Author: typepadtowordpress

  • Landmarks and Monuments in Guadalajara

    Those of us from the United States and Canada can recognize many of the historical landmarks and buildings in our native countries. We know by sight the Parliament buildings in Ottawa and the Lincoln Memorial in Washington, D.C. Even when we think of important historical tributes in foreign countries the Arc de Triomphe in Paris, the Parthenon in Athens, the ancient pyramids of Egypt pop instantly into our minds. These are cultural icons that cross international barriers.

    Here in Mexico, most of the historical monuments and landmarks are less well known to foreign travelers. Even Mexican history is fuzzy and confusing for most of us. When we’re first living the expatriate life here, it seems that every other holiday on the calendar is an Independence Day of some sort. The reasons for frequent patriotic parades escape us and the flowery language on commemorative plaques can be baffling, even if we’re fluent in reading Spanish.

    Here’s a nutshell tour complete with photos of some of the more prominent sites and monuments in Guadalajara.

    Out1alogo
    When I first visited Guadalajara in the early 1980s, I could not imagine what the blue logo on the trunks of taxicabs could be. It looked like a line drawing of a Batman-ish cap with pointy ears. Finally one day it dawned on me that the logo was really the dome and spires of the Metropolitan Cathedral. Shaped like inverted ice cream cones and tiled in pale yellow, the design of the spires, legend has it, came from a mid-19th Century bishop’s dinner platter. Although the cornerstone for the Cathedral was laid in 1561, these beautiful spires were built to replace the originals, one of which fell to the ground in a strong earthquake in 1818. The spires contain sixteen bells, the oldest of which dates to 1661 and the newest from 1877.

    Gdlcatedral
    Catedral Metropolitana de Guadalajara

    The Cathedral has eleven altars and 30 Doric columns. There is a crypt below the main altar in which the remains of several bishops and cardinals are buried. In the sacristy there is a painting of the Immaculate Conception by Spanish master Murillo. On the facade of the Cathedral is an enormous plaque which reads in Spanish, ‘If the Lord does not build the house, the laborers work in vain.’

    The Cathedral is located on the southeast corner of Avenida 16 de Septiembre and Calle Hidalgo in the Centro Histórico.

    La Rotonda de Hombres Ilustres
    The Rotonda de Hombres Ilustres (Circle of Illustrious Men) commemorates nearly 100 prominent and influential people who were born in the state of Jalisco. The Rotonda was built in 1952. It is composed of 17 striated columns without bases or capitals; these form a circular enclosure. The cremated remains buried in the enclosure include those of scientists, writers, artists, and educators, each of whom made Guadalajara a better place to live. In the year 2000, the remains of educator Irene Robledo, the first woman given this honor, were transferred to the Rotonda. Nineteen of the honored dead are represented by larger than life size bronze statues which surround the lovely green park of the Rotonda. On any Sunday—the day for family outings in Mexico—you will see Mexican parents proudly showing their children the details of the statues and their identifying plaques.

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    The Rotonda de Hombres Ilustres is located on the northeast corner of Avenida 16 de Septiembre and Calle Hidalgo in the Centro Histórico.

    Teatro Degollado

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    The Teatro Degollado is not technically a monument, but it is certainly one of the more monumental structures in Guadalajara and is a major draw for tourists. The graceful Neoclassical architecture of the building and the Grecian frieze depicting Apollo and the Nine Muses along the top of the theater’s front combine in a classic piece of architecture. Along the theater’s back wall, a historical bronze frieze depicts the founders of Guadalajara. Each colorful Sunday morning presentation of the University of Guadalajara’s Ballet Folclórico attract hordes of tourists visiting the city from everywhere in the world.

    Construction of the theater began in 1855 and the doors opened in 1866. It is named for a former governor of the state of Jalisco, Santos Degollado, whose remains are interred in the Rotonda de Hombres Ilustres. The theater’s opening production was Donizetti’s opera Lucia de Lammermoor, starring the "Mexican Nightingale", Angela Peralta. The theater, which seats more than 1000, has recently undergone major interior restoration to retain its original glory.

    Teatro Degollado is located on Calle Belén between Calles Hidalgo and Morelos.

    La Casa de los Perros
    Just past the Cathedral on Avenida Alcalde you will see the Casa de los Perros, a huge house decorated with cantera (carved rock) and stained glass windows. Two enormous stone sculptures of dogs stand guard on the roof. The first printer’s shop in the city was located on this spot. Before the existing house was built, a print shop here published The American Alarm, which is considered to be the first independent newspaper in the Americas. Aside from its other architectural details, on either side of the top of the house you will see the much larger than life size sculptures of pointer dogs. These were brought to Guadalajara in the 19th Century from the J. L. Mott Ironworks in New York.

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    The house was opened as the museum of Guadalajara newspapers in 1994. The museum is open to the public Tuesday through Saturday from 10 AM to 6 PM and Sundays 10 AM to 3 PM.

    The museum is located at Alcalde #225 in the Historic Center.

    Plaza de Armas

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    The lovely and picturesque Plaza de Armas is surrounded by a series of important buildings including the Palace of Government and the Templo Metropolitano del Sagrario, built between 1808 and 1843. Central to the Plaza is the Art Nouveau wrought iron froth of the kiosco (bandstand), which was imported in 1909 by the French residents of Guadalajara as a gift from France. The bandstand roof is supported by eight caryatids (female figures nude from the waist up) which represent different musical instruments. When they were first installed, the nudes created a terrible scandal among proper turn-of-the-century tapatíos (residents of Guadalajara). The roof itself is formed of fine woods, which give special acoustic resonance to the bandstand. Tuesday, Thursday, and Sunday afternoons there are special public concerts in the kiosco, performed by the state or municipal bands.

    The Plaza de Armas is located at the corner of 16 de Septiembre and Calle Morelos.

    El Monumento a los Niños Héroes
    The Monumento a los Niños Héroes (Monument to the Boy Heroes) commemorates the 1847 battle between the United States and Mexico at Chapultepec Castle in Mexico City. Chapultepec Castle was a military school and home; it was unable to withstand the battle waged by the U.S. forces.

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    During the course of the fighting, in which Mexico was defeated, one general and six young cadets lost their lives in defense of their country. Legend has it that when just one cadet remained, he wrapped himself with the Mexican flag and leaped from the tower to protect the flag from capture.

    At the top of the monument is a feminine sculpture which represents Mexico. She wears a long tunic and holds a garland between her hands. At her feet is the national symbol of Mexico: the eagle, standing on a cactus and devouring a serpent.

    At the bottom of the monument are statues of the child heroes who gave their lives for Mexico. The inscription in brass letters reads, "They Died for their Country." Each of the boys’ names is inscribed in gold.

    The monument is located in the glorieta where Avenida Niños Héroes and Avenida Chapultepec intersect.

    Beatriz Hernández

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    At one side of the Plaza de los Fundadores (Founders’ Plaza) behind the Teatro Degollado, the statue of Beatriz Hernández commemorates a woman who lives in the hearts of all Tapatíos. Most know her as the foundress of Guadalajara. Legend has it that she was a woman of strong and decisive character. One day, when the Spanish were indecisive about where exactly the new city should be founded, Beatriz Hernández asked to speak and counseled them that it should be in the Valle de Atemajac—just east of the area that today we call the historic center of Guadalajara. The statue in her memory is more than six feet high, a size as heroic as her personality.

    El Monumento a la Independencia

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    Just south of the Historic Center on Calzada Independencia is one of the most beautiful public sculptures of Guadalajara. The Monument to Independence was built in 1910 as a commemoration of the 100th anniversary of the proclamation of Mexico’s independence and abolition of slavery. The monument consists of an octagonal base made of pink cantera (carved stone) and a cantera column with a study of Hidalgo, the father of independence, carved in white marble. Hidalgo is addressing his oppressed children who are beginning to rise up in the fight for liberty. The column features other white marble statues. One represents history (a woman with a book); another represents the national epic of Mexico (a woman with a long trumpet). At the top of the column is the angel of independence.

    The Monument to Independence is located on Calzada Independencia at the point where it crosses Calle Corona.

    I’ve saved three of my favorite Guadalajara monuments for the last. Each of them is near my house and I get to see all three nearly every day.

    La Estampida

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    La Estampida (The Stampede) was designed and created by sculptor Jorge de la Peña. The horses are bronze and represent a group of horses in full gallop. Every detail of each horse is filled with dynamic action, power, and intense emotion.

    La Estampida is located on Avenida López Mateos Sur at the glorieta (traffic circle or roundabout) called the Jícamas.

    Glorieta and Fuente Minerva

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    The goddess Minerva, representing justice, wisdom, and strength, is one of the most famous symbols of Guadalajara. The fountain is in the center of a huge lawn-covered glorieta. The enormous bronze statue has at its feet the motto in Spanish, "Justice, Wisdom, and Strength, Custodian of this Loyal City". At the back is written in Spanish, "To the Glory of Guadalajara".

    The names of eighteen illustrious Guadalajarans are engraved on the pedestal. The Minerva is the largest fountain in Guadalajara. Water erupts from the pedestal in a mist which offers an incredible scene to passersby and which can occasionally spray water onto motorists waiting to cross the glorieta. The statue was conceived by Pedro Medina and sculpted in Aguascalientes to be brought to Guadalajara and installed. The entire project was conceived by Agustín Yáñez, governor of the state of Jalisco from 1953 to 1959, to pay tribute to Guadalajara.

    Arcos de Minerva

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    Built in 1942, the Minerva Arches commemorate the 400th anniversary of the founding of Guadalajara. They welcomed travelers at that time, when the location was the point of convergence of the important highways from Mexico City, Tepic, and Barra de Navidad.

    The Arches are similar in design to the Arc de Triomphe in Paris. The motto on one side reads, "Hospitable Guadalajara" and on the other side, "A Wonderful Stay is the Guarantee of Your Return". The Guadalajara coat of arms, granted by King Carlos V of Spain, is featured on either side. The city Office of Tourism has been located in the arches since 1959. In the offices are permanent exhibits of Guadalajara memorabilia. Upstairs there is a vantage point where tourists can enjoy incredible views of the city. The monument is as well-recognized as a symbol of the city as the steeples of the Cathedral.

  • And the Band Played On…Mexico and Its Music

    Lospanchos
    Trio Los Panchos, from the 1950s.  They’re still playing today and everyone of every age in Mexico knows all the words to all the songs they’ve sung since their beginning.  You can hear them here: Los Panchos 

    A few nights ago some friends and I were having dinner at a local restaurant. A wonderful trio (lead guitar, second guitar, and bass) played a broad
    selection of Mexico’s favorite tunes while we enjoyed our
    food and conversation. From the table behind us, a woman’s voice rang
    out in English, "Boy, these mariachis are really good."

    Her comment, one I’ve heard over and over again, made me think about
    the many varieties of Mexican music. Not all Mexican music is mariachi, although many people assume that it is.

    It’s just as incorrect to classify all Mexican music as mariachi as it is to classify all music from the United States as jazz. Mariachi has its traditions, its place, and its beauties, but there are many other styles of Mexican music to enjoy.

    Ranchera, norteña, trio, bolero, banda, huasteco, huapango, trova, danzón, vals, cumbia, jarocho, salsa, son–??the list could go on and on. While many styles of music are featured in specific areas, others, like norteña, banda, ranchera, and bolero,
    are heard everywhere in Mexico. Let’s take a look at just a few of the
    most popular styles of music heard in present-day Mexico.

