Tag Archives: mexico

Huatulco

Rotary Club Bahías de Huatulco Hosts Bi-district Conference in May

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By Bonnie Ganske—

The Rotary Club of Bahías de Huatulco, established in 1998, is preparing to host a bi-district conference at the Barceló Convention Centre from May 14–16. Rotary is an international service organization with a presence in more than 200 countries and over 1.2 million members worldwide. Its primary areas of focus include healthcare, disease prevention, clean water, literacy, peace, education, and the environment—all guided by the motto “Service Above Self.”

Locally, the club supports its Park Library in Sector U2, which offers a computer lab for area schoolchildren, language classes in Spanish, German, and English, and serves as both a lending library and a resource center for visiting students. The Huatulco Rotary Club has also delivered numerous wheelchairs, hosts an annual dental campaign for rural schoolchildren, and has installed water purification systems in schools across surrounding communities.

The upcoming conference will welcome more than 400 Rotarians from across southern Mexico. District 4195 includes participants from Oaxaca, Chiapas, Veracruz, Tabasco, Yucatán, Quintana Roo, and Campeche. District 4185 will bring attendees from Puebla, Guerrero, Tlaxcala, Morelos, and additional regions of Veracruz. The event will also host approximately 250 foreign exchange students.

For local businesses, this gathering presents an opportunity to offer special promotions or discounts during the low season, as visitors explore the area’s shops, restaurants, and services.

Conference Highlights:

May 15: Presentation by Nobel Peace Prize laureate and Rotary Peace Scholar, Dra. Rigoberta Menchú Tum

May 15: A colorful parade of Rotarians in traditional regional dress, beginning in El Centro and culminating at Parque Guelaguetza near the marina. The public is warmly invited to attend and enjoy food and artisan stalls at the park.

May 17: A 2 km walk/run to the golf course in support of Rotary’s global polio eradication campaign

For more info: + 52 958 115 3767

Huatulco

Tren Maya Tsíimin K’áak’

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By Julie Etra

The Tren Maya links the main cities, major airports and tourist destinations, including major Mayan archaeological sites within the five states rooted in Mayan culture in Mexico (Chiapas, Tabasco, Campeche, Yucatán, and Quintana Roo). It also formally recognizes and helps safeguard the Mayan culture and its contributions to Mexico. All the signage is bilingual (Spanish and Mayan). The major and central station is Cancún.

Although other rail line projects in the region had been proposed by past administrations, the Tren Maya was the brainchild of the former president Andrés Manuel López Obrador (aka AMLO) and his administration, and one of his top priorities shortly after his election in 2018. The Tren Maya consists of 1,554 km (966 miles) of modern rail that loops around the Yucatán Peninsula, with two additional legs, one east to Chetumal on the Belize border, and the other lengthy section south and west from Escárcega to the archeological site of Palenque in Chiapas. There are a total of 34 stations, of which 20 are major, consisting of seven segments. The three train types include the Standard Mayan Train (Xinnbal, ‘walking’ in Mayan), the Restaurant Car (Janal), and the Mayan Train Long Distance (P’ata), the latter of which will provide sleeper cars for the lengthier routes. The Standard Train has a 300-passenger capacity. The stations tend to be on the outskirts of communities, probably dictated by right of way issues, community concerns, engineering, hydrology, and archaeological. Passengers cannot simply hop on and off the train, so if you want to stay in a particular area for an extended stay, buy two one-way tickets.

Engineering, Construction and Operation
The lead firm selected for this project was Alstom, a French multinational company specializing in rail transport, mobility solutions, and engineering. Including the acquisition of Bombardier Transportation (part of Bombardier, known for its aviation division, including business jets), with a facility in Querétaro, Mexico, they are a global leader in high-speed trains, metros, trams, and sustainable signaling systems. At the time, FONATUR (National Fund for the Promotion of Tourism) was the lead agency for the Federal government, with a carefully selected consortium of businesses responsible for the design, manufacture of the trains, construction of the rail line, environmental and cultural analysis, and likely public outreach and coordination. The consortium was in part selected for its ability to manufacture the 42 X’Trapolis trains in Mexico in Ciudad Sahagún, Hidalgo, fulfilling another goal of being a ‘Train for Mexico Built in Mexico’ as well as design and install the entire associated infrastructure. The exterior design is sleek and elegant, and the train’s logo, an artistic interpretation of Kukulkan, the Mayan plumed serpent deity, was clearly displayed.

