Showing posts with label Spanish colonial. Show all posts
Showing posts with label Spanish colonial. Show all posts

Tuesday, April 30, 2019

Original Villages | Mule Drivers of Santa Ursula Xitle and Tlapan

Encountering a New Form of Fiesta Dancers


Virtually every amble we have made to an original indigenous village in Mexico City has brought us surprises: some new experiences, something new learned about Mexican popular (the people's) culture, the culture of el pueblo mexicano.

When we saw an announcement of a fiesta in the Pueblo Santa Úrsula Xitle we were intrigued by two things. First, fulfilling one of our primary criteria, it was a pueblo we had not previously visited and, additionally, it was in Delegación/Alcaldía Tlalpan, the city's largest but one where we had explored only a few of its original pueblos.

Second, the announcement said cuadrillas (qua-DREE-yahs) of arrieros would be performing. In all of our many experiences of fiesta performers, we have seen many types of comparsas (dance troupes) representing various parts of Mexican identity, but never cuadrillas de arrieros. We had seen:
  • Chinelosdancers "disguised", as their name means in Nahuatl, usually wearing masks with blue eyes, pink skin and long, pointed beards, caricatures of colonial Spaniards! However, they are dressed in elaborately decorated, spacious velvet gowns and tall headdresses, and they dance a jumping, spinning, Sufi Muslim dervish-like dance, with their gowns ballooning around them. So, they strike us not just as a caricature of Spaniards, but more as an imaginative, orientalist representation of the Moors, i.e., the North African Muslims who occupied portions of the Iberian peninsula for seven hundred years. They were viewed by the Christian Spaniards as "pagans", and were slowly driven out in the centuries-long "Reconquista", which was completed only in the year 1492. The Spanish Conquista of Mexico and the subsequent "Spiritual Conquest" of its "pagans" began just thirty years later.
  • Charros, dressed as Spanish hacendados (ah-cen-DAH-dos), wealthy hacienda (ah-cee-EN-dah, rural estate) owners. Like the chinelos, they are usually masked with Spanish faces that have long beards and dressed in fancy Spanish cowboy attire, elaborately embroidered in gold thread with a wide range of symbols on the fronts and backs of their jackets and pants;
  • Caporales (herdsmen) or vaqueros (cowboys), in much simpler, working cowboy attire (think your old "Western" movie, with everyone dressed up for a square dance).
But we had never encountered a cuadrilla de arrieros. A quick consultation of our Spanish-English dictionary told us a cuadrilla was a work-crew or team and arrieros were mule drivers. Hence, a team of mule drivers. 

Thus, like charros, cuadrillas de arrieros--as participants in fiestas--are an incorporation of Spanish culture into Mexican popular culture, but they aren't like the elegant charros in their gold-embroidered jackets, tight pants and huge sombreros. They are something more like caporales, an organized group of working-class indigenous and mestizo (mixed indigenous and Spanish) people created to meet the needs of the Spanish ruling class in the Colonial period.

Arrieros: Key Links in a Global Trade Route


Before the Spanish Conquest, the indigenous had no beast of burden. Men, called tamemes in Nahuatl, carried everything, including members of the upper class, on their backs. After the Spanish took over, they introduced mules and horses — eliminating the need for human carriers. Mules became the "trucks" of cross-country commerce and those who gained the skills to manage mule trains during what could be long trips, called los arrieros, achieved a certain level of increased status.

During Colonial times, the Spanish, after they conquered what is now central Mexico, conquered the Philippines on the opposite side of the Pacific Ocean. In 1513, the Spanish explorer, Vasco Núñez Balboa discovered the Pacific from Panama and declared that it and all lands adjoining it were possessions of the Spanish crown. The Portuguese explorer Ferdinand Magellan arrived in the Philippines in 1521, where he was killed in battle with the resident people. The Spanish explorer, Ruy López de Villalobos, landed there in 1543, and in 1565, the Spaniard Miguel López de Legazpi, sailing from Mexico, conquered the islands. Like Mexico, they became part of the globe-spanning Spanish Empire that endured for some 300 years.

