Tag Archives: travel

Sound and Breath: Journeys of Healing in Oaxaca

By Stephanie Whitford—

Pilgrimage in Mexico has always been more than a physical act of walking from one place to another. It is a journey of devotion, transformation, and connection, an experience that bridges the outer world of landscapes and traditions with the inner world of spirit and healing. In Oaxaca, where Indigenous wisdom and Catholic traditions intertwine, pilgrimage takes on a unique resonance. Here, sound healing, spiritual music, breathwork, and energetic frequencies are not modern inventions but echoes of practices that have guided seekers for centuries.

The Outer Journey: Walking Sacred Paths
Across Mexico, pilgrimages are woven into the cultural fabric. Millions walk each year to the Basilica of Guadalupe in Mexico City, while smaller communities in Oaxaca honor saints and ancestral spirits with local processions. For the Zapotecs, pilgrimage meant traveling to sacred mountains, caves, and temples—sites where the human spirit could align with cosmic order.

In Huatulco, the nine bays themselves invite pilgrimage. Walking along the shore at sunrise, climbing into the Sierra Madre foothills, or entering a temazcal sweat lodge are all acts of devotion. Each step outward becomes a prayer, each destination a reminder that the land itself is sacred.

The Inner Journey: Sound as Medicine
Sound has always accompanied pilgrimage. Indigenous healers used conch shells, drums, rattles, and chants to mark rhythm and call communities together. These vibrations were believed to restore harmony, dissolving dissonance in body and spirit.

Today, sound healing continues this tradition. Crystal singing bowls, gongs, and various other instruments create frequencies that bypass the analytical mind and open pathways to subconscious release. Spiritual music, whether ancient chants or contemporary compositions, becomes a companion on the journey. It reminds us that pilgrimage is not only about reaching a shrine but about listening deeply, allowing vibration itself to guide transformation.

Breathwork: The Pilgrimage Within
If sound is the external companion, breath is the internal guide. Breathwork, increasingly recognized in modern wellness, has deep roots in Mexico’s traditions. In the temazcal, participants breathe through heat and steam, surrendering what needs to be let go of and emerging renewed. Breath becomes a pilgrimage inward, a journey through intensity toward clarity.

As a teacher of conscious breathing, I believe that breath is the bridge between spirit and matter. In Oaxaca, this truth is lived daily. Each inhale is an invitation to receive abundance; each exhale, a chance to release limitation. Walking pilgrimages mirror this rhythm—inhale with each step forward, exhale with each pause. Breath transforms movement into meditation. Breath is the first step on an inner pilgrimage—a foundational key to well‑being that, when practiced with intention, has the power to transform your life on every level: physical, mental, and spiritual.

The Zapotecs believed the cosmos was structured by harmony. Rituals, music, and pilgrimage were ways of aligning with that order. Modern practitioners speak of energetic frequencies, vibrations that restore coherence to the body’s energy field. Whether through a drumbeat, a tuning fork, or the resonance of a crystal sound bowl, these frequencies remind us that healing is not only physical but energetic. Each of us breathes a unique frequency that seeks harmony.

In Oaxaca, this wisdom is not abstract. It is lived in festivals, in community rituals, and in the daily rhythm of life. Pilgrimage becomes a way of tuning oneself to the frequencies of land, spirit, and community.

Pilgrimage does not need to be a distant concept. Living in or visiting Huatulco, one can experience pilgrimage in everyday acts: walking the bays, listening to the ocean’s rhythm, breathing deeply into presence. These are small pilgrimages, journeys that connect us to Mexico’s cultural legacy and to our own inner truth.

Sound healing, spiritual music, breathwork, and energetic frequencies invite us to expand this practice. They remind us that pilgrimage is not only about movement across land, it is about resonance, vibration, and breath. It is about aligning with frequencies that heal, whether inherited from Indigenous traditions or discovered in contemporary practice.

Pilgrimage in Mexico is alive, evolving, and deeply resonant. It is the journey outside—walking to sacred sites, listening to communal music—and the journey within—breathing, listening, and allowing sound to heal. In Oaxaca and Huatulco, the legacy of the Zapotecs meets modern practices of sound healing and breathwork. Together, they invite us to see pilgrimage not as a destination but as a vibration: a journey of resonance that transforms both body and spirit.

Stephanie Whitford is an inspired living coach who blends breathwork, sound‑healing, yoga, fitness, and lifestyle practices to guide people on transformational wellness journeys back to their bodies and spirits. She teaches classes and workshops throughout Huatulco. Learn more at http://www.sunkissedfire.com

 

The Most Beautiful Churches in SMA Centro

By Michael Solof—

It happens all the time. You’re new in town and want to see something special, or maybe you simply have a couple of hours to fill and feel like exploring somewhere different. That’s where this little walking tour comes in.

