Showing posts with label Mexican corn. Show all posts
Showing posts with label Mexican corn. Show all posts

Friday, February 28, 2014

Cultivating Corn on Michoacán's Purhépecha Meseta: An Ancient Wager

Looking Across Fields on the Purhépecha Meseta,
or Highlands; at 2,200 meters (7,217 ft); the cerros, hills,
can rise another 900 meters (3,000 ft)

For our first three years in Mexico, we lived in Pátzcuaro, Michoacán. Our initial intent was to focus on improving our Spanish by living embedded among Mexico's people in order to experience as much as we could of daily life, customs and culture. Pátzcuaro was a fortuitous choice. As one of the country's 83 Pueblos Mágicos, Pátzcuarenses are accustomed to Mexican and foreign tourists. Our impression is that Patzcuarenses were touched by our genuine interest in daily life and customs.

We had help. CELEP, our language school, views the process of learning Spanish as one of opening a 'window on the culture'. Welcoming and engaging, CELEP's teachers enthusiastically embrace their role as cultural guides. Needless to say, we took advantage of all the school had to offer!

We choose not to drive in Mexico, relying instead on taxis. In Pátzcuaro, we were regular customers of Monarca, whose drivers came to know us because we invariably struck up conversations about almost anything as a relaxed, low-key way to practice our Spanish.

One of our favorite Sunday pastimes was to engage a driver for a ride up to the Purhépecha Meseta, or Highlands. In an earlier post, I described the countryside, which is stunningly beautiful. When we decided to move to Pátzcuaro, we had no idea that we would encounter Purhépecha culture, vibrantly alive in the region around Pátzcuaro, or that it would have such an impact on us.

So you can imagine the flood of memories let loose when I came across this article in the La Jornada newspaper.  The author is César Moheno,* recently appointed Technical Secretary of the National Institute of History and Anthropology (INAH). Moheno's essay is written in a lyrical, even poetic style, which I attempted to preserve in the translation.

Something to keep in mind is that corn was originally domesticated in Mexico's river basins. Corn is to the Americas what rice is to China and wheat is to the people in the Levant Region of the Middle East. The need to assure a good corn crop, essential for the people's survival, became an essential role performed by Mesoamerica's god-kings.

The current battle to prevent the cultivation of genetically modified corn in Mexico is being waged precisely to protect the multiple varieties of native corn that have grown up over millenia to adapt to Mexico's countless ecosystems ("Our Heart is Made of Corn").

