Tag Archives: The Eye Mexico

Alebrije

By Julie Etra—

This whimsical and intricately painted form of wood sculpture is unique to the state of Oaxaca, and more precisely to the Valley of Oaxaca, where it originated. Primarily animals, the fantastical objects can include hummingbirds, coyotes, jaguars, unicorns, rabbits, raccoons, dinosaurs—well, you name it.

Origins

Last winter, while in Oaxaca City, I had the dumb luck to stumble upon a special, temporary exhibit of alebrijes at the museum in the Church of Santo Domingo.

The art form’s origin is relatively recent. In Mexico City in 1936, artisan Pedro Linares developed a high fever and accompanying nightmares that included imaginary animal-like monsters shouting the word “alebrijes.” Upon awakening and recovering, he recalled the creatures from his dreams and began creating them using cardboard and paper (aka papier-mâché, or a version thereof).

Manuel Jiménez Ramírez took the original concept of the cardboard figures created by Linares and transformed it using wood from copal trees native to the region. Jiménez Ramírez, an Oaxaqueño, was from San Antonio Arrazola, a community on the outskirts of Oaxaca City.

The original location of Jiménez Ramírez’s workshop is still active and run by his family successors, with the men primarily preparing the wood and doing the heavier work of sculpting, and the women pursuing the painstaking, patient and detailed work of painting the figures.

Lucky me, I was the only visitor on a sunny Saturday in February 2026 and received a very personal tour of the family facility, complete with a pictorial history, workshop, gallery, cats and dogs, various family members, and a garden where I had a chance to ask one of Jiménez Ramírez’s sons a few questions.

The Wood

The wood is soft and malleable and comes from trees in the genus Bursera (commonly known as copal). This group of trees is common in the tropical dry forests of coastal Oaxaca and produces fruit on which a variety of birds and mammals feed.

There are more than 100 species distributed throughout the Americas, with many found in Mexico, particularly in the states of Guerrero, Michoacán and Oaxaca. I have identified five species in our area, but the botanical inventory Flora de la Costa de Oaxaca, México: Lista Florística de la Región de Zimatán lists 11.

These trees are common in our forests, with one recognizable species being Bursera fagaroides, known locally by various common names and recognizable by its peeling bark.

The Jiménez Ramírez family explained that not all species of Bursera are suitable for carving and that Bursera tecomaca is one they prefer. After a little research, I found that copal resin, rather than the wood itself, also has uses as a preservative and is commonly burned as incense.

Other species of Bursera used for sculpting include:
Bursera glabrifolia: Commonly called copalillo, this is a preferred wood due to its softness and lightness.
Bursera bipinnata: This species is known as copal santo or copal blanco.
Bursera copallifera: This species is commonly known as copal ancho.

Jiménez Ramírez also worked with other woods, including zompantle (aka colorín, Erythrina coralloides), palo de águila and cedar. The first two were collected locally, while he purchased the latter from vendors in Valle Nacional and the Isthmus of Tehuantepec.

Regulation

As one of Jiménez Ramírez’s sons explained to me, artisans and communities play a role in managing the supply of wood to avoid overexploiting the resource. Wood may be sourced from local forests, communal lands or private initiatives.

There are also independent reforestation projects. Faced with the risk of overharvesting and shortages due to high demand, communities such as San Martín Tilcajete have launched conservation projects, including Palo que Habla (Sticks That Talk), to cultivate copal trees, primarily copalillo.

There have also been efforts to protect the identity and origin of Oaxacan alebrije handicrafts. Such protections, however, are distinct from the rules governing the harvesting and sale of wood.

Given the variation in figures available at tourist destinations, I don’t know how consistently these protections are enforced.

Jiménez Ramírez obtained his wood from vendors in the Isthmus of Tehuantepec and Valle Nacional, as well as locally.

Creating the Figures

Tools used for carving the green wood are typically quite basic, consisting of knives and machetes. Wood is selected for its shape and its correspondence to the animal or figure being created, which often includes delicate appendages such as ears, spines and tails. These are inserted or pegged into the main body of the sculpture and can be conveniently removed for transport.

Commercial enamel paints were initially used, but these days, once the piece has dried and hardened, a coat of white base paint is often applied to enhance the brilliance of acrylic or vinyl paints. Tiny dots, lines, symmetrical and asymmetrical patterns, and even fibers sometimes adorn the sculptures.

Where to Shop

Since the early days, dozens of sculptors have continued developing the art form, with varying degrees of complexity.

I am told that very elaborate (and expensive) pieces can be found in San Martín Tilcajete, south of Oaxaca City, where there are workshops and galleries. Street vendors generally offer simpler carvings and a seemingly endless supply of hummingbirds.

Several stores in Huatulco offer high-quality pieces if you want to shop locally, as do shops in Oaxaca City.

The small but lovely Museo Estatal de Arte Popular de Oaxaca in Santa María Coyotepec, south of Oaxaca City, also had some excellent pieces in its museum store. It is worth a visit.

Since I have not been to San Martín Tilcajete, I can’t compare it with San Antonio Arrazola, which I thoroughly enjoyed and where I purchased an outstanding sitting coyote.

Julie Etra is a vegetation restoration
specialist and botanist.

A Year of Learning and New Opportunities for Rural Education

By Britt Jarnryd—

In a rural school, access to technology opens up new possibilities for teaching and learning. For a young person finishing middle school far from the nearest high school, receiving a scholarship and ongoing support can make it possible to continue their education. During the 2025–2026 school year, Fundación El Sueño Zapoteco A.C. / Bacaanda Foundation worked toward both goals through its Smart Rural School and Continuing My Dream projects.