Thereafter, each year, the Spanish sailed what they called the Manila Galleons across the Pacific, bringing goods from China and Japan to the port of Acapulco on the southwest coast of Mexico. From Acapulco, these luxury goods were then carried by mule trains, led by arrieros, 10,000 feet (3,000 meters) up to the pass in the Chichinautzin mountains that form the southern boundary of the Valley of Mexico, and down 3,000 ft. (915 meters) to Mexico City. (See our post Encountering Mexico City´s Many Volcanoes: Giants on All Sides.) From the city, other mule trains carried the goods on to Veracruz on the Gulf of Mexico, where they were shipped to Spain.

Santa Úrsula Xitle, like its neighbor, Chimalcoyotl, and others along the trails leading up the Chichinautzin mountains provided the mules and drivers needed for this arduous trip. Mule drivers worked for Spanish businessmen. So, we wonder why this manifestation of Spanish colonialism is, like charros and caporales, actively maintained and celebrated by the descendants of those who did the actual hard work, essentially as peons on haciendas or low-paid employees of the owners of mule trains.

Why maintain memories of a life of full of hard labor, repressive relationships and poverty? The answer, we surmise, lies in the fact of their awareness that they were an essential link in Spain's global trading network. Without them, that chain from the Philippines to Spain via Mexico would have been broken. So we were most curious to meet these arrieros in the fiesta at Santa Úrsula Xitle.


Fiesta at Santa Úrsula Xitle


The fiesta at Santa Úrsula Xitle was likely to be a modest one. It was not the pueblo's patron saint fiesta, which is held in October. It was a fiesta sponsored by a cofradía, a brotherhood of parishioners of the church dedicated to venerating la Virgen de San Juan de los Lagos. We had previously encountered this advocación of the Virgin Mary, that is, a manifestation of the Virgin, appearing at a particular time and place and serving as an advocate for the forgiveness of her followers, supplicating for them before her Son, the Christ, and his Father in Heaven. That had been last autumn at the Fiesta de San Francisco in the Quadrante de San Francisco in Delegación Coyoacán, where a conchero comparsa was dedicated to her.

Despite the fiesta's likely modest size, we set off on a Sunday morning in early February to the Pueblo de Santa Úrsula Xitle in Tlalpan, eager to become acquainted with a new pueblo and a new form of fiesta dancer. (The pueblo is the center of a group of colonias that identify themselves as part of the original indigenous village of Xitle. It was named after a nearby, small volcano whose eruption, about the year 100 A.D., destroyed nearby Cuicuilco, the first urban center in the Valley of Mexico.) 

Although the pueblo is some distance southwest of our base in Delegación Coyoacán, it isn´t difficult for our taxi driver to find. Santa Úrsula lies just south of Tlalpan Centro (the original capital of the altepetl (city-state) of Tlalpan and north of Pueblo Chimalcoyotl, whose fiesta of the Immaculate Conception we attended in December 2017. 

Its eastern border is the major Avenida Insurgentes, which crosses much of the city from north to south on its western side. Just south of Santa Úrsula, the avenue merges with the Calzada de Tlalpan to form the Expressway 95D. It follows the ancient trail that climbs over the mountains, and then descends 5,000 feet (1,524 meters) to the state of Morelos and its capital Cuernavaca, and then, more gradually, another 5,000 ft. (1,524 meters) to Acapulco, on the Pacific Ocean in the state of Guerrero. .

Reaching Avenida Insurgentes, we turn south and soon find Calle Santa Úrsula. Traveling into the pueblo some blocks, we come to where the road divides, one half turning left, the other to the right. There is no sign of a church. Facing us is a tall wall we cannot see over. Not sure which way to turn, we ask our driver to wait and we get out to ask some people on the street where the church is. They smile and point to the street going to the right and then left, around a corner. We thank them and then our driver, pay him and walk around the corner to the right. Immediately we see people gathered at an entrance in the wall. It is the wall of the church atrio (atrium).

The original, well-preserved 16th-century Franciscan chapel
sits at the far end of the spacious, 
tree-filled, tranquil, park-like atrio.

