Category: Art and Culture

Looking Back Through 2016 :: Una Mirada Hacia Atras 2016

One of Mexico Cooks!’ first restaurant breakfasts of the New Year was at Lalo, where I ate these delicious huevos a la florentina (eggs with spinach) served on an English muffin and quite simply fabulous. This was the first of 2016’s wonderful breakfasts at Lalo, but there were many to follow.

In February, 2016, Mexico Cooks! was inundated with numerous wonderful tours going all over Mexico, from home base in Mexico City to San Miguel de Allende, to Oaxaca, to part of the State of Jalisco, and ending in March in rural Michoacán. This year, let me know where in Mexico YOU’D like to go–starting now, we’ve added parts of eastern Veracruz to your choices! This particular market stall, with its papel maché piggy mariachi, is a favorite joyous site along on of my tour routes.

I thought this little guy would be scared in the market’s meat aisles–instead, he fell in love with a pig head! Two seconds after I snapped this picture, he leaned over and kissed its snout.

Tours with Mexico Cooks! aren’t entirely about pig heads. In March 2016, we were with a group in San Miguel de Allende, visiting this extraordinary and very upscale shopping venue for home and garden decor. The goods are pricey, but if your wallet can stand it, you’ll be carrying beautiful items back to your home.

During a week-long tour to Oaxaca, our group breakfasted on typical pan de yema (egg yolk bread) and bubbly Oaxacan hot chocolate, made with water in the traditional way.

While in Oaxaca, we learned to make Oaxaca-style mole verde (green mole), among other dishes, in the most generous, love-filled, best cooking class ever. This simple dish, rich with flavor, is now a staple on Mexico Cooks!’ table at home. If you’d like to take this class, let me know and we’ll schedule a tour in Oaxaca.

Another fantastic meal in Oaxaca included this gorgeous salsa, made in part with freshly roasted tomate verde (tomatillo, in English) and roasted tiny heirloom tomatoes. It looks good and it is way better than good. The photo makes me want to be there now.

Later in the spring, Mexico Cooks! toured with another group in rural Michoacán. One of the highlights of the trip was a comida (Mexico’s main meal of the day) at the home of cocinera tradicional (traditional cook) Rosalba Morales. Rosy holds a bowl of charales (tiny lake fish) that she prepares according to her grandmother’s recipe.

In May, Mexico Cooks! took the opportunity to take two groups of visitors to an exhibition titled Indumentaria y moda en México, 1940 – 2015, sponsored by Fomento Cultural Banamex, A.C. This stunning show of hand-made indigenous dress plus Mexican high fashion, accented by paintings of the period, was mounted by the extraordinary curator Ana Elena Mallet and her team. The pictured Tzotzil clothing from the mid-1930s, from a private collection, was hand spun, hand woven and hand sewn in Magdalenas, Chiapas.

This is a giant tamal called a zacahuil. I was fortunate to eat a portion of it in June 2016. The zacahuil, which in this case measured almost 1.5 meters in length, is made in many parts of Mexico. This one, from the part of Mexico called la huasteca potosina, (where the ancient Huastec indigenous people lived in the western part of the state of San Luis Potosí), is wrapped in papatla leaves and contains very coarsely-ground (quebrada) masa de maíz nixtamalizado (nixtamal-ized corn dough) that is patted out along the leaf. The women lay an entire butchered pig on the masa; the pig is then filled with whole raw chickens which are slathered with salsa, and the belly opening of the pig is closed. The meat, wrapped in the leaves, is roasted directly on the red-hot coals in a clay oven. The roasting takes approximately 10 to 14 hours. Normally the zacahuil shines as the star of any wedding, baptism, quinceañera (a girl’s 15th birthday party), or any important feast. Believe me, it was jaw-dropping to see and jaw-dropping to eat.

[youtube=https://www.youtube.com/watch?v=idjen8bz6so&w=560&h=315]
This marvelous Spanish-language video shows the complete process of making the zacahuil from the Huasteca potosina. Even if you don’t understand Spanish, you’ll LOVE seeing the preparation of the giant tamal. If you are ever invited to eat a portion of a zachuil, be sure to say yes, thank you!

Next week, Mexico Cooks! invites you to come with us as we travel through the second half of 2016.

Looking for a tailored-to-your-interests specialized tour in Mexico? Click here to see new information: Tour

7 de January de 2017
Do You Call It a Manger Scene? A Creche? In Mexico, It’s a Nacimiento.

A Christmas tree may be the central focus of your home decoration during this joyous season of the Christian year. In most parts of Mexico, though, the Christmas tree is a fairly recent import and the primary focus of the holiday is still on the nacimiento (manger scene, creche, or nativity scene).

One of Mexico Cooks!' biggest delights every late November and early December is shopping for Christmas–not hunting for gifts, but rather on the lookout for new items to place in our nacimiento (manger scene). Truth be told, we have five nacimientos–or maybe six–that come out each Christmas season, but only one of them keeps growing every year.

The tiny figures in this nacimiento are made of clay; the choza (hut) is made of wood. The shepherds and angels have distinctive faces; no two are alike. One shepherd carries firewood, another a tray of pan dulce (sweet breads), a third has a little bird in his hands. The tallest figures measure only three inches high. According to la leyenda navideña (the Christmas legend), even the animals in the stable bowed down to worship the Niño Dios (Baby Jesus).

The Niño Dios is not usually placed in the pesebre (manger) until the night of December 24. The Niño Dios for the clay nacimiento above is just over an inch long and is portrayed sleeping on his stomach with his tiny knees drawn up under him, just like a real infant. This entire nacimiento was made about 35 years ago in Tonalá, Jalisco, Mexico.

Mexican households traditionally pass the figures for their nacimientos down through the family; the figures begin to look a little tattered after traveling from great-great-grandparents to several subsequent generations, but no one minds. In fact, each figure holds loving family memories and is the precious repository of years of 'remember when…?''. No one cares that the Virgin Mary's gown is chipped around the hem or that St. Joseph is missing an arm; remembering how the years-ago newest baby, now 32 and with a baby of his own, teethed on the Virgin's dress or how a long-deceased visiting aunt's dog bit off St. Joseph's arm is cause for a family's nostalgic laughter.

Nacimiento en vivo (living nativity scene), Lake Chapala, Jalisco, Mexico. In 13th century Italy, St. Francis of Assisi was the first to be inspired to re-enact the birth of Christ. The first nacimiento was presented with living creatures: the oxen, the donkey, and the Holy Family. Even today in hundreds of Mexican communities, you'll see living manger scenes.

Holy Family, 18th century Italy. The first nativity figures, made of clay, were created in 15th century Naples and their use spread rapidly throughout Italy and Spain. In Spain, the early figural groups were called 'Belenes' (Bethlehems).

A few weeks before Christmas, my tiny nacimiento de plomo (manger scene with lead figures, none over four inches high) comes out of yearlong storage. The wee village houses are made of cardboard and hand-painted; each has snow on its roof and a little tree in front. You might well ask what the figures in the photo represent: Sr. San José (St. Joseph, who in Mexico always wears green and gold) leads the donkey carrying la Virgen María (the Virgin Mary) on their trek to Belén (Bethlehem). We put these figures out earliest and move them a bit closer to Bethlehem every day. This nacimiento is the one that grows each year; I have added many, many figures to the original few. This year I expect the total number of figures to rise to well over 200.

Click on this photo from the early years of my nacimiento and you will see that the Holy Family has not yet arrived in Bethlehem; the choza is empty and St. Joseph's staff is just barely visible in the lower right-hand corner. Click to enlarge the photo to better see the figures in the nacimiento: gamboling sheep, birds of all kinds, shepherds, shepherdesses, St. Charbel, an angel, and Our Lady of Guadalupe are all ready to receive the Niño Dios (Baby Jesus). Notice the upright red figure at the right, standing in the Spanish moss: that's Satanás (you know), who is always present in a Mexican nacimiento to remind us that although the birth of Jesus offers love and the possibility of redemption to the world, sin and evil are always present.