Today, we’ll visit four of the most beautiful and historically significant churches in San Miguel de Allende, all located within a few blocks of Centro. Along the way, we’ll touch on their architectural styles, histories, and why they continue to matter to the life of the city.

San Miguel de Allende is a UNESCO World Heritage Site, renowned for its well-preserved colonial architecture and striking religious buildings. Let’s begin at the heart of it all.

The Parroquia de San Miguel Arcángel

The Parroquia de San Miguel Arcángel is the city’s most iconic structure. The original church dates back to the early 17th century, though it underwent major renovations and expansion in the late 19th century. Its dramatic neo-Gothic façade was redesigned by local architect Zeferino Gutiérrez, who reportedly drew inspiration from European Gothic cathedrals.

The church is constructed from pink cantera, a volcanic stone widely used throughout the city and valued for both its durability and warm tonal variations. This material has become closely associated with San Miguel’s architectural identity.

Inside, visitors will find stained-glass windows, soaring arches, religious artworks, and impressive bell towers that dominate the skyline. Today, the Parroquia is one of the most photographed and recognizable churches in Mexico.

Over the years, the Parroquia has also accumulated its share of local legends and ghost stories — a common fate for historic churches. These tales belong more to popular imagination than documented history, but they add another layer to the building’s mystique, especially when seen at dusk.

Iglesia de la Inmaculada Concepción (Las Monjas)

Located near the Jardín Principal, the Iglesia de la Inmaculada Concepción— often referred to as Las Monjas—is one of the city’s architectural highlights.

Construction began in the mid-18th century, and the church is a fine example of Mexican Baroque architecture. Its most striking feature is the dome, which was inspired by European cathedral design and rises elegantly above the surrounding streets. The façade and dome glow beautifully in the late afternoon light, thanks again to the use of pink cantera stone.
Inside, the church contains richly decorated altarpieces covered in gold leaf, along with artwork created by local craftsmen. The church is dedicated to the Virgin of the Immaculate Conception, reflecting strong Spanish colonial influence in both its architecture and devotional focus.

Each year, the Feast of the Immaculate Conception is celebrated here, drawing a primarily local congregation and reinforcing the church’s role as a living part of San Miguel’s religious life.

Templo de San Francisco
(Corner of San Francisco and Juárez)

The Templo de San Francisco is among the oldest churches in the city. Construction began in 1683 under the direction of Franciscan friars, who played a central role in spreading Christianity throughout the region.

The exterior reflects restrained Baroque design, combining pink stone with white stucco for a striking but understated contrast. Inside, however, the church is far more ornate, featuring a beautifully crafted altar, decorative ceilings, and religious artwork.

While the church itself sits within the bustle of Centro, nearby courtyards and surrounding streets offer quieter moments for reflection. Each year, the Feast of Saint Francis is celebrated in early October, marking one of the church’s most important annual events.

Templo del Oratorio de San Felipe Neri
(Insurgentes 12)

The Oratorio de San Felipe Neri is an excellent example of 18th-century Baroque architecture paired with deep civic and religious significance.

Founded by the Oratorians—a religious order devoted to preaching, education, and community service—construction began in 1748 and was completed in 1753. The church’s elegant façade, carved from local pink stone, features intricate detailing that highlights the craftsmanship of the period. Its bell tower makes it a prominent landmark along Calle Insurgentes.

Inside, visitors will find a finely detailed altar, religious icons, and murals depicting saints and biblical scenes. The Oratorians were instrumental in establishing educational institutions in San Miguel, and their influence extended well beyond the church walls.

The Feast of San Felipe Neri is celebrated each May, maintaining the Oratorio’s role as an active center of worship and community life.

A City of Churches

The churches scattered throughout San Miguel de Allende offer a window into Mexico’s layered history—colonial ambition, religious devotion, artistic expression, and everyday life unfolding over centuries. While it would take weeks to visit them all, these four provide a rich introduction, all within a short walk of Centro.

Enjoy your travels—and take your time.

Michael Solof leads SMA Adventure Hound, a group which takes locals and newcomers to brunches and dinners at different restaurants every week and he also offers classes in the art of smartphone photography. You can contact him at WhatsApp +1-443-310-9214 for more info and to reserve.

The History of Fabrica La Aurora

Rebecca Desiree C. —

Before becoming the center for creativity and culture known locally as La Aurora Centro de Arte y Diseño, La Aurora was once just a simple textile factory. Originally launched in 1902, Fabrica La Aurora operated as a major producer of fine cotton textiles in San Miguel de Allende.