The blue and white papel picado, cut paper,
tell us this is a festival dedicated to the Virgin Mary
.

The decoration of the small chapel also announces this is a fiesta for the Virgin.
Two small representations (called "demanditas", little petitions) of the Virgen de San Juan de los Lagos sit on the altar.
Santa Úrsula stands above and behind them.

Banner
of the Virgen de San Juan de los Lagos
of the cofradía (brotherhood) of the Colonia Pedegral de Santa Úrsula, Tlalpan.

Las Cuadrillas de Arrieros


Outside the chapel, we notice two gentlemen wearing cowboy-style sombreros. They appear to be in charge of the proceedings. They introduce themselves as the leaders of two cuadrillas de arrieros, one from Santa Úrsula, the other from Pueblo San Andrés Toltótepec, a short distance south of Pueblo Santa Úrsula and Pueblo Chimalcoyotl, where the climb up the mountains begins to be seriously steep.

Heads of the Arrieros of San Andrés Totóltepec (left) and Santa Úrsula (right).
They hold a standard representing Santa Úrsula.
The leader from San Andrés invites us to their patron saint fiesta in November.
Ojalá, hopefully, we will be able to attend.

We tell them that our purpose in being here is to get know the pueblo and to take photos to share their fiesta, including the dance of the cuadrillas de arrieros, on the internet via our blog, Mexico City Ambles. We tell them we consider it an honor to be able to witness and record the fiesta and their dance. They invite us to join in the meal being served to participants by a group of women at a table just inside the atrio entrance. We courteously and gratefully accept. It is a simple comida of beef boiled in a broth, accompanied by the indispensable corn tortillas.

When the meal is over, the men of the two cuadrillas line up for their dance. The majority are dressed in the white muslin shirts and pants, some with embroidery, and straw sombreros that were the standard dress for campesinos (rural Mexicans workers) beginning after the Spanish Conquest until the 20th century, that is, for over 400 years. U.S. style "Western cowboy" dress was not adopted until the latter half of the past century. 

La cuadrilla de arrieros de Santa Úrsula

La cuadrilla de arrieros de San Andrés Totóltepec.
Note: This cuadrilla includes one young woman.
Also, unlike those in traditional campesino dress,
the leader is attired as a gentleman cowboy, in a suit, dress shirt and tie, with a felt sombrero,
definitely a "step up" from the campesino class.

The dance, like those of most comparsas of charros and caporales, is a simple line dance to a basic four-beat rhythm. 

The Arrieros Closeup


At every fiesta, one of our passions is taking retratos, portraits, of the individuals who are participants and the people who make up the audience. Here are some of the arrieros and those attending the fiesta close up.


The embroidery says "Cuadrilla de Arrieros Águilas del Sur"
Mule Drivers Team Eagles of the South.

At the end of the dance, the leader of the Santa Úrsula Xitle arreiros introduces us to the mayordomo (chief caretaker) responsible for organizing the fiesta for la Cofradía de la Virgen de San Juan de los Lagos. He introduces himself simply as Fausto, with his wife, Tere. 

Tere and Fausto

We thank them profusely for the opportunity and privilege they have provided of being able to attend today's fiesta and photograph it. We tell them we will share our photos via the internet and give them the link to our Facebook page. 

As almost always in our ambles to pueblos and their fiestas, our desire to get to know Santa Úrsala Xitle and to meet and learn about a new group of fiesta dancers, las cuadrillas de los arrieros, has led to an experience full of Mexican ánimo (spirit) and alegría (joy).

And it has led to our learning about a key link, centered here in the pueblos of Tlalpan, in the global trade network that maintained the Spanish Empire for 300 years. The role of los arrieros in that network still gives their descendants mucho orgullo (much pride). It is the same pride we see daily that Mexicans take in mi trabajo, my work, no matter how humble in the economic system it may seem.