Detail of the lead figures in my ever-growing nacimiento. To the left is a well (with doves) and a woman coming to draw water; to the right is an arriero (donkey-herder) giving his stubborn little donkey what-for. No matter how many figures are included, the central figures in any nacimiento are the Holy Family (St. Joseph, the Virgin Mary, and the Baby Jesus). In Mexico, those three are collectively known as el misterio (the mystery).

A very small portion of one of the largest nacimientos on display in Mexico City. It measures more than 700 square meters and includes thousands of figures. They include everything you can think of and some things that would never occur to you: a butcher shop, a running stream and a waterfall, sleeping peasants, and washerwomen. A nacimiento can include all of the important stories of the Bible, from Genesis to the Resurrection, as well as figures representing daily life–both today's life in Mexico and life at the time of Jesus's birth. Photo courtesy El Universal.

Papel roca (hand-painted paper for decorating a nacimiento), a choza (little hut), and two kinds of moss for sale in this booth at the Guadalajara tianguis navideño (Christmas market). Over the course of years, Mexico Cooks! has purchased figures of a miniature pre-Hispanic loinclothed warrior, a tiny shoemaker working at his bench, a wee man sawing firewood, and a shepherd standing under a tree while holding a lamb. The shepherd's tree looks exactly like a stalk of broccoli and makes me smile each time I look at it.

Where in Mexico can you buy figures for your nacimiento? Every city and town has a market where, for about a month between the end of November and the first week in January, a large number of vendors offer items especially for Christmas. Some larger cities, like Mexico City, Guadalajara, Morelia, and others, offer several tianguis navideños (Christmas markets) where literally thousands of figures of every size are for sale. A few years ago, we found a tiny figure of the seated Virgin Mary, one breast partially exposed as she nurses the Niño Dios, who lies nestled in her arms. It's the only one like it that we have ever seen.

This shepherd keeps watch over his cook-fire in the Mexico Cooks! nacimiento. He's about three inches long from head to toe; the base of the fire is about the same length; the lead props for the pot are about two inches high.

This booth at a tianguis navideño in Guadalajara offers Niños Dios in every possible size, from tiny ones measuring less than three inches long to babies the size of a two-year-old child. In Mexico City's Centro Histórico, Calle Talavera is an entire street devoted to shops specializing in clothing for your Niño Dios. The nacimiento is traditionally displayed until February 2 (Candlemas Day), when the Niño Dios is gently taken out of the pesebre in a special ceremony called the levantamiento (raising). The nacimiento is then carefully stored away until the following December.

The choza (hut) in the Mexico Cooks! nacimiento. People and animals are waiting for the arrival of the Mary and Joseph, and for the birth of the Christ Child. Click on any photo for a larger view. In addition to the original lead figures, we now have indigenous figures found in a Mexico City flea market, antique lead animal figures (the rabbit behind the sleeping lamb, the little brown dog behind the kneeling shepherd), finely detailed santons from a trip to Provence, modern resin figures of every description, and many more. Two hundred more–and counting!

Piles of gold and silver glitter cardboard stars of Bethlehem, for sale at the tianguis navideño in southern Mexico City's Mercado Mixcoac.

At another tianguis navideño, an assortment of clay figures for your nacimiento: villagers, chickens, and vendors. Size and scale don't matter: you'll find crocodiles the size of a soft drink can and elephants no bigger than your little finger. Both will work equally well in your nacimiento.

Giant flamingos go right along with burritas (little donkeys). Why not?

Each traditional figure in a nacimiento is symbolic of a particular value. For example, the choza (the little hut) represents humility and simplicity. Moss represents humility–it's something that everyone steps on. The donkey represents the most humble animal in all creation, chosen to carry the pregnant Virgin Mary. The star of Bethlehem represents renewal and unending light.

Which diablito (little devil) tempts you most, the one with the money bag or the one with the booze?

How many shepherds do you want? This annual tianguis navideño booth has hundreds, and in sizes ranging from an inch to well over a foot tall.

It wouldn't be a Mexican nacimiento without tortillas! You wouldn't want the Sagrada Familia (Holy Family) to go hungry, would you?

A new addition for Navidad 2016: a dear friend knows my nacimiento passion and found these antique turkeys for me. The bigger one is just 3" from beak to tail. They'll fit right in with the other 200-plus figures!

This Christmas, Mexico Cooks! wishes you all the blessings of the season. Whatever your faith, we hope you enjoy this peek at the nacimiento, one of Mexico's lasting traditions.

Looking for a tailored-to-your-interests specialized tour in Mexico? Click here to see new information: Tours

24 de December de 2016
Piñatas at Christmas in Mexico? Isn’t the Piñata for Birthdays?

Huge piñatas at a Mexico City market.

Among clean ollas de barro (clay pots), plastic receptacles filled with engrudo (flour/water paste), and colorful, neatly stacked rounds of papel de china (tissue paper), Sra. María Dolores Hernández (affectionately known as Doña Lolita) sits on an upturned bucket. Her birthday is on December 24, and she still lights up–just like a Christmas tree–when she talks about her business and her life.

The last point of the star-shaped piñata is in Doña Lolita's hands, nearly ready to be glued into place.

"When I was a young woman, raising my family together with my husband, it was hard for us to make a good living here in Morelia. We had eight children (one has died, but six girls and a boy survive) and we struggled to make ends meet. My husband was a master mason, but I wanted to help out with the finances. I knew a woman who made piñatas, and I thought, 'I can do that.' So I started trying my hand, over 60 years ago."

Doña Lolita adds another layer of newspaper to this piñata in progress. "You can't put too much newspaper on the pot, because it will take too long to break," she explained. "And you can't put too little on it, either, because then the first child to hit it will break it. That's no good, either. You just have to know how much to use." Click on the photo to enlarge it and get a good look at the clay pot inside the paper maché.

"The woman who made piñatas wouldn't give away her secrets, so I had to figure everything out for myself. You should have seen me the first time I tried to make a bird's beak for a parrot-shaped piñata! A man I knew told me to make it out of chapopote (a kind of tar), so I did. It hardened all right, but later in the day the weather warmed up and that beak dripped down to here! What a mess! I finally figured out how to make the shape out of paper, but I just about broke my head thinking about it!"

The family has cut rounds of papel de china (tissue paper) that wait to be glued onto a piñata. The black plastic bag holds strips of newspaper used for covering the clay pot to create the shape of the piñata.

Doña Lolita told me about the different grades of paper used to create different styles of decoration on the piñata, and she explained different kinds of paper-cutting techniques; she's absolutely the expert. Here, her son-in-law Fernando cuts tissue paper for fringe. His hands are so fast with the scissors it made my head spin; he can even cut without looking.

"In those days, the kind of clay pots we use for piñatas cost four and a half pesos for a gross–yes, for 144. In the old days, I usually sold about 7,000 piñatas every December, so you can imagine the investment I made just in clay pots. In the 1960s, I could sell a large piñata for seven pesos. Now–well, now the pots are much more expensive, so naturally the piñatas cost more, too. The large ones cost 45 pesos. This year, I'll sell about 1,000 piñatas just to break during the posadas. "

Piñatas in various stages of completion hang from every beam in Doña Lolita's tiny workshop.

"When my daughter Mercedes was about eight years old, she wanted to learn to make piñatas. She'd been watching me do it since she was born. So I taught her, and I've taught the whole family. Piñatería (making piñatas) is what's kept us going." Doña Lolita smiled hugely. "My children have always been extremely hard workers. There was a girl for each part of making the piñatas. Every year, we started making piñatas in August and finished at the beginning of January.