Construction began in 2019 with clearing and grubbing of the right of way. Topography is mainly flat, though hilly and rough terrain in Campeche required excavation and stabilization of long cut slopes. Some sections required multiple vehicular overpasses to maintain access to small communities. Sections were built and opened incrementally, with the final segment from Escárcega to Chetumal on December 15, 2024.

The routes are now fully operational although, as of this article, it is not clear what services are available at all the major stations. The trains are powered by a hybrid system, utilizing both electric-diesel dual-mode locomotives and dedicated diesel locomotives to travel the 1,554 km route. Approximately 44% of the track (about 690 km), primarily between Mérida and Chetumal, is electrified. The remaining sections are intended to run on clean biodiesel and ultra-low sulfur diesel, resulting in lower emission and energy efficiency. And the source of the biodiesel? Sources are primarily used cooking and vegetable oils produced in the surrounding five states through which the train passes. Alternatively, ultra-low sulfur diesel fuels are also used, according to causanaturamedia.com.

The Guardia Nacional, (established by AMLO in 2019), under the direction of the Mexican Armed Forces, oversees security and plays a role in operations.

Our Trip March 2026
We decided, without much debate, to take the Tren Maya this year from Mérida to Playa del Carmen, then rent a car and head to Akumal to meet up with family members, returning to Mérida. We did discuss taking it last year, but since 2025 was Tren Maya’s first year in operation, we decided to wait for reviews from friends or acquaintances—which never came. We chose Mérida since we had great memories from a brief trip we took decades ago on our way to Tulum; I was alone in Mérida in 2011 to present at an International Conference and wanted to go back with my hubby. We chose Playa del Carmen for the destination north of Akumal since it appeared that the station was better developed than the Tulum station to the south of Akumal and we were concerned about transportation to the rental car agency. As it turns out that was a prudent decision, as neither taxis nor Uber were available at the Playa del Carmen train station, and we were lucky to catch a private van to pick up our rental car.

Mérida To Playa del Carmen
Websites recommended that we be at the station across town an hour early so we left the hotel at 5:15 am, before the Mérida rush hour. The station was elegant but with few functioning services and mostly empty store fronts. Signage indicated that no outside beverages or food were allowed on the train; the body and luggage scanners, however, were not functioning at the time and we noticed employees enjoying a good desayuno in Styrofoam containers once we were on board in our first-class seats. We left at 7:00 a.m. on the dot. The comfortable seats were identical in coach and first class, the latter came with a fold-out table, but that was the only perk, other than first class allows for early boarding. There was plenty of space for storage and even a rack for bicycles. The food, in a separate ‘vagón’ (car) consisted mostly of packaged microwavable snacks, but I had a decent slice of carrot cake and a cup of coffee (skip the chapata de carne with mystery meat) and I was impressed with the selection of magazines. They serve rum, vodka, tequila and beer, but alas no wine, although it was a bit early for alcohol. It appears that the vagón may offer more culinary options in the future, as what we experienced was not the ‘restaurant’ car described on various websites (‘There will be 8 Restaurant model Maya trains, and the reason is that they have a carriage that functions as a restaurant. It has an industrial-type kitchen with a capacity for 140 passengers, and it prepares food from each region it passes through’).

There are electrical charge outlets and USB ports on the trains, but the wireless internet was not functioning on either leg of our trip. It was a 4.5-hour comfortable trip to Playa del Carmen through the flat and monotonous terrain, dominated by scrubby vegetation of the limestone parent material of the Yucatán Peninsula, mostly paralleling the existing highway to Cancún.