Smart Rural School: Technology in the Service of Learning

The Smart Rural School project reached communities along the coast and in Oaxaca’s Sierra Sur region, providing technological equipment, internet connectivity, Spanish and mathematics curricula, and activities designed to strengthen reading and writing skills. These resources expanded learning opportunities for children and adolescents in rural schools facing challenges related to access and the availability of educational materials.

Educational guidance and ongoing teacher training were fundamental to the project. Our team of trainers worked closely with teachers to plan lessons, answer questions, and make the most of the technological tools and curricula provided. This support helps ensure that resources are used effectively and respond to the needs of each group. During the school year, rural teachers also received financial support in recognition of their commitment and the challenges involved in teaching in their communities.

Assessments and monitoring conducted throughout the year showed considerable, gradual progress in Spanish, mathematics, and reading and writing skills. Students strengthened their knowledge and developed skills through activities suited to their learning levels. Each achievement reflects the collective efforts of teachers, trainers, students, and families. We know that consolidating these gains requires practice and consistency, which is why we will continue supporting the schools.

Continuing My Dream: Supporting Young People Through a New Stage

For many young people from rural communities, starting high school means much more than changing schools. It involves traveling, living in a different place, adapting to new academic demands, and learning to manage daily life away from familiar surroundings. The Continuing My Dream scholarship aims to help students navigate this transition through financial assistance, school supplies, and ongoing personal support.

During the school year, we observed gradual improvements in scholarship recipients’ adjustment to high school and their academic performance. We also identified areas that require continued attention, including study habits, submitting assignments on time, and developing confidence in their own abilities. Helping students remain in school means listening to their difficulties and working with them to find ways to overcome those challenges.

Throughout this process, the work of our mentors is especially valuable. With dedication and personal attention, they support, guide, and prepare scholarship recipients to navigate daily life, both at school and in their new place of residence. Their guidance extends beyond academic subjects, helping students develop independence, confidence, and decision-making skills. For these young people, knowing that someone is there to offer guidance can make a significant difference.

We are grateful to the donors who made these projects possible; to rural teachers and CONAFE for their collaboration; to the mentors for their dedication; to families for their trust; and to the entire foundation team for its continued hard work.

We invite you to be part of this dream. Through your support of Smart Rural School and Continuing My Dream, we can continue assisting students and teachers while opening up more educational opportunities for Oaxaca’s rural communities.

 

First Morning in Huatulco: The Map, The Mirror and The Mind

By Randy Jackson—

Beyond a certain age, it becomes strikingly clear how much our memories define who we are, or who we think we are. What we remember, whether true or false, ends up defining us. Memory is a complex and fascinating faculty, and understanding even a few of its features helps us better understand how we make sense of the world.

If you can imagine awakening from a deep blackout sleep, one in which your brain needs to reboot, you would have three profound questions: Where am I? Who am I? And who (the hell) are you? At that moment, you really need your memory to perform three different functions. These three functions are handled differently with varying degrees of accuracy and reliability within your cranial complex. These are: Geographical Memory to know where you are. Autobiographical Memory to recall who you are. And Facial Memory to recognize others.

Geographical Memory

As a seasonal resident, sometimes waking on the first morning in Huatulco results in a brief but sudden shift in orientation. That felt shift seems to be the result of my brain recognizing the familiar bedroom surroundings of our place in Huatulco, while realizing I’m not in Calgary anymore. And although I’m sure no neurologist would ever describe it this way, it seems like the geographical memory snapped into place.

In fact, our geographical memory function is one of the oldest and most developed in evolutionary terms. Well before we had language ability and could formulate abstract thought, we could remember where we were. John O’Keefe, a brain researcher, discovered, in the 1970s, what he called “place cells”: brain cells that fired only when an animal stood in one particular place, and nowhere else. In 2014, this work won the Nobel Prize after further discoveries showed that brain cells formed a hexagonal map of any space we move through. So who knew, that first-morning surprise awakening in Huatulco is backed by solid brain science.

The capacity of our geographical memory is perhaps best demonstrated by research on London cab drivers. What cabbies call ‘The Knowledge’ requires them to memorize an extraordinary amount about London’s notoriously complex network of roads, place names and landmarks. I can vouch for this ability. Once (before Google Maps), after getting off at the wrong underground stop and being hopelessly lost, we took a bus to who-knows-where, hoping to find a place to catch a cab. Then, getting off at a random bus stop, we found a London cab that recognized the street name our hotel was on. Saved by the enlarged hippocampus of a taxi driver. Brain scans have shown that London cabbies have a larger-than-normal area of the brain most tied to spatial memory.

Autobiographical Memory

That impressive ability of humans, and no doubt other animals, to know where we are does not translate so well to remembering who we are. Autobiographical memory is notoriously poor, or perhaps better said: “flexible”. But “flexible” enough to clearly remember things that never happened.

Often cited as an important “where were you when” example is the account of people remembering where they were when they first heard that John F Kennedy was assassinated. It’s a term psychologists call Flashbulb Memory. The idea is that the emotional impact of hearing of a tragic event cements the details of where they were when they heard the news. But when psychologists have actually tested such memories, they’ve found otherwise.

The day after the Challenger Space Shuttle disaster, in January 1986, researchers asked a group of students to write down where they were and what they were doing when they heard the news. Three years later, they asked the same students again. The students were confident in their memories, but often those later memories were wrong. Even when shown their own handwritten account from the day after, some refused to believe it, trusting their most vivid current memory over the document in their own hands.

Getting some details wrong about a past event is one thing. Remembering a whole event that never happened is something else. This may be best demonstrated by a 1995 study titled “Lost in the Mall.” Researchers first interviewed each subject’s family members to gather three real events from that person’s childhood. Then they presented those three, along with a fourth, a made-up story about being lost in a mall as a child but rescued unharmed by a kind stranger.

Over two interviews, they asked what the subjects remembered about each event. By the second interview, about a quarter of them not only “recalled” the mall incident that never happened but had begun to furnish it with details of their own, such as what the kind rescuer was wearing.