This gigantic piñata, still unfinished, measures almost six feet in diameter from point to point.

"One time, we had so many piñatas to finish that I didn't think we could do it. So I thought, 'if we work all night long, we can finish them by tomorrow morning.' Only I couldn't figure out how to keep the children awake to work all night." She laughed. "I went to the drugstore and bought pills to stay awake. I knew I could keep myself awake, but I gave one pill to each of the children. And in just a little while, I was working and they were sleeping, their heads fell right down into their work! What! Those pills didn't work at all! The next day I went back to the drugstore and asked the pharmacist about it. 'Oh no! I thought you asked me for pills to make them sleep!' he said." Doña Lolita laughed again. "We finished all the piñatas in spite of those pills, but you had better believe me, I never tried anything that foolish again."

Doña Lolita builds piñatas with her son-in-law, Fernando Cedeño Herrera (left), her daughter Mercedes Ayala Hernández, her grandchildren and her great-grandchildren. A close friend, Oswaldo Gutiérrez López (background), works with the family. Her grandson Enrique, 19, says he intends to keep the family business going.

Oswaldo Gutiérrez works on this piñata in the doorway of the tiny taller. Doña Lolita has taught many people the art of creating traditional piñatas, but her family and her loyal customers say she's the best piñatera (piñata maker) in Morelia.

"People come from everywhere to buy my piñatas. I don't have to take them out to sell; I only sell them here in the taller. Because they're so beautiful and well-made, all the best people in Morelia–and lots of people from other places–come to seek me out and order piñatas for their parties. I've taught my family that our work is our pride and our heritage, and my children have all taught their children the same. That is our legacy, our family tradition."

Fill the piñata with candy like these bags of traditional colación (hard candies especially for Christmas).

A group of Doña Lolita's piñatas, hung up for sale outside her workshop.

But why piñatas, and why in December? During the early days of the Spanish conquest, the piñata was used as a catechetical tool. The body of the piñata represented Satan; each of the seven points symbolized the seven capital sins (pride, lust, gluttony, rage, greed, laziness, and envy). Breaking the piñata equated with the triumph of good over evil, overpowering Satan, overcoming sin, and enjoying the delights of God's creation as they pour out of the piñata. Doña Lolita's most sought-after piñatas continue the traditional style, but she also creates piñatas shaped like roosters, peacocks, half-watermelons, deer, half moons, and once, an enormous octopus!

What the piñata might contain at Christmas–but fill it with whatever you think the kids will like best! Candies, small seasonal jícamas, sugar cane, mandarinas (tangerines) and cacahuates (fresh roasted in the shell peanuts, in season now) are all popular. Photo courtesy Google Images.

Now, for the nine nights from December 16 through December 24, Mexico celebrates las posadas. Each evening, a re-enactment of the Christmas story brings children dressed as la Virgencita María (ready to give birth to her baby) and her husband Sr. San José (and a street filled with angels, shepherds, and other costumed children) along the road to Bethlehem, searching for a place to stay. There is no place: Bethlehem's posadas (inns) are filled. Where will the baby be born! For the re-enactment, people wait behind closed doors at certain neighborhood houses. The santos peregrinos (holy pilgrims) knock, first at one door, then another. At each house, they sing a song, begging lodging for the night. At each house, the neighbors inside turn them away in song: 'No room here! Go away! Bother someone else!' Watch a lovely video filmed in Michoacán, a traditional small-town posada:

[youtube=https://www.youtube.com/watch?v=XmdGZ0KXQ0Q&w=560&h=315]
I hope that one day you are able to participate in this beautiful tradition.

Freshly toasted cacahuates (peanuts) also stuff the piñata. The wooden box holding the peanuts is actually a measure, as is the oval metal box.

After several houses turn away la Virgen, San José, and their retinue, they finally receive welcome at the last, previously designated house. After the pilgrims sing their plea for a place to stay, the guests assembled inside sing their welcome, "Entren santos peregrinos…" (Come in, holy pilgrims…). The doors are flung open, everyone piles into the house, and a huge party starts. Traditional foods like ponche navideño (a hot fruit punch), buñuelos (a thin fried wheat dough covered with either sugar or syrup), and tamales (hundreds of tamales!) pour out of the kitchen as revelers sing villancicos (Mexican Christmas carols) and celebrate the coming of the Niño Dios (the Child Jesus). Finally, all the children line up to put on a blindfold and take swings at a piñata stuffed with candy, seasonal fruits, and peanuts.

This five-pound bag of hard candies shows a blindfolded (but peeking) boy ready to break open the filled piñata. Luis Gómez, a merchant at Local 290, Mercado Independencia in Morelia, offers these and other bags of piñata candies.

Mandarinas (tangerines) are in season at Christmastime and round out the goodies in many piñatas.

The piñata, stuffed with all it will hold, hangs from a rope during the posada party. A parent or neighbor swings it back and forth, up and down, as each child takes a turn at breaking it open with a big stick. Watch these adorable kids whack away at one:

[youtube=https://www.youtube.com/watch?v=XIOjDz0smFw&w=420&h=315]
The piñata, lovely though it may be, is purely temporary. Nevertheless, happy memories of childhood posadas with family and friends last a lifetime.

Looking for a tailored-to-your-interests specialized tour in Mexico? Click here to see new information: Tours

17 de December de 2016
The Many Images of Our Lady of Guadalupe :: Nuestra Señora de Guadalupe en Imágenes

The actual tilma (cape-like garment made of woven maguey cactus fiber) worn by San Juan Diego in December 1531. The image is imprinted on the fabric; no science has been able to determine the source of the image. The framed tilma hangs over the main altar at the Basílica de Nuestra Señora de Guadalupe, Mexico City.

[youtube=https://www.youtube.com/watch?v=WsT0CgsrIzo&w=560&h=315]
Listen as this group sings La Guadalupana, one of the most popular of Mexico's many traditional songs honoring Our Lady of Guadalupe. The lyrics tell the story of her apparition to Juan Diego on the now-Mexico City hill called Tepeyac, and also emphasize the honor felt by Mexicans that she appeared here.

The annual feast of Nuestra Señora de Guadalupe (Our Lady of Guadalupe) falls on December 12–in 2016, that's this coming Monday. Nuestra Señora de Guadalupe is Mexico's patron saint, and her image adorns churches and altars, house facades and interiors, taxis, private cars, and buses, bull rings and gambling dens, restaurants and houses of ill repute. The shrine of Our Lady of Guadalupe, la Basílica, is a place of extraordinary vitality and celebration. On major festival days such as the anniversary of the apparition on December 12th, the atmosphere of devotion created by several million pilgrims is truly electrifying. Yes, several million go to "echarle una visita a la Morenita" (pay a visit to the little brown virgin) during the 24 hours of her feast day. On ordinary days, Masses are offered nearly every hour to the assembled faithful.

Statues of Our Lady of Guadalupe for sale at the many, many souvenir booths outside the Basílica. Statues range in size from two or three inches tall to life-size.

The enormous Basílica of Nuestra Señora de Guadalupe in Mexico City is the second most visited pilgrimage site in the Western Hemisphere–second only to the Vatican. Its location, on the hill of Tepeyac, was a place of great sanctity long before the arrival of Christianity in the New World. In pre-Hispanic times, Tepeyac had been crowned with a temple dedicated to an earth and fertility goddess called Tonantzin, the Mother of the Gods. Tonantzin was a virgin goddess associated with the moon, like Our Lady of Guadalupe who usurped her shrine.

Our Lady of Guadalupe tattoo.

There's a saying in Mexico: "No todos somos católicos, pero todos somos guadalupanos." (We may not all be Catholics, but we are all devoted to Our Lady of Guadalupe.)

