Blessing of the Animals

 

Yesterday, Amy was particularly keen on going to the annual blessing of the animals (Bendición de los Animales) at Nuestra Señora de La Merced, a humble church in Oaxaca Centro district. The day is the Catholic feast day of San Ramón Nonato, canonized by Pope Alexander VII in 1657. 

We departed from our village under stormy skies to make the 45 minute drive and arrive by 4 PM. At first there were but few people with animals, but steadily more arrived. People carrying cats, variety of dogs in costumes, fish in aquariums, birds . . . all kinds of creatures along with doting owners. The animals behaved, though sometimes excitedly tugging at leashes.

A priest arrived to the church entrance for the ceremony. He stood beside a huge, old wooden carving of a saint that stood on a platform with myriad blooming lilies beneath. 

A wonderful litany was spoken (in Spanish so I did not understand most of it). At times the crowd with their animals chimed along in a group recitation. At conclusion the priest and helpers walked around and sprinkled holy water in blessing. 

With her little fish

Amy and I gleefully engaged and took photos amidst the friendly and unique gathering. 

This pigeon has been with the woman three years, since hatching from an egg.
In a priest outfit.

We went away  satisfied, once again thankful to be blessed living in such a vibrant and artistic corner of the world as Oaxaca. We determined that next year we would bring our two dogs.

A Visual Feast

 

Every time I drive into Oaxaca, I’m struck by the ever-changing tapestry of graffiti art that adorns the city’s walls. Each visit is like unwrapping a new surprise, with vibrant colors and bold designs bringing life to unexpected corners and walls along streets and sidewalks. 

The beauty of Oaxaca’s graffiti lies not just in its artistry, but in its fleeting nature. What was once a plain wall can become a vivid canvas, only to be transformed again by a new artist with a fresh perspective. As an artist, I find myself drawn to these urban murals, eager to see what’s new, what messages are being shared, and how the city’s soul is being captured in paint and stencils. 

Oaxacan street art serves as a powerful form of expression for marginalized communities, blending artistic traditions with contemporary social commentary. It transforms the urban landscape into a canvas for resistance, cultural pride, and public dialogue on pressing issues facing the region.

Oaxacan street art often addresses:

- Indigenous culture and identity

- Social and political issues

- Protests against inequality, corruption, and violence

- Environmental activism

- Memorials for tragedies like earthquakes and missing persons

Artists employ various techniques, including:

- Murals and large-scale paintings

- Woodblock prints on biodegradable rice paper

- Stencils and spray paint

- Poster art and wheat pasting

It’s a visual feast that never gets old, each visit offering a new layer of creativity to explore. When Amy and I go to town, I am always dazzled by some new work adorning a wall. When one piece disintegrates or gets destroyed, another goes up. The graffiti in Oaxaca is more than just art; it’s a living, breathing expression of the city’s vibrant culture.

Quinceañera for Frida

 

Last weekend, my wife Amy and I had the honor of attending a quinceañera for Frida, the daughter and granddaughter of our friends and close neighbors here in San Pedro Ixtlahuaca. We were thrilled to be invited as the event photographers, capturing beautiful moments of this special day.

A quinceañera is a traditional Latin American celebration marking a girl's 15th birthday, symbolizing her transition from childhood to womanhood. The celebration was held in a grand event hall, in an adjacent municipality on the outskirts of Oaxaca. Upon arrival, we were touched to find that our friends had reserved a table of honor for us, seating us alongside them. This gesture made us feel incredibly welcome and deeply appreciated. 

The evening was a vibrant tapestry of music, dance, oratory, and heartfelt tributes to Frida. From the lively tunes played by the band to the choreographed dances by Frida and her court, every moment was filled with joy and celebration. One of the highlights was the "calenda," a traditional parade that entered the hall and added a unique and festive touch to the evening.

Especially, the dancing of Frida and her entourage of young friends was very touching. Such respect and camaraderie, gave a touching poignancy to the evening.  