For about nine decades, the factory would go on to provide a source of livelihood to hundreds of locals, but it would later shut down in 1991 due to declining demands for local fabrics and rising production costs.

For more than a decade following its shutdown, the factory lay abandoned until the descendants of its founders chose to put the property up for sale in the early years of the 21st century. This article will share a bit of the history of Fabrica Aurora and its transformation into one of San Miguel de Allende’s most celebrated centers for art, culture, and creative expression.
A Brief History of Old Fabrica La Aurora
Fabrica La Aurora was one of the largest and most important textile factories in central Mexico. According to local accounts, at its height, the factory employed more than 300 people and was a major player in the thread and textile market in Mexico.

The factory remained in business for most of the 20th century, dominating the textile market in central Mexico, spreading its products to the rest of the country. From the end of the 1970s, however, the factory began to face challenges that eventually lead to its gradual decline and closure. Some of these challenges included increased global textile competition, outdated machinery that struggled to keep up with modern production standards, and the economic instability that struck Mexico during the 1980s. The factory would continue to struggle for one more decade before finally closing down in 1991. While definitive archival records are scarce, local histories attribute the closure in 1991 to rising global competition, out-dated machinery and broader economic pressures in Mexico’s textile sector.

Upon the factory’s closure, most of its infrastructure was left in place, the entire facility abandoned. Things would stay this way until, over a decade later, the decision was made to sell the property. This single decision would go on to set the stage for one of the most creative and inspiring transformations in Mexico’s history.

From Abandoned Textile Factory to Hub of Creativity
In many ways, La Aurora’s transformation into one of the biggest cultural centers in San Miguel came as the result of a shared vision and a willingness to do what it takes to make said vision a reality.

The property was put up for sale in the early 2000s. Having been abandoned for over a decade, its machines corroded and its infrastructure in a clear state of disrepair, the sale was not a highly competitive one. However, this would end up working in favour of a small group of artists, designers, and investors, who shared a similar vision for the site’s revival.

For this group, the goal wasn’t to revive the factory to its glory days or even restore its facilities and infrastructure; it was to inspire. By turning this abandoned, local landmark into a cultural center, the group hoped not just to preserve a piece of San Miguel’s history but also to prove that even broken things can be transformed into something new and beautiful.

In 2004, the factory officially reopened, now under new management. Gone were the days of Fabrica La Aurora, the textile factory. In its place stood La Aurora Centro de Arte y Diseño, a haven dedicated to art, culture, and creativity.

La Aurora’s transformation from an abandoned 20th-century textile factory to the 21st-century creative and cultural powerhouse it is today didn’t happen by chance; it was the result of shared vision, determination, and unwavering belief that art could breathe new life into history.

Behind La Aurora’s transformation stand the bold artists and designers who chose to reimagine what was once a relic of industry into a living canvas of creativity. Notable names here include Christopher Fallon, Mary Rapp, Merry Calderoni, and DeWayne Youts, amongst others. Where most people saw heavily deteriorated infrastructure and machinery that had accumulated over a decade’s worth of rust and decay, these men and women saw the chance to build something extraordinary from the remnants of the past.

La Aurora Today — More Than Just a Renovated Factory
Today, the transformation of La Aurora is an inspiring example of cultural regeneration. In just two decades, the formerly abandoned factory had transformed into a creative sanctuary for artists and designers that houses a collection of art and design studios, galleries, and workshops.

Since its reopening the property has gone through a few renovations to fit its new purpose. Halls and corridors that used to house rows of looms and spinning machines now proudly display galleries and studios showcasing paintings, sculptures, furniture, and handcrafted designs from various artists and designers.

In just two decades, La Aurora had successfully reinvented itself. A quick look at the Cultural Center of Art and Design, La Aurora, today, and you’d be hard-pressed to see that century-old factory that was left unattended for over a decade. Instead, what you’d see is a thriving cultural landscape rich with art, design, and imagination; proof that even once-abandoned things can be given new life and made relevant again.

La Aurora Centro de Arte y Diseño is located just north of San Miguel’s historic center and is open to the public year-round, with regular art walks, exhibitions, and cafés within the old factory walls.

A Culinary Journey Through San Miguel: Discovering Hidden Gems

By Michael Solof —

For over five years, through my group SMA Adventure Hound, I have been introducing newcomers, tourists, and locals, twice a week, to a large variety of brunch and dinner spots around town. That’s more than 300 different restaurants, including local food trucks, vineyards, and fine dining adventures.