Read the full story of Nuestra Señora de Guadalupe here.

Our Lady of Guadalupe surrounded by fresh roasted peanuts, Morelia, Michoacán. November 2009.

Holy water bottles in rainbow colors of plastic, for sale at the booths just outside the Basílica.

Art casket, Our Lady of Guadalupe and the Basílica.

A late 18th or early 19th century tiny painting of Our Lady of Guadalupe, in its original metal frame. It measures approximately 2" by 1.5" and is part of Mexico Cooks!' small collection of art related to her.

Modern but primitive folk art depiction of Our Lady of Guadalupe.

This wall art, advertising for a Los Angeles, California kitchen cabinet business, shows Our Lady of Guadalupe embracing Pope John Paul II, who was devoted to her. This image is reproduced as wall art, advertising, calendars, statues of all sizes, and pictures to hang on the wall. Nearly 15 years after his death, Mexico continues to feel a deep connection to Pope John Paul II. Photo courtesy OnBeing.org.

Portrait of Monseñor Diego Monroy, rector of the Basílica de Nuestra Señora de Guadalupe. The painting is part of Monseñor Monroy's private collection.

A late 19th/early 20th century tip tray, drilled at the top to hang on a wall. The tray measures approximately 6" high.

Our Lady of Guadalupe, hand embroidered on silk with pearlized tiny beads, roses, and sequins. Her face and hands, and the cherub at her feet, are hand-painted celluloid. This piece was originally the ceremonial capote de paseo (shoulder piece) of a bullfighter's traje de luces (suit of lights). It is the vestige of an 18th century long cape worn during the bullfighter's promenade into the ring. When worn, this curved item fit over the bullfighter's left shoulder as a sort of epaulet. This particular piece was sewn into an inverted cone for display.

In 1810, Padre Miguel Hidalgo carried this banner to lead the struggle for Mexico's independence from Spain.

Our Lady of Guadalupe, lovely image painted on a cement wall in Morelia, Michoacán.

Nuestra Señora de Guadalupe (Our Lady of Guadalupe) is truly the heart and soul of Mexico. When you visit Mexico City, the Básilica is a must-see. Let me know when you'll be here and I'll go with you.

Looking for a tailored-to-your-interests specialized tour in Mexico? Click here to see new information: Tours

10 de December de 2016
Holiday Gift Recommendations from Mexico Cooks!: Books About Mexico That You’ll Love

During the course of the last year, Mexico Cooks! has received several new books about Mexico's people, places and things. You can see that my desk is stacked up–and this is just the short stack! It's time for holiday giving, and the Mexico-phile on your gift list would definitely enjoy one of these. In alphabetical order by last name of author, they are:

Many of you may already know Suzanne Barbezat, who writes extensively about Mexico travel for About.com. Suzanne is based in Oaxaca and has years of experience as a travel and cultural expert, particularly in the southern part of Mexico. She's taken her cultural expertise one step further–and a giant step, at that–with her newly minted book Frida Kahlo at Home. Photo courtesy Suzanne Barbezat.

Fully illustrated in both color and black and white, the book features Suzanne's writing, photos of Frida's paintings together with archive images and Kahlo family photographs, many objects and artifacts that the artist collected, as well as photographs of the surrounding Mexico City landscape to provide an insight into how these places shaped this much-loved artist and how the homes and streetscapes of her life and travels relate to and shape her work. Even though books about Frida Kahlo abound, Suzanne brings a fresh look at the artist in her hogar–her own home. New insights, fresh research, gorgeous photography, and a beautiful format make Frida at Home the perfect gift for any Frida fan.

Sheri Brautigam is extraordinarily well-versed in regional Mexican textiles. She's recently written Textile Fiestas of Mexico, a lovely and comprehensive book about the textiles fairs of several of those regions, including Chiapas, Michoacán, Puebla, and Oaxaca, among others. Photo courtesy Norma Schafer.

It's exciting to read this compendium of textile fiestas and shopping; the book is subtitled A Traveler's Guide to Celebrations, Markets, and Smart Shopping and Sheri is as good as her word in sharing wonderful information with the reader. Sheri was at one time a well-known textile designer and collector and now sells fabulous things from her online Etsy shop, Living Textiles. Whether you want to go to a tempting textile sale in Michoacán, an indigenous market in Oaxaca, or a fair in the state of Chiapas, her new book will get you to some of the top textile venues in Mexico. The photos are terrific for studying the variety of hand-woven fabrics used in all sorts of indigenous dress. Regional differences in dyes, weaving, and dress are well-covered, and Sheri offers wise advice on everything from bargaining to laundering your acquisitions. This is a great starter book for sourcing textiles, both wearable and decorative, and I recommend it highly.

Meet Lydia Carey, the author of La Roma, the excellent new guide to Mexico City's Colonia Roma. La Roma (the neighborhood) is one of the truly hot spots in the city, filled with restaurants (and more restaurants!), galleries, street food, cantinas, pulquerías, mezcalerías, cozy little (and not so little) hotels, and up-to-the-minute modern shops. Lydia is a relative newcomer to the city and I was quite frankly surprised and delighted by the extraordinary scope of her research. She's done a superb job of scouting out the most interesting, most fun, most delicious of everything La Roma has to offer. If you're coming to Mexico City and want to explore the trendiest part of the city, you will want–nay, you will NEED this book. The book is bilingual English and Spanish–the cover means "Come right in!"

La Roma is organized by sections of the colonia (neighborhood), which makes it very easy to look up or walk the area, section by section, to see just what interests you. Whether you need a shoe repaired, need a street stand recommendation for tacos, want to buy wonderful fresh-baked bread, or you're thinking of buying a home, La Roma will point you in the right direction. It's terrific to have a bilingual guidebook dedicated to one of Mexico City's brightest and most entertaining colonias. Two thumbs up for Lydia and her book La Roma!

Lesley Téllez is the author of Eat Mexico, a book about the joys of Mexico City market stalls, food on the street, and more, featuring Lesley's updated recipes for classic street food and home cooking favorites. Lesley's personal story is about discovering her own roots; born in California into a Mexican-American family and raised on Cal-Mex food, Lesley moved to Mexico City when her husband's work brought him here in 2009. She quickly discovered that she knew almost nothing about the food of Mexico's interior, took a short course at a local cooking school, and started her own blog and her own Mexican food-oriented tour company. Lesley lived and wrote in Mexico City for about four years; when she moved back to the USA in 2013, she produced the book Eat Mexico. From her home in Queens, New York, she continues to direct a group of tour guides in Mexico. Photo courtesy Lesley Téllez.

Lesley's most impressive accomplishment is her zero-to-sixty zoom from neophyte to self-proclaimed expert. She writes with style, although not 100% accuracy, about a most complex subject. Her recipes look quite authentic to the casual observer, although many are simplified for cooks who might not have access to standard Mexican ingredients. Certainly we can't all follow Diana Kennedy's traditional methods and recipes that all but instruct us, "first you plant your corn". A good example of that simplification is her suggestion to use masa harina (corn flour) or even cornstarch to thicken atole (a thick hot drink with a corn masa [dough] base). It seems logical that not everyone who wants to prepare corn-based recipes has access to raw tortilla dough, and masa harina might well work as a short-cut thickener, but thickening atole with cornstarch gives the finished drink an unpleasant slippery texture; I wouldn't recommend that short cut. There are a number of similar conveniences in the recipes, created with the best of intentions for the modern home cook. Overall, Eat Mexico is a well-designed, well-organized cookbook that will get the user into the home kitchen to make Mexican food. It will be a start in learning about commonly eaten foods in Mexico City and its surroundings.