Post Script:


By pure chance, we encountered the Arrieros de San Andrés Totóltepec the very next day at the Fiesta of Candelaria in the pueblo of that name in Delegación/Alcaldía Coyoacán. After the main procession and Mass, they sang songs called mañanitas (morning songs, commonly sung on a patron saint's day or an individual's birthday), accompanied by a group of mariachis, to the Virgen de Candelaria in her church. Then they performed their dance outside the church.

Cuadrilla de arrieros from San Andrés Totóltepec
sing mañanitas in the Chruch of Candelaria, Coyoacán



          
Arrieros de San Andrés Totótepec (left) and
Arrieros of another pueblo we didn't manage to identify.
    

       


Clearly, we have only scraped the proverbial surface of cuadrillas de arrieros in Mexico City. We wonder where and when we will encounter them again.


Delegación Tlalpan (mustard yellow)
is at the southwest corner of Mexico City.
It is just south of Coyoacán (purple), our home,
and west of Xochimilco (pink),
and Milpa Alta (light yellow).

Pueblos of north-central Delegación/Alcaldia Tlalpan

Santa Úrsula Xitle is dark blue area marked by green/yellow star.
Tlalpan Centro is the green area to its northeast.
Chimalcoyotl is green area to its southeast.
San Andres Totoltepec is large yellow area to the south. 

Friday, November 24, 2017

Mexican Muralists | Diego Rivera´s Murals in the National Palace, Part I: "History of Mexico"

Confronting the Daunting National Palace


We admit it. Although we initiated our Ambles around the City in the Zócalo, the huge plaza in Centro Histórico that is the heart of Mexico City, we have stayed away from the National Palace dominating its east side. Similarly, we had stayed away from the Metropolitan Cathedral, on its north side, until we were able to come to terms with, and write about Mexican Baroque architecture, of which the inside of the Cathedral is the quintessential example.

Like the Cathedral, the National Palace is intimidating in its grandeza, grandeur, and off-putting because of its associations with the history of Mexican authoritarian governments. The fact that this symbolic center of Mexican democracy is called a palace is indicative of the paradox of Mexican government: is it, or is it not, a democracy?

The Palace—first of Cortés, then the Spanish Viceroy,
then of the Mexican government—has been
rebuilt and expanded many times over nearly 500 years.
The third story was added in the 1920s, after the Mexican Revolution. 

Nevertheless, as we were recently publishing some posts on Diego Rivera and Frida Kahlo borrowed from our spouse, Jane's "Jenny's Journal of Mexican Culture", we decided it was time to cross the threshold into the Palace to see Rivera's mural of the History of Mexico. We had also read that one could see through a window on the floor a part of what was once the private prayer room of Moctezuma the Younger in what had been his "New Houses". After destroying the house of Moctezuma, Cortés built the Palace on that site.

At the Center of Mexico's Heart, Tranquility


Visitors to the Palace enter via a side door on the north side, on Moneda (Coin) Street (the former mint was just behind the Palace). We had often glimpsed the inner courtyard as we passed by on our way to other destinations in East Centro. It looked inviting. When we finally enter, we find a beautifully landscaped, tranquil garden, an oasis in the very center of the City's bullicio, hubbub.

Inner courtyard,
in the rear of the Palace.

Formal, front courtyard,
used for Presidential speeches and other formal events.
Rivera murals are in the stairwell from this courtyard and on the second floor.

Diego Rivera's Vision of Mexico's Complex and Complicated History


The History of Mexico
by Diego Rivera
1929 to 1935

Our initial reaction is one of being visually and mentally overwhelmed.
There are a huge number of figures, all apparently jumbled together,
with no obvious organization.

Then we notice five arches overhead. Looking more closely,
we see that within each are group portraits of various people,

apparently in 19th century dress, recent Mexian history at Rivera´s time.

Below these five groups, across the middle of the mural,
we realize there are a series of scenes of Spanish colonial life.

At the bottom, within a triangle, is a portrayal of the Spanish Conquest.

So, to "read" the mural and grasp Rivera's vision
of Mexico's compleja y complicada, complex and complicated, history,
we must start at the bottom, and move upward. 