With that context, here is César Moheno's essay, "The Blessings of the Dream" [Los beneficios del sueño]:
"Many days ago I walked along the road of Don Joel Equihua in one of the most remote parts of the forest on the Purépecha Meseta in Michoacán. Despite the many intervening years, he recognized my step and, as if time didn't exist, we sat on the path, resumed the conversation and began to recount the stories of the peoples. They might have happened yesterday or a hundred years ago. These stories serve to guide us in our world. So we are fortunate, he told me, that we never feel alone. 
"Waking early on a Wednesday morning in March of last year, he realized that the day would be warm, very suitable for planting. As he dressed, he remember his father and his father's father. Every year they had planted corn on the same land. He knew that his son would already be preparing the ox team, and his grandson would be pouring the fertilizer into the buckets. He remembered that it had always been so, and it would be so until the end of time. He knew his plot better than anyone, much better than his body, better than his hand, better even than his wife. All had changed over the years. Their lands and ways of relating to it would remain almost unchanged.
Milpa, Corn Field on Purhépecha Meseta, Michoacán
(Photo: Mexico Voices)
"Seeing him walk, step by step, through the newly opened furrow, one thinks of a dance learned at the beginning of life. He knows not to exaggerate his hopes, but he can never prevent yearning for the future ... that dream in which he sees himself walking in the middle of plants as tall as he. He knows that since October [harvest] the blessings of the land have been fulfilled, and he hopes that no late frost might occur. Following the team led by his son and his grandson sprinkling fertilizer into the furrow, he recalls that he had left the land fallow since late November. He sees himself and his neighbors plowing all the plots with a narrower plow. Everything seems like the needles of a large fabric. As in the second plowing of late December and early January, he hears once again the music of the cúrpites that is heard in all the fields as they are worked."
MV Note: Los cúrpites are unique in popular Purhépecha consciousness. Harbingers of spring, they are an awareness that is felt, impalpable. Los cúrpites appear to those who want them. They are pure, unrestrained, boundless fertility. There are no possible limits to their presence, no definitions, no borders. 
"When he had sown more than half the plot, that small twinge began, like every year, between his stomach and his heart. He never knows how to pinpoint it, but it is always present until the plant's 'little needle' sprouted. He remembers the first time he felt it was when his grandfather explained, with a very serious face, that he should put many stones at the foot of his land to prevent the birds and livestock from entering the plot if they tried to approach. He knew that with the first rains in late May and early June the plants would have already grown two hands [about eight inches] and then it was time for weeding, pulling all the weeds contrary to the corn. All this he knew, and he knew that I knew it, but he continued in his head with the benefits that you had to give your corn field in order to shoo away this pang of emptiness that continued between the stomach and the heart.
"Like any good farmer, after weeding he would have to hill up the corn. Many years ago, this work was tended to with his wife. He saw the muzzle made of cord that was put on the team of oxen to prevent them from satisfying their taste for eating the young corn, and he saw himself preparing the special plow for piling the earth against the seedlings so that, by remaining well repretada [hilled up], they could be protected from the wind and rain. This was the last benefit given to the planted corn. For the next three months, he would only watch it grow until toward the end of October the ears are full.
"On the way back to town, perhaps because his son and grandson walk in silence, or because of the late-afternoon light that lengthens their shadows and fades their colors, or simply to give wings to his innermost desire, he recalled that during the months of November and December, the pueblo [village] would be deserted, and he wondered why he felt like singing when, in the afternoon, returning with the caravan of harvesters, all sweaty and dirty, but with their chundes [huge baskets], gunny sacks and wagons full of corn to fill the stalls of the trojes [traditional Purépecha structures used as barns].
Drawing: Troje for Storing Corn
"The harvesters were men and women; young people, children and old folks. Everyone making jokes on the ride back to town, saying coarse things or simply smiling. Everyone was paid in kind: one chiquihuite of corn for each day worked. He smiles when he thinks that in this way those in the pueblo who have no land can have corn for themselves, since they are given preference. By this custom, at times the landless harvesters gather more corn than he himself.
Traditional Troje
"Arriving at his house and while removing the dirt from his feet, he turns to ask, as he does every year upon returning from cultivating his plot, if this time he'll be able to bear once again on his back the weight of a chunde full of fresh-picked corn. Following this unanswered question, as every year since he has worked the land, in that very instant, as always, hope returns.
"From this intensityfrom the incandescent energy radiated by these men and women of the rural world in the theater of Michoacán's natural world; from this universe as close to Lorca as to Faulkner, to Berger as to Rulfocomes the storyline of the times, paced by the pulse of harvest and sowing, of fiesta and challenge, cycles of life among those who plant. 
"So the campesinos of the Purepecha Meseta wager on what must be preserved in order to change. Of what must continue with the blessings of dream in order to preserve the culture and way of life until the end of time. This is the wager that the entire Mexican society should urgently join today. It is an invitation to recover the blessings of the dream." Spanish original
Postscript: I thought I would end this post with the translation, but I had the uncomfortable feeling of having left something unsaid, a sense that something was missing, an unarticulated message about the urgent need to develop sustainable ways of living on our Planet Earth. I never cease to be amazed by what Carl Jung termed synchronicity, or 'meaningful coincidence'—things that happen seemingly out of the blue.

Yesterday in Common Dreams this headline caught my eye: "Walk Softly. This is Earth. We Have Much Still to Learn." The author is Robert Koehler, Chicago-based Peace Journalist. Koehler begins his article by quoting the Arhuaco original people of Colombia:
"When you go to dig your fields, or make a pot from clay, you are disturbing the balance of things. When you walk, you are moving the air, breathing it in and out. Therefore you must make payments.
Payments is simply another word for describing what Don Joel refers to when he speaks of giving benefits to his corn field. The article continues:
"Oh, unraveling planet, exploited, polluted, overrun with berserk human technology. How does one face it with anything other than rage and despair, which quickly harden into cynicism? And cynicism is just another word for helplessness. 
"So I listen to the Arhuaco people of northern Colombia, quoted above at the Survival International website, and imagine—or try to imaginea reverence for planetary balance so profound I become aware that when I walk I disturb it, so I must walk with gratitude and a sense of indebtedness. Walk softly, walk softly . . ."
The ground of César Moheno's conversation with Don Joel Equiha is, quite literally, this same profound reverence for Mother Earth. Yes, we do indeed still have much to learn from the world's indigenous peoples . . . if we open our ears to hear.