As the night progressed,  we ate our fill and our hearts were brimming with the warmth and friendship of the community. We felt a profound sense of belonging, embraced by the kindness and generosity of our friends and neighbors. It was a night we will cherish forever, a testament to the strong bonds we’ve formed in our beloved village of San Pedro Ixtlahuaca.

Congratulations to Frida on her marvelous quinceañera . . . and to her wonderful family. 

Excitement and Spectacle

The Guelaguetza festival in Oaxaca, Mexico, is an exhilarating experience and a fantastic photographic opportunity. This major annual event showcases the rich cultural diversity of Oaxaca's eight regions through traditional music, dance, food, and artisanal crafts. The festivities span about two weeks at the end of July, featuring numerous activities. My wife Amy and I particularly enjoy the massive “calenda,” or parade, that winds through the streets of Oaxaca Centro.

Unfortunately, we missed the first of the two big parades last weekend. As we prepared to drive from our village into town yesterday, clouds began to gather, and a light sprinkle of rain fell. This being our wet season, I wondered if the parade would be drenched.

Despite the weather, we decided to go. The parade was scheduled to start at 5 PM, so we left around 4, planning to arrive at our viewing spot fifteen minutes before the swirling dancers, brass and percussion bands, puppets, and other participants would pass by. It continued to drizzle as we drove, and approaching the Centro district, we got stuck in a traffic jam, barely inching forward. Meanwhile, the parade had already begun. Amy suggested we turn back, thinking it might be a wasted effort. However, we had come this far, so we decided to stay in the slow-moving lines of cars, our windshield wipers slowly slapping time. I resolved to head to where the parade would finish since we would miss the start. The route spans about a mile.

The unusual amount of traffic puzzled us until we realized it must be due to the festival. To our dismay, the police had blocked off some streets as we arrived. Nevertheless, I managed to navigate us to the area where the parade would end. The streets were extremely crowded, making parking a challenge. Eventually, I turned up a little cobblestone street. By this time, dusk was approaching, and the sky was overcast. As I drove slowly forward, I hit an unseen hole. Crunch! The car lurched with a terrible noise. This was worse than the usual for the often rough streets and sidewalks. We parked about twenty feet further along. I was upset, Amy was disheartened, and it was still sprinkling. But we needed to find the parade.

We walked about five blocks, sometimes sharing our one umbrella. The rain wasn't heavy, so I accepted getting slightly wet. A huge crowd had gathered at the corner where the parade would soon arrive and make a turn. We could get no closer than about four people back, blocked by a solid mass of humanity. Both sides of the festive streets were filled with families, some children perched atop their father's shoulders. Plenty of umbrellas were open and held aloft.

When the parade arrived, the atmosphere exploded with jubilation. Fireworks burst overhead, bands played energetically, dancers swirled in native costumes, and women with long black braids danced gracefully. Revelers shouted, "¡Viva Oaxaca!" Candy was thrown into the crowd. From behind people, I could barely see, and Amy even less, but the excitement and spectacle were palpable. Looking behind us, an old woman, much shorter than Amy looked helplessly. And there were more people behind her. We stayed for about twenty minutes before deciding to leave.

One of our favorite restaurants was nearby, so we ended up there for dinner before heading home. Thankfully, our car seemed to have weathered the hit. In the end, we felt peculiarly satisfied and agreed that next year, we would arrive much earlier.

Vibrant Culture of Oaxaca

Living in our rural village of San Pedro Ixtlahuaca, my wife Amy and I are privileged to experience the vibrant culture of nearby Oaxaca in its most authentic form. Every July, we eagerly anticipate the Guelaguetza festivities, an annual festival celebrated in Oaxaca, Mexico, that showcases the rich cultural diversity of the region. Here are the key aspects of the Guelaguetza festivities:

1. Timing and Location: The festival takes place on the last two Mondays of July in Oaxaca City and surrounding areas. The main events are held at the Guelaguetza Auditorium on Cerro del Fortín, a hill overlooking the city.