    Norteña
    Música norteña (northern music) will set your feet a-tapping and will remind you of a jolly polka. Norteña
    had its beginnings along the Texas-Mexico border. It owes its unique
    quality to the instrument at its heart, the accordion. The accordion
    was introduced into either far southeastern Texas or the far north of
    Mexico by immigrants from Germany, Czechoslovakia, or Poland. No one
    knows for sure who brought the accordion, but by the 1950s this
    rollicking music had become one of the far and away favorite music
    styles of Mexico.

    A norteña group of musicians playing a set
    of trap drums, a stand-up bass, and the accordion produces an instantly
    recognizable and completely infectious sound. The songs have a clean,
    spare accordion treble and a staccato effect from the drum, while the
    bass pounds out the deep bottom line of the music.

    Norteña is popular everywhere in Mexico. Here in Guadalajara, conjuntos norteños
    (bands) often play as itinerant musicians. These are the musicians who
    are often hired to play serenades in the wee hours of Mother’s Day
    morning, who play under the window of a romantic young man’s girl
    friend while she peeps from behind the curtain, and who wander through restaurantes campestres (country-style restaurants) all over Mexico to play a song or two for
    hire at your table.

    Feature2ramon
    The undisputed king of música norteña is Ramón Ayala. Over the past 30 years he has recorded an amazing 75 albums. His current group, Los Bravos del Norte,
    is heard everywhere, ??on every radio station and every jukebox. The group
    is widely imitated but never superseded. Ayala turns out well-crafted
    and balanced music, featuring lyrics with universally understood human
    themes. The songs, like the majority of norteñas, are
    about tragedy, loneliness, broken relationships, almost unbearable
    longing and pain, and about experiencing love in all its complicated
    nuances.  You can listen to Ramón Ayala and sus Bravos del Norte: Ramón Ayala

    Banda de Viento and Banda
    Banda de viento and banda are similar musical styles:
    both have a military legacy. Each has moved in its own direction to
    provide different types of entertainment.

    In Zacatecas, the state banda de viento plays concerts day and night.

    Banda de viento (wind band, or brass band) originated in
    Mexico in the middle 1800s during the reign of Emperor Maximilian and
    Empress Carlota. Later, Presidents Benito Juárez and Porfirio Dí­az
    commissioned the creation of brass bands in their home state, Oaxaca,
    in imitation of the brass bands that entertained at the Emperor’s
    court.

    The huge upsurge of popularity of brass bands in Mexico came in the
    early 20th Century. After the Mexican revolution, local authorities
    formed "Sunday bands" made up of military musicians who played in
    municipalities’ plaza bandstands all over Mexico.

    Zacatecas_band
    The Banda del Estado de Zacatecas (Zacatecas State Band) plays: Marcha de Zacatecas (Zacatecas March)

    There are regional differences in banda de viento
    style, but you can still take a Sunday stroll around many rural Mexican
    plazas as the tuba oompahs the bass part, the trumpets blare, squeaky
    clarinets take the lead, and the tamborazo (percussion) keeps
    the beat. The Sunday municipal band concert no longer exists in some large cities (although you can hear weekly concerts in both Guadalajara and Zapopan),
    but something new has taken its place: banda.

    Banda music, which exploded onto the Mexican music scene in the 1990s, is a direct outgrowth of the municipal bands of Mexico. Banda is one of the most popular styles of dance music among Mexican young people. In small towns, we’re often treated to a banda group playing for a weekend dance on the plaza or at a salón de eventos
    (events pavilion) in the center of the village. The music is inevitably
    loud, with a strong bass beat. You’ll hear any number of rhythms, from
    traditional to those taken from foreign music. It’s almost rock and
    roll. It’s almost–??well, it’s almost a lot of styles, but it’s pure banda.

    Few expatriates go to these dances and that’s a shame, because it’s
    great fun to go and watch the kids dance. You might want to take
    earplugs; the banks of speakers can be enormous and powerful.

    The dancing will amaze you. Children, teenagers, and adults of all ages dance in styles ranging from old fuddy-duddy to la quebradita. La quebradita
    is a semi-scandalous style of dance which involves the man wrapping his
    arms completely around the woman while he puts his right leg between
    her two as they alternate feet and twirl around the dance floor.
    Complete with lots of dipping and other strenuous moves, la quebradita is a dance that’s at once athletic and extremely sexual.

    Bolero
    In the United States and Canada, it’s very common for those of us who are older to swoon over what we know as the ‘standards’. Deep Purple, Red Sails in the Sunset, Smoke Gets in Your Eyes,
    and almost anything by Ol’ Blue Eyes can take us right back to our
    youthful romances. Most of us can dance and sing along with every note
    and word.

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    Here in Mexico, it’s the same for folks of every age. The romantic songs from the 1940s, 50s, and 60s are known as boleros. The theme of the bolero
    is love–??happy love, unhappy love, unrequited love, indifference, ??but
    always love. I think just about everyone has heard the classic Bésame Mucho, a bolero written
    by Guadalajara native Consuelo Velásquez. This timeless favorite has
    been recorded by Frank Sinatra, Nat King Cole, and The Beatles, among
    countless other interpreters of romance.

    Here’s Luis Miguel, one of Mexico’s modern interpreters of bolero, singing Sabor a Mi:  Luis Miguel 

    Armando
    Manzanero, born in 1935 in Mérida, Mexico, is one of the most famous writers of bolero. His more than 400 songs have
    been translated into numerous languages. More than 50 of his songs have
    gained international recognition. Remember Perry Como singing It’s Impossible? The original song ??by Armando Manzanero ??is called Somos Novios.

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    Crowds memorialize Pedro Infante, one of Mexico’s greatest stars.

    Agustí­n Lara was another of Mexico’s prolific songwriters. Before Lara
    died in 1973, he wrote more than 700 romantic songs. Some of those were
    translated into English and sung by North of the Border favorites Bing
    Crosby, Frank Sinatra, and yes, even Elvis Presley. The most famous of
    his songs to be translated into English included You Belong to My Heart (originally Solamente Una Vez), Be Mine Tonight (originally Noche de Ronda), and The Nearness of You.

    Ranchera
    The dramatic ranchera (country
    music), which emerged during the Mexican Revolution, is considered by
    many to be the country’s quintessential popular music genre. Sung to
    different beats, including the waltz and the bolero, its lyrics traditionally celebrate rural life, talk about unrequited love and tell of the struggles of Mexico’s Everyman.

    Ana_gabriel
    Ana Gabriel is today’s reigning queen of música ranchera.  Listen to her sing one of her all-time great songs: Y Aquí Estoy  

    Ranchera finds its inspiration in the traditional music that
    accompanies folkloric dancing in Mexico. Its form is romantic and its
    lyrics almost always tell a story, the kind of story we’re used to in
    old-time country music in the United States: she stole my heart, she
    stole my truck, I wish I’d never met her, but I sure do love that gal.
    Pedro Infante, Mexico’s most prolific male film star, is strongly associated with the ranchera
    style of Mexican music. One of the original singing cowboys, Infante’s
    films continue to be re-issued both on tape and on DVD and his
    popularity in Mexico is as strong as it was in his heyday, the 1940s.
    Infante, who died in an airplane accident in 1957 when he was not quite
    forty, continues to be revered and is an enormous influence on Mexican
    popular culture.

    Ranchera continues to be an overwhelmingly emotional favorite
    today; at any concert, most fans are able to sing along with every
    song. This marvelous music is truly the representation of the soul of
    Mexico, the symbol of a nation.

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    Ana Gabriel is the queen, but Vicente Fernández is the king of ranchera.
    Listen to him sing one of his classics: Por Tu Maldito Amor 

    Vicente Fernández, whose ranch, huge restaurant, and large charro-goods store are located between the Guadalajara airport and Lake Chapala, is the current reigning king of ranchera–??indeed, he is considered to be the King of Mexico.

    Mariachi
    Mariachi really is the music that most folks think of when they think of Mexico’s music. Mariachi originated here, it’s most famous here, and it’s most loved here. The love of mariachi has spread all over the world as non-Mexicans hear its joyous (and sometimes tragic) sounds. At this year’s Encuentro Internacional del Mariachi (International Mariachi Festival) in Guadalajara, mariachis
    from France, Czechoslovakia, Canada, Switzerland and the United States
    (among others) played along with their Mexican counterparts.

    In the complete mariachi group today there are six to eight
    violins, two or three trumpets and a guitar, all standard European
    instruments. There is also a higher-pitched, round-backed guitar called
    the vihuela, which, when strummed in the traditional manner gives the mariachi its typical rhythmic vitality. You’ll also see a deep-voiced guitar called the guitarrón which
    serves as the bass of the ensemble. Sometimes you’ll see a Mexican folk harp,
    which usually doubles the base line but also ornaments the melody.
    While these three instruments have European origins, in their present
    form they are strictly Mexican.

    Feature1mariachi

    Mariachi Vargas de Tecalitlán is the most famous mariachi in the world.  Every year in Guadalajara they honor us with their presence at the Encuentro Internacional de Mariachi.  If you’ll be in the city August 31 through September 9, 2007, plan to attend one of the nightly Galas de Mariachi at the Teatro Degollado.  It’s an unforgettable experience.  Listen to them now: Entra en mi Vida 

    The combined sound of these instruments makes the music unique. Like the serape
    (a type of long, brightly striped shawl worn mainly by Mexican men) in
    which widely contrasting colors are woven side by side–??green and
    orange, red, yellow and blue–the mariachi use sharply contrasting
    sounds: the sweet sounds of the violins against the brilliance of the
    trumpets, and the deep sound of the guitarrón against the crisp, high voice of the vihuela; and the frequent shifting between syncopation and on-beat rhythm. The resulting sound is the heart and soul of Mexico.

    Next time you go to your local music store, look on the racks of CDs
    for some of the artists and styles of Mexican music I’ve mentioned. You
    may be quite surprised to see how popular the different styles are in
    the United States and Canada. As the population of countries North of
    the Border becomes more Mexican, the many sounds of Mexican music
    follow the fans. Next thing you know, you’ll be dancing la quebradita.
       

  • A Taste of Summer: Fresh Raspberries and Strawberries

    Kitchen5strawbasket
     

    Right about now, bounty from South of the Border is available on
    your supermarket shelves. Fresh red raspberries and strawberries, grown just an hour south of Guadalajara on the shores of Lake Chapala, will give you the sweet taste
    of Mexico’s sun and warmth.

    When you go to your local super market, take a closer look at those
    clear plastic containers (known in the trade as clamshells) full of red
    raspberries. In the small print on the Driscoll label it says "Product
    of Mexico". When I still lived in the States, I read that label and
    imagined a gleaming white-tile packing factory. In my mind’s eye, I saw
    employees in starched laboratory jackets, nurse-like white caps and
    latex gloves, packing raspberries as the pink fruit came flying down an
    assembly line. It was a fantasy worthy of Lucy and Ethel at the
    chocolate factory in that famous episode of I Love Lucy.

    The first time I visited the nearby red raspberry "packing factory" , I had to laugh at my own earlier ideas. This
    packing operation was perfectly Mexican. Several clean-cut young men
    with bandannas wrapped around their heads roamed up and down the rows
    between lush raspberry canes. They hand-picked only the reddest, ripest
    raspberries and gently placed them into small plastic buckets, the kind five-year-olds use at the beach.