*César Moheno, Technical Secretary of the National Institute of History and Anthropology [INAH], has extensive experience in the field of investigation; namely, Center of Rural Studies at the College of Michoacán; in the Department of Historic Studies at INAH; and Maison des Sciencies de l'Homme in Paris, France. Moheno's published works include "En la nostalgia del futuro: La vida en el bosque indígena de Michoacán" ("Yearning for the future: Life in the indigenous forest of Michoacán") and "Mayas: Espacios de la memoria" ("Maya: Spaces of Memory").  Twitter: @ cesar_moheno

Sunday, February 3, 2013

Celebrations of Candlearia in Mexico City: Tamal Fair!

As I begin this post, I'm listening to the melodic song of the cenzontle (curve billed thrasher), whose arrival several days ago announced: Spring is on its way!

Another sign of spring occurred this morning at 4:00 AM when a battery of cohetes announced mañanitas (matins, morning prayers) for today's celebration of Candlearia, February 2.

Many of us know this dayForty Days after the Birth of Jesusas the Presentation of the Infant at the Temple in accordance with Jewish Law. But according to Spanish Wikipedia, both the Fiesta of Light and the Fiesta of Candles (Candlearia) symbolize the arrival of Jesús as the Light of the World.

Let me say yet again that Mexico never passes up an opportunity for a fiesta! Our curiosity was piqued last week when we saw huge tents being set up in the plaza next to the church in Coyoacán. But would you believe a Tamal Fair?
Note: Our dear friend Rubén once memorably took us to task for describing a single tamal as a tamale. "No," he explained, "one tamal (accent on second syllable); many tamales." Hence, Fiesta of the Tamal!
This stall offers Mexican organic coffee: "Cafe Monte Abuelo" [Mt. Grandfather]
"We care for the land of our world, the heart of our people, and the palate of our friends."
Feria del Tamal, Coyoacán
To understand, we have to take a step back to family celebrations of the Epiphany on January 6, marking the arrival of the Three KingsWise Men, Magicians, Astronomersat Bethlehem to deliver gifts to the Newborn Jesus. The Rosca de Reyes (Rosca of Kings) plays a prominent role in these celebrations.
This ring-shaped sweet bread featuring bits of candied fruit and...
...a little plastic or porcelain doll representing the Baby Jesus buried in dough.
As handed down from generation to generation, the age-old tradition specifies that the person whose piece of Rosca contains the little figure must organize a fiesta for Candelaria on February 2, to which are invited friends and anyone else who shared the Rosca. The menu is specific: atole, the sweet corn drink, and tamales made with corn flour.

Given corn's dominance of the menu, it's difficult not to link this tradition to spring and to preparations for planting maíz (corn). After all, corn was originally cultivated in the river valleys of Mexico; the original peoples honored the maize god; and corn is celebrated today as the very 'heart' of Mexico. 

It's impossible to overstate how seriously this tradition is taken. For example, a monumental Rosca was placed in Mexico City's Zócalo, main square, to be shared with about 200,000 people. The Zócalo measures 240 meters (260 yards) to a side, so when I say, 'monumental', keep in mind that the Rosca was made up of:
  • 2,500 sections, 42 centimeters wide (16" wide) and 65 centimeters long (25" long); and was
  • 720 meters long (787 yards; almost eight football fields).
2013: One Segment of 787-yard long Rosca de Reyes that wound around Mexico City's Zócalo
But I digress. The point is that the traditional foods of Candlearia are atole and tamal. Reed had gone ahead to Coyoacán Centro (plaza) to pay bills at the bank. When I caught up with him, he'd already been standing in two long bank lines, so we looked for a bench to sit down and rest.

We'd been sitting and people-watching for just a few minutes when we noticed an elderly gentleman purposefully making his way toward our bench. We moved over to make room for him and invited him to sit. He greeted us in halting English, asked if we're German, and if we speak English.

