Showing posts with label Delegación Álvaro Obregón. Show all posts
Showing posts with label Delegación Álvaro Obregón. Show all posts

Wednesday, October 2, 2019

Original Villages | San Bartolo Ameyalco, Álvaro Obregón: Pueblo of the Mule Drivers

Pueblos in the Mountains


In recent months, we have finally been able to get to pueblos some distance from our home Delegación/Alcaldía of Coyoacán in the middle of Mexico City. Three of those pueblos are to the southwest, in the mountain range of the Sierra de las Cruces, which we wrote about in our post on the volcanoes that surround the city. We have made it to Santa María Magdalena Atlitic in Delegación/Alcaldía Magdalena Contreras and to San Lorenzo Acopilco, in Delegación/Alcaldía Cuajimalpa. Most recently, we made it to San Bartolo Ameyalco, in the Delegación/Alcaldía Álvaro Obregón.

Delegaciónes Magdalena Contreras, Álvaro Obregón and Cuajimalpa
all stretch narrowly from north to south on the west side of Mexico City,

reflecting their mountainous terrain.
The southern half of 
Álvaro Obregón, two-thirds of Magdalena Contreras 
and all of Cuajimalpa lie in the Sierra de las Cruces.

La Sierra de las Cruces,
running northwest from Mt. Ajusco (on the right, which lies in Delegación Tlalpan).
The part that is in Magdalena Contreras lies south of the white building in the foreground.
To the north east are Delegaciónes Álvaro Obergón and Cuajimalpa.

Photo taken from our apartment in northern Coyoacán

The northern end of Delegación Cuajimalpa
which has been developed as a postmodern, international style section of the city
known as New Santa Fe.

We have been to other originally indigenous pueblos in Álvaro Obregón: San Sebastián Axotla, which maintains its indigenous roots, and San Ángel and Chimalistac,which were taken over early in the Colonial Period by wealthy Spanish for haciendas (estates) and country homes. However, they lie near the northeastern end of the delegación, literally on the border with Coyoacán and are now immersed in the modern city. In striking contrast, San Bartolo, like the other pueblos in the Sierra de las Cruces, lies well to the south, high in the mountains, surrounded by evergreen forests. 

San Bartolo Ameyalco


Traveling with our faithful taxista, Sr. Sánchez, on the Sunday morning of the Fiesta de San Bartolomé, we quickly leave our familiar Coyoacán and enter Delegación/Alcaldá Álvaro Obregón. For some distance, we are still on the flat Valley floor and in the midst of the urban, working-class, commercial city. Then we start to climb. As we do, the homes become more upscale, surrounded by walls and with gated entrances. There are entire gated communities and luxury sports clubs. Once again, we are amazed at how quickly one can transition from one world to another in the City, but we also wonder what Pueblo San Bartolo Ameyalco will be like, with all this luxury just below it. 

Finally, after about an hour's ride, as we climb further and begin to enter the ancient forest of the mountainside, we see a sign pointing off the main road to the pueblo. As always, as soon as we enter its narrow streets, lined by modest cinderblock homes and stores, we know we are in a pueblo, not the modern city. Inevitably, because it is fiesta time, we come to the point where the street is closed off and, beyond that point, filled with temporary puestos, stalls, whose owners are preparing them to sell food or other items. And there are the carnival rides, sitting still and empty, awaiting the evening party time. So again, we thank Sr. Sánchez for bringing us so far and so reliably to our destination, pay and tip him well, and bid him "hasta luego", "until the next time".

Walking up the puesto-filled street we soon come to the walled entrance to the church atrio (atrium). So far, all is as it virtually always is for a pueblo's patron saint fiesta. 

Entrance to the atrio of the Church of San Bartolo de Ameyalco.
The portada is not the usual flowers, either fresh or plastic, but a design made with beans.
We have seen such portadas in other pueblos.
"Protect us, San Bartoloméa"
On the far side of the atrio is the original 16th or 17th-century chapel.

The original chapel.
We are sorry that it is closed so that we cannot see its interior.