When The Eye magazine asked me to write an article on my favorite eating places around town, it felt like a daunting task. I asked them if I could just focus on my favorite secret places. These are spots that are sometimes hidden away, off the beaten track or sometimes they’re hiding behind an unmarked door on one of the busy main streets. My challenge was to pick a breakfast, lunch, and dinner place that maybe isn’t the first thing that pops into people’s mind… but should be.

BREAKFAST
Aldama 9 (also goes by Posada Corazón)
San Miguel is gorgeous in the mornings. It’s cool and crisp before the sun works its way up into the sky, making it the perfect time to head out to a spot where you can enjoy a cup of coffee and a wonderful meal to start your day. My favorite secret spot for breakfast hides itself better than Waldo in a building-sized mural! Aldama 9 is concealed behind a small door with nothing more than a small plaque with the address: #9. That’s it. No signs, no greeters, nothing indicating that behind this door is one of the most beautiful breakfast spots in all of SMA. Next to the door is a small speaker with a button. Push the button, and they will ring you in.

As you enter there is a beautiful walkway leading past a huge old tree stretching up to the sky. If you follow that walkway down and to the left, you’ll see a building that could easily have been designed by my favorite architect, Frank Lloyd Wright.

Across from an open kitchen are two huge window doors that rotate from the center like revolving doors, leading to the outdoor balcony where they serve breakfast every morning from 8 AM to 12 noon. But first, go into the main library full of books lining the walls, a fireplace, and lots of comfy chairs. I can’t think of a more magnificent room to relax in.

Seating is available inside or out on the balcony overlooking chickens, roosters, and their private garden, where the owners grow veggies and offer organic menu options based on what’s available in the garden that day. On Sundays, they also have a buffet and usually have a harpist playing quietly in the background. It’s quite lovely. Brunch runs about 200 pesos (250 on Sunday) and is worth every exquisite bite. The service is always excellent, and the huge variety of food is just plain delicious. Please make sure you pet the many friendly cats and dogs who you’ll often see lounging around the place. So cute.

LUNCH
El Encanto – Relox No. 41 (just across the street from the side entrance of the Biblioteca on Relox)

If you like Mexican charm, look no further than El Encanto. It is located a five-minute walk from the center of town. Covered from floor to ceiling in vibrant Mexican murals and filled with decorations, this is the place I take visitors to feel that old-world Mexican spirit.

Although they have a breakfast menu from 9 AM to 1 PM, the lunch and dinner menu is where it’s at! It features over 10 pages of items, all inexpensively priced, stunningly plated, and huge portions to boot. I usually have enough to take some home for dinner! The lasagnas, salads, and pastas are phenomenal and freshly prepared to order. Though the wait can be a little longer, the generous portion sizes and beautifully presented dishes make it well worth it. I have been taking people here for years, and the place never ceases to astound my guests!

Meals run around 250-300 pesos. Closed on Mondays.

After your meal, make sure to check out the Biblioteca (Library) across the street. It contains the largest collection of English-language books in all of Mexico! To top it off, the bookstore is a fabulous place to get gifts, see a show in their tiny theater, or grab a snack in their café.

DINNER
Mestiza – Hermanos Aldama No. 43 (located on the back terrace through all the stores)

Mestiza nudges past the competition as my favorite dinner spot. The restaurant is run by two incredibly nice guys, George and Javier. Located about a ten-minute stroll from the Jardin, this gem is situated in a stunning secret garden that captures the essence of Mexico with its aromas, warmth, and rich traditions.

Mestiza specializes in celebrating ancestral recipes passed down through generations, showcasing dishes such as enmoladas, sopecitos mestizos, and gorditas de cochinita pibil. Each dish is a testament to the culinary heritage of Mexico, and every visit yields rave reviews from my guests. The restaurant is also whimsical and kid-friendly, with tiny gnomes hidden throughout.

Mestiza specializes in Mexican food with a European twist and has won many awards for its delectable dishes. It has been voted as my group’s favorite restaurant for both years. There is one more key reason to go to Mestiza. I collect voluntary donations for the local pet rescues in town at all my events and last year, we collected over 60,000 pesos. I have two rescues myself, so it’s a cause near and dear to my heart. Of the almost 300 spots we’ve gone to in five years, Mestiza is the only one to give back a significant portion of their proceeds as a donation for the pets. The owners have several rescued animals too.

Whether you’re a long-time resident or a first-time visitor, San Miguel de Allende offers a rich culinary landscape. From the quiet mornings at Aldama 9 to the charming lunches at El Encanto and the delicious dinners at Mestiza, these spots provide not just meals, but experiences that capture the heart and soul of this beautiful town.