Our chat with him was delightful. He is eighty-eight years old and was born in Colonia Roma, a neighborhood closer to Mexico City's historic district. Then he added,
"When I was a boy, there was marsh between Mexico City and Coyoacán...."
"...like Xochimilco today," Reed interjected. 
"Yes," the gentleman smiled, "just like Xochimilco today. And Coyoacán was nothing; it was just a little pueblo at the outskirts of Mexico City."
Then he asked if we were going to the Feria. When we replied, certainly, we're just resting before going inside, he became quite animated in telling us about the tamales offered in Stall 29:
"They are delicious, the best here," he observed before saying goodbye and heading inside. 
A few minutes later, we made our way inside the long, white tent that housed the vendors' stalls.
2013 Feria del Tamal, Coyoacán, Mexico City
One of the three tents devoted to vendors' stalls!
We slowly made our way among the other customers gazing at the offerings.
Vendors' Stalls
Tamales from Oaxaca and Chiapas are wrapped in banana leaves, rather than in corn stalks like those shown below.
Tamales Wrapped in Corn Stalks
Each stall attractively displayed their offerings. Atole was served in ceramic cups, which were included in the price!
Atole was served in cups like the roundish reddish-brown cup
to the right of the plate of Costeño (Coastal) Tamales Wrapped in Banana Leaves (Green)
After we'd been walking around for a few minutes, Reed asked,
"How does anyone know which stall to choose?"
On cue, our gentleman re-appeared, holding a business card on which the number 29 had been written in pencil.
"This stall has absolutely the best tamales at the Fair; I have been their friend and customer for twenty years," he assured us.
Touched by his kindness, we thanked him and wished him "Buen provecho" (literally, "Good benefit" or more loosely, "Enjoy your meal"), which is the traditional, courteous greeting offered to diners. As he walked away, I noticed that he was carrying a white plastic bag with two quart-size Styrofoam containers. He and his family will indeed enjoy 'Good Benefit' from their annual meal of their favorite tamales!

We walked on...observing that stalls were offering not only tamales, but other products like organic coffee from Chiapas, cheeses, and bee products (honey, beeswax, and medicinals like propóleo, which is harvested directly from beehives and processed into a variety of products):
This stall offers Sweet Tamales, Cheeses, Sweet Breads, etc.
Seeing the propóleo reminds me that the tradition of native healers is quite strong in Mexico, where the land's biodiversity lends itself to a wide variety of plants with healing properties. But that's another post for another day....

The diversity of products offered in the stalls remind us again of Mexico's powerful market tradition, whose roots reach back deep into Mexico's rich cultural past...yet another post....

Coyoacán's Feria de Tamal is a four-day affair: January 30 to February 3. The fair, associated with Candlearia, brings to a close the annual celebrations of Christmas, New Year, Three Kings Day and the Presentation of Jesus at the Temple.

What's next? Stay tuned....

Still Curious?

Monday, October 15, 2012

Tlaxcala State: Cacaxtla Presents Cultural Puzzle

As an online magazine for the culturally curious, Jenny's Journal builds on our ongoing exploration of Mexico's multi-faceted, multi-leveled  culture. It helps that cultural puzzles fascinate us.

Cultural puzzles don't appear with a picture of the completed puzzle displayed on the box lid. Half the time, we don't realize we're working on a puzzle until it is more or less solved. Instead what we get are bits and pieces that seem out of place...facts and events that just don't quite seem to fit together...or, alternatively, tidbits that pique our curiosity and tease us to undertake additional investigation.

During our recent trip to Tlaxcala State, for example, our goal was to explore the world-class murals located at Cacaxtla (kah-KAHSH-tlah). However, on the way, yet another cultural puzzle presented itself. Why does the old title "A Funny Thing Happened on the Way to the Forum...." come to mind?

For a number of reasons we decided not to drive in Mexico, relying instead on public transportation and taxis. With admirable frequency, our drivers have proved to be rich sources of cultural information. As our taxi neared the site and began its ascent up the side of the extinct volcano, the number of cars and walkers along the side of the road increased exponentially. Puzzle piece #1 had appeared: traffic jam.

