office mark a new chapter. The long-term goal is to become an authorized donation recipient, allowing individuals, businesses, and institutions to support future projects transparently and at a larger scale.
Looking ahead, Oaxaca Avanza envisions initiatives in culture, sports, animal welfare, public space rehabilitation, and community development, always guided by collaboration rather than politics, and inclusion rather than division.
A Space That Invites Participation
The Corredor Mural is not meant to be a static art installation. It is envisioned as a living space in which one can host markets, performances, bicycle tours, community gatherings, and cultural events. By bringing the corridor back to life, the project adds not only beauty, but also a new point of interest for residents and visitors alike.
It also serves as a reminder that improving quality of life is not limited to infrastructure or policy. Beauty, creativity, and shared spaces play a powerful role in how people experience safety, belonging, and pride in where they live.
An Open Door Forward
At its core, Oaxaca Avanza is an invitation. An invitation to participate, to propose ideas, to collaborate, and to contribute. Whether through time, creativity, resources, or simply presence. As Huatulco continues to grow and evolve, initiatives like this demonstrate what is possible when young people take ownership of their community and choose cooperation over division. The Corredor Mural is just the beginning.
Artist Recognition:
1.- Joel Montes
2.- Alejandra Elizabeth Aguilar Aguiar
3.- Lianne Aranza León Sánchez
4.- Edgar Ares Moscosa Bazar
5.- Marina Valdepeña
6.- Judith Martínez Caballero
7.- Janette Santiago Antonio
8.- María Eugenia Valle
9.- Alma Drew
10.- Diego Uriel González
11.- Odette Carolina Cabrera1
12.- Fernanda Butista
13.- José García López
14.- Yuri Enríquez
15.- Grisel Adriana
16.- Alina Sofía Reboredo Damasco
17.- Ariel Núñez Zabaleta
18.- Corina Lucio Olvera
19.- Alma Montero
20.- Fefo Loya Gartol
21.- Betina
22.- Carlo Sérbulo Alducin
23.- Michelle López García
24.- Roberto Hernández
25.- Julio César García Rodríguez
26.- Fernando
27.- Ángel Ernesto Rivera López
28.- Edwin Fierros
29.- Luis Antonio Ortiz Enríquez
30.- Roberto Domínguez
31.- José Martínez Adolfo
32.- Valois Prieto Alvarado
33.- Carlos Mendoza Salina
The Evolution of the Charro Mexicano
By Julie Etra—
The word charro first appeared in Spain, most likely linked to the Basque word txar, meaning “bad” or “unimportant.” It was originally a derogatory term used to describe unsophisticated people from the Salamanca region of northern Spain. The modern Mexican charro, however, is an elite horseman of the distinctly Mexican equestrian sport known as charrería, which embodies gallantry, tradition, and national heritage—a stark contrast to the term’s humble origins.
Horses originated in North America approximately 55 million years ago, but this early, dog-sized mammal—barely resembling the modern horse—became extinct around 10,000 years ago, likely due to a combination of climate change and human hunting.
Christopher Columbus’s second voyage, when he established the first settlement at La Isabela on Hispaniola (present-day Dominican Republic). Hernán Cortés later brought around 16 horses from Cuba to the Yucatán Peninsula in February 1519—a seemingly small number that nevertheless proved critical to the conquest of Tenochtitlan.
Cortés most likely introduced a small, hardy breed known as the Garraño, which can still be found today among the few remaining breeders in northern Portugal, where the horses still run free. Measuring between 123 and 135 centimeters at the wither (the ridge where the neck meets the back), there are approximately 2,000 Garraños left. They are prized for their calm temperament, sure-footedness in rough terrain, and endurance. These horses were bred in Mexico and became the foundation of the Mexican Galiceño breed, also known for its intelligence, stamina, and smooth gaits.
Other horse breeds popular in Mexico include:
Creole (Criollo): A native horse bred for hardiness and adaptability
American Quarter Horse: Highly valued for its power, short-burst speed, and musculature—essential traits for ranch work and competition.
Azteca: Developed beginning in 1972, this official Mexican breed was created specifically for charrería. Azteca horses consist of three breeds—Andalusian, Criollo, and Quarter Horse—combining the elegance and classical dressage ability of the Andalusian with the strength and speed of the Quarter Horse and the toughness of the Criollo.