So, venture beyond the well-trodden paths and indulge in culinary delights that promise to make your time in San Miguel unforgettable.

Michael Solof leads SMA Adventure Hound, a group which takes locals and newcomers to brunches and dinners at different restaurants every week and he also offers classes in the art of smartphone photography. You can contact him at WhatsApp +1-443-310-9214 for more info and to reserve.

Papaloapan: The River and Region of Butterflies

By Deborah Van Hoewyk

In 1518, Juan de Grijalva (c. 1480-1527, killed by natives in Honduras) left Cuba with four ships and 200 men to explore the coast of the Gulf of Mexico. Although his uncle, conquistador Diego Velásquez, was angry that Grijalva built no settlements (actually, Grijalva’s instructions were not to do so), the mapping and reports from Grijalva’s expedition laid the groundwork for Hernán Cortés to settle the coast and move inland to conquer Mexico.

Along the coast of what is now Veracruz, Grijalva encountered a meandering, slow-moving river, naming it Río de Alvarado (River of Whiteness), now known as Río Papaloapan (Papaloapan comes from the Nahuatl papálotl, “the river of butterflies”). The Papaloapan Region of Oaxaca runs across Oaxaca’s northeastern border with Veracruz; the river crosses the foothills of the Sierra Norte and descends to the coastal plain, through Veracruz, and out to the Gulf of Mexico.

The headwaters of the Papaloapan arise in the Salado River near Tehuacán, in Puebla, and then join with the Tomillín River in Oaxaca. It takes the name Papaloapan near San Juan Bautista Valle Nacional, about 170 km (±106 miles) northeast of Oaxaca City. The Papaloapan River Basin, second only in size to the Rio Grande basin, covers over 15,000 square miles and portions of the states of Veracruz, Oaxaca, and a bit of Puebla.

The First Settlers

As the river slowed and broadened, it formed fertile levees that were attractive to settlement; the Olmecs, among the earliest (1200-400 BCE) Mexican groups to leave traces of their civilization, lived throughout the basin in Veracruz and somewhat into Oaxaca. There is ample evidence of trade between the Olmecs of this area and the Aztecs, in this case the Zapotecs, of Monte Alban.

In fact, the Aztecs gave the Olmecs their name, which means “the rubber people,” named for the gum rubber the Olmecs traded throughout southeastern Mexico. Rubber trees grew in abundance in the Papaloapan basin, and the Olmecs figured out how to convert the latex sap of the tree into a substance that could be cured, shaped, and hardened. What the Olmecs called themselves is not known – their literacy included only a small collection of glyphs, considered the earliest form of writing in the New World; most Olmec communication, however, was oral, and lost forever when their civilization collapsed.

The Olmecs began to disappear around 400 BCE; the cause is unknown, but archeologists have generally credited environmental change with damaging the resources needed for survival. It is thought that the river and its tributaries began to silt up so badly the water supply was cut off. Another theory is that increased volcanic activity in this time (Popocatépetel erupted almost constantly from 800-215 BCE) coated the earth with ashy mudflows, making it unsuitable for cultivation.

On to Modernity

Because of annual flooding, and the masses of mosquitoes it brought, the Papaloapan Region was not a popular place to settle. The Spanish conquistadors mostly passed through the area en route to better pickings – saliently, gold – in Tenochitlán (Mexico City). Eventually, the colonialists took over Tuxtepec, renaming it of course, as San Juan Bautista Tuxtepec, in 1811. After the War of Independence (1810-21), it became the head town of its own municipality in 1825; it is now the second largest city in Oaxaca, after the capital Oaxaca de Juárez, with a population just under 500,000.

Until the mid-20th century, the region languished. Flooding had become more severe, largely because of upland deforestation; in 1944, a terrible flood wiped out over a hundred people living in small villages or out on ranches. Shortly thereafter, Miguel Alemán, the first “civilian” Mexican president after the post-revolutionary chain of generals, and a native of the area, established Mexico’s first river basin commission. The Comisión del Papaloapan, formed in 1947, was in charge of everything from water (building dams, generating hydroelectricity, clearing swamps, etc.) to other infrastructure (building roads and towns) to social services. Signal achievements were two large dams, the Miguel Alemán dam (1954) and the Cerro de Oro (Hill of Gold) dam (early 1980s), which sharply reduced the threat of flooding, increased hydroelectric generation, and provided water via reservoirs.