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    Two young women dressed in blue jeans and caps stood at a long folding
    table (the kind you’d find at a swap meet) and packed those perfectly
    ripe red raspberries into flat after flat of Driscoll clamshells. They
    packed the plastic boxes into case after case for shipping and then
    rapidly started packing more.

    Within 24 hours of picking, those berries are in the United
    States, either in Miami or Los Angeles. A day later, they are heading
    to stores across the United States. Red raspberries from the shores of
    Lake Chapala are shipped not only to the United States but also to
    Canada, to England, to all parts of Europe, and to Japan.

    The half pint boxes sell for about $4.50 the box in grocery stores North of the Border.

    Remember that raspberries are the most delicate fruits in the vast
    berry family. Treat them with the softest touch, just like handling
    like a newborn baby. Wash them gently (never allowing them to soak)
    just before you serve them.

    I prepared this wonderful recipe for guests just the other day. Not one single forkful was left over.

    Raspberry Rosemary Sauce on Pork Medallions
    1 medium or large orange
    2 teaspoons vegetable oil
    1/3 cup finely chopped onion or shallots
    1/3 cup finely chopped carrot (1 small carrot)
    1 large clove garlic, minced
    1 1/4 teaspoons dried rosemary leaves, crushed
    1/4 teaspoon dried thyme leaves, crushed
    1 small bay leaf
    1 package (6 ounces) red raspberries, divided
    1/2 cup white wine
    1 1/4 cups chicken broth
    4 boneless center-cut pork chops
    1 tablespoon vegetable oil
    1/4 cup flour
    Shredded green onion tops for garnish

    Pre-heat oven to 350 degrees Fahrenheit.
     

    Sauce:
    Using a vegetable peeler or zester, cut eight to ten thin
    strips from only the outer orange portion of orange peel and reserve.
    Squeeze the juice from the orange, reserving 1/4 cup juice.

    Heat the two teaspoons oil in a medium saucepan over medium heat. Add
    onion, carrot, garlic, orange peel and herbs. Cook, stirring
    occasionally, until vegetables are lightly brown and wilted, about five
    minutes. Add 1/4 cup of the raspberries, the reserved 1/4 cup orange
    juice and the white wine.

    Increase heat to high and bring mixture to a boil. Boil, stirring
    occasionally, until mixture is reduced to about two tablespoons (about
    eight to ten minutes). Add chicken broth. Bring mixture to a boil
    again. Reduce heat and simmer for five minutes. Turn off heat and set
    sauce aside.

    Note: Sauce can be prepared ahead of time to this stage. Cover and refrigerate until ready to finish.

    Pork Medallions:
    Pat pork dry with paper towels. In a large,
    oven-proof skillet, heat the 1 tablespoon oil over high heat. While oil
    is heating, dust the pork evenly on both sides with flour, patting off
    any excess. When the oil is very hot, add pork medallions and cook
    until well-browned on the first side, about three minutes. Turn the
    medallions over, place the skillet in the preheated oven and cook until
    pork is just cooked through, this will be quick, only about six to
    seven minutes.

    Remove medallions to heatproof platter or serving plate, cover loosely with aluminum foil and keep warm while finishing sauce.

    Strain the sauce back into the same skillet in which the pork was
    cooked, pressing the solids through the strainer with the back of a
    spoon. Add any juices that may have collected on the serving platter. Over high heat, bring the mixture in the skillet to a boil. Continue to
    boil, stirring occasionally, until lightly thickened, about six to
    eight minutes. Taste and season with salt and pepper, if desired.

    Spoon a tablespoon of the sauce in the center of each of the
    four warmed dinner plates. Place each pork medallion on top of the
    sauce. Top with one tablespoon sauce, about two tablespoons raspberries
    and a few strips of diagonally shredded green onion tops. Serve at once.

    Makes four servings.

    In case any of you might have health concerns about Mexican-grown
    produce, here’s what the Driscoll people themselves say about the
    safety of their raspberries and strawberries:

    "Driscoll’s farmers have been leaders in the practice of
    Integrated Pest Management (IPM) which relies on a balanced method of
    natural and inorganic means to reduce disease and control pests in the
    field. To insure that Driscoll’s fruit is the safest possible,
    Driscoll’s employs a company which conducts third-party independent
    residue testing of fruit in every Driscoll cooler and facility every
    week."

    Kitchen2fields_2

    The fields near here are Mexican owned and leased to
    Driscoll solely for growing raspberries and strawberries. The raspberry
    crop is rotated annually and the packing operation is moved each year
    to the fields most convenient to the highway.

    Near the raspberry fields are far-flung fields of Driscoll’s
    other delicious crop—strawberries. Red jewels lie close to the ground,
    nestled in dark green leaves. The strawberries are ripe and luscious
    this time of year, ready to be hand picked, packed, chilled, and
    shipped to all parts of the world. You’ll find them, packaged in clear
    plastic one-pound boxes so you can see exactly what you’re choosing, in
    the produce section of your favorite hometown supermarket. North of the Border, the boxes sell for about $2.50 in season.

    Kitchen6strawberry

    These are not those huge strawberries grown more for looks than for
    flavor. Is there anything more disappointing than biting into a
    beautiful berry and finding it white in the middle, dry, hard and
    tasteless? These berries are mid-size and grown for their sweet
    taste—the best possible flavor—as well as beauty. Ripened more fully
    prior to picking than those grown elsewhere, these local strawberries are
    simply perfect.

    Always refrigerate berries immediately—move them from the shopping bag
    to the refrigerator. Temperatures between 34 and 38 degrees F are best,
    but be sure not to freeze them! Fresh berries are very sensitive to
    freeze damage. Remember this general rule: for every hour your berries
    are away from refrigeration, you’ll lose a whole day’s shelf life.

    Do not wash your berries until you are ready to prepare and eat them.
    Moisture will hasten decay of these fragile berries, so keep them dry as well as
    cold until the last moment.

    Shelf life varies between berries; however, under ideal conditions,
    strawberries should keep for about two to five days in your
    refrigerator and raspberries should keep for between one and three
    days. For best results, consume your berries as soon after purchase as
    possible.

    Raspberries

    Are you drooling yet? Let’s look at more wonderful recipes for raspberry and strawberry treats.

    White Chocolate Raspberry Cheesecake
    For the ultimate in red raspberry decadence, try this cheesecake.

    18 vanilla wafer cookies
    1 cup macadamia nuts, toasted
    4 1/2 tablespoons butter, melted
    4 ounces white chocolate, chopped
    16 ounces cream cheese, at room temperature
    2/3 cup sugar
    2 teaspoons vanilla extract
    1/2 teaspoons lemon juice
    2 large eggs
    3/4 cup fresh raspberries
    8 ounces sour cream
    3 tablespoons sugar
    1/2 teaspoon vanilla

    Crust:
    Preheat oven to 350 degrees F. Finely grind cookies
    and macadamias in food processor. Add butter and blend until mixture
    forms very moist crumbs. Press crumbs firmly onto bottom and part of
    sides of an eight inch spring-form pan. Bake until golden (10 minutes).

    Filling:
    Melt white chocolate in microwave, (about 1 1/2 minutes), stopping
    every 30 seconds to stir and to make sure it doesn’t burn. Set aside.
    In a large bowl, use your electric mixer to beat cream cheese, sugar,
    vanilla extract, and lemon juice until smooth. Add eggs, one at a time,
    beating after each addition, just until combined. Beat in white
    chocolate.

    Spoon half the batter into the crust. Top with berries. Top with
    remaining batter. Bake for about 45 minutes or until cake is set around
    the edges, but center jiggles slightly.

    Let cool for about 20 minutes before adding the topping.

    Topping:
    In a medium bowl, whisk sour cream, sugar, and vanilla. Spoon over
    cake, spreading the topping to the edge of the pan. Bake five minutes.
    Allow cake to cool and then refrigerate overnight. Serve plain or
    garnish with more berries.

    Here are a few tips for handling red raspberries,
    whether you buy them here at Lakeside at the farm or in your North of
    the Border supermarket.

    If you want to freeze red raspberries, spread them out in a single
    layer on a cookie sheet with sides and place the uncovered cookie sheet
    in the freezer. After the raspberries are well frozen, shake them
    gently into a zip-lock bag and immediately put them back in the
    freezer. Your raspberries, whole and beautiful, will be ready for
    immediate use when you need them.

    Try the following recipe when you want to serve an unusual
    fruit treat for a Sunday party brunch. Your guests will love the
    refreshing berries in a very unusual dressing.

    Cristina’s Ginger Strawberries
    This recipe is served cold with a hint of spice and always makes a hit at brunch.

    2 pounds fresh ripe strawberries
    1 orange
    2 tablespoons pickled ginger, drained
    1 cup unflavored yogurt
    2 tablespoons orange marmalade
    2 tablespoons sugar or 2 packets artificial sweetener (Splenda, Sweet’n’Low, Equal)
    1/4 teaspoon salt

    Remove green caps from strawberries and wash gently. Pat dry in
    a large terry cloth towel. Cut the strawberries in half and place in a
    large mixing bowl.

    With a vegetable peeler or zester, cut thin strips of orange
    peel (orange part only). Cut the orange peel strips into tiny
    matchstick-size strips, no longer than 1" and no wider than 1/16".

    Cut the pickled ginger to the same size as the orange strips. Mix the ginger and the orange strips together.

    Add the ginger and orange strips mixture, orange marmalade,
    sugar (or artificial sweetener) and salt to the yogurt. Stir until
    well-mixed.

    Pour yogurt mixture over strawberries and stir gently to coat all the strawberries.

    Refrigerate until well chilled. Serve.

    This sorbet is delicious served either at the end
    of a meal or served (in a tiny cup) as a refreshing palate cleanser
    between otherwise spicy courses. I’ve served it scooped into tiny
    fluted foil cups meant for chocolate truffles. The tiny servings, piled
    high on crushed ice in a giant brandy snifter, make a beautiful
    presentation.

            Fresh Strawberry Sorbet
            During strawberry season and the warmer days of spring and early summer, this easy sorbet  is a           cooling favorite.

    1 cup sugar
    1 cup water
    2 pints fresh ripe strawberries
    2 tablespoons freshly squeezed lemon juice
    2 to 3 tablespoons vodka

    Makes 8 to 10 servings
       

    In a medium saucepan over medium heat, combine sugar and water. Cook
    and stir until mixture comes to a boil; reduce heat to low and simmer
    five minutes. Remove from heat, cover, and let stand approximately 10
    minutes.

    Lightly rinse and dry the strawberries; hull and cut in halves. In a
    food processor or blender, puree the strawberries with 1/4 cup of the
    sugar syrup (sugar and water mixture). Add lemon juice, vodka, and
    pureed strawberries to the remaining sugar syrup; stir until thoroughly
    blended.

     
    NOTE: The vodka (or any other type of alcohol) is the secret to
    a soft sorbet. Alcohol itself does not freeze and adding a little bit
    to the mixture keeps the sorbet from freezing. Vodka is an
    excellent choice as it doesn’t change the flavor of the fruit.

    Ice Cream Maker–Transfer mixture to ice cream maker, process according to manufacturer’s instructions.

    Refrigerator Freezer Method–Pour into plastic container, cover,
    and place mixture in the freezer. When it has frozen enough to be
    semi-solid, mash it up with a fork and freeze again. When frozen, place
    in a food processor or blender and process until smooth. Cover and
    refreeze until serving time.

    NOTE:Fresh strawberry sorbet can be prepared three days in advance. Cover and keep frozen.