Spanish: Pure Spanish (Pura Raza Española) and Lusitano horses are known for their elegance, agility, and suitability for classical dressage maneuvers, which are showcased in the charreada event known as the Cala de Caballo.
Arabian: Arabians, famed for their endurance and commonly used in long-distance races, are also favorites among charros.
Origin of el Charro Mexicano
The origins of the Charro Mexicano date back to the colonial era of large cattle ranches, or haciendas, which were later broken up after the Mexican Revolution. Initially, Spaniards prohibited the local population from herding cattle on
horseback. As ranching operations expanded, this restriction proved impractical, and eventually both mestizos (people of mixed Spanish and Indigenous descent) and Indigenous workers were permitted to manage cattle from horseback.
Charros adopted a distinct saddle to differentiate themselves from the military and learned Spanish riding and herding techniques such as lassoing and roping. What began as protective leather clothing worn by ranch workers in harsh landscapes gradually evolved into a recognizable form of dress. After the Mexican Revolution, the charro became a powerful symbol of national identity.
By the 1930s, charrería had been formally recognized as Mexico’s national rodeo sport, further institutionalizing the charro and popularizing the attire. Mariachi music, which originated in the state of Jalisco, along with the Golden Age of Mexican cinema (1936–1956), frequently featured charros, cementing their image in Mexican cultural identity.
Female charros are known as charras. Historically, they did not work cattle, but in 1953 they began participating in traditional equestrian competitions known as escaramuzas, initially as children’s teams. By the 1960s, women were formally competing in charrerías. (see the article by Ana Dominguez on page 6)
The Cala de Caballo is one of the most prestigious competitions in charrería, testing the refined skills of both horse and rider. The event evaluates the horse’s ability to run, stop abruptly, and turn within a confined space, highlighting responsiveness to the reins and the rider’s control. Judging, conducted by a panel of three, is based on posture, precision, and overall execution.
Evolution of the Attire
The elaborate outfits worn today evolved gradually from the leather garments of early vaqueros to softer chamois and eventually to the Traje de Charro. According to the Mexican Federation of Charrería, there are five categories of attire: Work, Semi-Gala, Gala, Grand Gala, and Formal. Work attire is the simplest, while Formal attire—typically black—is reserved for the most ceremonial occasions.
Charros (the beans)
Charros also refers to a traditional preparation of pinto or bayo beans, originally cooked in camp by charros using whatever ingredients were available. Today, the dish often includes bacon or other meats, chiles, onions, garlic, and tomatoes—cada chef tiene su propio toque: every cook adds their own personal touch.
Visit the Museum of Charrería, CDMX
The Charrería Museum in Mexico City houses unique artifacts from different historical periods of Mexico’s most emblematic cultural tradition. It is located in the historic center of the city, in a former monastery on Izazaga Street. Isabel La Católica 108, Centro, Cuauhtémoc, 06080 Ciudad de México, CDMX
http://www.museodelacharreria.org.mx
The Dream Festival: Celebrating, Sharing, and Transforming
By Britt Jarnryd—
Each year, on a Saturday in January, Huatulco comes alive with music, color, and hope during the Dream Festival—a fundraising event that celebrates a shared commitment to education and the development of Oaxaca’s most vulnerable rural communities. Organized by Sueño Zapoteco A.C. / Bacaanda Foundation, the festival highlights the foundation’s projects, shares its achievements, and raises funds to continue its mission: reducing poverty through dignified, high-quality education.
The Dream Festival is more than a cultural celebration; it is the result of months of collaborative, volunteer-driven work. Beginning in July, a dedicated group of international volunteers plans every detail with enthusiasm and deep respect for the communities the foundation serves. Their commitment creates a space where solidarity knows no borders. Each year, local businesses, hotels, and members of the Huatulco community contribute by donating food, beverages, raffle prizes, and auction items, turning the festival into a true example of community collaboration. Every contribution—large or small—becomes a real opportunity for children and young people in rural areas.
At the heart of the Dream Festival are the rural schools it supports, which take center stage in the celebration. Weeks in advance, students prepare traditional dances from different regions of Oaxaca, accompanied by live bands and the iconic monos de calenda, filling the atmosphere with joy, identity, and cultural pride. Through their performances, students thank attendees for their support and invite them to continue being part of the transformation of rural education.
The Dream Festival is a celebration of achievement, culture, and hope—but above all, it is an invitation to be part of meaningful change.