Return to Mérida
The train at Playa del Carmen left punctually at 7:10 p.m. and it was good we were early, as an intense downpour would have slowed our 25-minute taxi ride. We ducked into a small fast-food restaurant to get out of the rain blowing through the station and had a few beers. The station had functioning scanners, but they did not catch the limited food and beverages we managed to bring. The train was on time, and other than the coach being very cold (I resorted to wrapping a tee shirt around my head), we had an uneventful return in the dark night, with a few rum and coke cocktails and our books to break the monotony. We caught a cab back to the hotel in Mérida.

Would we do this again? Perhaps! I would love to check out the restaurant car and go back to either Palenque or Bacalar. Some challenges remain along several sections of the train due to difficult and complicated civil engineering associated with the karst topography (porous and cavernous limestone formations) and cenotes (freshwater sinkholes) of the Yucatan Peninsula, and several derailments occurred in 2025. Be sure to check the status of the rails when considering your itinerary.

Reservations:
These were easy to do online and directly through their website http://www.trenmaya.gob.mx

 

Huatulco

Beat the Heat in Mexico

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By Marcia Chaiken and Jan Chaiken

Here for business or pleasure? At the beach or in the city or in the mountains? The good news is: wherever you are in Mexico the temperature can climb pleasantly high. The bad news is: as the temperature climbs high so can yours. Rapidly rising body temperature can result in heat exhaustion or worse. So here are a few tips for creating a pleasurable stay in Mexico instead of a medical emergency.

Stay hydrated. Realize that while you’ve been dreaming of margaritas and cervezas, water is the key to hydration – not alcohol. Experiment and experience the many different kinds of flavored waters available in Mexico. Some of the favorites of local residents and long-time tourists are water spiked with tamarind juice, hibiscus flower (agua de jamaica), and cucumber (agua de pepino). We order our favorites in jarras (pitchers) and down the whole jarra during a meal for two.

Stay out of the sun. We wince when we see bone-white tourists laying prone in the sun on loungers around pools. Even with a high SPF suntan lotion, they are literally cooking themselves to dizziness and nausea. Exercise caution – even in the shade; the sun reflects off surrounding surfaces, especially water, and can cause roasting under that umbrella or palapa.

Plan your outdoor activities for the early morning and late afternoon. One of our granddaughters recently joined us in Huatulco for a week of rest and recreation with a bunch of friends whom she had met in med school. The young docs knew the nitty-gritty details of the havoc that heat can play on human metabolism. They rose early and went to the beach, beating the crowds and high temperatures. When the sun was rising high, they left the beach for indoor activities in air conditioned places. As the sun lowered enough to cast deep shadows, they brought their books and smart phones to the shade near a pool and took a plunge whenever the body temperature warranted a cooling. Evenings after dinner were their prime times for walks and other outdoor explorations. They pretty much held to the same schedule in city environments, touring in the morning and late afternoon and enjoying air conditioned museums midday.

Take cold showers. Even if you enjoy soaking in or spraying yourself with warm to hot water, before you towel off, stand under a shower that is as cold as the water gets. It’s the fastest way to bring down your body temperature. Returning from the beach or sweaty activities, a cold shower is not only enjoyable but necessary.

Dress to stay cool. The song might say “no shoes, no shirt, no problems,” but the absence of a shirt on tourists parading down city streets is a cringeworthy moment. Not only is it gauche but it increases the chances of overheating. Slip on a light-weight loose shirt, especially one with material designed to reflect sun. Lightly covered with room for air to circulate is acceptable in beach communities. In cities and the mountains, opt for several layers. Peel them off as the temperature rises during the day and replace them as the sun and temperature go down.

Siesta, siesta, siesta. Mexico is famous for its fiesta opportunities. But note that local fiestas typically begin around sunset. Midday is set aside for a long indoor snooze. You might try imitating the national pattern of having your largest meal (comida) in the early afternoon; the reason many stores and museums are closed midday is because the staff are enjoying comida during the hottest hours. Then as many local residents do, take a nap or at least rest while you digest. You’ll find that afterwards your body temperature will be normal and you’ll be raring to go.