    Bringing fresh, ripe strawberries home from the field (or from the tianguis)
    is tricky. It’s a good
    practice to take a wicker basket or plastic container with you to put
    your strawberries in for their trip home; like raspberries, they are
    easily smashed and deteriorate quickly under their own weight in a
    plastic bag.

    If you buy either raspberries or strawberries in plastic clamshells,
    save a clamshell or two for times when you might go to a pick-your-own
    farm to protect the berries on the trip home. Bring your strawberries
    home in the clamshells. You’ll be glad you did, when you realize your
    freshly picked berries will arrive home in perfect condition.

    Here are some fascinating statistics about strawberries: Canada imports all
    of its fresh strawberries from either the United States or from Mexico.
    The United States is the major importer of Mexican fresh strawberries.
    Under NAFTA (the North American Free Trade Agreement), duty is no
    longer charged on strawberry exports to either the USA or Canada.

    Strawberry_margarita

    Last, but certainly not least, let’s toast our local strawberries with a refreshing and beautiful strawberry margarita.

    Strawberry Margaritas
    The jewel of the season: try our fresh strawberry margarita recipe!

    For two:
    10 to 12 ripe strawberries
    2 cups ice
    2/3 cup prepared margarita mixer
    1 tablespoon orange juice concentrate, thawed
    2 teaspoons fresh key lime juice
    Whole strawberries (for garnish)

    Put strawberries in a blender with the ice, margarita mixer,
    orange juice concentrate and lime juice. Blend until smooth
    and slushy. Pour into two glasses and garnish with whole strawberries,
    if desired.

    Buen provecho!     

  • Piteado: The Macho Art of Embroidery

    Bordador

    It’s Sunday morning just before dawn.  A vaquero (cowboy) in his best jeans and sombrero swaggers into the courtyard of the hacienda. His boot heels click softly on the red clay tiles of the patio. As the sun breaks over the barn roof, the mustachioed vaquero
    chooses his best saddle from its wooden stand and carefully cinches it
    around the belly of his favorite mount. He’s off to town, both he and
    his horse dressed carefully for their day off.

    Let’s take a closer look at the cowboy’s boots, his belt and his
    saddle. Each of them is hand-embroidered using an ancient Mexican
    technique called piteadao.
    To understand the process of the embroidery, we travel to the southern
    jungles of Mexico, to the states of Oaxaca and Chiapas, where the tall
    trees grow, where coffee is grown, where the air is steamy and thick
    with humidity. Under the shelter of the jungle trees, the smaller
    plants grow away from the glare of the sun.

    The thread used for the embroidery is processed from a bromeliad plant called ixtle.
    The plant, grown as undergrowth in tropical jungles, eco-forests, or
    coffee plantations, takes approximately eight years to grow to
    maturity. Usually the entire plant is harvested, allowing better and
    faster growth of the young plants which have sprung up much like baby spider plants. However, only the longest and healthiest
    leaves of the ixtle plant are used to produce thread.

    The preparation of pita, the ixtle thread, is time consuming and arduous. The long leaves are scraped, either manually or using a hand-cranked machine, to free the ixtle
    fibers. The fibers are then washed several times and hung in the sun to
    bleach. Once they are bleached, they are combed and braided into
    bundles called muñecas (bunches), which are sold to talabarteros(saddle
    makers and artisan leather goods workers) working primarily in the town
    of Colotlán, in Los Altos—the northern highland region—of Jalisco.

    Colotlán is considered to be the world capital of piteado. There are more than 40 workshops producing pita-embroidered
    leather goods in the town, plus 200 private micro-businesses producing
    the work. Nearly 2800 townspeople dedicate their daily work lives to
    this art. Their hand sewn products include belts, boots, sandals,
    briefcases, wallets, purses, and their crowning achievement, saddles.
    The work from this village is so well known that several belts from
    Colotlán are exhibited in the renowned Prado Museum in Madrid.

    The practice of the art of piteado, which has given
    this town and the region international fame, dates to the last decade
    of the 19th Century. This craft has been passed from father to son
    through the course of generations. Today, approximately 10,000 belts
    are produced in the town each month. The belts are sold everywhere in
    Mexico and are shipped to international destinations such as the United
    States, where a piteado belt is a hallmark of many Mexican men.

    Cinta_piteada

    These handmade goods are not inexpensive: you’ll find less expensive imitation piteado,
    sewn by machine using cotton thread, but almost all of the hand made
    work is still done in Colotlán. Expect good quality genuine piteado belts to cost several hundred dollars.

    There are many individual steps that lead to a finished product. Traditionally, piteado
    artisans have worked individually in all of the different stages of
    production, from design work to marketing. In some respects this has
    limited the development of piteado as an industry, but it has ensured
    the continuing tradition of the work.

    Piteado is worked only on leather, most of which is brought to
    Colotlán from León, Guanajuato or from San Luís Potosí. The original
    designs came from Aztec traditions, but those designs have gradually
    been modified over the years and have lost some of the flavor of that
    culture. Today, many of the designs include Huichol elements due to the
    influence of that indigenous people in the area of Colotlán. Some of
    the commercial workshops have more modern designs, such as flowers and
    horse heads, adapted to the requests of the customer.

    Cintas_piteadas_3

    The production of belts is the bread and butter of the piteado
    artisans in Colotlán. Most of the belts are sold at fairs and in stores
    throughout Mexico. In my travels around Guadalajara, I sometimes see
    ambulatory vendors selling piteado belts.  If you make a
    trip to the Mercado Libertad in Guadalajara’s Centro Histórico, you’ll find
    hundreds of belts, boots, huaraches, and every other sort of piteado leather goods. Be aware that when you’re shopping for piteado and the price seems too good to be true—and the dealer swears that his products are the real piteado, hand-sewn from pita fiber—you’re probably hearing a sales pitch for inferior goods sewn with cotton. Most of these pirated imitation piteado items come from the Guadalajara area.

    It’s difficult work to hand embroider a belt. The production of each
    one takes a single worker a full week to complete. First, the size and
    shape of each belt are traced onto the leather; then the leather is cut
    into strips. Each strip is then shaped and polished. The design or
    drawing for the embroidery is hand-cut into the leather with a chisel.
    Once the leather is ready, the most difficult part of the work begins:
    the embroidery. The mesquite wood needle is punched through the leather
    using a hammer and an awl.

    Using a heavy duty sewing machine, the embroiderer sews the lining to
    the back of the belt, cuts it, and hand-finishes it. Finally, another
    person adds the buckle, the closure, and the loops that hold the end of
    the belt when it’s fastened around the buyer’s waist. Any leftover
    leather is used to make brooches, earrings, pins, and other small
    goods. It’s all a question of not wasting any costly materials.

    The most difficult work is called alamar doble, a term that
    has no adequate translation into English. The work is complex and
    baroque and so specialized that almost no one outside the town of
    Colotlán tries it. In the rare instances when it’s copied, a buyer in
    the know will recognize that the work is done with cotton thread and is
    a poor imitation of genuine piteado from Colotlán.

    In Colotlán, Armando Gaeta Loera is one of the acknowledged maestros of piteado.
    He began to study the art when he was barely eighteen years old. For
    two years he worked as an apprentice with Rafael de León. Later he and
    his wife opened their own shop. With time, he hired assistants and as
    the years passed, his three sons have entered into the family business.
    Today he has two workshops, one in Jerez, Zacatecas and the other in
    Colotlán.

    Cintas_piteadas_2

    Maestro Gaeta designs and makes bags, belts, holsters for pistols and knives, cases for machetes, boots, chaps, and sombreros of piteado,
    along with other smaller articles for both men and women. He uses
    leather from a variety of animals: cattle, goat, sheep, deer and fox,
    among others. For finely detailed work, he chooses suede and other
    special leathers that are the softest and therefore least difficult to
    embroider.

    The work is demanding. Maestro Gaeta is often called upon
    to prepare special designs for his clients, designs which incorporate
    specific emblems, flowers, names, initials, or animals. The prepared
    leather is properly flattened and stretched before the parts of a piece
    are cut and before the design to be embroidered is traced onto the
    skin. This planchada—literally, ‘ironing’—is always done from the reverse side of the leather.

    After further hand processing, the designs are distributed over the surface of the leather. Maestro Gaeta
    uses a hard lead pencil, a wooden square, a ruler, a marker, and a
    metal compass—all the usual tools—to trace the intertwined flowers and
    foliage, the horse heads, the initials or names of the owner of the
    piece, and any other special requests onto the leather.

    Cinta_suertes

    Once the drawings are finished, they are marked with a marker and Maestro Gaeta begins to make tiny holes in the leather with an awl. He then begins, little by little, to embroider with the pita,
    twisted in two or three strand lengths, depending on the design and the
    depth of the relief that he wants to give the embroidery. The sections
    of the piece he’s making are then joined either with a hand needle or
    with a special sewing machine that is exclusively for this kind of
    leather work. If the piece requires a fabric lining, this is the time
    it’s put into place.

    The finished piteado, whether belt, boots, or saddle, is highly prized by the owner and may well be worn during competition in championship charreada, the stylized Mexican horsemanship competitions.

    You’re well on your way to being a connoisseur of the fine and macho  art of piteado.
    If you are reading this while you’re living North of the Border, be
    sure to look at the belts you see worn by Mexican men in your area.
    You’ll see examples of the art of piteado and you’ll know exactly how they’re made and where they originate.

    All photos courtesy of http://www.colotlan2.com/

  • Guadalajara’s Wholesale Flower Market

    Mercado_flores
    It was my great pleasure to wander Guadalajara’s wholesale flower market this month, talking with one of the long-time vendors and taking more pictures of glorious blooms than will fit on these pages.

    I confess that on the day I went on my investigative trip to the wholesale flower stalls, I was in a funk and would have preferred to stay at home. I scowled my way through traffic to the Mercado Mezquitán in downtown Guadalajara and barely managed a brief smile when I found a handy parking place. And then I was on the street, the flower-filled street, and my bad mood vanished in a heartbeat. How could my funk hang on when the sight and fragrances of literally millions of blossoms were all around me?

    It was hard to know where to look first. The narrow old market street, clogged with belching pickup trucks, crammed beat-up cars, overloaded handcarts and people carrying enormous bundles of flowers, runs parallel to super-busy, modern Calzada Federalismo. I smiled as the blatant contrasts of Mexico once again showed me that I was definitely not North of the Border.

    A scruffy yellow dog sniffed the greenery in his path as he hunted for something more promising than flower trimmings for his almuerzo (late breakfast). What looked like a moving tower of bright red roses jostled me as I stood in the street. It was a workman, hurrying along with dozens and dozens of paper-wrapped packets of beautiful blooms on his shoulder.

    Statice
    Mounds of multi-colored statice wait on a hand truck.

    For two city blocks, tiny Calle Mezquitán is a sea of blooms. The actual flower market, a small enclosed building of perhaps 30 stalls, is insignificant compared to what happens in the street. I’ve often driven along Federalismo and noticed the market building; it’s just across from a municipal cemetery.

    I walked along asking permission to take pictures and marveling at the variety of flowers. My eye was caught first by girasoles (sunflowers), then leticia (statice), then pompones (pompom chrysanthemums).

    The vendors greeted me as I strolled past. "Qué va a llevar, señora? Hay de todo." (What are you buying, lady? Everything’s here.) Over and over again I asked permission to take photographs. The quantity of flowers was completely overwhelming, their fragrances perfuming the air.