Every ticket purchased and every donation made translates into dignified classrooms, educational materials, technological tools, academic support, and stronger opportunities for the future.
Come experience this extraordinary festival and be part of transforming lives.
Saturday, January 24, 2026
Starting at 5:00 p.m.
Parque Guelaguetza, Huatulco
Tickets available at the Bacaanda Foundation office
Live the magic, celebrate culture, and help transform lives.
The Role of Horses in the Spanish Conquest of Mexico
By Jan Chaiken and Marcia Chaiken—
When Hernán Cortés and his expeditionary force first arrived near present-day Veracruz in 1519, the ships from Spain carried about 500 soldiers, along with horses, cannons, and other military supplies. At that time, horses had been extinct in Mesoamerica for thousands of years. As a result, the Indigenous Aztecs—who had never seen similar animals—experienced awe, fear, and confusion, with some early accounts suggesting that the horse and rider were perceived as a single, unfamiliar being. Some Indigenous communities reportedly made offerings to horses or used captured horses as sacrifices to their gods.
The Spaniards capitalized on this reaction by staging carefully choreographed military demonstrations to intimidate the population. Mounted conquistadores proved to be a highly effective military force against native foot soldiers. They were deployed in formations now known as cavalry—large mounted units capable of pursuing and overtaking enemies on foot. Horses were also used to transport cargo and supplies, as well as to control and move captured Aztecs. As soon as new territory was secured, the Spanish established horse-breeding farms in preparation for future expeditions.
Cortés quickly recognized that the ruling Aztec Triple Alliance was deeply resented by many of its subjects and that other Indigenous groups were long-standing enemies of the Aztecs. He formalized alliances first with the Totonacs near the Gulf Coast and later, inland, with the Tlaxcaltecs. The Tlaxcaltecs became loyal and indispensable allies, supplying tens of thousands of warriors. In return, they were granted key privileges, including the right to ride Spanish horses, carry Spanish weapons, and continue governing their own settlements autonomously.
When the Spanish first entered the Aztec capital of Tenochtitlan, the Tlaxcaltecs accompanied them on horseback and helped take hostages, including the ruler Moctezuma II. The Aztecs revolted and rapidly adopted tactics and technology to counter the horses’ advantages. They lured cavalry into narrow causeways, mountain trails, or swampy areas, fired stones and arrows at horses as well as riders, and developed specific shouts and whistles to signal tactical opportunities.
After the eventual Spanish conquest, Indigenous people incorporated horses into their cultures, using them for transportation and labor. Even today, in Mayan communities such as Todos Santos in Guatemala, residents maintain elaborate—and sometimes dangerous—traditions of drunken horse racing, which they consider an important cultural expression.
While the conquistadors’ use of horses in war against the Aztecs is highly dramatic and graphically portrayed in films and books, horses and other livestock brought by the Spanish may also have introduced a far more lethal, invisible agent—Salmonella enterica. Some historians argue that Europeans brought fatal diseases to the New World, including smallpox. Recent DNA analysis has shown that one of the most widespread diseases to wipe out vast numbers of Aztecs and other Indigenous people in Mexico was caused by the bacterium Salmonella enterica. The disease wreaked havoc on the digestive systems of those infected and was often lethal among populations with no prior exposure. The bacteria spread through food and water contaminated with fecal matter—often originating from livestock, including horses. It may be that horses themselves were among the most powerful, if unwitting, agents of conquest in Mexico.
Image: Hernán Cortés received by emissaries of Tlaxcala, Codex Duran, 1579, Biblioteca Nacional de de España. Source: Noticonquista Universidad Nacional Autónoma de México (UNAM)
Drs. Marcia and Jan Chaiken have been married for 62 years and have published many justice system research reports together.
Huatulco Snowbird Survey
By Randy Jackson—
In another time, long ago, I owned a travel bookstore. This was before the internet, back when the world was still big and filled with foreign places. Mostly, my bookstore attracted adventurers bound for faraway lands, and I shared their excitement from behind the counter. But one pattern was persistent: Long-term travellers often returned early, cutting their trips short and citing a need for belonging, for Home.
As a long-time seasonal resident of Huatulco, I remain interested in the paradox of the impulse to explore versus the need for belonging: Have Huatulco snowbirds solved this conundrum, or are they simply seeking tropical warmth and companionship over margaritas? This question led me to conduct the Huatulco Snowbird Survey. Presented here are some of the key findings from that effort; the full results can be found on the website http://www.seasonedhuatulco.com.