This set the stage for economic development of the Papaloapan region; Victor Bravo Ahuja, governor of Oaxaca from 1968 to 1970, emphasized “modernization” of the region (he came from Tuxtepec). Bravo promoted new practices in agriculture and laid the groundwork for commercial and industrial development.

Visiting Papaloapan

This is not Mexico City, full of high culture and amazing food, nor is it the state of Oaxaca, replete with natural wonders. We have been to San Juan Bautista Tuxtepec, as it was rumored to have a wonderful Christmas celebration. It probably was great, but it happened the day before we got there, and it must have used up all the electricity, because we were on the 6th floor of a hotel with no power, no elevator. We climbed down and wandered about in the colonial part of the city, very nice, not very special.

The turismo bureau of Tuxtepec recommends the river, of course, but mostly its tributaries. The industrialization of the region has been so effective that the Papaloapan itself is heavily polluted – you are advised not to expose any part of your body to the water. If you are in Tuxtepec, you can walk across the Papaloapan on a suspension bridge that goes off the Muro Boulevard, or you can take a boat from the Paso Real Pier, in the heart of downtown.

The region does, however, boast special experiences. The rivers that run into the Valle Nacional River before it reaches the Papaloapan are crystal clear. There are spas on rivers that flow through lush tropical forests (the Zuzul, Los Cocos, Piedra Quemada, and Los Sauces rivers). Ecotourism is primary in the area, with hiking through the mountains, horseback riding through the jungles, exploring caves, and kayaking streams and lagoons are all available.

While there are indigenous groups in the Region (Mixtecs, Zapotecs, Chinantecs, Mazatecs), their presence is not prominent – with one exception. In San Mateo Yetla, just south of Valle Nacional, on Route 175 heading southwest towards Oaxaca, the Chinantec women specialize in embroidery. Led by Doña Carmen Vásquez Pérez, the embroiderers are working to preserve traditional needlework techniques and patterns. San Mateo Yetla is in a beautiful mountain setting; there is an ecotourism office in the town center that can advise you about jungle hiking, hikes to waterfalls, etc.

The Pineapple Dance – A Turismo Creation

Given the impact of the Papaloapan river and its connection with Veracruz, the region has always tended to see itself as a Jarocho (Veracruz) culture. In an interesting commentary on traditions and tourism, up until 1958, Papaloapan dancers always went to the Guelaguetza (the statewide dance festival held in July) with the Fandango Jarocho as their dance. Given the mountains that separate the Papaloapan region (in both Oaxaca and Veracruz), the audiences didn’t know the dance, and didn’t pay much attention to it. At that point, Oaxaca governor Alfonso Pérez Gasga decided there should be a more generally Oaxacan theme to Papaloapan’s dance. The pineapple was chosen as broadly representative of the region, and everyone knows pineapples! The Pineapple Dance costumes were based on the Chinantec huipiles; last came the music and the dance. Needless to say, it took older people a while to adapt to the Pineapple Dance.

At the End of the Papaloapan

Given the cultural connections across the Cuenca (Basin) de Papaloapan, if you go anywhere in Papaloapan Region, you should also make it towards the mouth of the river in Veracruz, to a town called Tlacotalpan. (There is no passenger boat travel between Tuxtepec and Tlacotalpan – if you’re not driving, you need to take the bus.)

Set up on what used to be an island in 1550, Tlacotalpan was declared a World Heritage site in 1988, mainly for its architecture and colonial layout along the river. It was established to serve as a colonial river port. For a visitor today, it’s not the architecture so much as the brilliant colors in which it is painted.

Local residents are voluble about their town – we had an impromptu guide who explained which houses he himself had painted, why the colors were what they were, and of course, where his cousin’s restaurant on the river was! Should you be lucky enough to be in Tlacotalpan on February 6, you can see the Virgen de Candelaria arrive by boat to be trekked through the streets to the cathedral.

 

Valles Centrales

By Julie Etra

The Central Valleys (Spanish: Valles Centrales) of Oaxaca—also known as the Oaxaca Valley—are a geographic region encompassing the municipalities of Etla, Centro, Zaachila, Zimatlán, Ocotlán, Tlacolula, and Ejutla. This area is home to important and well-known archaeological and cultural sites, including Monte Albán, Tule, and Mitla, as well as lesser-visited sites such as Yagul and the Guilá Naquitz Cave.

The cave is especially notable as the verified birthplace of the oldest distinctly recognizable ancestor of modern annual corn: teosinte, a perennial grass with tiny mazorcas (corn ears) about the size of a slender finger. More on that in a bit.