To the left of the original chapel, and down some stairs, is a larger, modern church.
Its facade is also covered with a fiesta portada made with seeds.

The Pueblo of Arrieros, Mule Drivers


Not seeing any schedule of events posted anywhere, we wander back into the street. There we encounter a traditional group of dancers whom, not long ago. we encountered for the first time in the city, while at a fiesta in Santa Ursula Xitla, in the southern Delegación of Tlalpan. They are a cuadrilla de arrieros, a team of mule drivers. We had encountered them again in Pueblo San Pedro Martir, also in Tlalpan, and most recently in San Lorenzo Acopilco in Cuajimalpa. They seem to be a phenomenon of the mountainous pueblos of the south and west of the city, evidently because, for centuries, the commercial trails leading into and out of the city had to cross these mountains.  

Cuadrill de arrieros de San Bartolo Ameyalco.
Their attire is the traditional white manta (muslin) shirts and pants
dictated for peasant workers by the Spanish after the Conquest.
It is a larger group than we have seen before.

Three small boys lead the procession,
demonstrating the ongoing incorporation
of new generations into the tradition.
Their sign says, "Juvenile Dance of Arrieros".

Soon, they file into the atrio to begin their ritual.
It will turn out to be more elaborate than the ones we have encountered before
.

The inevitable and essential banda follows them.

They file down the stairs to the newer church.

Youth form a significant portion of the group.
This is not the nostalgic act of some old men.


The sanctuary is bedecked with bouquets of flowers, typical of a patron saint fiesta.
The banners say, "Glorious apostle St. Bartholomew, pray for us," and
"Strengthen our faith so that we may follow Christ."


San Bartolomé stands to one side.
St. Bartholomew was one of the lesser-known
apostles of Jesus.

The arrieros offer their veneration of San Bartolomé




They then return to the street beside the atrio to begin their ceremonial dance


"Los peques", the little ones, are instructed in the ritual by some adolescent members
given this responsibility of passing on the tradition.

A horse is brought forward with some supplies. 

A mule is unloaded of supplies
for the next part of the ritual.

Older men begin the preparation of food.
It will be shared with the community
at the end of the Mass.

Several wooden fires are built and the cooking begins.
The men's aprons are quite richly embroidered,
indicating their pride in participating in the arrieros ritual.

Traditional clay ollas, pots of various kinds and sizes are being used. 

Adolescents and younger boys are fully brought
 into the work of cooking. 


We think the yellow mass
is corn masa, dough, mixed with fat,
to be melted down to make atole,
a corn-based drink.

We don't know why carrots,
not an indigenous vegetable,
are included in the meal.
 

A large cazuela is being used
to prepare chocolate for drinking.  

Arrieros, young and old.
The apron of the man, second from left, top, says,
"Mule Drivers Dancers of San Bartolo Ameyaco,
Hurry on, hurry on, my little burro."

Comparsa de Caporales


While we are watching the arrerios carry out their elaborate preparations to feed the community, we hear another banda begin to play in the atrio in front of the original chapel, so we hurry over to see what is happening. Fiestas are often "three-ring circuses", with multiple events happening simultaneously.

A comparsa (troupe) of caporales (herdsmen, i.e. cowboys and cowgirls) is performing another colorful traditional Mexican folk dance.








El Pueblo


As always, we are as interested in capturing the faces of the people of the community as in the formal ceremonies. 


The Strength of Tradition


What has impressed us the most about the Fiesta del Pueblo San Bartolo Ameyalco, here in the wooded mountains that surround the modern City, is the strength of their tradition of arrieros. As we noted in introducing them, we have recently encountered them in some pueblos in other southern delegaciones/alcaldías, but not in these numbers, nor with such elaborately embroidered trajes traditionales, traditional dress.

Above all, while we saw the ritual of preparation of some food for the community in San Lorenzo Acopilco in Cuajimalpa, we did not realize how central it is to the arrieros tradition, as evidenced by the extensive preparation of food as we have seen today. It was quite a production of multiple foods, obviously well-organized and carried out with deliberation and pride by the members. The group also included a large number of children and youth, incorporating them fully, thus teaching them all the components of the tradition so that they could maintain it intact into the next generation.