    Rose_basket
    This basket of at least four dozen roses and asters costs 250 pesos, a little less than $25.00 USD.

    I stopped to ask one of the vendors about the cultivation of flowers in Mexico. Flowers, he told me, are grown commercially primarily in one area of the small State of Mexico, both for export and for use here in the Republic. Flower business is big business in that fertile valley not far from Mexico City. Flower-growing land sprawls over more than five thousand hectares. That’s well over 12,000 acres.  In addition, the cultivation of flowers provides either direct or indirect employment to 225,000 people in that state.

    Daisies_and_lilies
    Gerbera daisies and stargazer lilies.

    In the State of Mexico, flower growing generates a yearly economic bounty of $2,700,000,000 pesos: two billion seven hundred million, folks. It’s not a typo. The brief selling season just prior to the Day of the Dead in November generates $617,000,000 pesos—in only a few days. The profits from just those late-October flower sales represent nearly one-fourth of the economy produced in the State of Mexico’s fields.

    Here’s just one small example of Mexico’s Day of the Dead flower power. In 2003, growers planted ninety hectares of roses which were to be harvested in the last week of October. Those roses produced 11.3 million stems, which were bundled 25 to a package. Each package of 25 roses sold at wholesale for 37 pesos. Total earnings for the brief October rose harvest were 17 million pesos.

    In addition to roses, the flower growers of the State of Mexico also cultivate huge numbers of chrysanthemums, vast quantities of gladiolas, millions upon millions of carnations, and most of the rest of the flowers that are available in wholesale markets all over this country and the world. Many, many of the flowers that you who live North of the Border will purchase or be given on Valentine’s Day and Mother’s Day come from the sunny lands South of the Border.

    Claveles
    Claveles (carnations) are among the most popular flowers for sale at the market.

    Everywhere I looked, I was tempted to buy. Huge bundles of pink, red, candy-striped or white carnations, each bundle containing 60 or more flowers, sell for 40 pesos–less than $4.00 US dollars. Gorgeous, enormous ready-to-sell flower arrangements, perfect for a banquet table centerpiece, sell for 250 pesos–less than $25.00 US dollars. Bundles of 25 roses sell for 70 pesos.

    After walking along the market street for an hour and then investigating the market itself, I stopped to ask a young vendor how long the market had been operating on Calle Mezquitán. She admitted that she wasn’t sure and encouraged me to ask Dr. Roberto Avila, the owner of the business where she worked. He was busy taking a large wholesale order on the telephone. "Dr. Avila knows everything about the market, from the time it started," she assured me. I waited and watched the action on the street as hundreds of thousands of flowers glowed in the morning sun.

    Dr. Avila graciously took the time to answer my questions. "This flower market has been here for more than 50 years," he began. "I’m 57 years old and I was born two blocks from here. My grandmother and my father brought me here to work with them when I was seven. I’ve had this business for 25 or 26 years now.

    Rose_bundles
    Long-stemmed roses sell in bundles of 40 for 70 pesos, less than $7.00 USD.

    "Look across the street, right over there." He pointed to a small house on the corner. "That house is made of adobe. All the houses along here were made of adobe, that’s how old this section of Guadalajara is. Over the years, they’ve fallen down because of the rains, but people build them right back up again.

    "Some years ago, Calzada Federalismo was widened to accommodate all the traffic that comes this way. Before the street was widened, the market building was more than twice the size it is now. The market building back then wasn’t just for flowers. There were meat markets, tortillerías, and plenty of stands where you could eat. The government took most of the market to build the street. Now there’s no tortillería there at all, the meat markets have mostly moved out, and there are only a couple of food stands left." He shook his head. "There used to be a kindergarten here. And there were frontón (a ball game played with a kind of basket-shaped racquet) courts." He smiled. "There are many other frontón courts in the city, but the ones right here are gone."

    "There are more flower markets in Guadalajara, you know. One is right in front of Parque Agua Azul, on Calzada Independencia near González Gallo. Another is at the corner of Manuel Acuña and Contreras Medellín, just about ten blocks from here. But none of those markets sells the amount of wholesale flowers that we sell here."

    I thanked Dr. Avila and walked up and down the street once more. The flower market had lightened my mood and I knew I’d come back on other days just for the lift. Although I was determined to buy a bundle of carnations, my eye suddenly lit on a huge bucket of tight yellow Siberian iris buds. "Cuánto cuestan?" I asked the vendor. Thirty-five pesos for ten long stems! I bought two bunches and strolled happily to my car.

    Iris

    Back home, after I arranged the flowers in a tall vase, I checked my favorite online florist for the price of Siberian iris in the United States. Suffice it to say that I would never have been able to afford them. When you come to Guadalajara, we’ll make a field trip to the wholesale flower market, where you can afford to buy all the flowers you could possibly want.

     

  • Jello Shots, Mexican Style

    Fruit_gelatin_3
    My friend Sra. Abundis prepared this clear gelatina.  It’s approximately 15" in diameter and stuffed with fresh red and green grapes, canned pineapple, and peaches.

    Whether you’re having a midday meal at a traditional Mexican
    restaurant anywhere in the República or celebrating at a private party at the home of Mexican friends, you can be almost 100% sure that a prominent item on
    the dessert menu will be gelatins. As you browse the produce at any town’s tianguis
    (street market) or elbow your way through the crowds at a fiesta patronal (patron saint’s celebration), you’ll see vendors selling plastic
    cups and glasses of—you guessed it, jewel-colored gelatin desserts. Gelatina is a shimmering sweet fact of life in Mexico, popular with young and old alike.

    What is this Mexican obsession with a food that smacks of 1950s Middle
    America? Delight in gelatin desserts has been prevalent in Mexico for
    years; marketing experts here report that it’s eaten daily in nearly
    90% of Mexican homes. Mexicans consume more gelatin desserts than
    nearly any other country in the world—three times the quantity of
    gelatin consumed in the United States alone. In restaurants, the
    dessert tray will almost always include a variety of gelatin desserts.
    When Señora Fulana
    (Mrs. So-and-So) is invited to a party at the home of her best friend,
    it’s very traditional for her to take along a gelatin dessert, all
    fancied-up and ready for the admiration of the rest of the attendees.
    At a birthday party, the dessert of preference is rarely cake and ice
    cream. It’s almost always a plate of cake and a jiggling serving of
    gelatin, which requires no refrigeration to maintain its
    shape.

    There are far more ways to prepare gelatin desserts in Mexico than your
    mother’s Jell-O mixed with fruit cocktail or shredded celery and carrots. Some of the desserts are
    prepared with water, some with milk, and some are prepared as a layered
    combination of both.  Some are major productions involving hours of labor intensive preparation time.

    Tiger_gelatina

    Sra. Abundis and Cristina prepared and painted this marvelous tiger gelatina for a child’s birthday party.

    Several months ago it was my task to prepare individual serving cups of
    gelatin for a two-year-old neighbor’s birthday party—it seemed like I
    made hundreds. I thought it would be a complicated and difficult
    project, but it turned out to be quite a lot of fun. After asking
    another neighbor’s advice, I learned that it’s possible to buy powdered
    gelatin at any dulcería (candy store) or grocery store.
    The variety of available flavors is amazing: in addition to the
    ordinary strawberry, lime, and orange, I also found pistachio, almond,
    tamarindo, and peach.

    While I could have kept my project simple, I decided to get
    fancy. No single-flavor cups of gelatin for this party! I read the
    directions printed on each bag and learned to prepare this flavor with
    water, that one with milk. I combined a layer of strawberry (prepared
    with water) with a layer of pistachio (prepared with milk). Recklessly,
    I disregarded the instructions to use water to prepare the peach flavor
    and used milk instead, combining an opaque peach-flavored layer with a
    clear orange-flavored layer.

    Gelatina_pinar
    Commercially made in Guadalajara for sale in supermarkets, this three-layer single-serving gelatina includes a fruit layer (complete with a prune and its pit), a milk-based layer, and a clear layer.  The gelatina comes with its own tiny yellow plastic spoon.  These 200 gram gelatins are prepared with preservatives and artificial coloring.  Each one costs 7.1 pesos, or 65 cents US.

    It’s so simple. Of course you can do this at home, even North of the
    Border. Just buy two different flavors of your favorite brand of
    gelatin dessert powder, some four-ounce plastic glasses, and have at
    it. Prepare one flavor and fill each glass to the half-way point.
    Refrigerate and allow that flavor to set. Prepare the second flavor,
    using either milk or water, pour it on top of the already jelled flavor, and refrigerate until set.

    One traditional recipe is for Mousse de Rompope (eggnog-flavored gelatin dessert). It is so delicious that it bears repeating now.

    Rompope (rohm-POH-pay) Mousse with Strawberry Sauce

    The mousse:
    2 envelopes of unflavored gelatin
    1/4 cup water
    1 cup heavy cream
    2 cups rompope (Mexican eggnog flavored liqueur)
    1/4 teaspoon vanilla extract
    4 egg whites

    In a small bowl, sprinkle the gelatin onto the water and let stand
    until absorbed, about five minutes. Meanwhile, heat the cream slightly
    in a small saucepan. (Do not boil.) Remove from heat and stir in the
    gelatin, mixing well to dissolve. Strain into a bowl; add the rompope and vanilla and mix well. Set aside.

    In a large bowl, beat the egg whites until they form stiff peaks. Fold
    in the eggnog mixture, and then pour into a lightly greased 1.5 quart
    ring-mold, bowl or specialty pan. Refrigerate at least four hours,
    preferably overnight.

    Strawberry Sauce:
    1 pound strawberries, stems removed
    2 tablespoons sugar
    1 tablespoon almond extract, anisette or Frangelica (hazelnut flavored liqueur)

    Place strawberries, sugar and flavoring in a bowl and let stand for two hours. Purée in a blender, strain and set aside.

    Just before serving, remove the mousse from its mold and drizzle with
    strawberry sauce. Garnish with slightly sweetened whipped cream. If
    desired, the mousse can be molded with a graham cracker crust.

    The preparation of gelatin desserts has been raised to a fine art in
    Mexico. Special classes in gelatin preparation fascinate housewives and
    give rise to thriving cottage industry here. Recipes metamorphose from
    the relatively simple preparations in the preceding recipes to the most
    elaborate of flavor and design combinations. Recently, the craze for
    making individual clear gelatin desserts which contain flowers also
    made of gelatin has hit Mexico like a bombshell.

    Flower_gelatina
    Flower gelatins like this one, made and copywrited by the Abundis family, are called gelatinas encapsuladas.  The flowers are made with a syringe.  Neither Sra. Abundis nor Cristina took classes in making the flowers, although many handicrafts schools and individuals offer those courses.

    This week I was fortunate to spend some time with Sra. Abundis and her daughter, Cristina, who operate a small home-based business in Guadalajara.  The Abundis family invited me to come watch and take pictures as they prepared special gelatinas for a child’s birthday party.   Mother and daughter have worked together for the last two to three years, preparing made-to-order gelatins for birthdays, baptisms, girls’ fifteenth birthday parties, baby showers, engagement parties, and weddings.

    The gelatina personality of the day was Spiderman.  Cristina explained that the gelatin for the Spiderman mold and many more are milk-based, while other gelatins are water-based.  Milk gives the gelatina a more nutritious aspect than does plain water and also makes Spiderman’s features show up better after they’re painted.

    Ingredients
    In the Abundis kitchen, Spiderman is fresh out of the mold.  A selection of milk ingredients is lined up behind him, along with a small plate full of individual-serving Spiderman heads.