I’ve tabulated anonymous results from 106 seasonal and long-term visitors of Canadian and American origin. While the actual size of the snowbird population is unknown (likely between 2,000 and 5,000), these responses offer an intriguing snapshot of the attributes and lifestyle choices of Huatulco’s seasonal residents. It’s not a scientific survey, given the small sample size, but it still provides a unique window into this community.
Longevity and Loyalty
Snowbirds have been consistently returning to Huatulco for several years. The bar graph shows two main humps. Almost 20% of respondents fall into the 4–6 year range, while the larger cluster, of nearly 30%, is in the 12 to 16 year range. When applying the results to a standard distribution curve (for any statistical nerds), it tells us the overall average number of years snowbirds have been returning to Huatulco is thirteen.
Where Winter Ends
Predictably, the geographical origin of Huatulco’s seasonal residents tells the story of escaping the deepest winter cold. The survey data were insufficient to provide a breakdown of the home states of the US snowbirds, but for Canada, the top three home provinces are Alberta, Ontario, and British Columbia. The complete breakdown by province is in the full survey results on http://www.seasonedhuatulco.com.
Staying and Mobility – The Mechanics of Huatulco Snowbird Life
The survey reveals a near-perfect split between accommodation choices: 55% of respondents rent their properties, many of whom are consistent year-over-year renters, while 45% have chosen to purchase their own homes, indicating a long-term investment in a second home.
While the vast majority, 97% of respondents (survey says), choose the convenience of flying to and from Huatulco each season rather than drive, once here, their local transportation options are varied. 24% of those surveyed have purchased a car, and another 10% own a motorcycle or scooter, illustrating a desire for greater independence beyond taxis and local buses.
More than Margaritas: Activities and Engagement
It seems like a truism that trading cold weather for the tropics encourages a more active lifestyle, and our survey results for Huatulco snowbirds support this assumption. Forty-three percent (43%) of respondents report being more physically active in Huatulco than at home, compared to only 10% who are less active.
The survey responses show a commitment to activity, often driven by Huatulco’s best asset: the warm Pacific Ocean. When asked about regular activities, water-based activities dominate the list. While Huatulco also attracts dedicated participants in Pickleball, Yoga and other activities, where the primary driver of physical activity is the surrounding natural environment.
The survey asked; What activities do you regularly participate in while in Huatulco? (Select all that apply to you)
Beyond physical activity, many Huatulco snowbirds demonstrate an evident dedication to cultural engagement, particularly through language acquisition. The majority of survey respondents are actively attempting to improve their Spanish communication skills.
The motivation to learn Spanish is rooted in both personal enrichment and respect for the local culture. However, proficiency levels indicate the journey is ongoing for most.
Beyond Activities: Why Snowbirds Return To Huatulco
Back in our northern homes, our personal history shapes who we know and what we do. Here, strangers become companions without any of those usual ties. The survey results show that
Snowbirds return to Huatulco for more than the activities they enjoy here; they return for how this place makes them feel, and how that unexpected community of strangers forms each winter.
For an explanation of how these results were tabulated, and for results on suggested improvements in Huatulco, why snowbirds would stop coming, and the travel experience of Huatulco snowbirds, check out the full results at seasonedhuatulco.com.
Have Snowbirds Solved The Travellers’ Paradox?
Has the snowbird lifestyle solved the paradox of the impulse to explore versus the need for belonging?
In those conversations with my bookstore customers who cut their travels short, I always assumed their impulse to explore wasn’t exhausted; it just needed a rest. Travel has long been linked with personal growth; as a quote often attributed to Saint Augustine puts it, “The world is a book, and those who do not travel read only a page.” The survey offers us facts about who we are as a snowbird community in Huatulco, but it also echoes an observation I once read in a study: snowbirds seem to be looking for something. And that “something” may well be reflected in the top categories used to group the responses to the question: What does the snowbird experience mean in your life? These include Growth, Freedom, Friendship, Community, Identity, and Belonging. In the end, these may be the real coordinates of the Huatulco snowbird experience.
Randy Jackson blends local reporting from the perspective of a seasonal Huatulco resident with explorations of life and change in Huatulco, Oaxaca and Mexico. Email, box95jackson@gmail.com
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