Geography and Climate
The Y-shaped valley lies at the intersection of two major Oaxacan mountain ranges: the Sierra Madre del Sur and the Sierra Madre de Oaxaca (colloquially known as the Sierra Norte), which is an extension of the larger Sierra Madre Oriental. (Sierra means “mountain range.” For context, I live on the eastern side of the Sierra Nevada in northern Nevada—which, once upon a time, was part of Mexico.)

Oaxaca City sits at the heart of the valley at an average elevation of 1,550 meters (5,115 feet). With access to water from the Río Atoyac and Río Salado (though not in great shape today), the area has long been attractive for settlement. The valley spans more than 3,375 square kilometers (1,303 square miles), with about 1,100 km² (700 mi²) of arable land—by far the largest stretch of flat, farmable land in this mountainous state.

The Tlacolula Valley stretches 50 kilometers (31 miles) east, the Zimatlán Valley runs 100 kilometers (62 miles) south, and the Etla Valley extends 40 kilometers (25 miles) northwest.

The climate is subtropical highland, with warm temperatures year-round—something that often surprises winter visitors. Rainy and dry seasons are distinct, much like the coast, though less extreme. The valley averages about 69.5 cm (27.4 inches) of rainfall per year. Winter temperatures hover around 17°C (63°F) in November through January, rising to around 22°C (72°F) from May through August.

Geology
The Valley of Oaxaca has an ancient and complex geology. It features a mix of Precambrian metamorphic rocks (dating back 4.6 billion to 541 million years), Mesozoic sedimentary layers (252 to 66 million years ago), and Tertiary igneous rocks (66 million to 2.6 million years ago).

The valley floor is composed of gneisses (coarse to medium-grained metamorphic rocks) and mylonites (fine-grained rocks found along fault zones). Surface rocks include schists, granodiorite, and limestones, the latter indicating the presence of an inland lake or sea in the distant past. Sediment from surrounding mountain erosion has also filled much of the valley.

This is a tectonically active zone—part of the Oaxaca Fault System, where the Cocos Plate subducts beneath the North American Plate along the Middle American Trench. That’s why Oaxaca is so seismically active: about 25% of all earthquakes in Mexico occur here. The January 14, 1931, earthquake, which registered 8.0 on the Richter scale, flattened the city.
Further reading:
http://www.wiki.santafe.edu/images/4/45/Ch3-1.pdf

Economy
Besides tourism and crafts (alebrijes, ceramics, textiles), the valley continues to support extensive agriculture. Crops include corn, sorghum, beans, wheat, melon, watermelon, garbanzo beans, and of course, agave (maguey) for mezcal production. Corn remains the most culturally and economically significant crop.

Today, you’ll also see large greenhouses growing ornamental plants—visible when flying in with Aerotucán or driving into the valley from the south via Highway 175. Flowers such as flor de cempasúchil (marigolds, genus Tagetes), flor de borla or cresta de gallo (Celosia argentea, aka cockscombs), and terciopelo (velvet flower) are cultivated for Day of the Dead altars (ofrendas). Roses are also grown here and sold in markets, including those in La Crucecita.

Important
Archaeological Sites

Yagul
Located midway between Oaxaca City and Mitla on Highway 190, Yagul is a former Zapotec city-state first settled around 500–100 BCE. It remained occupied up through the Spanish conquest. The name “Yagul” is Zapotec: ya means tree and gul means old—“old tree.” (What specific tree? That remains a mystery.)

Excavated in the 1950s and 60s by archaeologists Ignacio Bernal and John Paddock, Yagul is built around a hill and includes a large ball court, palaces, temples, and tombs. Building materials included cobbles from the Río Salado and volcanic rock like basalt. The community likely reached its peak between 1250 and 1521 CE. After the conquest, much of the population relocated to nearby Tlacolula, which now hosts a well-known and colorful market.

Guilá Naquitz Cave
This site is particularly close to my heart. Back in the 1980s, as a student at Colorado State University, we had a few teosinte plants on the university farm. As a grad student, one of my jobs was to help propagate heirloom corn (maíz criollo) seeds to preserve their genetic integrity. Years later, DNA mapping confirmed that teosinte was indeed the ancestor of modern corn—and that it originated here, in Oaxaca.

Guilá Naquitz Cave (Zapotec for “white cave”) is located about 5 km (3.1 mi) northwest of Mitla, likely in a limestone outcrop. This site is of enormous ethnobotanical and paleobotanical importance, documenting the early domestication of crops like teosinte, squash (Cucurbita spp.), bottle gourds (Lagenaria siceraria), and beans.