    Sra. Abundis showed me the basic ingredients for the dessert; once the basics are assembled, they’re flavored with vanilla.  Spiderman is prepared with powdered milk.  Other gelatinas are made with sweetened condensed milk or with evaporated milk.  The Abundis family uses pure cane sugar and unflavored gelatin for its desserts.  No preservatives are added.  These home-prepared gelatinas must be consumed within 48 hours of their preparation.

    Many fancy gelatinas are painted once they’re chilled and set.  Spiderman is no exception.  The paints are special vegetable food coloring gel, manufactured here in Guadalajara. 

    Cristina_paints
    Sra. Abundis watches closely as Cristina paints Spiderman’s red base coat.

    While Cristina painted, Sra. Abundis told me that when her relatives moved from Mexico City to Guadalajara in 1940, there was no gelatina in the city.  Finally the relatives found a source–one stall at the Mercado Corona in Guadalajara’s Centro Histórico sold it.

    Spidermans_eyes
    Cristina starts the initial work with black gel food coloring, outlining Spiderman’s eyes.  She holds a licenciatura (bachelor of arts) in graphic design from the University of Guadalajara.

    "The gelatina has to be very cold in order to paint it," Cristina commented.  "If it’s not as cold and firm as possible, the paint will run."  Spiderman stayed briefly in the freezer between coats of food coloring gel.

    Spiderman_with_threads
    Spiderman’s intricate thread work is complete.

    I asked Sra. Abundis and Cristina which molds are most popular for parties. "Right now, Spiderman is the one all the kids want.  Of course they also like Buzz Lightyear, Sponge Bob, all the Disney princesses, and Barbie.  The old favorites like Winnie the Pooh, Mickey Mouse, and Tweetie Bird are always popular."

    Josua_3

    Josua Isai
    Abundis Linares, Cristina’s nearly six year old nephew, participated eagerly in the time I spent with his family.  He and I both anticipated our dessert: one of the individual Spiderman heads.

    Cristina added, "For adult parties like weddings and baby showers, people want gelatinas encapsuladas, the ones with the flowers, to accompany their special cakes.  And it’s funny, the kids gobble down their gelatinas, but the adults want to save theirs.  The flowers are so beautiful."

    Spiderman_finished
    Cristina shows off the finished product: Spiderman in person!  Sra. Abundis painted the blue base.  The cost of this fantastic super hero is 130 pesos, approximately $11.50 USD.

    "The people who ordered this Spiderman for their child’s party will pick it up late this afternoon.  The party is tomorrow."  Cristina was happy that she finished the painting with no smears. 

    For dessert after your midday meal, for a snack or for a light supper,
    sweet wiggly gelatina satisfies every time. Cooling and slithery, a
    gelatina is just the ticket when you need a little something, but you
    don’t want too much.

    They knew what they were talking about, way back then, when they said, "There’s always room for…"

    If you happen to be in Guadalajara and need a gelatina for a special party, contact the Abundis family:

                    Tiny Gelatinas
                    Calle Ciprés #1819
                    Colonia del Fresno
                    Guadalajara, Jalisco
                    Tel: 3812-8426 or 044-33-3815-1917

     

  • Big Business, Sweet and Icy in Tocumbo

    When I was a little girl, a Popsicle was a big deal. Summertime meant that the ice cream truck, bell tinkling, would trundle through the neighborhood where I lived. After a frantic plea to Mom for money, she counted out coins and I raced to the corner where the rest of the kids were already gathered, waiting for the vendor to dig through his icy case for cherry, lime, or the reviled banana. The odor of amyl acetate (the chemical used for artificial banana flavoring) remains cloyingly in my memory.

    Popsicle

    Remember? Hot summer days made those frozen snacks melt quickly, down childish fingers and the side of the hand, down the wrist and almost to the elbow in sticky trails of blood red and pale green. Nips of the cold treat slid in a chilly track from tongue to stomach, giving a few moments relief from childhood summers’ heat and humidity. We didn’t care that they were artificially flavored; Popsicles were a summer joy. Once I was an adult, I left them behind in favor of more sophisticated gelatos and sorbets.

    Long before I dreamed of venturing to Mexico, Ignacio Alcázar of Tocumbo, Michoacán had a vision. Paletas—frozen treats similar to Popsicles—were on his mind. Tocumbo was a tiny village in the 1940s.  Life there was harsh and subsistence was difficult. Eking a hardscrabble living from the sugar cane fields of the region around Tocumbo depended as much on Mother Nature’s vagaries as on a farmer’s backbreaking work. In those days, the pay for peeling 2,000 pounds of sugar cane was two pesos. Campesinos (field workers) could expect to earn a maximum of three pesos a week.

    But making a living selling paletas depended solely on creating a desire for something delicious and refreshing to satisfy someone’s antojo (whim). In the mid-1940s, Ignacio Alcázar, his brother Luis, and their friend Agustín Andrade left the misty mountains and pine forests of Michoacán and headed for Mexico City, the country’s burgeoning hustle-bustle capital. The men had made paletas in Tocumbo for several years, but it was time to try their hand in the big city.

    In 1946, the three men, illiterate native sons of Tocumbo, established an ice cream shop in downtown Mexico City. The new paletería (paleta shop) wasn’t elegant, but it worked. People clamored for more and more paletas. The Alcázar brothers and Andrade expanded, and expanded again. They sold franchise after franchise of their paleta brainchild to their relatives, friends, and neighbors from Tocumbo. The single shop that the two men started became the most successful small-business idea in Mexico in the last half century, known across the country as La Michoacana. More than 15,000 La Michoacana outlets currently exist around Mexico, most of them owned by people from the town of Tocumbo.

    Plaza_sign

    Mexico City alone has more than 1,000 La Michoacana outlets. Usually the paleterías are called La Michoacana, La Flor de Michoacán or La Flor de Tocumbo.  No Mexican town with more than 1,000 residents is without one. Only Pemex, the nationalized petroleum company, has blanketed Mexico so completely.

    When I moved to Mexico in 1981, a Mexican friend insisted that she was going to buy me a paleta. "A Popsicle?" I scoffed. She took me by the scruff of the neck and all but shoved me into the nearest La Michoacana. I peered into the freezer case and was amazed to see hundreds and hundreds of rectangular paletas, organized flavor by flavor, lined up in stacks in their protective plastic bags.

    And what flavors! Mango (plain or with chile), blackberry, cantaloupe, coconut, guava, and guanábana (soursop) were arranged side by side with strawberry, vanilla, and—no, that brown one wasn’t chocolate, it was tamarindo. Some were made with a water base and some with a milk base. Every single paleta was loaded top to bottom with fresh fruit. There was nothing artificial about these. I was hard pressed to decide on just one flavor, but I finally bit into a paleta de mango and was an instant addict.

    The story of the paleteros (paleta makers) from Tocumbo piqued my curiosity. For many years I’ve been determined to visit this out-of-the-way town. I finally made the trip to the place where it all started. Getting to Tocumbo isn’t simple, but driving the two-lane back roads winding along green mountains is lovely.

    The names of the towns I passed through (Tarácuato, Tlazazalca, Chucuandirán, Tinguindín) roll off the tongue in the ancient rhythmic language of the Purhépecha (Michoacán’s indigenous people). Women, teenage girls, and children wear beautiful ropa típica (native dress) as they walk to market or gather wood in the hills. Fragrant wood smoke mixes in the air with the crisp scent of pine. Wildflowers dot the roadsides and mountains with purple, orange, yellow and blue.

    The well-manicured entrance to the town of Tocumbo lets you know immediately that you have arrived. No statues of Miguel Hidalgo or Benito Juárez grace the junction, nor is there a proud plaque commemorating a favorite local hero. Instead, the townspeople have erected a two-story statue of (what else?) a paleta. I’d seen photos of the monument, but the actual sight of the huge frozen delight made me laugh out loud.

    Plaza_paletas_2

    Carefully trimmed trees, flowers, and lawns edge both sides of the road into town. Large, well-appointed homes line the streets and the local trucks and cars are recent models and very well maintained. Tocumbo has one of the highest per capita incomes of any town in Mexico.

    My first stop was at the Tocumbo parroquia (parish church). Named in honor of the Sacred Heart of Jesus, the church is modern and beautifully adorned with stained glass. The architect who designed the church is Pedro Ramírez Vázquez.  Arquitecto Ramirez also designed some of Mexico’s most famous buildings, including the Basílica of our Lady of Guadalupe, the 1968 Olympic Games installations, Aztec Stadium, the National Anthropology Museum and the National Medical School buildings, all in Mexico City.

    Arquitecto Ramírez is one of the most outstanding building designers in Mexico today. It’s particularly telling of the economic power of the town that the people of Tocumbo contracted with him to design their parish church.

    Tocumbo_templo

    As I sat for a bit in the town plaza, two local women strolled across the square eating paletas. After we greeted one another, I asked who the best person in town would be to give me local history. They directed me to the mayor’s office on the other side of the plaza.

    I spent several hours at the Tocumbo mayor’s office talking with town official German Espinoza Barragán, who told me long stories of life and times in Tocumbo, and the history of the paleta.

    Sr. Espinoza mentioned that many people erroneously believe that all La Michoacana stores throughout Mexico are owned by one family. "You already know that the founders were Ignacio Alcázar, his brother Luis, and their friend Agustín Andrade, and that they sold the first La Michoacana franchises to their relatives and friends. After that, the relatives and friends sold franchises to their relatives and friends, and the business just continued to spread. With a simple formula of handmade products produced every day and sold inexpensively, the business has produced hundreds of jobs as well as a high standard of living that’s different from any other town in the region."

    Sr. Espinoza commented, "All of our streets are paved, and all have street lights. People live very well here, although it’s difficult to say how many actually do live here year round."

    I looked up from my notes. "Why is that?"

    "A lot of tourists from all over Mexico and many other countries pass through this town," he began. "Many see that our life here is peaceful, our climate perfect, and our town beautiful, so they ask about renting or buying a house here. Once they see Tocumbo, everyone wants to stay."

    I nodded in agreement. The thought had occurred to me.

    Sr. Espinoza nodded too. "People say, ‘Find me a house to rent.’ I just tell them to forget it, it’s hopeless. Then they tell me, ‘But so many of the houses here in town are vacant! Surely the owners would like to rent their houses.’ I shake my head, even though up to 75 per cent of the houses here in Tocumbo are vacant for eleven months of the year.

    "The thing is, everyone comes home at Christmas. No matter whether so-and-so’s family lives all year round in Chiapas or Tijuana working in their La Michoacana store, in December everyone is here. Where would they stay, if their houses were rented?

    Plaza_paletas_1

    "During the 1990 census, INEGI (the Mexican census bureau) tried to count the number of people in town. They counted about 2,400 people. But truly, triple that number call Tocumbo ‘home’. No one misses the holiday season here. They come home to tell their stories, to find out the last word in the business, to look for a girlfriend, to get married, to have quinceañeras (a girl’s15th birthday celebration), to baptize their babies. They put off all of these festivities for months, until the winter low season for selling paletas arrives and they can come home.

    "This year, the Feria del Paletero (Fair of the Paleta Maker) starts on December 22 and ends on December 30. There will be sports events, free paletas, rides for kids and adults, and other things for everyone to do. You should come."

    "The success of the Tocumbo paleta business must inspire people all over Mexico," I commented.

    Once again Sr. Espinoza nodded. "It’s a kind of work that offers even the person with the least schooling a way to make a good living, without going to work in the United States and without getting involved in selling illegal drugs."