And if getting details wrong over time and remembering things that never happened aren’t bad enough, another fly in the ointment of autobiographical memory is how our brains reconstruct our memories. It is a misconception to think our brains are like computer memory, where the data stored is the same data recalled. Rather, each time we recall an event, we rebuild it, filling gaps from previous versions and coloring the result with the mood and circumstances of the moment. Then this revised version of the memory is stored until the next recall, creating a slow drift over time.

Facial Memory

As unreliable as our autobiographical memory can be, we are very good at remembering other people — not their names, of course, or even where we might have seen them before, but in recognizing the face itself. In fact, some people show exceptional skill in this ability.

At the time of the London riots in 2011, Constable Gary Collins of the London Metropolitan Police was on vacation. Recognizing some of the faces in the television news coverage, he returned to work to help identify rioters in the grainy CCTV footage. Collins identified around 180 suspects from riot imagery. The Met’s facial-recognition software of the time identified just one. His unusual ability helped prompt the Met to establish a dedicated super-recognizer unit, built on the small number of people who possess a supersized portion of our ability to recognize faces.

The three questions I opened with: Where am I? Who am I? Who are you? are each answered by a different memory faculty. Our sense of identity leans on all their answers. To demonstrate the importance of these memory functions, we might look to an example of someone who can no longer answer any of the three correctly.

In the essay ‘A Matter of Identity’, neurologist Oliver Sacks describes a patient of his, William Thompson, who has Korsakoff’s syndrome (the alcohol-related memory collapse). When Thompson was alone, out in the home’s garden, he sat quietly. But the moment another person appeared, a face he could not place, the confabulation ignited. He would take the stranger for someone he knew, then improvise a time and place to fit, often articulate, often interesting, a whole new identity assembled on the spot.

Thankfully, unlike Thompson, we do not invent a new self for every stranger we meet. Perhaps the brief disorientation we sometimes feel on waking is a reminder that our sense of self depends not on memory being perfectly accurate, but on it being flexible enough to bend without breaking—and still carry one continuous self from one day into the next.

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

 

Un Nuevo Amanecer It takes a village to raise a child

by Anita McDermott and Alyson Vinish—

Thirty years ago, a small group of determined people climbed into a VW Beetle and began traveling from village to village around Santa María Huatulco. They were looking for families whose children had physical or developmental disabilities — children who, at the time, had few local resources available to them.

Flor Angélica Castillo de la Cruz, María Estela Venegas Aguirre, Dominga Sánchez Aguirre, Luz María Blanquet and Leonardo Alcántara García recognized the need and decided to do something about it. Their work would eventually become Un Nuevo Amanecer en Pro del Discapacitado (UNA), which celebrated its 30th anniversary in 2025.

In those early days, the group conducted needs assessments throughout the municipality of Santa María Huatulco. Traveling to remote communities, they met with families to better understand their circumstances and to talk about the importance of care and support for children with physical and developmental disabilities.

UNA’s initial funding came from the Ba’asolay Foundation. Piña Palmera, another organization working with people with disabilities on the Oaxacan coast, provided medical assistance, wheelchairs and hearing aids in collaboration with the Rotary Club of Huatulco.
Over the years, UNA developed partnerships with government institutions, international organizations and local supporters. Volunteers also became an important part of the organization’s growth.

For 27 years, UNA operated from space generously provided inside Ferrealianza Hardware store. Then, in 2023, it moved into its new Child Care Centre in Huatulco — a considerable change from those early journeys in a VW Beetle.

Today, UNA serves approximately 180 children each year from 28 communities. Families come not only from Huatulco, but also from neighboring municipalities and communities including San Miguel del Puerto, Pochutla, Río Grande and San Pedro Huamelula.

The children range in age from infants to teenagers and receive services according to their individual needs. These include speech therapy, occupational therapy, physiotherapy, sign-language instruction and educational support, provided by qualified full-time therapists.
But the work is also about what comes next.

UNA’s goal is to help children participate as fully as possible in their families, schools and communities and, as they grow older, in the workplace. For young people who may not continue with formal education, workshops teach practical skills such as cooking and independent living, helping prepare them for adulthood.

Thirty years after a handful of people began traveling through the villages surrounding Huatulco, the need for that work remains. According to UNA, approximately 70 percent of the families it serves live in poverty. The organization relies heavily on donors, volunteers and community support to cover the cost of therapies, programs and staff.

What has changed is the scale of what those first volunteers began. The VW Beetle has given way to a dedicated center, and a small group trying to identify children who needed help has become an organization serving families across the region.

But the idea at its heart remains much the same: caring for a child is rarely the work of one person alone.

How You Can Help

Through UNA’s Sponsor a Child (Apadrina a un Niño) program, donors can help cover a child’s therapeutic treatment. A donation of $15,000 pesos provides therapeutic support for one year, with the program focusing particularly on children who require multiple therapies and whose families need financial assistance.

Canadian donors can make tax-deductible contributions through Amistad Canada. When donating, select the Un Nuevo Amanecer project and indicate whether your contribution is to sponsor a child or support UNA’s general operating costs.
http://www.amistadcanada.org

UNA also raises funds through annual community events, including Blues at Bocana, with food, drinks and live entertainment, and Vamos Huatulco, a 3 km walk and 5 km run.

For more information about UNA, including stories from some of the families it has supported, visit:
http://www.unnuevoamanecerhux.com

Alyson Vinish and Anita McDermott serve as project liaisons between UNA and Amistad Canada.

What Huatulco Remembers: The Lavariega Family Before FONATUR

By Bianca Corona—

There is a version of Huatulco that now exists mostly in memory. Before the paved streets. Before the hotels. Before boundaries were drawn across maps and land was divided by paperwork. Before anyone imagined what this coastline would look like forty years into the future.