Part I: The Violent Spanish Conquest (1519-21)


The Spanish Conquest of the Aztecs/Mexicas

The History begins in the bottom, triangular space.
It portrays the Spanish attacks on indigenous warriors.
This section of the mural also requires visually separating it into parts in order to truly "see" it, 
i.e., take in and experience it in a comprehensible manner.

Starting from the left, we see Spanish soldiers and some of their indigenous allies
attacking Jaguar Warriors, an elite Aztec/Mexica corps. 

Middle portion of the Conquest section of the mural.

We are viscerally struck by the military and cultural differences
between the Spanish cavalry and indigenous warriors in symbolic garb. 

Right-hand portion of the Conquest section.
Rivera pulls no punches in portraying the violence of the Conquest.

Part II: Life in Spanish Colonial New Spain (1521-1823)


"Reading" from the left, across the middle band
we see portrayals of Colonial Nueva España, New Spain.

At left, an indigenous man is branded as a slave.
At right, the Franciscan Diego de Landa Calderón burns Mayan books in the Yucatán.
Above them, indigenous workers build Nueva España, New Spain, for the Spanish.

Next, under a canopy, the Viceroy and the Archbishop
oversee autos de fe, trials and executions of supposed heretics,
i.e., persons not maintaining the Catholic Faith.

In the fourth scene (we'll return to the third shortly),
Spanish friars carry out the conversion and baptism of the indigenous peoples,
the so-called Spiritual Conquest whose vestiges we have been exploring in many posts
on the Original Indigenous Villages of Mexico City.

In the fifth scene, indigenous men labor as virtual slaves in the mines.
Mexican silver financed the expansion of Spanish power in Europe.

In the third, middle, scene, at the center of the grand mural,
Father Miguel Hidalgo, proclaims the War for Independence from Spain.

Immediately to the left of Hidalgo is Ignacio Allende (in Spanish Army uniform);
to the right is Jose María Morelos, who took leadership of the rebellion
after Hidalgo and Allende were captured and executed.

Far left, with red crown, is Agustín Iturbide,
Spanish Army general who joined the almost elimnated rebels in 1821,
defeated the Spanish, and had himself declared Emperor of Mexico.

To the right of Iturbide is Guadelupe Victoria
 (in red vest, holding the Mexican flag),
a rebel who, after Iturbide was deposed, became the first President of Mexico.

The other figures are other persons who played roles in the War,
but their identification is beyond us.

Part III: Mexico of the 19th and early 20th Centuries


The top row of the mural, under the arches, portrays scenes from 19th and 20th century Mexican history, primarily one of foreign army interventions (the U.S. and France), and civil wars between wealthy conservatives—supporting the privileges and powers of the Army and the Catholic Church—and liberals seeking a democratic, egalitarian government (the mid-19th century War of Reform and the early 20th century Mexican Revolution). For some reason, Rivera did not not present them in chronological order. He placed the Mexican Revolution at the center, above the War for Independence.  We present them in historical order, to make the story more comprehensible to extranjeros, foreigners. 

Defense of Chapultepec Castle
from U.S. forces in 1847
during the War of the U.S. Intervention (aka 
Mexican-American War in the U.S.).
It is the American eagle arriving, holding arrows in its claws.

The fall of the castle, which served as the military academy,
was the last battle in the U.S. capture of Mexico City.

President James Polk intitiated the war to gain California from Mexico,
which had refused to sell it. 
So, losing the war, Mexico's was forced to surrender half of its territory,
virtually all of the currnent U.S. Southwest and west. 

Benito Juárez and the Laws of Reform

Conservative President Santa Ana
a Spanish Army general who had joined Iturbide to win the War of Independence,
but then joined the rebellion to overthrowm him as Emperor,
had been president several times since 1833. 
He had lost Texas in 1836 and the War of the U.S. Intervention in 1847,
and had gone into exile abroad each time.
Nevertheless, he was called back from exile by conservatives 
to be president once again in 1853 to oppose a liberal uprising.

In 1855, liberal forces succeeded in deposing him. 
They established a new government and issued a series of Laws of Reform, 
mostly written by Benito Juárez, a lawyer and President of the Supreme Court
 ( the moreno, dark-skinned Zapotec indigenous man, holding laws in his hand). 
These laws took autonomous power from the Army and property from the Catholic Church.
(Note fat friar, Army general and Bishop, and others with their hands in the kitty.)