2. Cultural Significance: "Guelaguetza" means "offering" or "reciprocal exchange of gifts" in Zapotec, reflecting the festival's emphasis on community sharing and mutual interdependence.

3. Historical Roots: The festival has origins dating back over 3,000 years, initially as a celebration of the Oaxacan corn goddess. It later incorporated Catholic elements after Spanish colonization.

4. Regional Representation: Delegations from Oaxaca's eight culturally diverse regions participate, showcasing their unique traditions.

5. Performances: The festival features traditional dances, music, and costumes specific to each region. Performers often distribute gifts to the audience, such as fruit, baskets, candy, or local goods.

6. Parades: Colorful parades called "calendas" are an integral part of the festivities, featuring dancers, singers, and musicians.

7. Food and Drink: The festival celebrates Oaxacan cuisine, including specialties like mole and mezcal.

8. Artisanal Crafts: A market (mercado) showcases handmade items from Oaxaca, including traditional apparel and crafts.

9. Additional Events: The celebration includes side events such as the performance of "Princess Donaji," an epic pre-Hispanic theatrical presentation.

10. Tourist Attraction: While the Guelaguetza has become a significant tourist draw, it remains deeply important for preserving and celebrating the indigenous cultures of Oaxaca.

Friday we went to watch some street festivities. Marching brass and percussion bands filled the air with lively rhythms, creating an infectious energy that reverberates through the streets. Costumed dancers marched and danced, carrying icons. The crowds are mostly Mexican natives with a good dose of tourists mixed in. 

We are both stimulated by cultural extravaganzas. I am a photographer as well as painter so try and angle for the best photos. Amy is an artist too, and quite good recording moments on her iPhone. 

The dancers are a sight to behold. Adorned in native costumes, they step and twirl with grace and precision, their movements telling stories passed down through generations. Each region of Oaxaca showcases its unique heritage through these performances, from the vibrant dresses of the Isthmus of Tehuantepec to the feathered headdresses of the Mixtec dancers. The vivid colors and intricate designs of their costumes are mesmerizing, a testament to the rich cultural tapestry of our region. Often women dance and twirl with baskets of flowers or fruit on their head. 

As the sun sets, festivities take on a magical glow. Street vendors offer an array of delicious Oaxacan treats, from tlayudas to chapulines, and we indulge in these local delicacies while soaking in the festive atmosphere. A sense of community is overwhelming, as locals and visitors alike come together to celebrate and honor Oaxaca's heritage.

Driving back to San Pedro Ixtlahuaca, we felt a deep sense of satisfaction, joy and pride. Guelaguetza is more than just a festival; it is a celebration of life, culture, and unity. It reminds us of the beauty of our traditions and the importance of coming together as a community.

Every year, this journey reaffirms our love for Oaxaca and its vibrant culture. We return home with hearts full of memories, eagerly awaiting the next Guelaguetza and the joy it will undoubtedly bring.

I will be sharing more, as the main, big parades have not begun yet. 

And So We Are Home.

My heart ached for the land in Oaxaca as we said our goodbyes to return to the USA for a month. The dry season seemed to be hanging on forever. I have a deep relationship with the plants and earth around our home. They seemed alive only by a miracle. I should have faith by now in the ancient cycles.

When we returned a few days ago, I saw everything turned green, and the neighbor plowed his corn field. Little green corn shoots are coming up. The rains are here for our wet season.

The trip to Santa Fe started a little rocky. When we went to the airport, protestors had closed the road into and out of the area, essentially shutting down operations. We had to go back home and try again the next day. After considerable doubtfulness, we embarked on the same flight we were supposed to take the previous day. Our neighbor Mayolo graciously was our driver. 

For ten days Amy visited Minneapolis where her sister, two sons and her grandchildren live. Here in Mexico, she sometimes is sad that she is so far away from them. I saw my beloved daughter, Sarah, twice: for a hike in the mountains in Santa Fe, and visiting her in Albuquerque where she lives and works.