All of these qualities bespeak the community's deep commitment to and pride in reenacting and thereby commemorating the significant role that arrieros played for four hundred years after the Conquest in providing the only means of commercial transport into and out of the capital city. Hence, they were essential both to the life of those living in the city and surrounding villages and, on a global scale, to Spain's international commerce between Asia and the mother country via Nueva España.

Alcaldía Álvaro Obrgón and its colonias and pueblos.

It extends from the valley floor in the northeast 
up into the mountains of la Sierra de las Cruces (Mountains of the Crosses)
in the southwest, which reach altitudes of 12,000 ft.
Pueblo San Bartolo Ameyalco is marked by the green star.

Similar mountainous pueblos are La Magdalena Atitlic in Alcaldáia Magdalena Contreras to the southeast (purple/orange star)
and San Lorenzo Acopilco in Alcaldía Cuajimalpa ( red/yellow star) to the southwest.


Monday, November 13, 2017

Diego Rivera's and Frida Kahlo's 'Twin Houses' and Studios

Revolutionary Architecture


Nothing Diego Rivera or Frida Kahlo did was remotely conventional. So when Diego set out to build a house to be shared with his wife, Frida, in Colonia San Ángel, it is not surprising that he asked his friend and fellow muralist, the young architect Juan O'Gorman, to design it.

A recent graduate of the National Autonomous University of Mexico, O’Gorman began his architectural career designing spare, rectilinear houses and buildings in the style of the Functionalist architect Le Corbusier. The result: completion in 1932 of the Casas Gemelas, Twin Houses. Diego's is the red and white house; Frida's is the blue. A bridge famously connects the two houses. The building is distinguished for being one of the first constructed in the Functionalist style in Latin America.

'Twin Houses' of Diego Rivera (red and white) and Frida Kahlo (blue) 
famously connected by a  footbridge!
The cactus fence is traditional in Mexican rural pueblos.

Functionalism sought to meet the basic needs of its users, but it was also a movement in rebellion against the excessive ornamentation of the 19th century. During the Porfiriato, the reign of dictator Porfirio Díaz (1876-1911), who was an avid Francophile, the preferred styles in Mexico City were ornate French Second Empire and Beaux Arts. Wealthy Mexicans even continued to build homes in these styles after the Revolution (1910-17) in La Roma and other neighborhoods west of Centro that had been created at the beginning of the 20th century. O'Gorman and other leftist architects sought to break with these traditions and create a post-revolutionary, modern style. 

The embodiment of this radical change in the "Twin Houses" is strikingly evident in their contrast with their neighbors in Colonia of San Ángel, due west of Coyoacán. As in Coyoacán, the dominant architectural style in San Ángel is Spanish Colonial. Remarkably, the houses are not particularly jarring aesthetically vis-a-vis the surrounding ones, perhaps because of the traditional Mexican cactus fence that separates the house and property from the street.

Ornate Spanish Colonial door—
the very ornamentation 
the Functionalists rebelled against.

Historical Context


When the Mexican Revolution (1910-1917) led to the development of a new government during the 1920s, it was time not only to rebuild the country but to generate a new image of unity and change. An earlier post discussed Diego's time in Europe and his return (1921) to Mexico at the request of President Obregón and Secretary of Public Education Vasconcelos in order to develop a public art to foster national identity. Diego threw himself passionately into the work, which resulted in what is recognized today as the Mexican Mural Movement.

It makes sense that all the arts would be called upon to contribute to this national project. As a new architectural concept, Functionalism seemed to serve not only these interests, but the needs of a new generation as well. Not only did the Functionalists seek to use new construction materials (cement, glass and metal), but they tended toward an aesthetic that was industrial and modern—an aesthetic that could open the door to new construction methods and new styles of life for a new age.

Diego Rivera's Studio at Casas Gemelas


One enters the property facing Diego's House. When I saw the ascending spiral, I immediately thought of Frida's severe mobility issues and thought, "Oh, this is great—no stairs!"