It's a month before the year-end holidays! You have plenty of time to order any or ALL of these books as gifts for that special someone on your list–and maybe even an extra of each for yourself. Enjoy!

Looking for a tailored-to-your-interests specialized tour in Mexico? Click here to see new information: Tours

26 de November de 2016
Dr. Atl, Volcanos and Politics: A Painter’s Eye, A Painter’s Passion

The painter's eye. Detail of Dr. Atl (Gerardo Murillo) 1962 self-portrait, oil on cardboard. Private collection.

Gerardo Murillo was born in 1895 in the San Juan de Dios neighborhood of Guadalajara, at the height of the Francophile rule of Mexican president/dictator Porfirio Díaz. He began studying painting at the age of 19. After studying in Italy in 1921, Gerardo Murillo became been better known as 'Dr. Atl' (atl is the Náhuatl word for water), as he was re-christened by Leopoldo Lugones, an Argentine writer and leftist political colleague. After his death in 1964, his ashes were interred in Guadalajara in what is known today as the Rotonda de Jaliscienses Ilustres (the Rotunda of Illustrious People of Jalisco). During his life, Dr. Atl was profoundly eccentric, his entire being immersed in his passions for painting, for politics, and particularly for volcanos.

Gerardo Murillo, self portrait 1899. All photos by Mexico Cooks! unless otherwise noted.

The Museo Colección Blaisten, part of Mexico City's Centro Cultural Universitario Tlatelolco (part of the UNAM, the huge multi-campus National Autonomous University of Mexico), mounted a December 2011 through April 2012 exhibition if 190 of Dr. Atl's masterworks. Dr. Atl, one of Mexico's most prominent 20th century painters, is actually very little known in the United States. Mexico Cooks! thought you might like once again to see a part of this exhibit.

Volcán Iztaccíhuatl (the Sleeping Woman volcano), 1916. Colleción Museo Regional de Guadalajara-INAH. Labels of this and many other paintings in the exhibit indicate that they were painted using Atl color (a type of paint created by the artist). Atl color is similar to Greek encaustic paint. It contains resins, wax, and dry pigment which are melted, mixed, and hardened to form a medium similar to oil pastel. Dr. Atl used his eponymous colors on paper, cardboard, rough fabric such as jute, wood, and other bases.

Although Dr. Atl is best-known as the passionate painter of volcanos, he also painted portraits. Nahui Ollín, pictured above in 1922, had a five-year romantic relationship with Dr. Atl. During the early part of her life, Nahui Ollín's name was Carmen Mondragón. Dr. Atl gave her the Náhuatl name to honor the date in the Aztec calendar that commemorates the renovation of the cosmic cycles. Private collection.

The Valley of Mexico from the South, 1931, oil on fabric. Private collection.

Dr. Atl's scholarly observation and study of Mexican geography (he was not only a painter, but also a volcanologist and writer) combined perfectly with his travels in Europe to give him the tools necessary to become one of the outstanding landscape painters of the 20th century. In 1897, then-Presidente Porfirio Díaz gave young Gerardo Murillo a scholarship to study in Europe. Murillo studied not only Italian frescoes but also philosophy and penal law. He involved himself ever more deeply with leftist, anarchist politics, a consequence of his studies that President Díaz probably did not anticipate.

Dr. Atl was also an exceptional painter of clouds. This painting is Nubes sobre el Valle de México (Clouds over the Valley of Mexico), 1933, Atl color on asbestos. Collection Museo Nacional de Arte INBA.

Detail mid-right side, Nubes sobre el Valle de México. Note the variety of brushstroke used to create texture in the painting. Click on any photograph to enlarge the detail.

Dr. Atl began studying volcanoes during a trip to Italy in 1911. Beginning in 1925, he spent long periods of time at Mexican volcanoes such as Popocatépetl, Iztaccíhuatl, and the Pico de Orizaba. A tireless traveler, Dr. Atl climbed Popocatépetl and Iztaccíhuatl. Later those volcanoes became an important theme in his body of work.

In 1942, he visited the site of Mexico's newborn volcano Paricutín in the state of Michoacán. He said, “…El espectáculo del cono ardiente vertiendo aludes de materia ígnea, bajo un cielo de guijarros incandescentes, en sí mismo tan fuera de lo común que toda invención sale sobrando…” 'The spectacle of the burning cone spewing avalanches of lava under a sky of incandescent ash was by itself so far out of the ordinary that every other invention became like something left over…'

Volcán en la Noche Estrellada (Volcano on a Starry Night), 1950 (Paricutín). Atl color on plywood. Collection UNAM. Dr. Atl was the first artist to paint what he called 'aeropaisajes' (landscapes from the air); he took to the skies in small airplanes, flying over various volcano sites to immortalize them from above.

Life imitates art. April 16, 2012 photo of volcano Popocatépetl spewing flame, ash, and smoke. Popocatépetl straddles the state line between Puebla and Morelos, approximately 40 miles south of Mexico City. Photo courtesy Todo Oaxaca.

Dr. Atl, astonished and awed to see a volcano born in his lifetime, lived for approximately a year near still-erupting Paricutín. He observed, painted, and wrote for more than seven years about this majestic and completely unexpected young volcano.

Cráter y La Vía Láctea (Crater and the Milky Way), 1960. Oil and Atl color on masonite. Private collection, courtesy of Galería Arvil.

Detail, Cráter y La Vía Láctea.

For his entire life, Dr. Atl involved himself in left-wing political movements. In 1914, he allegedly was part of the plot to assassinate then-President Victoriano Huerta, because of which he was imprisoned briefly. After his release, he lived in Los Angeles, California until 1920. When he returned to Mexico, revolutionary leader and President Venustiano Carranza named him director of the Escuela de Bellas Artes (School of Fine Arts) and then Jefe de Propaganda e Información en Europa y América del Sur (Head of Promotion and Information in Europe and South America), a position he held for only a short time.

In 1956 Mexico awarded him the Medalla Belisario Domínguez and, in 1958, the Premio Nacional de las Artes.

Gerardo Murillo Pintando en el Valle de Pihuamo (Gerardo Murillo painting in the Valley of Pihuamo), 1952. Photo by Ricardo Salazar. Dr. Atl's right leg was amputated in 1949. Popular legend has it that the amputation was due to the inhalation of gases at Paricutín, but it was actually necessary because of complications of diabetes.

Mexico gave poet Carlos Pellicer the task of writing Dr. Atl's biography. Dr. Atl wrote to him, "Now it looks like a biography will really get off the ground! A couple, nearly human, came from Los Angeles as if they had fallen from heaven, to write a biography of me. Then I remembered that you were writing one. To make a long story short, I make the following proposal: you finish the biography that you already started. I enclose a slip of paper with some suggestions for organizing it in the most convenient way…I send you the most cordial handshake…" Some of the biographical material was printed in Carlos Pellicer en el Espacio de la Plástica, Volume 1, by Elisa Garcìa Barragán and Carlos Pellicer, UNAM 1997.

Dr. Atl died in Mexico City on August 15, 1964. His ashes are buried in the Rotonda de Jalisciences Ilustres in Guadalajara, where this statue is part of the site. Photo courtesy Rodrigo_gh, Flickr.

The five-month exhibition was an opportunity to see, through the eyes of this genius painter, the Valley of Mexico before Mexico City's explosion of population with its lava-like rivers of concrete swallowed nature whole. We had the chance to see the Valley and its volcanos when they ran with rivers, when the mountains burgeoned with trees and flowers.

Today, even though the exhibition has closed, we can see Dr. Atl's vision of the Valley of Mexico every time we visit the Palacio de Bellas Artes in Mexico City's Historic Center. His design, executed by the house of Louis Comfort Tiffany, is immortalized in the theater's million-piece stained glass curtain.