Long-stay acclimatization. Many of us longer-stay Mexico visitors get used to the heat. It’s not psychological – it’s physiological. Our circulatory systems including our hearts adjust to keeping us cooler in hot weather. But it normally takes a week or more for our bodies to adapt – longer as we grow older – so we follow our own advice that we’ve given you during that period. We continue to follow it after acclimatization except that we don’t use air-conditioning. As soon as we arrive in Huatulco, we open windows and turn on all ceiling fans in our condo, leaving them on until we depart for the US. The fans and the sea breezes eventually replace the need for A/C.

Watch those babies! We love to see the babies and toddlers from north of the border in their floaties in pools and being wheeled about city streets. But please realize that their little circulatory systems take much longer than adults’ to adjust to heat at beaches and midday high temperatures in cities and mountains. When we hear the little ones wailing with discomfort, our hearts go out in hope that their parents are keeping them indoors and cool midday and providing bottles of water and cooling them off with baths and wet cloths.

Mexico’s weather is wonderful for visitors. It’s one reason tourists head south during below-freezing months in the U.S., Canada and Europe. But wonder can rapidly turn into woe – unless you beat the heat.

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

Huatulco

Cine Pobre: Where Film Isn’t About Budget

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By Alicia Flores—

“Film becomes art only when its materials are as inexpensive as pencil and paper.”

The Cine Pobre Film Festival is heading into its 24th edition. At a time when most film production is tied to large budgets and industry backing, Cine Pobre focuses on something much simpler: films made independently, often with very limited resources, by people who choose to make them anyway.

The festival started in 2002 in La Paz, Baja California Sur, and relocated to Oaxaca in 2023. Over the years, it has built a network of filmmakers working outside traditional systems—people funding their own projects, working without strict formats, and often using whatever equipment they have access to.

The result isn’t a specific “look” or genre. Some films are polished, others are rough. What they share is a sense of intention. These are projects that exist because someone was determined to make them, not because they fit a market.

Working Without a Safety Net
There’s no romanticizing the limitations here—working without funding is difficult. But it does change how films are made. Smaller crews, fewer locations, simpler setups. Decisions tend to be practical, and that often leads to a more direct kind of storytelling.

Cine Pobre leans into that reality. It doesn’t try to imitate big-budget production. It presents films on their own terms, without comparing them to industry standards they were never meant to meet.

Beyond the Festival Circuit
The group behind Cine Pobre isn’t only organizing screenings. Over time, they’ve also produced and distributed independent films across Latin America, staying close to the kind of work they promote.

In 2024, they opened a small screening space in Oaxaca’s cloud forest, at about 2,400 meters above sea level. It’s not a commercial cinema—it’s a modest venue meant for small audiences, discussions, and ongoing programming.

That shift matters. Cine Pobre isn’t just an annual event anymore; it’s becoming a year-round presence.

Taking Film to Places Without It
One of the more interesting parts of the project is its outreach into rural communities. In many cases, these are places where people haven’t had much access to cinema, either as viewers or as creators.

The approach is straightforward: bring screenings, and encourage people to document their own lives. No expensive equipment required—a phone is enough.

In that setting, film becomes less about consumption and more about record-keeping, storytelling, and identity.

Cine Pobre doesn’t operate like a typical festival. There’s no focus on awards or competition. The selected films—often referred to as “the best self-funded films in the world”—are screened for their cultural value rather than ranked against each other.

The audience is just as important as the filmmakers. Screenings often take place in environments where people aren’t used to going to the movies, which changes the dynamic entirely.

The 2026 Edition
For its 24th edition, Cine Pobre will continue expanding in Oaxaca, including screenings in rancherías in the municipality of San Mateo Río Hondo.

These events are designed to be accessible—open-air or small-scale gatherings where people can watch films, ask questions, and spend time together. It’s less about a formal festival experience and more about creating a shared one.