In 1857, conservative generals, in turn, overthrew the liberal govenment. 
Upon the surrender of liberal president, Ignacio Comonfort, Juárez became president.
He took the government to various cities in Mexico 
and engaged in the War of Reform (1857-61).
Defeating the conservatives at the end of 1860, Juárez and his government
returned to Mexico City on Jan. 1, 1861.

Figures on each side of Juárez are other persons in the Reform Period (1855-1876).

The French Intervention
1861-1867


In reaction to the liberal victory in the War of Reform, 
conservatives went to Emperor Napoleon III of France 
and asked that he select some European royal to become Emperor of Mexico.
Prince Ferdinand Maximilian Joseph of Austria, younger brother of Emperor Franz Joseph I,
accepted Napoleon's offer and came to Mexico to become Emperor Maximillian I.

The liberals, led by Juárez, waged war against him. 
In 1866, Napoleon, under pressure from the U.S. and others factors in Europe,
 withdrew French troops, leaving Maximillian with only the support of 
conservative Mexican generals and their troops.
The next year, in mid-May 1867, Maximilian
(red-haired, bearded figure, far right) was captured and executed a month later.
.
Mexican conservative Generals Miguel Miramón and Tomás Mejía were executed with him.
The fleeing eagle is evidently that of the Austrian Empire.

Mexican Revolution (1910-1917)

President and dictator Porfirio Díaz (1876-1911), 
(at left, in military uniform, many medals and presidential sash)
was overthrown by forces led by Francisco Madero 
(light-skinned, bearded man, wearing presidential sash, right of center).
Madero was overthrown and assassinated in Feb. 1913, by Victoriano Huerta
(military figure, at right of Díaz, wearing presidential sash).
  
Then, Venustiano Carranza (white-bearded figure, wearing presidential sash, lower right), 
Pancho Villa (dark-skinned figure in sombrero behind Carranza), and
Emiliano Zapata (mustached figure in sombrero, upper right)
waged war to overthrow Huerta in 1914.
Carranza subsequently fought and defeated Villa and Zapata, 
becoming President in 1917, and ending the formal series of wars. 

Mexican Revolution and Beyond

In 1920, Carranza was overthrown and assassinated by his former general, Álvaro Obregón, 
because Carranza overlooked him in choosing a successor.
In 1924, Plutarco Calles (far left figure holding eagle standard) became president. 
After the assassination of Obregón, who had been reelected president in 1928, 
Calles maintained power as "chief boss."
In 1934, Lázaro Cárdenas (at right of Calles, wearing presidential sash) 
became president and sent Calles into exile. 

The mural was finished in 1935, just after Cárdenas took power.
He was seen as a liberal, even socialist, 
who implemented many of the labor and land reforms sought by the Revolution
and written into the new Constitution of 1917, but not carried out.
In back,
Emiliano Zapata (killed by agents of Carranza in 1919) and an
industrial worker in blue overalls, hold the banner "Land and Liberty".

This represents Rivera's hope for a true, communist revolution,
such as he portrayed in his mural, "Ballad of the Revolution"
in the Secretariat of Education.

Rivera's Vision of a True, Marxist-Communist Revolution


The Mexican Revolution was a very ambiguous series of conflicts between los de abajo, those from below (represented by Pancho Villa and Emiliano Zapata) and los de arriba, those from above, represented by Carranza). The outcome was, likewise, ambiguous. Carranza became president, but was forced to accept a Constitution that included a list of "rights", such as to work and an education, sought by the popular forces. Much power, however, was given to the president, such that, despite a Congress and a Supreme Court, he could essentially ignore the liberal articles of the Constitution. 