There are few photographs from that time. Most fishing families did not have cameras to capture ordinary life by the sea. What remains lives in stories. In names. In the memory of where a river once deepened, where animals grazed freely, and where families gathered when the moon was full.

I asked Abdon Lavariega Arista and his sister Oliva what Huatulco looked like before FONATUR arrived. Not the official version. Not the hectares or the decrees, although those came too, unprompted, because Abdon carries dates the way some people carry scripture. I asked them what they remembered.

Santa Cruz is where their family’s memory runs deepest, so that is where much of this story lives. But the same transformation, with its own local details, unfolded across this entire stretch of coast. In Bajos de Coyula. In Bajos del Arenal. On ranches near Tangolunda and along the Copalita River. This is Huatulco’s story, told through one family’s corner of it.

Before the Order

“Antes de la expropiación había libertad,” Abdon told me. Before the expropriation, there was freedom.

The land was communal, and that freedom was not an abstract idea. It was physical. You could camp on any beach or open plain, and nobody stopped you. Cattle, goats, pigs, and pack animals moved freely across the hillsides. The hills themselves looked different then. They were sabanas. Open. Grassy. Almost without trees because the animals kept them that way. Today, Abdon points out, grazing is restricted, and those same hills have grown into something closer to forest. It is one of the unexpected contradictions of development.

Santa María Huatulco, the municipal seat, moved according to its own rhythm. Monday was market day. Residents from the surrounding rancherías arrived on donkeys and mules to buy produce and dry goods at what is still known as the mercado antiguo, across from the old Palacio Municipal. Abdon remembers the shopkeepers by name: Don Antonio Salinas Gutiérrez, Doña Hortencia Martínez, Don Polo Galán. The way you remember the people who fed your family.

There were no restaurants. There were fondas. Small, informal kitchens where people sat together after finishing their shopping. Fishing required no permits. There was no capitanía de puerto watching the water. What you caught, you sold to your neighbors.

Oliva’s childhood followed a slightly different rhythm. She grew up mostly on the family ranch, Piedra de Moros, and came to Santa Cruz with her parents during visits until she was around twelve. She remembers dirt streets. No pavement anywhere. And one great spectacle: a traveling fair that arrived in Santa Cruz on the first Friday of the month. Against a village that small, the rides must have looked enormous.

She also carries stories of teenagers playing on the beach beneath the full moon. Those memories originally belonged to her sister-in-law, who lived them directly, but Oliva tells them now. Because that is how memory moves through a family. Hand to hand. Voice to voice. Until it becomes difficult to know exactly where one person’s memory ends and another begins.

When the News Arrived

Abdon remembers hearing news of the development project over the radio near the end of José López Portillo’s presidency. The official expropriation came during the presidency of Miguel de la Madrid. The decree was signed on May 28, 1984, and published in the Diario Oficial de la Federación the following day.

But for Oliva, the beginning was not about documents. It was a feeling. “Era como una emoción,” she said. It felt like excitement.

Huatulco was going to grow. More people would arrive. There would be jobs and opportunities, and they were told the project would benefit the comuneros. Huatulco would become like Cancún. Nobody she knew was preparing for loss. They were preparing for a future that sounded, for a moment, as though it belonged to them.

What It Took

What that future required arrived slowly, and not evenly. The agency behind that decree was FONATUR, the Fondo Nacional de Fomento al Turismo. It was created in 1974, folding together two earlier federal tourism funds, with a specific job: acquire undeveloped coastline, draw a master plan across it, build the roads and the utilities, then sell the serviced lots to hotel investors and developers. Huatulco was one of five major Centros Integralmente Planeados, large-scale tourism destinations developed according to federal master plans, alongside Cancún, Ixtapa, Los Cabos, and Loreto. Cancún came first, in the early 1970s, and became the template everything after it was measured against. Huatulco followed roughly a decade later, when a 1984 federal expropriation transformed nearly 21,000 hectares of communal territory into the land base for a new planned tourism destination.

Oliva remembers the noise of the dársena being built near her family’s home. The house was part concrete block and part varitas, sticks and cane. She remembers watching the beaches change. “Se empezó a ver mucha gente extraña, muchos albañiles.” There were strangers. Construction workers. People arriving everywhere, all at once.

And she remembers what she misses most. “Las playas vírgenes, las playas solas.” The untouched beaches. The empty beaches.

For Abdon, the greatest loss was not a single beach or piece of land. It was movement itself. “Éramos libres de caminar, cruzar los ríos y pescar,” he said. They were free to walk. To cross the rivers. To fish. To let an animal wander without encountering a fence, a permit, or an invisible boundary drawn somewhere on a map. It was an entire way of moving through a landscape that had once seemed to answer to no one.

Abdon also spoke about the unease of suddenly living among people whose histories nobody in Santa Cruz knew. “Gente extraña que no sabemos qué antecedentes traen.” Strangers whose backgrounds were unknown. It is not an easy observation, but it reveals something about what rapid growth can do to a small community. Development does not only bring new people. It changes the quiet structure a village may not realize it depends on until it is gone, the fact that everyone knows everyone.

What It Gave

Abdon is careful not to tell only one side of the story. The development brought employment closer to home. It brought money into the region and exposed many families to a world beyond the coast. Some families recognized the opportunity and built rooms to rent. Roads and infrastructure improved.

Education came closer too. His children, and the generations after them, could attend COBAO and universities without making the same journey he had made. Abdon had to leave home to study. Secondary school in Salina Cruz. High school in Oaxaca City. A childhood shaped by migration simply to receive an education.

“Así es como se sufrió antes,” he said. That was how people suffered before. He does not say this to erase what was lost. He says it because no story is only one thing. Growth took. Growth gave. And sometimes the same family carries gratitude and grief at once.