The official selection will be announced on April 26 through the festival’s online platforms.

More than anything, Cine Pobre is a reminder that filmmaking doesn’t need to be complicated. It can start with whatever is available—and that’s often enough.

The festival is May 8th-10th, 2026 in San Mateo Rio Hondo.

More info:
https://www.cinepobre.com
Instagram:@cinepobre
WhatsApp for screenings: +52 951 148 6408

Huatulco

Festival of the Holy Cross of Huatulco

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By José Palacios y Román—

festival gastronomica huatulco

Religious syncretism in Mexico is present in the most important festival of the Bahias de Huatulco, which is celebrated every May 3rd in front of the pier in Santa Cruz.

The tradition dates back to pre-Hispanic times, when the goddess of rain and fertility was venerated, making it a place of pilgrimage connected to the sea and nature. To this day, certain indigenous communities perform ancient rituals, purifying themselves with seawater. With the Spanish invasion and conquest, Christianity was introduced and adapted from the legend of a tall, bearded old man, similar to Quetzalcoatl, who buried a cross in the sand as a symbol of protection and blessing.

The religious part of the Catholic festival begins with a procession, carrying the image of the Holy Cross from the Cruz del Monte to the Chapel of the Holy Cross, located next to the pier where cruise ships dock.

A solemn mass is celebrated to bless the cross and ask for protection. After mass, food is shared – free of charge – with all attendees at a communal meal featuring typical dishes. The colorful and moving celebration continues with traditional dances and music, such as the dance of the devils, deeply rooted on the Oaxacan coast. The blessing of the fishermen, their families, and boats is part of the rituals. The secular aspect of the celebration is also grand. Enormous stages are set up for popular musical groups to perform during the evening dance. A spectacular fireworks display, a true work of art, will light up the sky at midnight. Carnival rides, target shooting, entertainment, and vendors of all kinds of products make this a true fiesta.

This year, 2026, we are adding a major event: the Huatulco Natural Gastronomic Festival, to be held on May 2nd and 3rd in the central park of Santa Cruz Huatulco. It will feature a cultural catwalk, a gastronomic area, beverages, and a show called Ronqueo de Marlin, an experience of cutting the fish in the traditional way.

All participating chefs will prepare cold dishes. This great addition to the festival is organized by the Huatulco Hotel Association.

The Copalli Art Gallery has been invited to present local artists within the framework of the festival, extending exhibition spaces across Huatulco. In this way, the destination transforms into a point of convergence—where sea, nature, culture, and art meet. Several of Huatulco’s hotels will open their doors to host works in painting, sculpture, textiles, and installation, creating a dialogue between place and expression. Through this collaboration, the experience of Huatulco expands beyond landscape into something more immersive and cultural.

Huatulco

Editor’s Letter

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By Jane Bauer—

In the woods, we return to reason and faith. There I feel that nothing can befall me in life—no disgrace, no calamity, (leaving me my eyes,) which nature cannot repair. Standing on the bare ground—my head bathed in the blithe air, and uplifted into infinite space—all mean egotism vanishes. I become a transparent eye-ball; I am nothing. I see all. The currents of the Universal Being circulate through me; I am part or particle of God.
Ralph Waldo Emerson, Nature 1836

The month of May for me is always a time when I am changing gears. From October to April I work long hours, juggle many tasks and all the while try to move through the world with a smile.

As the busy season winds down in April and the temperature on the coast rises, my heartbeat softens, my muscles relax, and I come back into myself. I remember that there is no reason to rush. But who am I when I am not producing, organizing and planning? There is a meditation I like to do where I sit and close my eyes, I allow my mind to focus on my breath and then I imagine myself at younger stages of life. I sit like I did when I was 4 or 8 or 16. What is the essence of me? What is the essence of each of us when we strip away our tasks and obligations?