Casually, our driver mentioned that our visit (September 29) coincided with the fiesta of the patron saint of the pueblo of San Miguel del Milagro (Saint Michael of the Miracle). The heavy traffic—think slowly creeping parking lot—suddenly made sense. Not much to do but settle back to enjoy the hustle, bustle of fiesta in Mexico.

Once we'd inched past a sharp turn that split off in a "Y" toward the parish church, traffic thinned noticeably. To our delight, the entrance to the Archaeological Zone was no more than another fifty yards (45 meters). Leaving car and driver, we began the trek toward the pyramid, which we could see about a kilometer away.

While we were walking back to the entrance after touring the pyramid, more pieces of the cultural puzzle appeared. We came upon two young men, sitting on a small boulder at the side of the road. We greeted them with the usual greeting, Buenas tardes. Moments later, a procession came into view.

Procession of San Miguel del Milagro
on its way to the top of the Cacaxtla Pyramid.
Photo: Reed (click to enlarge)

Behind us, one of the young men who'd been seated on the boulder rose and blew on a conch shell he'd  taken out of his gym bag. At the sound of that ages old plaintive call, the cultural light bulb came on.

The conch shell is an ancient Mesoamerican
instrument used during religious ceremonies to
summon both the people and their gods.


Reed reminded us that September 21 is the Autumnal Equinox. The puzzle quickened. It struck us that a connection between the fiesta of San Miguel del Milagro, the Equinox, and the Mesoamerican pyramids was highly probable, but unearthing the connection required additional research.

When we got home, we got on the Internet and discovered via Wikipedia that September 29 is the day the sun appears to rise directly behind the crater of the Malinche volcano as seen from both the Xochitécatl and Cacaxtla pyramids. Significantly, the ancient peoples had named their sacred volcano to the East, Matlacuéitl. She was wife of Tlaloc (god of rain), Matlauéitl was the goddess of vegetation.

Tlaxcala, this land along the banks of the Atoyac (Balsas) River, is one of the first maize-growing regions in Mexico. Undoubtedly, it was the river valley's agricultural productivity that prompted construction of ceremonial centers first at Xochitécatl, then at Cacaxtla. 

The older pyramid at Xochitécatl (Pyramid of the Flowers) was oriented in such a way that on September 29, from the pyramid's highest level, the sun would be observed to rise directly from the crater of the Matlacuéitl volcano; that is, from the mouth of the goddess of vegetation.

GoogleEarth view looking East to Malinche (Matlacuéitl).
Xochitécatl is in the foreground; Cacaxtla is next in a
straight line to Malinche's crater. The pueblo of
San Miguel del Milagro is just past Cacaxtla.
Image: GoogleEarth via Reed (click to enlarge)

Built at a later date, the Cacaxtla Pyramid was nonetheless also sited due East from Xochitécatl along the same volcanic block. Today a footpath winds across open land, inviting passage between the two pyramids.
Cacaxtla Pyramid viewed from the highest level of the
Xochitécatl Pyramid. The shed roof covers Cacaxtla's
entire platform—essential protection for the murals and
other architectural features.
Note agricultural fields and footpath in the foreground;
pueblo of San Miguel de Milagro in the background.
Photo: Wikipedia

Like the older pyramid, the pyramid at Cacaxtla commands a view of the sun rising from the crater of the sacred volcano to the East. As they passed us, people in the procession told us they were on their way to the top of Cacaxtla Pyramid, thus providing us with another essential piece of the puzzle.

Seasonal pilgrimage to sacred natural sites is an ancient Mesoamerican tradition. When the Spanish arrived, Spanish Catholic priests did not challenge traditional practices. Instead, they tirelessly and ingeniously sought ways to overlay ancient sacred sites with Christian rites and rituals.

One way was to build Christian churches on ancient sites—such as the Christian church that sits atop the Great Pyramid at Cholula.

Church atop Great Pyramid at Cholula.
From a distance, the pyramid looks like a hill,
but it was constructed entirely by hand.
The Great Pyramid at Cholula was visible from
Cacaxtla looking to the South.
Photo: Wikipedia

At Cacaxtla, the pueblo's parish church of Saint Michael of the Miracle was constructed less than two kilometers from the Pyramid; moreover, the feast day of the pueblo's patron saint was matched to the day on which early peoples observed the sunrise over Malinche, the sacred volcano. 