Home in Santa Fe I built 28 years ago. My ex-wife still lives there. 

We accomplished a main objective of our trip⏤to downsize our storage unit and somehow condense our already concentrated possessions to a smaller, less expensive holding unit. We wish we could keep historical and highly sentimental belongings and keep our loved books in a second home. But real estate prices in Santa Fe were one of the reasons we left in the first place. If anything, they are more inflated now.

Santa Fe Cathedral in the heart of the city.

Our trip home went smoothly. The route is Santa Fe to Dallas, a few hour layover, and directly on to Oaxaca. Just before boarding in Dallas, I heard somebody call Amy’s name over the loudspeaker. She did not hear it. I told her, yes, you are being called. I hoped the full flight was not an issue . . . but we were being bumped up to 1st class. And that is how we returned.

View from our roof, after a recent rain.

Mayolo, Marta and their granddaughter Frida picked us up in our car and brought us home. Our house sitter had taken excellent care of our property and two dogs. I had expected a rush of gladness and excitement when our Xolo dog Malli greeted us. But she actually barked and ran away afraid. Within minutes all was well and tails wagged furiously and with plenty of kisses.

And so we are home.

Inspiration is Key

It's been about six months since I delved headfirst into the realm of creating images using artificial intelligence, and I must say, the journey has been nothing short of captivating. From the very beginning, I was spellbound by the incredible abilities and swiftness with which AI can bring imagery to life.

What initially drew me in was the sheer potential AI holds for generating ideas and sparking creativity. As an artist, inspiration is key, and AI has proven to be a tool in this regard. It effortlessly churns out suggestions and concepts, acting as a muse that never sleeps. But what truly excites me is that the journey doesn't end there; it's only the beginning.

With each creation, I find myself immersed in a collaborative dance between human intuition and machine precision. The process is a delicate balance of guiding the AI while allowing its algorithms to surprise and delight me with unexpected twists and turns. What emerges from this partnership is not just a mere digital rendering but a piece of art imbued with a unique blend of human emotion and technological ingenuity.

But let's address the elephant in the room: Will AI ever replace the age-old tradition of painting by hand? As someone who cherishes the tactile experience of wielding a brush and feeling the texture of canvas beneath my fingertips, I can confidently say no. Painting by hand is a deeply personal journey, an intimate expression of one's innermost thoughts and emotions. It's a process that transcends mere pixels on a screen, drawing upon centuries of tradition and craftsmanship.

However, this doesn't diminish the significance of AI in the realm of art. Rather, it expands the possibilities, opening doors to new techniques and approaches that were once unimaginable. AI-generated art is not a threat to traditional methods; it's a complement, a catalyst for pushing the boundaries of creativity ever further.

As I reflect on the past six months, I'm filled with gratitude for the opportunity to explore this fascinating intersection of art and technology. With every brushstroke, whether by hand to canvas or digital, I'm reminded that the true essence of art lies not only in the tools we use but in the stories we tell and the emotions we evoke. And in that sense, AI is not just a tool; it's a partner in the endless pursuit of artistic expression.

Oaxaca Passages, oil on canvas, 40 x 70 cm,    April 2024

Rekindled Friendship

 

Amy and I occasionally have the pleasure of meeting friends from the United States when they come to Oaxaca on vacation. This past week one of Amy’s dearest friends from her former life in Taos, New Mexico came with her daughter and daughters fiancé to visit. They booked a hotel in Centro. We arranged a tour guide for them, and spent precious moments going places together and visiting in our home.

A highlight of our time together was El Museo del Tallador de Sueños; A haven of whimsy and wonder, it is small museum of magical woodcarvings called Alebrije´s. Located in Arrazola, the village neighbors ours. 

The museum is a testament to the artistry and imagination of Oaxacan woodcarvers. What made this visit even more special is Amy's connection to the famous family of artists who own the museum. We are friends with the Jimenez family who own the museum. In fact, Amy made the illustrations for a book called Dream Carver published in the USA and made into a muppets play.