Looking for a tailored-to-your-interests specialized tour in Mexico? Click here to see new information: Tours

19 de November de 2016
The Spiritual Component of the Day/Night of the Dead in Mexico :: La Parte Espiritual del Día y Noche de Muertos en México

Remember me as you pass by,
As you are now, so once was I.
As I am now, so you will be,
Prepare for death and follow me.
…from a tombstone

What is death? We know its first symptoms: the heart stops pumping, breath and brain activity stop. We know death's look and feel: a still, cold body from which the spirit has fled. The orphan and widow know death's sorrow, the priest knows the liturgy of the departed and the prayers to assuage the pain of those left to mourn. But in most English-speaking countries, death and the living are not friends. We the living look away from our mortality, we talk of the terminally ill in terms of 'if anything happens', not 'when she dies'. We hang the crepe, we cover the mirrors, we say the beads, and some of us fling ourselves sobbing upon the carefully disguised casket as it is lowered into the Astroturf-lined grave.

Octavio Paz, Mexico City's Nobel Laureate poet and essayist who died in 1998, is famously quoted as saying, "In New York, Paris, and London, the word death is never mentioned, because it burns the lips."

Tzintzuntzan, Michoacán panteón (cemetery), Mexico Cooks! photo. These fellows sing to la Descarnada (the fleshless woman) on November 2, 2009.

In Mexico, on the contrary, every day is a dance with death. Death is a woman who has a numerous affectionate and humorous nicknames: la Huesuda (the bony woman), la Seria (the serious woman), la Novia Fiel (the faithful bride), la Igualadora (the equalizer), la Dientona (the toothy woman), la Pelona (the bald woman), la Patrona (the boss lady), and a hundred more. She's always here, just around the next corner or maybe right over there, behind that pillar. She waits with patience, until later today or until twelve o'clock next Thursday, or until sometime next year–but when it's your time to go, she's right there, ready to dance away with you at her side.

November 2013 altar to La Santa Muerte (Holy Death), Sta. Ana Chapirito (near Pátzcuaro), Michoacán. Devotees of this deathly apparition say that her cult has existed since before the Spanish arrived in Mexico.

In Mexico, death is also in the midst of life. We see our dead, alive as you and me, each November, when we wait at our cemeteries for those who have gone before to come home, if only for a night. That, in a nutshell, is Noche de Muertos: the Night of the Dead.

In the lower center portion of this photograph, you can see the Quiroga, Michoacán, panteón municipal (town cemetery). Late in the afternoon of November 1, 2013, most townspeople had not yet gone to the cemetery with candles and flowers for their loved ones' graves. Click on any photograph for a larger view.

Over the course of the last 30-plus years, Mexico Cooks! has been to countless Noche de Muertos events, but none as mystical, as spiritual, or as profoundly magical as that of 2013. Invited to accompany a very small group on a private tour in Michoacán, I looked forward to spending three days enjoying the company of old and new friends. I did all that, plus I came away with an extraordinarily privileged view of life and death.

A magnificent Purépecha ofrenda (in this case, a home altar) in the village of Santa Fe de la Laguna, Michoacán. This detailed and lovely ofrenda was created to the memory of the family's maiden aunt, who died at 74. Because she had never married, even at her advanced age she was considered to be an angelito (little angel)–like an innocent child–and her spirit was called back home to the family on November 1, the day of the angelitos. Be sure to click on the photo to see the details of the altar. Fruits, breads, incense, salt, flowers, colors, and candles have particular symbolism and are necessary parts of the ofrenda.

Detail of the ofrenda casera (home altar) shown above. Several local people told Mexico Cooks! that the fruit piled on the altar tasted different from fruit from the same source that had not been used for the ofrenda. "Compramos por ejemplo plátanos y pusimos unos en el altar y otros en la cocina para comer. Ya para el día siguiente, los del altar pierden su sabor, no saben a nada," they said. 'We bought bananas, for example, and we put some on the altar and the rest in the kitchen to eat. The next day, the ones in the kitchen were fine, but the ones from the altar had no taste at all.'

Preparing a family member's ofrenda (altar) in the camposanto in the village of Arócutin, Michoacán. The camposanto–literally, holy ground–is a cemetery contained within the walls of a churchyard. The candles used in this area of Michoacán are hand made in Ihuatzio and Santa Fé de la Laguna.

Come with me along the unlit road that skirts the Lago de Pátzcuaro: Lake Pátzcuaro. It's chilly and the roadside weeds are damp with earlier rain, but for the moment the sky has cleared and filled with stars. Up the hill on the right and down the slope leading left toward the lake are tiny villages, dark but for the glow of tall candles lit one by one in the cemeteries. Tonight is November 1, the night silent souls wend their way home from Mictlán, the land beyond life.

At the grave: candlelight to illuminate the soul's way, cempazúchitl (deeply orange marigolds) for their distinctive fragrance required to open the path back home, smoldering copal (frankincense) to cleanse the earth and air of any remnants of evil, covered baskets of the deceased's favorite foods. And a low painted chair, where the living can rest through the night.

Watching through the night. This tumba (grave) refused to be photographed head-on. From an oblique angle, the tumba allowed its likeness to be made.

"Oh grave, where is thy victory? Oh death, where is thy sting?"

Noche de Muertos is not a costume party, although you may see it portrayed as such in the press. It is not a drunken brawl, although certain towns appear to welcome that sort of blast-of-banda-music reventón (big blow-out). It is not a tourist event, though strangers are certainly welcomed to these cemeteries. Noche de Muertos is a celebration of the spirit's life over the body's death, a festival of remembrance, a solemn passover. Years ago, in an interview published in the New York Times, Mexico Cooks! said, "Noche de Muertos is about mutual nostalgia. The living remember the dead, and the dead remember the taste of home."

One by one, grave by grave, golden cempazúchtles give shape to rock-bound tombs and long candles give light to what was a dark and lonely place, transforming the cemetery into a glowing garden. How could a soul resist this setting in its honor?

"Our hearts remember…" we promise the dead. Church bells toll slowly throughout the night, calling souls home with their distinctive clamor (death knell). Come…come home. Come…come home.

Waiting. Prayers. No me olvido de tí, mi viejo amado. (I haven't forgotten you, my dear old man.)

Next year, come with me.

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5 de November de 2016
The Catrina, Mexico’s Iconic Legacy from José Guadalupe Posada

José Guadalupe Posada, born in early 1852 in the state of Aguascalientes, Mexico, developed his skill as an artist into a career as the foremost political cartoonist of his era, regularly skewering the high and mighty of late 19th century Mexico with his engravings. His portrait (above), engraved by mid-20th century engraver Leopoldo Méndez, is a classic.

Posada's satirical efforts started when he worked as a teenage apprentice in Aguascalientes. His boss, José Trinidad Pedroza, assigned him the job of creating a finger-pointing cartoon depicting the misdeeds of a local politician. His characterization was so successful that it created a tremendous hullabaloo in Aguascalientes; both Posada and Pedroza had to leave town in a hurry to avoid the politico's wrath. When the tumult calmed down, the two printers returned to their work of exposing nefarious political goings-on.

Posada, photographed around the turn of the 20th century, standing in the doorway of his Mexico City taller de grabado (engraving workshop).

When Pedroza's Aguascalientes workplace was destroyed by a flood in 1888, Posada moved to Mexico City to open his own workshop. After the move to the capital, Posada began publishing and distributing frequent volantes (flyers). He used the medium to continue to puncture the egos and expose the foibles and serious crimes of government and social figures of the day. During a time when many in Mexico were illiterate, the message of political cartoons could be easily understood even without reading the articles. Many credit Posada with raising the political and social consciousness of the peón (common laborer), exposing social injustice at a time when most at that level were blind to it.