As we listened to the plaintive call of the conch shell that has sounded for millenia across these lands, we were once again reminded that the ancient practices have not died. Not at all.

Still Curious?

Related posts from Jenny's Journal:
Wikipipedia entry on Cacaxtla.

Monday, April 9, 2012

Art & Friendship in Zirahuén, Michoacán

Our weekend visit to Pátzcuaro, Michoacán, also included a delightful Sunday—yes, it was Domingo de Ramos, Palm Sunday—spent visiting our dear friend, Debra Breckeen.

Artist Debra Breckeen

Debby lives in a small house in the woods above Lake Zirahuén, just outside the pueblo of Zirahuén. 

Lake Zirahuén from Debby's porch

To enter Debby's garden is to step into an idyllic space, where the artist's eye and touch have delightfully enhanced the setting's natural beauty.

Debby's Garden

We greet our old friend, Ponito, as he happily presides over his woodland surroundings! Some time ago, Reed spotted Ponito as Debby drove us along Avenida de las Americas on our way to the west side of Lake Pátzcuaro. On the return trip, Reed asked her to stop at the artisan's shop—and the rest is history, as they say.

Crafted from branches of avocado trees, we three found
Ponito in one of the artisan shops devoted to wood
carvings of all kinds.

Cola de Caballo (horsetail, snake grass, puzzle grass) is one of the planet's oldest plants. A 'living fossil', it is the only surviving genus of a family of vascular plants that reproduce by spores, rather than seeds, and it has flourished for over one hundred million years. In Debby's garden, horsetails grace an old fountain.

Cola de Caballo, horsetail,
soften the lines of an old fountain.

We enjoyed a delicious brunch of Chiapas coffee, Mexican scrambled eggs, black beans, and sweet breads topped off—after a barely respectable delay—with blackberry cobbler and even more coffee! Have I mentioned that Debby is a terrific cook?

Needless to say, we chatted. We three never seem to run out of topics requiring our immediate and total attention. Toward the end of the day—it's not even clear to me now how exactly it happened—we began to talk about Debby's embroidery art. The conversation began slowly, but gained momentum as we realized the commonality of our experiences here in Mexico.

Newcomers Together

Debby arrived in Michoacán in August of 2007. She spent a year living in Morelia while she searched for a house, but as it happened, all three of us moved to the Lake Pátzcuaro area the following August (2008). As we were settling into Casa Mariposa on Lake Pátzcuaro, Debby was settling into her house in the pine forest above Lake Zirahuén.

We met Debby while taking Spanish at CELEP, Pátzcuaro's ever-enriching school of Spanish language and Mexican culture. After decades of professional lives, Reed and I were intent on learning Spanish and embedding ourselves as much as possible into the Mexican community. Debby spotted us first, and we immediately sensed a common bond: cultural curiosity.

Debby was way ahead of us. For nearly twenty years, she had spent her summer vacations in Capula, a nearby pueblo. During those lazy summer visits, she dreamed of creating a new, simpler, even idyllic, life as a single woman living in the Mexican countryside. Certainly, her house tucked among the pine trees in the hills above Lake Zirahuén near Pátzcuaro is the ideal spot—in the tradition of Thoreau's Walden Pond.

Like all newcomers, Debby's first year or so was filled with renovating her house and moving in. Once more or less settled, she focused on getting acquainted with her surroundings, her neighbors and the larger community of Zirahuén—activities parallel to what Reed and I were doing in Pátzcuaro.

In order to keep busy in the evening, Debby picked up a long-time avocation: embroidery. As she began to stitch, something unexpected happened. Her designs began to take on a life of their own. The pieces in her hands had something to say to her, and—as the artist she is—she listened.

Nine and Nine (2008).
The maíz is a native species.
Left click to enlarge image.

At first glance, the pieces ask, what is real? Moving from Houston’s cosmopolitan culture to the culture of rural Mexico inevitably presented challenges, and cultural ambiguity took its place alongside cultural curiosity.

Debby’s art addresses this ambiguity. One early piece depicts two pineapples resting side-by-side. Each is distinctive. It’s tempting to conclude that one is real and the other ideal, but which is which? 