Now, a huge mural adorns the wall at the museum replicating her illustration from the book.

As our Taos friends marveled at the intricate carvings and vibrant hues of the Alebrijes, they couldn't help but be swept away by the enchantment of it all.

With carvings in hand, tangible mementos of their time together and the artistry of Oaxaca, they bid farewell to the museum, hearts brimming with newfound admiration for this corner of the world. The journey had not only rekindled old friendships but also deepened appreciation for the beauty that thrives in spaces between cultures and across borders.

For more about the magic . . .

Intimacy and Camaraderie

Teotitlán del Valle. Memorial procession.

Living in a small village nestled within the vibrant landscapes of Oaxaca, Mexico, often comes with a sense of isolation. However, there's an undeniable joy that fills our hearts when we have the privilege of welcoming visitors into our home. Recently, my brother Brent and his Mexican-born wife Marabella graced us with their presence for a week-long visit, and it was an experience that reminded us of the beauty of connection. They had never been to our home before or seen our our art collection. 

As they settled into our home and also spent time in a nearby hotel in the city, we relished every moment of togetherness. It had been many years since we last saw each other, and this reunion was long overdue.

One of the most cherished aspects of their visit was the opportunity to engage in meaningful conversations in our native tongue, English.

Despite the geographical distance and time apart, our familial bond and shared experiences transcended barriers. We found solace and comfort in being able to express ourselves freely, sharing stories, memories, and laughter⏤as well as some groans remembering inevitable family mishaps growing up. 

The Tulé Tree. Largest circumference of any tree on earth. Tulé, Mexico, near Oaxaca.

Exploring the multitude of Oaxacan cultural landmarks together was a joy. From the ancient ruins of Monte Albán to the vibrant markets of nearby artisan villages such as Teotitlan del Valle, brimming with colorful textiles and crafts, and Tulé, with the grand tree standing for millennia; every moment was an opportunity to immerse ourselves in the rich tapestry of Mexican heritage. As we navigated the bustling streets, we marveled at the fusion of history and modernity that defines this enchanting region.

However, it was not just the tourist attractions that made their visit special; it was the simple moments of intimacy and camaraderie that truly enriched our time together. Whether it was sharing meals prepared with love, taking leisurely strolls through streets, or showing our home full of art and that they had never seen, every interaction was a celebration of our connection.

As they bid farewell and embarked on their journey back home, our hearts felt full, knowing that the bonds we forged during their visit would endure.

In a world that often feels fragmented and divided, moments like these remind us of the importance of opening our hearts and homes to others. Whether they come from near or far, every visitor brings with them the opportunity to learn, grow, and create lasting memories. And here in our small village in Oaxaca, Mexico, we welcome each guest with open arms, knowing that their presence enriches our lives.

In Life´s Tapestry

 

I like artwork that defies predictability and traverses emotional landscapes. Two recent paintings from our studio Dos Venados in Oaxaca, exemplify this art. 

Amy Córdova Boone has continued her fantastic storytelling through art in her latest piece, called El Peregrino Sagrado; “The Sacred Pilgrim,” (acrylic on canvas, 60 x 80 cm.) Her paintings emerge from deep within her psyche. This painting was inspired by a book she wrote and illustrated several years ago, entitled Talking Eagle and the Lady of Roses, published by Steiner Books, NY. 

The story of Guadalupe and Juan Diego is one of the most revered and iconic tomes in Mexican Catholic tradition. It dates back to December 9-12, 1531, when according to tradition, Juan Diego, a devout indigenous man, experienced a series of miraculous encounters with the Virgin Mary on Tepeyac Hill near present-day Mexico City.

During the encounters, the Virgin Mary, appearing as a young indigenous woman, instructed Juan Diego to go to the Bishop and request the construction of a church in her honor on Tepeyac Hill. Initially, the Bishop was skeptical of Juan Diego's claims, but after a series of miraculous occurrences, including the blooming of Castilian roses in the middle of winter and the imprint of the Virgin's image on Juan Diego's tilma (cloak), the Bishop was convinced of the authenticity of Juan Diego's visions.