Posada's first published fashionably-hatted calavera (skull). The cartoon is titled, "Big Sale of Grinning Skulls". Over the course of the rest of his career, it is estimated that the prolific Posada published as many as 20,000 political volantes, at a penny apiece, including many thousands that were illustrated by calaveras.

What was Posada's purpose in utilizing a skeleton–albeit a well-dressed skeleton–to illustrate his articles? Mexico's president/dictator at the time, Porfirio Díaz, appreciated and aped all things French. During his rule, known as the Porfiriato, Mexican government officials and high society alike dressed in the French mode, expressing what was known then and is known now as malinchismo: over-valuing foreign imports over Mexico's national products. The Frenchified calavera engraved by Posada is offered as a satirical portrait of those Mexican natives who, Posada felt, were aspiring to adopt European aristocratic traditions in Mexico's pre-revolutionary era. The irony of Posada’s drawing—a fabulously over-dressed skeleton—is that no matter what we’re wearing, we all end as bones.

El Jarabe en Ultratumba (Dancing Beyond the Grave).

In Mexico, we play with, make fun of, and party with death. We throw our arms around her in a wickedly sardonic embrace and escape her return embrace with a zippy side-step, a wink, and a joke. Every day is a dance with death. Death is a woman who has a numerous affectionate and humorous nicknames: la Huesuda (the bony woman), la Seria (the serious woman), la Novia Fiel (the faithful bride), la Igualadora (the equalizer), la Dientona (the toothy woman), la Pelona (the bald woman), la Patrona (the boss lady), and a hundred more. She's always here, just around the next corner or right over there, behind that pillar. She waits with patience, until later today or until twelve o'clock next Thursday, or sometime next year–but when it's time, she's right there to dance away with you at her side.

In the fairly recent past, Posada's politicized calavera became known as la catrina, a figure now closely related to Mexico's celebration of Día de los Muertos (Day of the Dead). Renowned Michoacán-based painter and sculptor Juan Torres Calderón, Mexico Cooks! good friend, was the first to present Posada's catrina vision in clay. In 1982, his wife, Velia Canals, began production of Maestro Torres' catrina designs. Their workshop in Capula, Michoacán, is open for sales to the public.

The Mexican word catrina–the word now used for any representation of Posada's original French-attired calavera–simply means a woman who is dressed to the nines. Her male counterpart is known as a catrín—a handsome man, usually dressed in elegant male attire. Together, the couple are catrines. Even today, if you go out to a formal event, your neighbor (seeing you leave the house) might well say, “Uff, qué catrina!” Unless you’re a man, of course, in which case the neighbor would say, “Qué catrín!”.

These catrines are made of paper maché. On the far right, you see a bride and groom. Mexico Cooks!' kitchen shows off this same artisan's chef figure, in a green chef's jacket and a high white toque. Enlarge any photo to have a better view.

Some of the many Día de los Muertos figures displayed at the fabulous bakery Hornos de Los Ortíz, in Morelia, Michoacán. The owner makes these gorgeous figures out of bread dough! If you happen to be in Morelia in the next few weeks, DO NOT MISS this bakery and its annual display. The owners, in a typical Mexican play on words, call the diorama a pan-teón: bread cemetery.

During the 2015 Noche de los Muertos events in Morelia's historic center, this young woman dressed in a skirt and hat made of totomoxtle (dried corn husks)–the husks normally used for making tamales. Her mother made her outfit and painted her face.

During the last few years, many Mexican children and adults have begun to paint their faces for Día (and Noche) de Muertos. The little girl in the chair lives in Opopeo, Michoacán, a small town not far from Morelia. In the town square's bandstand, young people were designing a special face for each child who wanted one.

Posada's century-old political calavera has evolved into one of Mexico's most beloved icons, the catrina. When your friends ask you about her, be sure that they know the history behind this beautiful creature. She's more than just a pretty face.

Looking for a tailored-to-your-interests specialized tour in Mexico? Click here to see new information: Tours

29 de October de 2016
Del Plato a La Boca at MODO, Mexico City’s Brilliant Museo del Objeto del Objeto

MODO: the Museo del Objeto del Objeto (Museum of the Object of the Object), on the lovely corner of Calle Colima and Calle Córdoba, Colonia Roma Norte, Mexico City. The museum has no permanent exhibits; each temporary exhibit is normally on display for several months. Photo courtesy Animal Gourmet.

One might think "Museo del Objeto del Objeto" is a strange name for a museum, but consider how far beyond simply seeing an object the name and the museum take us. In the space of this very manageably sized museum, we are given the vision of each object exhibited in the context of its time, of its place, of its fellow objects, and in the context of the entire exhibit. In other words, we come away with the sense of the object of the object: the purpose and the grace of each. MODO shows us how these familiar objects both interpret and relate to our very lives.

The current exhibit, which opened on September 20, 2016, is perfect for all of you who love everything related to food and its preparation. Del Plato a La Boca (from the plate to the mouth) is entirely about the kitchen, its utensils, and its design. The earliest piece in the show is from the late 1800s; the most recent is as new as this year. This exhibition will run through February 26, 2017. Mark it on your calendar and don't miss it! All photos copyright Mexico Cooks! unless otherwise noted.

First: what does the title of the exhibit mean? Mexico is famous for its thousands of refranes or dichos–folky sayings. The title of the exhibit is part of one of literally hundreds about only the kitchen, the dining table, and the art of eating. The complete saying is, "Del plato a la boca se cae la sopa"–from the plate to the mouth, the soup spills. In other words, there is no such thing as a sure thing; from one moment to the next, things change.

Ana Elena Mallet, the internationally acclaimed curator of Del Plato a La Boca, looks justifiably delighted with the initial response to the show. The museum graciously invited Mexico Cooks! to a press conference and a private guided tour, held just hours prior to the exhibition's September 20th opening to the public.

Here's a very modern kitchen from 1950s Mexico. It's the first room of the exhibit and it excited everyone on the tour. It's enormously gratifying to see such a beautifully mounted exhibit, nothing overstated, nothing wasted, everything just so. Last week, a friend, a member of Mexico City's food world, told me, "This exhibit is so wonderful! I've been twice, I can just stand there and look at just a few things for an hour. I can't wait to go back again." I agree, and will go again soon.

Del Plato a La Boca features every aspect of the Mexican kitchen. Well-used, well-loved, cherished through generations, Mexico's utensils range from the tortilla press to the pressure cooker and from the upper crust to the garbage bin.

A late 19th-early 20th century handwritten family recetario (cookbook). The page on the left is a recipe for bread pudding made from pan corriente ('ordinary' bread); the page on the right is a recipe for meatballs with bread.

Part of a wall of various types of metal moulds: for gelatin both sweet and savory, cakes, cookies, ice cream, and candies. My favorites? See those two rabbits about a third of the way down from the top? Those!

A rare paperback 'people's cookbook' from the Compañía Nacional de Subsistencias Populares, known by its acronym, CONASUPO. CONASUPO, founded in 1961 as a Mexican parastatal entity with the goal of regulating prices–particularly for corn–to enable Mexico's most marginalized citizens to supply their families with the canasta básica (basic food basket). This cookbook featured recipes made with harina de maíz (corn flour). Other recetarios featured dried beans, fresh eggs, whole milk, dried fish, chiles, tender fresh early corn, and even desserts. CONASUPO operated its stores in Mexico's areas of deepest poverty. The government closed the agency in 1999, but subsequently morphed into a similar, if smaller, organization called DICONSA (Sistema de Distribuidoras Conasupo, S.A. de C.V.) It's highly unusual to see a cookbook from the CONASUPO era, much less a utilitarian cookbook with a lovely cover design–it's papel picado, in the deeply colorful rosa mexicano!