    Plaza_fachada

    He returned to the history of the business. "Of course, word of the success of the new paleta business in Mexico City reached Tocumbo really fast. All Tocumbo packed its suitcases and went to get in on the gold mine. Everybody was buying paleta stores. And the best is, all the contracts were made on the solid word of the parties, without any paperwork, and all the loans to start the businesses were made between the buyers and the sellers. No banks were involved.

    "This first generation of paleteros (paleta makers) felt the obligation to let everyone have a part of the success. Remember that Tocumbo is a very small town. Almost everyone is related to everyone else. Everyone of that generation had grown up together, and everyone shared just a few last names. The belief was ‘today it’s your turn, tomorrow it’s mine’. And everyone lived by that.

    "Today, things are a little different, but only a little. There’s still room for all the paleterías in Mexico, and the majority belong to Tocumbans. Even though other ice cream stores like Bing and Dolphy have opened and there are even new brands coming in from the United States, there’s no other big success like we have had. To start with, the paleta is the people’s business, not corporate business. Other businesses might spend huge amounts of money on advertising and special wrappings, but we Tocumbans don’t run our businesses that way. We’re flexible, we save our money, and we work very hard. The paleterías are open from early in the morning till late at night, every day of the year. Even when the owners are home for the holidays, their employees are working in the stores. We make only as many paletas as we can sell each day. We don’t use chemicals in our paletas, and we adapt the flavors to the regions where our stores are."

    Plaza_paletas

    Sr. Espinoza went on to tell me that the most popular flavor paleta is mango, because it’s the fruit that everyone in Mexico loves. He continued, "In the south of Mexico, we have to offer mamey, zapote, and plátano. Where people have more income, we can sell a paleta for seven pesos. Where income is lower, such as in the states of Chiapas and Oaxaca, we sell a paleta for five pesos. We keep our stores very simple, so everyone can feel comfortable to come inside. And we try to open our stores in places where lots of people congregate: near schools, near hospitals, and near sports facilities."

    The story of this business amazed me. I shook my head and said, "What was the next step for the paleteros?"

    "When we saw that so many Mexicans were living in the United States, the next logical move was to start stores there. We started moving there too, and opened the first shops in California, Texas, Arizona, and Florida. And now—now there are La Michoacana stores in Pennsylvania, in Chicago, and in New York. Next will be Central and South America, you’ll see.

    "Did you look at the monument at the entrance to town?" Sr. Espinoza asked me.

    Tocumbo_entrada_2

    "Of course! It’s wonderful," I exclaimed.

    "On the way out of town, look at it again," he said. "Look, a little drawing of it is on my business card." He handed me the card. "See the blue ball of ice cream in the paleta? And see the paletas all over the ball?" I did see them. "The blue ball represents the earth, and the bright colored paletas cover it." He smiled at me. "And someday, paletas from Tocumbo, Michoacán will truly cover the globe."

    I have absolute faith that he’s right.

    NOTE:  Be sure to see the update to this post, published on December 19, 2007.

  • Traditional Baking at Lake Chapala

    Bakery_interior

    Two days a week, José Manuel Mora Velásquez continues a tradition that
    has been part of his family for more than 80 years. Long before dawn he
    begins preparations for baking pan de tlachigual,
    a type of bread so distinctly regional that Sr. Mora says that it has
    only been made in San Juan Cosalá and in Ajijic, although it’s sold in
    other towns along the north shore of Lake Chapala.

    In years gone by, natives of those two towns did not allow a wedding, baptism, First Communion or confirmation to pass without tlachigual
    as part of the festivity rituals. Although times are changing, even
    today the most traditional celebrations of these life passages include
    the humble local loaves.

    Sr. Mora showed me around the tiny bakery at his home in
    Ajijic. The ceiling is low and the only light comes from windows
    without glass. Loaves of freshly baked tlachigual are piled high on a wooden shelf while dough rises in a warm corner, out of the way of any passing breeze.

    Rising_masa
    Tlachigual loaves stuffed with nuts and raisins rise on the bakery shelves.

    "The oven is heated only by wood. It’s not easy to keep a good supply
    of wood, but we collect it from all over the area. People usually tell
    me where a dry tree has fallen, or where someone has cut down a tree
    that will burn well when the wood is dry."

    "Which days of the week do you bake?" I asked.

    "Wednesdays, like today, and Saturdays. It’s very time-consuming work and you have to pay very close attention to the masa (dough) or it won’t turn out right." Sr. Mora turned to peer into the oven as he spoke to me.

    "A full twenty-four hours before I bake, I have to prepare the harina fermentada (starter).
    It’s a mixture of flour and water. I mix that, and then it sits in the
    warm bakery for a full day before I can use it for the bread.

    "Early in the morning of the days I bake, I mix the dough. It’s
    made with the starter dough I made the day before, plus additional
    flour, eggs, sugar, and lard. Some of the dough is made with whole
    wheat flour and some with white flour. The white flour dough has white
    sugar, raisins and toasted nuts blended into it. The whole wheat loaves
    are sweetened with piloncillo (cones of brown sugar)."

    Sr. Mora showed me how he weighs each of the ingredients to make the
    bread. "I don’t measure. The bread is better if each component is
    weighed. How many kilos of flour I use depends on how many loaves I
    need to bake on any given day. Usually I make enough dough to produce
    400 loaves a day.

    "Baking this traditional way is different from baking in a modern oven.
    The first difference, of course, is that the oven is made of bricks and
    clay. It’s shaped like a beehive. And as I said before, I use wood fire
    for the heat. Temperature control is more difficult. I have to start
    the fire about three hours before the dough starts to bake. That’s so
    the oven will reach the right temperature. It takes two hours for the
    coals to be at the right stage, then another hour for the temperature
    to go down enough so the bread will bake in the right amount of time."

    Bread_in_oven
    Tlachigual bakes right on the floor of the brick beehive oven.

    I looked into the oven, which has no door, and saw that the
    baking bread was beginning to turn golden brown. "I don’t see a
    thermometer, Sr. Mora. How do you know when the oven has reached the
    right temperature to begin baking?"

    Checking_the_oven
    Sr. Mora checks the oven to make sure the temperature is right.

    He laughed. "I put one loaf in to bake. It should be ready in
    about 30 to 40 minutes. If it takes longer than that, I put more wood
    on the fire. If it bakes too quickly, I wait a bit for the temperature
    to go down. Then I try again. Of course I’ve been doing this for so
    long that I can almost always tell when the temperature is right, but I
    still bake a trial loaf to be sure."

    I asked Sr. Mora if there were other tlachigual bakers in
    Ajijic. "Yes, my cousin still makes this bread the old way. She lives
    on Calle Constitución and bakes on Tuesday and Thursday. I think we’re
    the only two left in Ajijic who bake this bread. There is a family in
    San Juan Cosalá that still has a bakery, but I don’t know them
    personally."

    Ojitos_rising
    Ojitos (little eyes) rise near the warmth of the oven.

    An article about the San Juan Cosalá bakers appeared several years ago in the Lake Chapala Spanish-language weekly newspaper, El Charal. At that time, Sra. Margarita Villalobos and one of her daughters were baking pan de tlachigual for distribution and sale in San Juan, in Nestipac, and in Jocotepec. Sra. Villalobos told El Charal that as a young girl, she had learned to make tlachigual
    from her mother. Her methods hadn’t changed over the years, she said,
    because making the bread in the traditional way gives it the delicious
    flavor that people want. Sra. Villalobos said that someone had offered
    her an electric mixer to help beat the dough, but she was not
    interested in changing her style of preparation. "Other bakers make it
    using the same recipe I do, but they don’t mix it by hand. Their
    results aren’t the same," she reported.

    Ojitos_baked
    Sr. Mora’s baking sheet is made of a flattened 5-gallon square tin can.

    Sr. Mora tells a similar story. "A woman named Teresa taught my aunt how to make tlachigual,
    and my aunt taught me," he reminisced. "And now there’s no one left to
    teach. My children don’t want to be bakers. It’s sad to think that I
    might be the last in the family to keep this tradition alive."

    Although Sr. Mora graciously told me about his work and the traditions
    of the bread he made, there was never a time when he was not also
    paying strict attention to the rising loaves, the bread baking in the
    oven, and the bread that was cooling on primitive wooden shelves along
    three walls of the bakery. I watched quietly for a while as Sr. Mora
    worked.

    With one eye on the oven, he picked up an escobilla (double-ended straw brush) and started rhythmically sweeping the wood ash from each cool loaf of tlachigual. As he cleaned each loaf, he placed it in a pile.

    Tlachigual

    When he noticed that the bread inside the oven had turned a deep golden brown, he set aside the escobilla and picked up a pala (literally a shovel, but in this case it resembled a long-handled wooden pizza peel). He used the pala to remove a metal tray holding the ojitos
    from the oven and placed it on a table near where I was standing. In
    one experienced and skillful motion, he scooped up as many small panes de tlachigual as the pala would hold and transferred them from the oven to a shelf for cooling. With a similar movement, he loaded the pala with unbaked loaves of tlachigual. Gently shoving the pala
    as far into the oven as he knew it needed to go so that the bread would
    bake evenly, he snapped his elbow back and the raw loaves landed evenly
    spaced on the oven floor. In just a few minutes he demonstrated skills
    he had acquired over his 22 years as a baker.

    The sweet smell of baking tlachigual was making me very
    hungry. "Sr. Mora, do you take all of the bread to be sold at stores
    here in town?" I was hoping he’d say no, and I was not disappointed.

    "A lot of people come here to the bakery to buy bread. And the boys
    take some to be sold out on the streets in that washtub…" he gestured
    to a galvanized metal tub in the corner by the oven. "And of course
    some does go to stores around town."

    "What does the tlachigual cost?" I was fingering some coins in my pocket.

    "The small loaves are four pesos, the big ones are ten pesos.
    And those mini-loaves are two pesos apiece. I sell the miniatures to
    mothers for little kids."

    Ready

    I bought four loaves, one large and three small. The large one came
    home with me and I took the three small ones to share with my neighbors. My car held the tantalizing scent of the fresh-baked bread for two days.

  • Shopping Destination: Michoacán Part II

    Wild_cosmos_capula
    Wild cosmos carpet the Michoacán countryside in the early fall.

    Santa Clara del Cobre
    During breakfast on our second morning
    in Pátzcuaro, all hands voted to head for Santa Clara del Cobre, a
    small town famous the world over for its hand wrought copper. The town
    is just half an hour from Pátzcuaro and was declared a national
    historical monument in 2001. Santa Clara was an important producer of
    copper ore and copper vessels during the reign of the Purhépecha, long
    before the arrival of the Spanish conquerors. Although the local copper
    mines were depleted in the early 1940s, the copper industry has
    continued and even thrived. Currently, all copper vessels start with
    reclaimed copper wire which is sent to local foundries to be melted
    into ingots. Individual seamless copper pieces are hand-hammered from
    those ingots.

    Our first stop was at the Museo del Cobre (Copper Museum), a small
    repository of historic photographs, old posters from prior years’
    copper festivals, and some of the finest examples of the local
    coppersmiths’ art. The museum is located just past the town plaza, at
    the corner of Pino Suárez and Avenida Morelos, Santa Clara’s main
    street.

    Museum_santa_clara
    The individual heads surrounding this museum-quality copper jar are repujado (repoussée), or hand- hammered from the inside out.  The remaining decoration is hammered on the outside.