Spiral Entryway to Rivera's House-Studio
But I was wrong!
Spiral Staircase.

On both first and second floors, doors open from landings to give entry to the house. All I could think was, "How on earth did Frida Kahlo—with her serious mobility issues—ever manage these stairs?" The short answer is: She didn't—or at least, she didn't for very long. (See: Frida Kahlo House Museum for the full story)

Walking into Diego's studio, I had an unexpected—and very positive—visceral reaction to the space. The studio is two stories tall, and the light is extraordinary. The east wall is glass, but light also enters the room from windows mounted in soffit-like structures next to the roof. The effect is nearly indescribable—diffuse yet remarkably full.

Diego Rivera's Studio
floor to ceiling windows, 
and full of Diego's collected art objects.

The hardwood floors are brilliantly waxed. I had the feeling the artist was expected to return at any moment.

Diego's Studio is upstairs; 
in the window are Judas figures.

Diego had a large collection of papier mache Judas figures (ritually burned the night before Easter Sunday) and calaveras (skeletons).

Judas figure

Calaveras, skeleton figures

Lovers of everything 'Mexican', Diego and Frida collected prehispanic pieces (about 59,000!); folk art from all parts of Mexico; Judas and calaveras figures; and many juguetes (toys, miniatures). 

Many prehispanic pieces are now in the garden of Frida Kahlo's Casa Azul, Blue House, in Coyoacán, but the majority of the pieces are housed in the Diego Rivera Anahuacalli Museum, also in Coyoacán. One exception is this object, below, exhibited in Diego's studio. It must have been in the studio when Rivera was alive because it appears in the painting he made of his own studio (below).

Cha'ac mool (Mayan name)
prehispanic altar for hyman sacrific

Diego's painting of the jumble in his studio, including the cha'ac mool (bottom right), calaveras, Judas figures, and a beautiful, reclining woman—possibly Dolores Olmedo?

Rivera's painting of his studio

Rivera's Painting 


In this studio, Diego Rivera painted over 3,000 portraits and portrayals of everyday Mexican life. Of Rivera's style, it has been said:
Rivera defines his solid, somewhat stylized human figures by precise outlines rather than by internal modeling. The flattened, simplified figures are set in crowded, shallow spaces and are enlivened with bright, bold colours. The Indians, peasants, conquistadores, and factory workers depicted combine monumentality of form with a mood that is lyrical and at times elegiac.
Indigenous Woman
a painting in the studio

Niña, little girl

Diego lived and worked in this house until his death in 1957.

Frida Kahlo at Casas Gemelas


When in 1934 Diego and Friday returned from a three-year stay in the United States, they moved into Diego's houses. Frida lived and painted there for six years. I actually asked a guard how on earth Frida managed all the stairs. The guard smiled as she answered—clearly, it was not the first time she had answered the question! She said that Diego had full-time help whose job it was to make it easier for Frida to move around the house.


Frida Kahlo at Casas Gemelas

But Frida did important work at the Casas Gemelas, including her paintings Lo que el agua me dio (What the water gave me), El ojo avizor (The Lookout), and El difunto Dimas (Dead Dimas). Only one of Frida's paintings remains in her house at Casas Gemelas:

Frida painted this surreal set of images 
while sitting in the bathtub. 
Her feet are reflected in the water. 

The Empire State Building 
rises from an erupting volcano; 
Below, left, is one of her corseted dresses.
She lies nude beside it. 
Her German father and Mexican mother 
are portrayed standing (lower right). 
In front of them is a couch 
where Frida reclines with a woman 
(Frida was bisexual). 

Days after her father's death in 1941, Frida moved back to the Casa Azul in Coyoacán, where she had grown up and where she died in 1954.

Originally published in Jenny'a Journal of Mexican Culture.

Still Curious?

Related Jenny's Journal posts:
Interesting discussion of Diego Rivera's impact on public art in the United States.

The Rivera-Kahlo House Museum
(red/yellow star)
is in Colonia San Ángel Inn,
just east of Colonia San Ángel (red)
in Delegación Álvaro Obregón,
in western Mexico City.