Real and Ideal Pineapples (2008)

The intricacy of fine stitchery is evident in this detail: 

Detail: Real and Ideal Pineapples (2008)

Debby has been influenced by the thought of David Foster Wallace who, in his own way, also asks, what is real?  Wallace:

". . . the exact same experience can mean two totally different things to two different people, given those people’s two different belief templates and two different ways of constructing meaning from experience.”
The Outside World Intrudes

Living in Zirahuén, Debby has become increasingly aware of the vulnerability of Zirahuén’s Purhépecha community to external, global forces beyond its control. News events, once viewed as at a distance, have become increasingly immediate as she sees negative consequences wreaking havoc with the daily lives of friends and neighbors. An early piece, Bees and B52's, captures these external threats.

Bees and B52's (2008)

External forces like NAFTA (1994) opened Mexico's economy to the outside world, but with decidedly mixed results for the ordinary people of Mexico. In this early piece, the gray-stitched, ever-smiling face of Colonel Sanders (KFC)—self-satisfied, confidently resolute—is an ominous backdrop for Mexico's traditional chicks and flowers. 

Colonel Sanders (2008)

Another piece seems to reflect Debby's hometown roots in Houston, Texas. An elegantly saddled Mexican horse trots along the border that was, literally, drawn as a line in the sand at the end of the Mexican-American War—for Mexicans it is La Intervención, The Intervention

Helicopters make an early appearance in this piece. As it flies, the chopper casts its dark shadow on the land, the path, the border, along which trots the riderless horse. 

Border (2008)

Why Helicopters? 

A few years ago, helicopters began flying over Zirahuén as part of Mexican President Calderón’s military initiative against narco trafficking. It is impossible to ignore them. The percussive beat of rotary blades chops into human consciousness. Debby says, “I always go out to see them.

In this piece, provocatively titled Temporary, a pair of scissors lies entangled among five multi-colored, cut flowers resting on a table. The scissors are poised to chop yet more flower stems—choppers? Not to be ignored is the black barcode ominously marking the flowers for commercial offer—NAFTA!

Temporary (2009)

Why Embroider? 

Traditionally, embroidery has been a symbol of the feminine, domestic, even genteel role associated with women’s work. But this traditional gentility is now being subverted by what is happening in our world.

In Debby’s sure hands, stitchery takes on a subversive quality—presenting an essential contradiction between medium and message. Before moving to Mexico, her art form was drawing. Of stitchery, Debby says,
Embroidery is like drawing in slow motion. I plan the piece before I begin, but what happens inside the overall design is not planned. As I work, I’m inserting myself into the piece.
At about this time, Debby stitched two swans—one real, the other Disney-like fanciful, or ideal! Yet we notice the subversive line of helicopters lurking below the water line, below the level of consciousness. The work is speaking to Debby, and she is listening....


Swans (2009)

Depicting the Invisible...the Unspeakable

In his commencement address at Kenyon College, D.F. Wallace told this parable:
“Two young fish are swimming along, and they happen to meet an older fish swimming the other way, who nods at them and says, ‘Morning, boys, How’s the water?’ And the two young fish swim on for a bit. Then eventually one of them looks over at the other and says, ‘What the hell is water?’"
Real and Ideal features two fish, swimming side by side. The fish farther away may be the more realistic; the blue scales of the nearer, vividly colored, fish appear like waves of water. Notably, reality is breaking through the boundary normally imposed by a frame. Yet, who is to say? 

Real and Ideal (2012)

Wallace concludes:
…the most obvious, important realities are often the ones that are hardest to see and talk about.” 
And so it is with Debby’s art. 

A pernicious ambiguity has invaded pueblo life, such that, “It’s impossible to know who's who.” The natural beauty that surrounds the artist in her rural home is contradicted by Mexican friends who caution, “Do not leave your house after 7:00 PM.”

The piece titled NAFTA displays a row of partially shucked native corn. Shockingly, a Glock pistol nestles among the ears—a strident protest against NAFTA, which has already devastated Mexico’s agricultural communities, and against genetically-modified corn, which promises to do even more damage to the native corns domesticated by Mexico's original peoples millenia ago—native corns that have adapted to Mexico’s world-famous biological diversity and the land's nearly countless ecosystems.