What Only Memory Keeps

Some of what disappeared cannot be measured in hectares. It is texture. Rhythm. The feeling of a place before anyone thought to document it.

Abdon remembers full-moon nights when he played a las escondidas and el encantado. Games that continued until the children made their way to the river to swim in the honduras, the deep pools carved into the riverbed by years of moving water.

He listed the fruit as though he could still taste it: chía, cachayumba, papaya, piñuela, nanche de sabana, coconut, watermelon, cucumber. “Todo era natural.” Everything was natural. Everything simply grew.

He remembers Día de Muertos too. Not as a celebration performed for visitors, but as something intimate. Tamales from November 1 through November 2. Neighbors inviting one another inside for bread and chocolate. A village briefly becoming one household to receive its dead.

“Huatulco antes se veía como una familia. Todos éramos conocidos.” Before, Huatulco felt like a family. Everyone knew everyone.

Oliva remembers a deep communal well where people went to wash clothing and collect water before pipes reached their homes. She only visited it a few times herself. By the time her life settled in Santa Cruz, that world had already begun to change. It sounds like a small detail, but a communal well is never only a source of water. It is where a village speaks to itself.

What I Keep Asking

On a personal note, and as someone who came after the fact, this story has its own thread running through my own family. My father arrived in Huatulco years before any of this had a name most people recognized, and bought land here early, a quiet bet that this coast was going somewhere. My mother arrived differently. She had been working in Cancún, selling tours from the hotels there, when a major hurricane tore through the city and her coworkers began talking about a new tourism boom farther south, in Huatulco. She followed the work. In 1994, she and my father met at the Sheraton, the hotel that is now the Barceló. I exist, in a literal sense, because tourism brought two strangers to the same stretch of beach.

I did not grow up here. I grew up returning here, and there is something full-circle about that. The same tourism industry this piece keeps circling back to—the one that transformed Huatulco—is also the reason my own family has a story here at all. But there is a difference between benefiting from what came afterward and having lived through what the Lavariegas experienced, and I try to remain aware of it.

I cannot pretend to know what it felt like for the Lavariega family or others like them to watch an open hillside become part of someone else’s map. Or to exchange a communal well for a metered municipal line. Or to learn that a place they had always crossed freely now required permission.

What I can do is listen and sit with the final thing Abdon told me, because it has continued to follow me. He spoke about the fees now connected to accessing and using protected coastal areas and the feeling that local people are asked to pay without seeing anything returned to them. “Sin tener nada a cambio,” he said. Without receiving anything in return.

Land becomes claimed through a map somewhere. A boundary drawn in an office. Sometimes, he says, without even a mojonera, a physical marker on the ground showing the people who live there where one territory ends and another begins. “Se adjudica ser propietario de territorios que ni siquiera dan la identidad del trazo.” Someone claims ownership of territory without clearly identifying the boundary itself.

I work in real estate on this coast. I sell the version of Huatulco that comes with a survey, a fideicomiso, a notary, and a clean paper trail. It is, in almost every way, the opposite of an open plain that once belonged to whoever needed it that season. I cannot pretend that does not place me somewhere inside this story. Not only reporting on it, but living inside its contradiction.

And the institution that began much of this transformation is changing too. Beginning in 2024, responsibility for much of the CIP’s infrastructure and public services—including water, sanitation, waste collection and routine urban maintenance —shifted from FONATUR to the State of Oaxaca and local authorities.

The question is not whether Huatulco should have grown. It did. It is. It will continue to. The question is who gets to hold the paper now, and whether growth, more than forty years later, still owes something to the people whose land it grew from.

 

Do You Remember Huatulco When…?

That was the question we put to readers on Facebook. We asked them to name something they remembered that no longer exists, and more than 400 comments followed. Together, they recalled an earlier map of Huatulco: bus stops beneath trees, dances where markets now stand, favorite places to eat, and the little train that circled the park.

“La Crucecita didn’t exist yet. The Adolfo López Mateos primary school stood where the Santa Cruz dock is now. There was only one taxi, and people traveled in passenger trucks.”— Fabiola

“Where Plaza Madero stands, the micros used to stop beneath a huge tree. U2 was mostly dirt, with just a few improvised houses.”— Alika

“I remember the guanacaste tree where Plaza Madero is now.”— Carolina

“The boulevard to Santa Cruz ended at the far end of Sector F.”— Harriet

“There was no parking or bathroom at Playa El Arrocito. You reached the beach by a steep path.”
— Pedro

“Before Magic Circus, we went dancing at a place across from the park that everyone called La Nacoteca. Workers from the hotels and the construction sites met there. It was beautiful, and we had such a good time.”— Sharin

“The fairs were set up in La Crucecita’s park, and the Independence Day celebrations took place at the sports court. The dancing and festivities happened right in the center.”— Lety

“La Tropicana was open around the clock. Upstairs was El Telefonito, where Doña Naty made the best chocolate milkshake.” — Calacas

“I remember sitting on those lovely benches with backs, eating a paleta from La Zamora after dinner at Pollo Chava or Don Arnoldo’s Fogón. Paradise.”— Socorro

“The little train—and the Barbie motorcycles and Jeeps you could rent in the park. I remember them from as far back as I can remember.”— Kyara

“Música por la Tierra!” — Estefanía

“There was a place where you could rent a movie and watch it in a little wooden room.”— Miguel

“I used Mare’s dial-up internet and went to its cybercafé above the shops behind Súper Santa Cruz.”— Raúl

“The first cinema was where the Megacable offices are now.”— Jesús

“There were no traffic lights, and there was just one policeman.” — Ritu

“La Fuente, Café Dublín, the internet cafés—and the iguana at the bar in Los Portales.”— Karen

“Santa Cruz had only Ve el Mar and Doña Celia. The church was just a palapa.”— Julie

“Doña Celia’s first palapa; her son Migue with the first Jet Ski in Huatulco; and Don Wilo’s pizzas on Cocotillo.”— Rubén

“The pizzas sold from a tricycle at the entrance to Residencial Chahué were delicious.” — Bernardo

Some places have changed names. Others have disappeared so completely that a comment was enough to make someone else say, I remember that too.