Like many other Mexican artists and intellectuals, Rivera was a communist and was disappointed by the authoritarian path the post-revolution government was taking. (In 1936, he painted a mural entitled "The Dictator", in which he portrayed Calles as a Fascist; the mural is now in Bellas Artes.) He continued to hope for a real revolution of the agrarian and working class that would overthrow the capitalist powers. As he had done in his "Ballad of the Revolution", here in the National Palace, the very seat of government, in the stairway to the left of The History of Mexico, he also painted a vision of that hope.


A Strike,
like one that actually occurred in the Cananea copper mine,
in the northern state of Sonora, in 1906.
The mine was owned by a U.S. company,
and the strike was suppressed by Mexican soldiers
and volunteer "rangers" from Arizona.
The men who have been hung are labeled
"anarchist" and "communist".

Call for a Communist Revolution of Workers (hammer) and Farmers (sickle),
suppressed by soldiers wearing gas masks (like those used in World War I)

Corrupt, immoral Capitalist Class,
focused entirely on money (scrutinizing stock market ticker tape, upper left).
Note the priest, engaged with a prostitute, at left.

Karl Marx and the Communist Manifesto
(at very top of mural).

"All of the history of human society, up to today,
is a history of the struggle of the classes.
For us, it doesn't have to do precisely
with transforming private property,
but to abolish it.
It doesn't have to do
with blurring the differences between the classes,
but of their destruction.
It doesn't have to do
with reforming the present society,
but of forming a new one."
Karl Marx

Needless to say, Rivera's vision was never realized in Mexico. Led by Calles and then Cárdenas, the Party of the Institutional Revolution (PRI) (an oxymoron of a name) consolidated power into a one-party political system, not unlike what also actually happened in Russia. This system lasted until 2000, when Vicente Fox of the National Action Party won the presidency. However, the PRI returned to power in 2012, led by Enrique Peña Nieto. The mixture of democratic forms with authoritarian ways of operating, which goes all the way back to the beginning of an independent Mexico, is ongoing.

Monday, November 13, 2017

Dolores Olmedo Museum: 16th Century Hacienda Hosts Art of Diego Rivera and Frida Kahlo

Every once in awhile, a visit to a new museum just plain knocks our socks off! It happened to us recently. Similar to our experience at the Frida Kahlo Museum in Coyoacán, stepping through the gate took us into another world.

Beautifully Restored 16th Century Hacienda 


Driveway crosses the gardens to the house

In 1962 the Mexican philanthropist, art collector and businesswoman, Dolores Olmedo, bought the rundown, sixteenth century, 8-acre property in Xochimilco known as Hacienda La Noria. She immediately set out to restore its buildings and gardens—an undertaking uniquely suited to Dolores' capabilities as businesswoman, art connoiseur and collector.

House from across the gardens

Upon her death in 2002, the estate of Dolores Olmedo was dedicated to making her collections available to the public:
  • Precolumbian art (600 pieces certified by the National Institute of Anthropology and History), 
  • Frida Kahlo paintings (25), 
  • Diego Rivera works (45), 
  • Popular art and 
  • Library (4,000 volumes). 

Approaching Chapel and Museum

Plants, Peacocks and Puppies


The gardens feature more than twenty-five varieties of Mexican plants and trees. Ducks and geese roam large, attractive pens landscaped with plants and ponds.

Blue agave
Agave tequilana
from whose juice tequila is made

A flock of splendid peacocks parade through the gardens. When a male displays, onlookers gasp with excitement and delight.


In a large, comfortable pen, about a dozen of the once nearly extinct breed of dogs, xoloitzuintles (sho-loy-tzu-EEN-tles),  Mexican hairless hunting dogs, make their homeThey move across well-worn paths. When they catch sight of something, they stand stock still...at attention.

Xoloitzuintles
Mexican Hairless Dog

A bronze statue of one proud male adorns their pen. Until one of the actual dogs moved, I thought they were all statues. I doubt I'm the only one who has made this mistake! Their color is similar to the bronze statue, and when they stand still...not a magnificent muscle moves. Remarkable!

More Xoloitzuintles

Sunday Folk Music Concerts


The Museum also sponsors cultural events, including Sunday afternoon concerts held outside. We heard an excellent band of young people playing Mexican music. In addition to marimba and mandolin, the band also had four psalteries—a stringed instrument held on the lap. The psalteries gave the music a sound that we in the U.S. might describe as 'mountain' music. The result was absolutely delightful! The audience sang along with many songs.