Inhabited as early as 10,000 years ago, the area once supported a rich variety of edible plants consumed by hunter-gatherers—acorns, wild fruits and berries, prickly pear cactus (tuna), agave, nuts such as yak susí (the identity of which remains unclear), wild onions, and more. Sadly, centuries of land-use change have greatly diminished this ecosystem. The cave is located at the base of a cliff at an elevation of 1,926 meters (6,319 feet).

Highlighted Communities in the Valley
Here’s a small, somewhat random selection of communities we’ve passed through on our drives to Oaxaca City:

Ejutla de Crespo
Located at the southern end of the valley, Ejutla means “place of abundant greens” in Nahuatl. “Crespo” refers to Manuel Sabino Crespo, a contemporary of Morelos during the War of Independence. The town’s economy centers on agriculture and mezcal production.

Ocotlán de Morelos
With a population of around 23,000, this town was bypassed about a decade ago when a new commercial route diverted traffic away from its bustling central square. The name Ocotlán comes from Nahuatl and means “among the ocote trees,” referring to the pine species found descending from the oak-pine woodlands above. The suffix honors José María Morelos y Pavón, Catholic priest and independence leader. Agriculture is the main economic driver.

San Bartolo Coyotepec
Just five kilometers (three miles) south of Oaxaca City, this town is famed for its barro negro (black clay) pottery. The shiny finish comes from polishing and specific firing techniques. There’s a wonderful little museum on the west side of the main highway. Years ago, my sister and I eavesdropped on a workshop there.

Villa de Zaachila
This town and municipality is 6 km (3.7 mi) south of Oaxaca City along Highway 131. Before the conquest, it was the main city-state after the fall of Monte Albán. The name may refer to its 14th–15th century ruler Zaachila Yoo—or it may mean “large leaf of the purslane” (Portulaca oleracea), a crunchy succulent considered a weed in the U.S. but a valued quelite in Mexico. You’ll often find verdolaga in local markets and dishes (see The Eye Archives:
http://www.theeyehuatulco.com/?s=quelites).

The Eight Regions of Oaxaca

By Kary Vannice

Oaxaca, a state in southern Mexico, is officially divided into eight regions. These regions are not administrative divisions like municipalities or states, but they are recognized officially by the state government and widely used for planning, cultural identification, and statistical purposes.

How Did These Regions Come to Be?

There are a variety of reasons for the existence of the eight regions. The most basic is Oaxaca’s geography and ecosystems. The natural environment varies widely across Oaxaca—from mountains and forests to coasts and valleys—shaping economies and lifestyles. The mountains and rivers in particular can isolate one area from another, although rivers also provide transportation from one location to another.

Each region’s historical and cultural identity is determined by its distinct mix of indigenous groups, languages, traditions, and history, and how these characteristics and events have evolved over time.

The government planning agencies use the regional divisions in designing and implementing development projects, educational programs, and infrastructure efforts more effectively. INEGI (Mexico’s national institutes of statistics and geography) and other agencies use the regional breakdown for statistical data collection through surveys and census work, thus perpetuating the regional districts.

While the regions are not political divisions like states or municipalities, they are officially recognized and serve cultural and functional purposes. Here’s a brief summary of the defining characteristics of each region of Oaxaca.

Valles Centrales (Central Valleys)
– Capital region; includes Oaxaca City
– Cultural and economic heart of the state
– Known for Zapotec heritage and artisanal crafts

Sierra Norte (Northern Sierra)
– Mountainous and forested
– Strong indigenous communities (Zapotec and Mixe)
– Rich in ecotourism and biodiversity

Sierra Sur (Southern Sierra)
– Remote and rugged
– Primarily Zapotec and Mixtec populations
– Known for traditional farming and coffee production

Cañada
– Narrow region in the northeast
– Predominantly Mazatec population
– Noted for herbal medicine and natural springs

Mixteca
– One of the most culturally distinct regions
– Home to the Mixtec people
– Struggles with soil erosion and migration, but rich in ancient history

Costa (Coast)
– Includes Huatulco, Puerto Escondido, and other beach areas
– Ethnically diverse (Afro-Mexican, Chatino, Mixtec)
– Fishing, tourism, and farming

Istmo de Tehuantepec (The Isthmus)
– Geographically strategic narrow land bridge
– Predominantly Zapotec with strong Isthmus identity
– Known for wind farms, matriarchal traditions, and cultural festivals

Papaloapan (also called Cuenca (basin) del Papaloapan)
– Northern tropical lowlands along the Papaloapan River
– Ethnically diverse (Chinantec, Mazatec, Mestizo)
– Sugarcane and tropical fruit production, other small-scale industrialization
– Continuous with the basin and delta of the Papaloapan in Veracruz