What do you remember?

Write to us at TheEyeMexico@gmail.com

Reader comments translated and lightly edited for length.

 

When Did Huatulco Stop Being Cheap?

By Randy Redmon and Jesse Kirkham—

There was a time when one of the great pleasures of living in or visiting Huatulco was sitting down at a nice restaurant, ordering a good meal, having a couple of drinks and walking away from the table thinking, “Wow, that was a lot of food for very little money.”

Huatulco was never completely free of expensive restaurants, of course, but for many Canadians and Americans, the appeal was that even a good restaurant meal generally felt like a bargain compared with what they were accustomed to paying at home.

Lately, however, we’ve found ourselves looking at restaurant bills a little differently, not necessarily because the prices are outrageous, but because the gap between what we used to think of as “cheap” and what we are paying today seems to be getting smaller. Perhaps the easiest way to see that change is with a glass of wine.

Consider a restaurant selling a house wine for 150 pesos a glass. Depending on the exchange rate, that works out to roughly C$12 or US$9. Neither figure is particularly shocking when compared with a mid-range restaurant in Canada or the United States, especially when you remember that Canadian restaurant prices often have sales tax added after the menu price.

The question, then, isn’t really whether 150 pesos is expensive, but whether it still feels like the kind of value people have traditionally associated with Huatulco.

For many years, the favourable exchange rate helped make Huatulco feel exceptionally inexpensive to Canadians and Americans. A 300-peso dinner seemed like a bargain when your dollar bought a significant number of pesos. With the peso stronger against both the Canadian and U.S. dollars, those same peso prices translate into noticeably more money from a foreign visitor’s perspective.

A 1,000-peso restaurant bill is still 1,000 pesos, but it is also roughly C$81 or US$59 at today’s exchange rates. Add a bottle of wine, a couple of cocktails, dessert and a tip, and a dinner for two can reach 1,500 pesos or more without anyone feeling as though they went overboard.

That doesn’t necessarily make Huatulco expensive, particularly when a comparable dinner in Canada, the United States or Europe can easily cost more. It does, however, mean that Huatulco may not feel as incredibly cheap to a Canadian or American visitor as it once did.

Visitors adjust accordingly. A family staying in an Airbnb may make breakfast and lunch themselves and eat out less often, while a couple might buy a bottle of wine at the supermarket rather than order several glasses at dinner. Someone heading to the beach may fill a cooler rather than buying drinks and snacks throughout the day. Those choices make perfect financial sense, but collectively they can also affect the local businesses that depend on visitor spending.

This is where the conversation becomes more interesting than simply asking whether Huatulco restaurants are too expensive. The real question may be what value means to us now.

Huatulco has changed considerably over the years, and the restaurant scene is better and more diverse than it was when many of us first arrived. There are talented chefs, excellent seafood, international cuisine, interesting wine lists and restaurants offering experiences that simply weren’t available here years ago. That improvement comes with a price, and most of us understand that, but customers are also doing their own calculations.

If I spend 1,200 or 1,500 pesos on dinner, I don’t necessarily need it to be cheap; I need it to feel worthwhile. I want good food, good service, a pleasant atmosphere and, yes, a glass of wine that makes me glad I ordered it. That is really the difference between cheap and value: cheap is about price, while value is about what you get for the price.

Perhaps Huatulco is slowly making that transition. For years, one of the easiest ways to market a Mexican vacation was to say, “It’s beautiful, the weather is fantastic, and everything is cheap,” but perhaps that isn’t the best way to describe Huatulco anymore.

Huatulco may be becoming a value destination rather than a cheap destination, and that’s not necessarily a bad thing. People will pay for quality, a memorable meal, good service and a beautiful setting when they feel that what they received was worth what they paid.

Huatulco’s appeal has never really been that everything is cheap. It has always been the combination of natural beauty, climate, culture, food, hospitality and a quality of life that offered exceptional value. Perhaps that’s what we should be protecting.

So the next time you sit down at a Huatulco restaurant and look at a 150-peso glass of wine, maybe the question isn’t whether it’s expensive, but something much simpler: Is it worth it?

Alebrijes: From a Fever Dream to a Oaxacan Art Form

By Shannon Jiménez—

Few examples of Mexican folk art are as instantly recognizable as alebrijes. Brilliantly colored and covered in intricate patterns, these fantastical creatures might combine the body of a jaguar with wings, horns, scales, or other features drawn entirely from the artist’s imagination.

Today, alebrijes are strongly associated with Oaxaca, where artisans carve figures from copal wood and decorate them with extraordinarily detailed designs. But the story of the alebrije actually begins hundreds of kilometers away, in Mexico City.

The Birth of the Alebrije

The original alebrijes were created in the 1930s by Mexico City artisan Pedro Linares López, a master of cartonería, the traditional craft of making figures from paper and cardboard.

According to Linares, while seriously ill he fell unconscious and dreamed of a strange forest inhabited by fantastic creatures. Some combined parts of different animals: a donkey with wings, for example, or a rooster with the horns of a bull. As the creatures appeared, they repeatedly shouted a mysterious word: “alebrije.”

When Linares recovered, he began recreating the creatures he had seen, using the paper and cardboard techniques he already knew. His brightly colored figures eventually attracted the attention of artists and collectors, including Diego Rivera, and his work became known in Mexico and abroad.

Contrary to a story sometimes repeated about the name, the word alebrije is not derived from the Spanish word alegría, meaning joy. Linares maintained that alebrije was simply the strange word he heard in his dream.