In May I get to enjoy leisurely mornings, long swims in the ocean or walks by the river with my dogs. With this slowing down I get to sit and contemplate my life’s purpose. Everything in nature exists in a symbiotic relationship with everything else: tree roots intertwine with fungi in the soil, nourishing flowers that feed bees, which pollinate fruit that sustains animals—and so the cycle continues. I recently read that nut producing trees don’t produce each year. In the years when there is an overpopulation of creatures that live on nuts, nuts will not produce and the population will be culled. How do the trees know? As a species do we trust in those cycles or are we pushing against them?

It is a cop-out to think our life’s purpose is amassing more stuff; homes, cars, financial security. While those things bring comfort do they really represent our purpose? I look at the tree outside my window; a large guanacaste. The sunlight flickers through its branches, a squirrel runs along a branch, a chachalaca hoots good morning, a magpie jay and a grackle screech at each other.

For me immersion in nature is as close as I feel to my life’s purpose. To just be and feel my soul as a part of something larger. Humans do not have dominion over nature, it has dominion over us and the sooner we accept that, we can stop struggling, let go, and enjoy it’s beauty.

Happy Summer,

Jane

 

Huatulco

Mexican Photographer Citlali Fabián Wins Sony World Photography Awards’ Top Honor

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Mexican photographer Citlali Fabián has been named Photographer of the Year at the prestigious Sony World Photography Awards, one of the most important global platforms celebrating contemporary photography.

Originally from Oaxaca, Fabián’s work is deeply rooted in identity, memory, and representation. Her winning series centers on Indigenous women and communities, offering an intimate and carefully constructed perspective that challenges conventional narratives. Through a blend of portraiture and conceptual storytelling, she highlights both personal and collective histories, bringing visibility to voices that are often overlooked.

The Sony World Photography Awards, organized annually by the World Photography Organisation, attracts thousands of submissions from photographers across the globe. Being named Photographer of the Year places Fabián among an elite group of image-makers shaping the direction of contemporary photography today.

Fabián’s recognition marks a significant moment not only for her career but also for Mexican photography on the international stage. Her work continues to bridge tradition and modernity, drawing from her Oaxacan roots while engaging in a global artistic dialogue. The award includes international exhibition opportunities and further cements Fabián’s place as a leading voice in visual storytelling.

http://www.citlalifabian.com

San Miguel de Allende

Beyond the Surface

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By Darlene Olivia McElroy—

As a working artist, I have always created mixed-media paintings and assemblages. About 10 years ago, I decided to combine the two—and shazam! Dimensional collage became an integral part of my work. Dimensional objects bring that sweet magic of the unexpected to a collage or painting, allowing me to take the narrative further.

At first, I was a hunter-gatherer of found objects—vintage millinery flowers, broken jewelry, and other curiosities. Over time, this process evolved into making my own molds and casting objects. My obsession with materials and dreamlike imagery, and the mindset of a mad artist-scientist have all contributed to capturing what I see as the healing spirit of humanity.

Trained and employed as a painter and illustrator, I have also spent years as a teacher, author, lecturer, and exhibition juror. After living in France, I returned to the United States and moved to Santa Fe, New Mexico. I come from a long line of New Mexico artists and musicians, and both my soul and my work have been deeply shaped by the summers I spent on my family’s ranch there. In Santa Fe, the rich tapestry of Hispanic life filled my days and nights with color, texture, and story. My paternal grandfather, an artist on Santa Catalina Island, also played an important role in shaping my path, introducing me early on to art as both a lifestyle and a narrative language.

During this time, I leaned into my natural curiosity and the pure joy of exploring what paint can do. I have written five art technique books for North Light Books (now Penguin Random House), which have been translated into Spanish, French, Chinese, and other languages. These books explore a range of methods, including image transfers, surface techniques, alternative surfaces, and mixed-media clay. They are designed as resources for both working artists and teachers.

I continue to explore new materials, surfaces, and techniques, sharing what I learn online and through my monthly classes at Galeria San Francisco, located in the Fábrica La Aurora in San Miguel de Allende.