Psaltery

Dolores Olmedo (1908-2002): A Woman Ahead of Her Times


Born two years before the onset of the Mexican Revolution (1910-1917), Dolores Olmedo was a real personaje (character)—businesswoman, philanthropist, art collector. Her mother, widowed by the untimely death of Dolores' father, supported her family as an elementary school teacher. Like many others, the family suffered through food shortages as the Revolution ground on and on—an experience that undoubtedly marked Dolores for life.

After the Revolution, the arts in Mexico enjoyed a renaissance with a distinctly foreign flavor  reflective of new ideas arriving from the United States and the capitals of Europe. These foreign influences also had a profound effect on Mexico's cultural and scientific mentality, giving rise to a new generation espousing new values focused on social injustice, strategies for building a society based on a nascent nationalism, and conceptualized in terms of progress and development.

Dolores studied art at the Academy of San Carlos—the same school that had been attended by the 'Big Three' of Mexican Muralists: Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. She also studied music at the National Conservatory.

Joining Mexico's Artistic Elite


About 1924, sixteen-year-old Dolores met Diego Rivera while he was working on his murals at the Secretariat of Public Education. It was primarily a friendship based on their shared artistic interests, but Rivera also asked Dolores' mother for permission to have Dolores pose for him. Permission granted, she posed more than a hundred times for the artist, whom she held in the highest esteem.

Portrait of Dolores Olmedo 
(Oil on canvas)
Diego Rivera (1955)
Collection, Museo Dolores Olmedo
Source:  http://www.diegorivera.com/gallery/dolores.html
As with most of Rivera's friendships, theirs was to have its highs and lows. At one point, Dolores distanced herself from Rivera for several years, but in 1955 she and Rivera renewed their ties and were practically inseparable until his death two years later. Aware that he would soon die, during this time the great muralist named Dolores trustee of his estate. 

During this time, Rivera, himself a renowned collector of precolombian art, guided Dolores through several important acquisitions. Her collection of 600 objects is on exhibition at the Dolores Olmedo Museum in Xochimilco. Rivera also guided Dolores in the purchase of several paintings both by Frida Kahlo and by himself. These paintings are important exhibits at her museum.

Meanwhile, in 1930 Dolores had met the Englishman Howard S. Phillips, founder and editor of Mexican Life, a magazine focused on the arts and  tourism. They were married in 1935. Although they eventually divorced amicably, during their marriage Howard and Dolores moved in Mexico's elite circles of the arts and culture.

Business Woman


In order to support her family, Dolores turned her talents to the business world. Her business instincts were superb. She identified and turned to her advantage the construction boom that accompanied the country's post-Revolution development agenda.

With great difficulty, she borrowed money to purchase a brick factory. In a canny move, she formed a partnership with the owner of the brick factory next-door to hers, the German Heriberto Pagelson. Together they purchased additional brick factories, which became enormously profitable.

Similarly, Dolores allied with an adobe maker, again capitalizing on the country's construction boom. Needless to say, her success was extraordinary at a time when few Mexican women participated in entrepreneurial activity, let alone achieve such success in the male-dominated construction industry!

Still Curious?

The Museum's web site is excellent, including a description in English.  For the best photos, go to the Spanish site where, below the GoogleMap, is a series of photos. Click to access, then Scroll Down one row—voilá!—superb photos of the Museum grounds. Here's the link:  Dolores Olmedo Museum.

Excellent description in English with link to Spanish: http://www.myhero.com/go/hero.asp?hero=Dolores_Olmedo_Patino

Link to Wikipedia entry (Spanish):  http://es.wikipedia.org/wiki/Dolores_Olmedo

Originally published in Jenny'a Journal of Mexican Culture.

The Dolores Olmedo Museum
(green/yellow star)
is located in Colonia Huichapan, Delegación Xochimilco
in southeastern Mexico City.
It is near the La Noria light rail station.