From Mexico City to Oaxaca

The wooden figures that most visitors now associate with alebrijes developed separately in Oaxaca. Woodcarving had existed in Oaxacan communities long before the alebrije appeared. Artisans traditionally carved animals, masks, toys, religious objects, and figures connected with local celebrations and everyday life.

One of the most influential Oaxacan carvers was Manuel Jiménez Ramírez, from San Antonio Arrazola, near Oaxaca City. Jiménez helped transform traditional animal carving into a distinctive artistic form, producing imaginative creatures that appealed to collectors and visitors.

Over time, the name alebrije, originally associated with Linares’ fantastical cartonería figures, began to be applied to these colorful Oaxacan woodcarvings as well. The tradition expanded particularly in communities such as San Antonio Arrazola and San Martín Tilcajete, which today are internationally known for their carved and painted figures.

How Oaxacan Alebrijes Are Made

Oaxacan alebrijes are traditionally carved from copal, a wood prized by artisans because it is relatively soft and workable when freshly cut.

The artist first studies the natural shape of a branch or piece of wood, sometimes allowing its curves and irregularities to suggest the animal that will emerge. The basic form is carved with tools such as machetes, knives, and chisels.

Separate elements—including ears, horns, wings, and tails—may be carved individually and attached later. Once carved, the wood must dry. It is then sanded and prepared for painting. Cracks that develop during drying can be filled before decoration begins.

The painting is often as impressive as the carving itself. Artists cover the figures with dots, lines, geometric forms, flowers, scales, and other elaborate patterns. Some artisans use extremely fine tools—even the thorn of a maguey—to create minute details.

Alebrije making is frequently a family enterprise, with carving and painting skills passed from one generation to another. However, the old generalization that “men carve and women paint” does not accurately describe every workshop today. Both men and women work as carvers, painters, designers, and master artisans.

Alebrijes, Tonas and Nahuales

Another popular misconception is that alebrijes are inherently ancient Zapotec spirit animals. The relationship is more complicated.

Ideas surrounding tonas and nahuales have deep roots in Indigenous cultures of Oaxaca, and contemporary artists sometimes draw upon these traditions when creating their work. Some artisans explicitly describe their figures in relation to nahuales or other spiritual concepts.

But alebrijes themselves are not an ancient pre-Hispanic art form. The term dates only to Pedro Linares and the twentieth century. The Oaxacan wooden tradition represents a fascinating meeting of older Indigenous carving practices, individual artistic innovation, tourism, the international folk-art market, and the influence of Linares’ fantastical creatures.

A Living Oaxacan Art

What began as one artisan’s fever dream in Mexico City evolved into something quite different in Oaxaca.

Oaxacan artists took an existing tradition of woodcarving and pushed it in remarkable new directions. Today, workshops continue to experiment with increasingly complex carving, painting, and design, while individual families develop styles recognizable as their own.

No two handmade pieces are exactly alike. Some resemble recognizable animals—rabbits, coyotes, jaguars, cats, armadillos—while others combine features from several creatures or spring entirely from the artist’s imagination. That individuality is part of their appeal. An alebrije can be playful, elegant, strange, whimsical, or even slightly unsettling.

And although they have become one of the most recognizable forms of contemporary Mexican folk art, their history is surprisingly recent: a Mexico City dream transformed by generations of Oaxacan hands.

Shannon Jimenez is the owner of La Vivienda Villa in Huatulco, Mexico.
http://www.lavivienda.com.mx

Xandú: A Celebration of Memory, Art and Tradition

By José Palacios y Román—

Across Mesoamerica, communities have honored the connection between the living and the dead for centuries. In Mexico, these traditions have become intertwined with the Catholic observances of All Saints’ Day and All Souls’ Day. Each year, on November 1 and 2, Día de Muertos brings families together to remember loved ones through altars, offerings, food, music and celebration.

In Zapotec tradition, Xandú is associated with Día de Muertos and the remembrance of those who have died. Drawing on this heritage, the Huatulco Hotel Association, together with hospitality partners in Tangolunda, La Crucecita and Santa Cruz, is organizing the second edition of the Xandú Festival.

The festival takes place on October 30, 2026, at Plaza de la Guelaguetza, also known as Plaza Benito Juárez, across from Marina Chahué.

Last year’s inaugural celebration began with a parade of illuminated floats winding through the streets before arriving at the plaza. There, residents and visitors gathered for food, drinks, live music and dancing. The festival brought together local businesses and the wider community in a celebration of Huatulco’s cultural traditions.

Art and Tradition in the 2026 Edition

This year, visual art will play a larger role in the festivities. Art Gallery Copalli and the women’s collective La Magia del Color have issued an open call inviting artists from across the Oaxacan coast to submit work by October 10.

Artists are encouraged to explore Mexico’s spiritual heritage, cultural roots, traditions and collective memory.

A selection committee will choose 24 works for exhibition during the festival. RE/MAX is sponsoring the art competition and will purchase the winning painting.

Beginning November 2, the selected works will be exhibited at Art Gallery Copalli in Tangolunda, where they will also be available for purchase.

The Xandú Festival offers residents and visitors an opportunity to experience Día de Muertos traditions while discovering the work of artists from the Oaxacan coast.

Festival: October 30, Plaza de la Guelaguetza, across from Marina Chahué.

Art exhibition: Beginning November 2, Art Gallery Copalli, Tangolunda.

Admission is open to everyone.

 

My Quest for Calm in San Miguel

By Audrey Jacobs—

Everyone warned me when I moved to San Miguel de Allende, and I didn’t listen. Centro is still a city. Church bells, trucks, street vendors hawking their wares, New York City with the flavor of a small Mexican colonial town. They said I’d eventually crave nature, quiet, a kind of peace only living outside of town can give you.
Life got crazy, and I finally understood the warnings. But I love my duplex in Colonia San Antonio. I didn’t want to “vacation” to relax. So, I went looking for a staycation instead, a week immersed in nature, where someone else would take care of me and force me into self-care.