San Miguel first drew me into its creative orbit over 40 years ago. Being invited to show my work at Galeria San Francisco—and finding so many longtime Santa Fe friends living here—made the decision easy. I now live here full-time with my supportive husband, a crazy cat, and two slightly neurotic dogs.

My paintings are represented in galleries in the United States and Mexico and are held in corporate, civic, and educational institutions, as well as private collections around the world.

I invite you to visit Galeria San Francisco to see more of my work, or explore online at DarleneOliviaMcElroy.com

 

Huatulco

From Baguettes to Bolillos: A Story of Cultural Exchange & Evolution

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By Kary Vannice—

Walk into almost any panadería in Mexico and you’ll notice it right away. The glass cases are full to bursting with colorful rows of conchas, cuernos, orejas, and empanadas. Trays are constantly being swapped out. It smells like sugar, yeast, and warm bread, and it feels very Mexican. And it is. But there is also something else going on that most people don’t think about.

Bread in Mexico did not always look like this. Before wheat became common, food was centered around corn. Wheat came later during the colonial period, and baking slowly developed from there. But a bigger shift happened in the nineteenth century, around the time of the French intervention in Mexico.

What changed was not so much the ingredients. These largely stayed the same. What changed was how things were made.
French baking brought a different level of precision to the process. Dough was handled differently, fermentation was more controlled, and techniques like layering and shaping became more intentional. These influences were adopted into the Mexican kitchen and affected the texture, consistency, and final result.

This French influence didn’t replace what already existed. It changed the way things were done.

A simple example of this is the bolillo. At first glance, it looks like a basic roll, but if you pay attention to the crust, the inside texture, and even the way it is scored, you can see the connection to the French baguette. Over time, it became a part of everyday life in Mexico. Today, it’s used for tortas, served at meals, and found just about everywhere. Most people wouldn’t think of it as French, but the influence is still there.

What happened next is what makes this interesting.
Mexican bakers didn’t try to copy French pastries exactly. Instead, they used those techniques as a starting point and built something new. This is how pan dulce really started taking shape. The variety that exists today didn’t come from just one tradition. It came from a system that allowed for experimentation.

Different regions created their own versions and varieties. Shapes, toppings, and recipes evolved over time. And this created the modern-day Mexican bakery culture that is both consistent and highly varied at the same time.

Another change that came with French technique is the focus on texture. Texture was always important in Mexican food, but these new methods expanded what was possible. After the incorporation of these techniques, softer interiors, crispy outer layers, and pastries that pull apart in layers became more common. These details may seem small, but they change how the food is experienced.
Today, the panadería is its own kind of space. It is not a French bakery, but it is not completely separate from that influence either. It runs on a structure that came from French technique, but everything about how it looks and feels is Mexican. There is more volume, more movement, and it is part of daily life, not something reserved exclusively for special occasions.

And this system is still changing. New techniques are introduced, ingredients shift, and bakeries and recipes adapt and evolve over time. At the same time, certain staples like the concha remain consistent, which keeps a sense of continuity and groundedness in the uniquely Mexican bread culture.

When people talk about this connection, they often call it influence. But that makes it sound like one culture affected another and that was the end of it. In truth, that’s not what really happened.
Instead, French baking provided a new framework. Mexican bakers used it, changed it, and expanded on it, and eventually made it their own. What exists now is something different. We tend to think of influence as something that moves in one direction. One culture gives, the other receives. But that’s not what happened here.
What started as a set of techniques became something entirely different once it moved through Mexican culture. It wasn’t just adopted; it was reworked into something that now feels completely original.

Most people won’t think about any of this when they walk into a bakery. They’ll just pick what looks good and move on with their day. But what looks simple on the surface is actually the result of a much bigger story that’s still unfolding in everyday life.

Perhaps after reading this, you’ll see more than just bread on your next trip to the bakery. You’ll see history, collaboration, and evolution in that bolillo or concha in your hand.

Bon appétit & buen provecho!

Kary Vannice is a writer and energetic healer who explores the intersections of culture, consciousness, and daily life in Mexico.