Even kitchen toys make an appearance in Del Plato a La Boca. Here, a miniature and obviously well-loved stove. My question: what's in the oven? It looks like something is cooking, doesn't it?

It's easy to see that many kitchen items travel across internationally boundaries: the old enameled coffee pot is ubiquitous, as are the glass jars. Other things, like the metal spice container marked canela (cinnamon) to the left on the top shelf, might be different from those where you live. And that charming nesting hen dish at the bottom? She's probably a foot long and eight inches high, made of clay, and completely Mexican.

I looked at this for quite a while without recognizing it for its utility. The first thought that came to my mind was, "it reminds me of Petite Maman, the spider sculpture by Louise Bourgeois…". But of course you know what it is: a juicer! What terrific design. Photo courtesy MODO.

Apart from the sheer joy of seeing Del Plato a La Boca, one of my day's highlight moments: an opportunity to talk and laugh for a few minutes with the award-winning and long-admired author of Like Water for Chocolate, Laura Esquivel. Ms. Esquivel formed part of the invited press conference's panel who discussed a bit of Mexico's culinary history prior to the museum tour. That panel included Ana Elena Mallet (the exhibit curator), Ricardo Muñoz Zurita (Mexico's most prominent food historian and restauranteur), and Ms. Esquivel. She has expanded the reach of her brilliant novel of early 20th century life and the kitchen along the Mexican border–her next book will be out in the not-too-far-distant future. We'll keep you posted.

Even the desk at MODO's exit featured the design of old-time milk bottles and their delivery crate, exquisite in their simplicity.

Don't miss Del Plato a La Bocas at the MODO. You believe there's plenty of time to get here: the exhibition is on until February 26, 2017. Just remember: from the cup to the lip, there's many a slip. Life changes in a heartbeat.

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22 de October de 2016
Mexico’s Independence Celebration: A Month of Fiestas Patrias

Street vendors hawk la bandera nacional (the Mexican flag) in dozens of forms for several weeks during August and right up to September 16, Mexico's Independence Day. In this photo, you see a vendor near the zócalo (Plaza de la Constitución) in Mexico City. Photo courtesy Starmedia.

Mexico's official struggle for freedom from Spanish colonization began sometime between midnight and dawn on September 16, 1810, when Father Miguel Hidalgo gave the Grito de Dolores (Cry of Dolores) from the parish bell tower in the town known today as Dolores Hidalgo, Guanajuato. Mexico celebrates its day of Fiestas Patrias (Patriotic Holidays) on September 16 with parades of school children and military batallions, politicians proclaiming speeches, and general festivity.

Another flag vendor, this time in Morelia, Michoacán. All photos copyright Mexico Cooks! unless otherwise noted.

Hundreds of books have been written about Mexico's break from Spain, millions of words have been dedicated to exploring the lives of the daring men and women who knew, a bit more than 200 years ago, that the time had come for freedom. You can read some of the history on the Internet. Another excellent source for Mexican history is The Life and Times of Mexico, by Earl Shorris. You'll find that book available to order through Amazon.com, on the left-hand side of this page.

But the best-kept secret in Mexico is the Independence Day party. No, the biggest deal is not on September 16th. Held every year on the night of September 15, the Gran Noche Mexicana (the Great Mexican Night), the real celebration of the revolutionary events in 1810, is a combination of New Year's Eve, your birthday, and your country's independence festivities. Wouldn't you really rather hear about the party? I knew you would!

Jalisco town kiosko (bandstand) decorated for the Fiestas Patrias.

For years I've attended the September 15 celebrations in a variety of towns and cities. In Mexico City, the country's president leads hundreds of thousands of citizens in late-night celebrations in the zócalo, the enormous square surrounded by government buildings and the Metropolitan Cathedral. Every Mexican town big enough to have a mayor holds a reenactment of the Grito de Dolores, Hidalgo's cry for independence. The town square is decorated with flags, bunting, and ribbons. Cohetes (sky rockets) flare and bang. Sometime around eleven o'clock at night, the folks, assembled in the town plaza since nine or so, are restless for the celebration to begin. The mayor's secretary peeks out from the doorway of the government offices, the folkloric dancers file off the stage in the plaza, the band tunes up for the Himno Nacional (the national anthem), the crowd waves its flags and hushes its jostling. The mayor steps out onto the balcony of the government building or onto the stage built just outside the building's front door to lead the singing of the Himno's emotional verses.

The bandera monumental and celebratory fireworks in front of Mexico's Palacio Nacional, the zócalo, Mexico City, September 15, 2015. Press courtesy photo.

Dressed in his finest and backed up by a military or police guard, the mayor clears his throat and loudly begins an Independence Day proclamation. He pulls a heavy rope to ring the Independence bell, then he waves a huge Mexican flag. Back and forth, back and forth! In every Mexican town, the proclamation ends with Hidalgo's 205-year-old exhortations: "Long live religion! Long live Our Lady of Guadalupe! Long live the Americas and death to the corrupt government! Viva México! Qué viva!"

Father Hidalgo's 1810 banner. He carried this banner as his standard as a leader in the fight for Mexico's independence from Spain.

The mayor and the crowd shout as one voice: "Viva México! Qué viva! Qué viva!" The mayor grins and waves as the fireworks begin, bursting huge green, white, and red chrysanthemums over the heads of the attendees.

Later there will be dancing and more music, and food, including traditional pozole, tostadas, mezcal, tequila and beer, and, in larger towns and cities, all-night revelry in the plaza, in private homes, and in hotels, restaurants, and events halls.

A number of years ago my friend, música ranchera singer Lupita Jiménez from Guadalajara, invited me to a Gran Noche Mexicana where she was performing. The event was scheduled to start at 9.30, but Mexican custom normally dictates late arrival. By ten o'clock I was on my way to the party. At the salón de eventos (events hall) the parking lot was already full, but a man was parking cars on the street just a block away. As I left my car, he said, "Could you pay me now for watching your car? It's 20 pesos. I'll be leaving a little early, probably before the event is over."

"How long will you be here?" I asked, a bit anxious about leaving the car alone on this night of prodigious revelry.

Lupita Jiménez in performance at a Gran Noche Mexicana in Guadalajara.

"Till six." My jaw dropped and I handed him the 20 pesos. Six in the morning! Surely we wouldn't party quite so long as that!

The sad truth is that I didn't. I couldn't. My stamina flagged at about 3:00 AM, after dinner had been served at 10:30, a city politician had proclaimed the Grito, the Himno Nacional had been sung, and big noisy fireworks had been set off on the indoor stage (I swear to you) of the salón de eventos. Then the show started, a brief recapitulation in dance of Mexican history, starting with concheros (loincloth-clad Aztec dancers) whirling around a belching volcano, and ending with the glorious jarabe tapatía–the Guadalajara regional dance that most speakers of English know as the Mexican hat dance.

After innumerable trios, duets, and solo singers, the show paused for intermission at close to two in the morning. Several of my table-mates slipped away, but I thought I could make it to the end. The first half of the Gran Noche Mexicana had been invigorating and exciting and I loved it. During intermission, a wonderful Mexican comedian poked fun at politics, functionaries, and Mexican life in general. We were all roaring with laughter. When the comic left the stage, I realized that I was exhausted and needed to go home to bed. Just as the performers stepped onto the stage to begin the next round of song, I sneaked away.

When I called Lupita the next afternoon to congratulate her on the success of the event, she asked if I'd stayed for the last few costume changes. "Mija, I had to go home early. I lasted till three, but then I just couldn't stay awake. I'm so sorry I missed the end."

Lupita laughed. "I'm glad you lasted that long, but next time you have to stay for the whole night! You missed the best part!"

The Zócalo (main city plaza) in Mexico City, dressed up for the Fiestas Patrias.

Viva México! Qué viva!

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10 de September de 2016