My life had quietly, then suddenly, turned upside down.
At 55, nine months earlier, I’d moved here alone to fulfill a 30-year dream, with a safety net, a well-paid consulting client I’d had for years. I’d spent my whole life multitasking as a wife, mother, employee, with passion projects as my side hustle: curating TEDx talks, building community, designing events, and matchmaking. I never flew without a net.

Then the net disappeared. My consulting contract ended, my job was eaten by AI. It was time to depend on myself. Terrifying. My body went into fight, flight, or freeze and stayed there. I ate too much, drank too much, didn’t sleep, snapped at my boyfriend, and turned into a whirling dervish.

Inspiration struck and in one insane month I built “Love in San Miguel”, a new social club, from nothing to 400 members and a launch event. It was supposed to fulfill me and sustain me. It did, and it also took a toll.

I needed a reset, a therapeutic escape to restore my nervous system. I made a list of what I wanted: nature, peaceful elegant rooms, a home feel rather than a hotel, places to write, a bio pool, a sauna, hot tub and views.

Most of all, someone whose life’s work was running that place, someone who’d decide exactly what I ate, drank, and did for one week. I wanted to be told how to reset. I’m from California, so I know the Golden Door style reset, where they control your every movement and you switch off. Never been my thing. I wanted a place where I could still think, and where the person running it could teach me a way of living so stress wouldn’t swallow me again once I got home. And I didn’t want it to break the bank. Reasonable yet valuable. It was a demanding list. I’m so demanding about homes and men that I honestly doubted this place existed.

Was I wrong!

Meet Viktor Hackl, owner of Cuna del Cielo. I googled San Miguel de Allende detox retreat, and his place was, literally, the only one that matched my vision. Everything else was a pretty place with massages, yoga, donkeys or simply day spas.

His website’s first line got me: “Cuna del Cielo is a lush four-bedroom oasis on a hilltop above San Miguel de Allende, inviting guests to rest and heal in a space of undisturbed peace and beauty.”

I ached reading it. How soon could I check in?
The property sits a ten-to-fifteen-minute walk from the main town square, yet worlds away quietly tucked right against the botanical gardens of the Charco del Ingenio, canyons and waterfalls. Viktor built his sanctuary around that stunning landscape.

It was everything I’d dreamed of. I live in San Miguel and love it, but up here, above it all, something in me unclenched. I didn’t realize how much I needed to see that much open sky.

Viktor’s regimen, food, supplements, exercise, healing modalities, is thorough and deeply researched. Yet he’s not rigid about whether or when you do it.

“Who are you?!?” I asked him. “Austrian”, he said. A more relaxed and casual hybrid of German/Italian/Slavic mentalities. He truly embodied his vision when I saw him grinning over the top of his hand-built wooden sauna box, tanned and peaceful.

Every surface here is made with love. My room, the World Loft, has a private library you reach by a wooden ladder and a round window that frames a single pirul (pink pepper) tree like a painting. I felt like I was in some sort of health time warp. I genuinely didn’t want to leave.

Viktor lives on the property full time and tends to his guests with sincere patience. I’m dating the man who opened San Miguel’s first organic grocery store, someone who takes a generous number of daily supplements, and even he was impressed by Viktor’s knowledge and protocol.

What surprised me most wasn’t any single treatment. It was how much of Viktor’s world quietly rearranged mine, without ever feeling like a lecture.

The days follow an intermittent fasting window. Orthomolecular supplements are dosed with real precision. A therapeutic cycle runs once or twice daily: stretching, wet sauna, gym, cold plunge, infrared sauna again. It never once feels like a chore.

But it’s the small things I know I’ll actually keep. On day two, someone knocked and asked if Viktor’s energy cleanser could come into my room for the weekly clearing. Sage, essential oils, incense, and it was done weekly. I’ve saged a new home before I moved in. I’d never once thought to do it weekly, as maintenance, the way you’d change sheets. I’m taking that home with me.

I also noticed that by day three, my cravings for junk had simply stopped, because the junk wasn’t in the house. Stupid simple concept I’d never applied to my own kitchen. If it’s not there, you don’t eat it. And the eating window, done by six most nights, isn’t a diet rule so much as a kindness to your own sleep. I’ll still go out for dinner sometimes. I’m not becoming a monk. But the logic of it stuck.

The bedrooms are massive and still cozy, and I never felt crowded by the other three rooms. The communal kitchen, dining room, and rooftop hot tub give everyone room to mix or disappear. I loved the outdoor gym more than I’ve ever loved a gym, including an assisted morning headstand with my boyfriend spotting me.

My nervous system had been on overdrive, inhaling stress for three months straight, and I won’t pretend one week erased that. I still snap back into old patterns when triggered. But for most of each day, I was genuinely, physically at peace, in a way my body had been begging for.

Cuna del Cielo also offers oxygen therapy, IV drips, acupuncture, and sound healing, a full menu I didn’t even get on this trip. Reasons enough to go back.

I would have guessed San Miguel had a dozen places doing this. It has exactly one operating at this level, and I’m grateful it does. If you live here, you don’t need a plane ticket for this kind of reset. Cuna del Cielo even offers day passes, a few hours with the saunas, the natural pool, and the jacuzzi, for anyone who just needs an afternoon of it. If you’re visiting, block off the week. I live in San Miguel, and I’m already plaanning when I get to go back.

Audrey Jacobs is the founder and chief matchmaker of Love in San Miguel | Amor en San Miguel. She is a TEDx speaker whose talk has been viewed nearly 200,000 times. Audrey lives in San Miguel de Allende and believes the city is too magical to love alone.