    The value of a copper piece, whether for decoration or for utilitarian
    purposes, is based on its design, its workmanship, and its weight. I
    wanted my friends to visit the museum first to see the best of the best
    so that they would have a basis of comparison when looking at
    commercially produced copper goods in Santa Clara’s shops. After half
    an hour or so of exclaiming over the designs and workmanship of the
    copper vessels in the small museum, we were ready to hit the streets
    and the shops.

    Several copper shops are just around the corner from the Copper
    Museum. The first place we visited was Casa Felícitas, Pino Suárez #88.
    The owners are Lourdes Paz and her husband, Alfredo García. I’ve known Lourdes and her family for years.
    In my opinion, her shop sells the finest copper in Santa Clara and has
    the best service as well. Our group chose a number of items to take
    home, and we particularly enjoyed the demonstration of copper
    workmanship in the workshop at the rear of the store.

    Copper_calabaza

    The workers explained the copper-making process step by step as we
    watched in awe. First, the solid copper ingot is heated red-hot in a
    fire stoked with tree bark refuse from local sawmills. The fire is
    urged to enormously high heat by a foot-operated bellows. A wedge of
    copper, sized according to the piece to be made, is cut is from the
    red-hot ingot. That wedge is then fired again and the actual work of
    forming the desired piece is begun. Workers use sledgehammers to hammer
    the red-hot ingot until it is too cool to work further. It’s reheated
    and again the sledgehammers take up their rhythmic pounding.

    Bellows

    Eventually the ingot becomes a solid round sheet of copper. At that
    point, the heating and hammering continue until the copper artisans
    begin to bend the solid copper to form the shape of the vessel it will
    become. The day we were at the workshop, the artisans were making
    copper sinks for kitchens and bathrooms. Sledgehammer strike by hammer
    strike, the sinks took on the appropriate form.

    The surface of every piece is hand finished, wrought using smaller
    hammers with textured heads. The finished copper pieces range in color
    from matte reds and deep golds to the brilliant shine that we
    ordinarily associate with highly polished copper. The maestro (crew
    boss) explained that the finish of each piece is created by bathing the
    piece in water and/or acid to give it its color. Each copper artist
    creates work that is his alone.

    Copper_pots

    As we were leaving Santa Clara, we made a last stop at the workshop of
    Abdón Punzo. Sr. Punzo, one of the town’s most famous copper artists,
    also creates large decorative objects in solid (.999) sterling silver.
    Some of his copper pieces are monumental in size and weight and
    flawless in execution, entirely hand-wrought from a single ingot of
    copper. He recently finished a life-size sculpture of a Purhépecha
    woman, complete with a long braid and ropa típica (typical clothing). He has won countless national and regional awards for his copper and silver art pieces.

    As we drove toward Pátzcuaro, I noticed that the car rode a bit
    differently, tilting a bit more heavily to the back: we’d managed to
    acquire two sinks, ten cooking vessels, and a variety of smaller copper
    pieces. Alan, Jeanne, Sara and I talked non-stop about the techniques
    and arts that we had seen in Santa Clara. We all agreed that this
    fascinating town has to be high on the list of places to visit during a
    trip to Pátzcuaro.

    Tzintzuntzan_crafts

    The following morning, our last in the area, we walked the length and breadth of Pátzcuaro’s large daily tianguis
    (street market). The street market, located just to the west of
    Pátzcuaro’s Plaza Gertrudis Bocanegra, is easy to find and really a
    must-see. Many of the vendors offer fruits and vegetables similar to
    those we see at most Mexican street markets, but there are certain
    items that you’ll only find here.

    Alan, Jeanne, and Sara wanted to see every variety of dried bean, every variety of fresh regional chile,
    and every local fruit that they’d never seen before. I was kept busy
    telling them about what the different beans are used for, helping Alan
    pick out the freshest chiles perón (an extremely hot bright yellow chile grown in Michoacán), and being urged by many vendors to taste regionally grown fruits such as nísperos (loquats), duraznos blancos (white peaches), and the nanche,
    a small yellow fruit which has no equivalent name in English. It’s the
    size of a cherry and is usually eaten cooked, at room temperature, with
    salt, lemon, and a sprinkle of powdered chile. Nanches are a taste that Sara and I haven’t acquired, but Alan and Jeanne loved them.

    Semaforos_2
    Buy one red, one yellow, and one green: Mexico calls that selection a semáforo: stoplight!

    It was tempting to buy bags and bags of produce, but my three visitors
    from out of the country knew it wasn’t possible to import to the States
    most of what they craved. They consoled themselves with hot out of the
    oven pan dulce (Mexican sweet bread) from Rivepan, a typical bakery on the east side of the tianguis
    street. Loaded down with many more freshly baked goods than we could
    have eaten in a week—and with a long backward glance at beautiful
    Pátzcuaro—we pointed the car toward Jalisco, and home.

  • Shopping Destination: Michoacán Part I

    Morelia_with_jacarandas Photo courtesy of Susan Nash Fekety.
    Glorious springtime jacarandas convert Morelia, Michoacán, into something close to heaven.

    Those of you who have been reading Mexico Cooks! for the past few months know that I am a big fan of the state of Michoacán, the state that wraps around the eastern and southern borders of my own state of Jalisco.

    Map_2

    I’ve written several articles about the wonderful attractions in Michoacán. In addition to enjoying the annual events depicted in those articles, it’s great spending any weekend of the year there, enjoying the ambience in the mountains around Pátzcuaro. It’s all so completely different from my life in Guadalajara. It’s an easy four-hour drive to Pátzcuaro on the cuota (toll road); the libre (free road) takes just a bit longer but is beautiful and well worth the extra time.

    Last January, three friends visiting me from different parts of the United States (Alan, Jeanne, and Sara) and I jumped into my new car for a weekend in Michoacán. We’d decided this would be a great chance to see several of the towns and villages near Pátzcuaro, especially a few towns which are centers for making certain specific crafts.

    Our first stop was for lunch—of course! I wanted to introduce my newly arrived friends to one of my favorite haunts along the libre (free highway), just to the west of Zamora. The restaurant is always packed with people enjoying the specialty of the house: carnitas, a heavenly platter of tender, juicy, deep fried pork meat. We ordered a kilo (about two pounds) to share. Our carnitas came heaped up on a platter and seemed like much too much to eat, but we polished it off, along with freshly made hot tortillas and several wonderful made-in-the-house salsas.

    After lunch, we were back in the car for the next leg of the trip. Two hours later, we were checking into our hotel on Pátzcuaro’s small plaza. We made an early night of it after making plans to spend the next day investigating local crafts.

    Tzintzuntzan
    Pots_and_more_pots
    The next morning we headed for Tzintzuntzan, just outside Pátzcuaro on the road to Morelia. Tzintzuntzan means ‘the place of the hummingbird’ in the Purhépecha language, and if you’ve ever heard a hummingbird protecting its territory from other birds or from cats, you’ve heard the onomatopoeic sound. The town is small, charming, and filled with fascinating things to do and see.

    Our first stop was the town artisans market. The market is on the left hand side of the main street through town—you can’t miss it. Alan was looking for a tall clay pot for cooking beans; once the unglazed terracotta pot is cured using salt and boiling water, the clay imparts its special flavor to the boiling beans. Jeanne wanted a clay comal (round griddle) for making tortillas and quesadillas. Sara got caught up looking at the locally hand-produced straw and wood items and was especially fascinated with the wooden molinillos (hot chocolate beaters). These beaters are carved from one solid block of wood into marvelous utilitarian designs just right for whipping hot chocolate in a cup or pitcher. To make hot chocolate, milk or water (or a combination of the two) is heated to almost boiling, a tablet of Mexican chocolate is dropped into the cup or pitcher and allowed to melt a bit, and then the molinillo is spun between your hands to froth and mix the chocolate with the liquid.

    Tzintzuntzan_christmas_ornaments_2

    Alan did find just the right bean pot among the hundreds of pots for sale in Tzintzuntzan’s artisans market. His face beamed as he stowed the fragile pot in my trunk. Jeanne looked at every comal she could find but finally decided that the thin clay griddles would never make the trip back to Kansas City intact. She bought some straw Christmas ornaments instead. Sara bought seven molinillos, one for herself, one for each of her five nieces and one for a co-worker. I was the cheerleader, urging them to get what they wanted and not wait till later—these crafts, inexpensive in Tzintzuntzan, can cost up to three times the price in Guadalajara.

    We took time to visit Tzintzuntzan’s two churches, an easy walk since both are in the same enormous courtyard. Although we wanted to visit the church offices, they’re currently closed for conservation of their beautiful 18th Century frescoes.

    Olive_trees_tzintzuntzan

    Alan, Jeanne, and Sara took picture after picture of the ancient olive trees in the church garden. Local legend says that these huge olive trees—some measuring as much as fifteen feet in diameter—were planted by the Spaniards in early colonial days. Many of the tree trunks are hollow in the center and their gray bark is gnarled with age, but their branches continue to produce fresh green leaves every spring.

    We chatted briefly with an art conservator who was working on restoration of a catechetical mural in the patio. He told us that the conservation effort was funded by the state, by INAH (the National Institute of Anthropology and History), and by a group of interested people in Mexico and that all of the conservators have come from the nation’s capital to work on the site.

    Our next stop in Tzintzuntzan was on the road heading back toward Pátzcuaro. I was eager for my friends to see the yácatas, the Purhépecha pyramids built above the indigenous temple honoring Curicaveri, god of the sun fire. These pyramids were apparently built around 1200 AD, when the Purhépecha kingdom was the most powerful in Central Mexico. Today, the site has a small museum showing exhibits of pottery, personal items and jewelry that have been excavated in the immediate area.

    Yacatas

    Outside the museum, the flat land on which the yácatas stand is dense with huge trees. The pyramids are built of individual stones hewn from nearby quarries. The stones were chinked together in round-edged pyramid forms that still stand sentry over the ancient temple below. The scent of pine in the air, the view of Lake Pátzcuaro just to the northwest of the pyramids, and the mental images of long ago rituals make this site a magical place.

    We left the yácatas to drive back to Pátzcuaro. Once on the road, I remembered that I had commissioned a lamp shade (a similar shade is at the far right center of the photo) in a village just off the Tzintzuntzan-Pátzcuaro road. We took a brief side trip to pick it up at the taller (design workshop).  The woven reed figure in the foreground is a catrina.  Later this year Mexico Cooks! will talk at length about this traditional folk art form and its origins.

    Catrina_1

    Our next stop was lunch, at around two o’clock.  This gang loved tasting the regional specialties prepared in the Zona Lacustre (Lake Pátzcuaro region) of Michoacán. Our midday meal, the main meal of the day in Mexico, consisted of Lake Pátzcuaro whitefish, Sopa Tarasca (a traditional bean-based soup with chiles, cream, and cheese), and other typical Purhépecha delicacies.

    We spent the rest of the afternoon poking around in the many shops in Pátzcuaro, examining the fine crafts made all over the Lake Pátzcuaro region. Textiles, guitars, wood carvings, lacquer ware, and pottery of every kind—from full table settings to highly decorative ornamental pieces—fill every shop. It’s possible to buy items for a few cents, and it’s possible to buy items costing many hundreds of dollars. No matter what your budget, Pátzcuaro has something right for you.

    Next week: In Part II of our Michoacán shopping spree, Mexico Cooks! visits Santa Clara del Cobre and yet another Michoacán market.