NAFTA (2011)

Arguably Debby's most important piece to date features a gorgeous gallo (rooster) stitched in vivid color set beside a row of army helicopters in olive drab. Behind the proud gallo is a shadow rooster stitched in shades of gray—a fighting cock, mouth wide open, ready to attack. Again, reality breaks through and threatens to destroy traditional boundaries of civility....

Cock and Copters (2011)

In Debra’s art, it is impossible to ignore the message:
a simple life set in an idyllic world of nature is being invaded by powerful external forces.
By juxtaposing Bees and B52s, Flowers, Scissors and Barcodes, Corn and Glocks, Cocks and Copters, Debra Breckeen’s embroidery art—in itself a subversive activity—warns us not to take for granted either the natural world, or life as we wish it to be.  

Still Curious?

For more about Debra Breckeen's life in Michoacán, including videos of parades in Pátzcuaro, Google this—d.breckeen@Flickr—then take your pick...and enjoy!

Related Jenny's posts:

  • Debra Breckeen's Embroidery Art and the Art of Seeing reviews the exhibition at the Centro Cultural Antiguo Colegio Jesuita held April 4 to May 4, 2014, in Pátzcuaro, Michoacán. 
  • In June 2011, Debby began offering a class in crewel embroidery to the ladies of Zirahuén. Although proficient in the embroidery techniques of deshilado ('Pulled-Thread') and punta cruz ('Cross-Stitch'), the ladies weren't familiar with the crewel embroidery stitches that are Debby's art form. The Art of the Zirahuén Ladies Sewing Circle in Michoacán, México relates the story of the group's first year, including photos of the ladies' work.
  • Jenny's Neighborhood: Making Friends Mexico City-style includes a description of Debby's recommended method for framing embroidery pieces (bordados) for optimal effect.
  • Multicultural, Multidisciplinary Art Show: Artists and Indigenous Bordadoras (Embroiderers) Join Aesthetics describes the exhibit titled Hasta MostlaUntil Mostla, scheduled to open August 23, 2012, at the Spanish Cultural Center in Mexico City. The exhibit is a multidisciplinary project that gathers together the drawing, photography and video contributions of seven artists from Mexico, Spain and Latin America, who lived for two months in the traditional community of Joltocán in the Huasteca Region, State of Hidalgo. The focus was on traditional indigenous embroidery; the artists focused their artistic creations on the interactions within this group of women from very different backgrounds who nonetheless share the same need to communicate their surroundings through their art.
The international citizen's blog Global Voices published this post:
  • English: Embroidering for Peace: Threads, needles and fabrics have become warriors for peace in Mexico. In cities like Monterrey, Guadalajara and Mexico City, men and women of all ages have decided to speak out and share their thoughts and experiences on violence by participating in a collective relief effort through embroidery.
  • Español: México: Bordando por la paz: Hilos, agujas y telas se han convertido en guerreros de la paz en México. En ciudades como Monterrey, Guadalajara y Ciudad de México, hombres y mujeres de todas las edades han decidido hablar y compartir sus ideas y experiencias sobre la violencia participando en un esfuerzo colectivo de labor humanitaria a través del bordado.
The 'drug war' in Mexico is complex and complicated. If you're interested in expanding your awareness, here are good web sites to explore:
  • Insightcrime.org provides reliable, in-depth coverage of key issues and developments. 
  • Mexico Voices searches the Mexican press for opinion pieces by leading Mexican figures discussing the efforts of Mexicans to build a true democracy; also reported are the results of scientific studies and population surveys. 
  • Americas MexicoBlog posts current U.S. and Mexican news reports on the US-backed War on Drugs in Mexico.    
Unanticipated consequences of NAFTA:
Climate change poses other threats:  
  • "Traditional Maize Can Cope with Climate Change," introduces exciting new research currently underway on Mexico's traditional (non-genetically-altered) corn species: http://ipsnews.net/news.asp?idnews=105035
  • "Climate Change Can Drive Migration," discusses Mexico's geographic vulnerability to the effects of phenomena like prolonged droughts and, conversely, devastating rainstorms and flooding; soil degradation, lack of water and rising sea levels; environmental degradation is tracked as a driver of migration—both internal and cross-border: http://ipsnews.net/news.asp?idnews=105047