The image of Our Lady of Guadalupe imprinted on Juan Diego's tilma became a symbol of faith and unity for the Mexican people. It is said to contain layers of symbolism that spoke directly to the indigenous population, bridging the gap between their traditional beliefs and Catholicism.

The Basilica of Our Lady of Guadalupe was eventually built on Tepeyac Hill, becoming one of the most important pilgrimage sites in the Americas. The tilma of Juan Diego, with the miraculous image of Our Lady of Guadalupe, remains on display in the basilica to this day, attracting millions of visitors each year.

The story of Juan Diego and Our Lady of Guadalupe is not only a cornerstone of Mexican Catholicism but also a testament to the power of faith, miracles, and the enduring presence of the divine in everyday life.

Within my own oil paintings, I hope to surprise an audience, and do this by occasionally shifting artistic direction. The last few years my work has been somber and introspective. I made a series of "Memento Mori" paintings, where skeletal figures grapple symbolically with mortality. Recently, after I felt closure, my art has taken a dramatic turn towards vibrancy and celebration⏤exemplified by my most recent large piece, Two Dancers at a Fiesta, (oil on canvas, 80 x 100 cm.)  It is in a world bursting with color and life. The canvas pulsates with the energy of the dance floor, as two figures whirl and twirl amidst a jubilant fiesta atmosphere. The subjects dance along with the brilliant colors and bold twirling designs. Even the floor is bursting with vibrancy. Gone are the solemn reminders of mortality; instead, we revel in the joyous rhythms of corporeal existence.

This shift is not only in artistic evolution but also the embrace of multifaceted human experience. Through my paintings, I embrace both the darkness and the light, finding beauty and meaning in every aspect of life's tapestry.

To see Amy and Steven´s Mexico inspired work, go to Dos Venados Studio

Timeless Faces

We see masks often here in Oaxaca. There are many celebrations throughout the year when masks are worn along with a traditional costume.

Mexican masks have a rich history deeply intertwined with cultural and religious practices. These masks have been used since ancient times, dating back to 3000 B.C., initially by priests for summoning gods and during sacrifices. When the Spanish arrived, they introduced the devil to Mexico. Soon after, horns were added to the masks of native gods, transforming them into "devils" to promote Christianity. Devils often appeared alongside death at festive occasions. Yet, the Aztec underworld was not a place of punishment, thus, people were less fearful of death. The devil became a benign figure. 

Recently a new friend we made on the coast insisted we simply must see an exhibit of masks in Oaxaca. Called Timeless Faces, at a museum founded by artist/philanthropist Fernando Toledo in the village of San Agustin Etla the exhibition of 700 pieces is from the anthropologist René Bustamante's collection.

Amy and I made the 50 minute drive from our village to see the exhibit. For a Saturday, it was remarkably quiet. The building is grand and the grounds too. Climbing the grand, broad stairway in front, we entered the cavernous space full of masks. What a delight for two artists that love culture. Immediately we became engrossed, wandering off separately then recombining to marvel and discuss.

Most traditional masks are made of wood, while some are made from leather, wax, cardboard, papier-mâché, or other materials. They commonly depict old men and women, animals, the fantastic or supernatural.  

Masks, including devil masks, have been an integral part of Mexican cultural and religious life, with mask makers being revered members of society. Today, devil masks in Mexico retain features of ancient gods, showcasing a blend of pre-Hispanic history and Spanish influence. These masks are used in various dances and rituals, symbolizing a fusion of the two cultures and serving as a link between Mexico's past and present traditions.

Wearing masks during mystical, religious or communal celebrations is practiced across the globe.

Personally, I have always enjoyed masks and own a small collection of African, Asian and Venetian masks. 

My brother from Santa Barbara, California is coming in a couple weeks to visit us. His wife is originally from Mexico. Amy and I will return with them and see the exhibit again.