Category: Arts and Crafts

Wheat, Flour, and Yeast: Basque Spanish Immigrants’ Bakeries in Mexico City

Pan Segura, Legítimo Estilo Jalisco (Bread Segura, Real Jalisco Style) is almost literally a hole in the wall on Calle 16 de septiembre in Mexico City's Centro Histórico. There's just enough open space for a person to squeeze single file and sideways past a bread case and into the slightly wider part of the bakery to pick up a tray and tongs. Buy bread here often enough and you probably won't fit through the door!

A few weeks ago, Mexico Cooks! received an email from a total stranger: Jane Mason, the owner of Virtuous Bread, asked me where to buy certain kinds of specialty flours in Mexico City or anywhere in the rest of the República. Originally based in England, Jane Mason has recently been working on a bread-baking project in the Distrito Federal. After exchanging several notes with me, she mentioned that she and her partner were taking a Centro Histórico tour of traditional bakeries that weekend. Would I like to join them? Did I leap at the chance? You bet!

Racks of Jalisco-style pan dulce (Mexican sweet breads) at Pan Segura. Their most famous sweet bread is the unique cuadros de queso (cheese squares). Large, densely textured, and completely delicious, the bread balances between sweet and salty. With a freshly squeezed glass of juice, it's big enough to be breakfast. It's also addictive. Trust me, eating one cuadro de queso today leaves you wanting another tomorrow.

Universidad Iberoamericana, in the person of Maestra Sandra Llamas, planned the bakery tour to explore the 19th century presence in Mexico of Basque immigrants from the province of Navarre, Spain. Those immigrants came from the Spanish Valley of Baztán to live in Mexico City at the end of the 19th and beginning of the 20th centuries. Ultimately, they became the most important European influence on Mexico's commercial bakeries, flour sellers, and yeast purveyors.

Maestra Sandra Llamas begins the tour of traditional bakeries by offering an overview of prominent Basque bakers in 19th century Mexico City. Approximately 25 people of every young-adult and adult age participated in our three-bakery walking tour.

During Porfirio Díaz's long presidency/dictatorship (1876-1910), all things European were very much the rage in Mexico. Spanish and French goods were much more highly valued than goods made in Mexico. During the Porfiriato (the name used to describe those nearly 35 years), many Basque families were accustomed to sending their adolescent first-born sons to the New World. These young men arrived all but penniless in Mexico, and their families in Spain expected that they would make successes of themselves in their new homes.

In 1877, there were 68 bakeries in Mexico City. By 1898, the bakery count was up to 200. Most of the bakery owners were Basques from Navarre. They did not bring baking to Mexico, but they did bring a particular way of doing business. They bought wheat fields, built urban rather than rural flour mills, bought bakeries, and soon dominated the market that catered to one of humankind's basic needs: hunger.

Don Braulio Iriarte Goyeneche was born in Navarra, Spain, in 1860 and arrived in Mexico City in 1877.

Arguably the most successful of these young Basques was the teenager who, as an adult in Mexico City, would be known as don Braulio Iriarte Goyeneche. In 1877, his family forced him to leave Navarra and make a life for himself in this unknown world across the sea. Industrious, hard-working, and creative, the young Iriarte began his career as an employee at one of Mexico's first commercial bakeries. By the end of the 1800s, he was Mexico's king of flour, yeast, and bread. The two keys to his success were his business acumen and the trustworthy cleanliness of his bakeries.

Jalisco-style bread from Pan Segura. This tiny bakery has been in operation for 85 years.

During the fourth quarter of the 19th century, common practice meant that campesinos (country boys) worked barefoot in bakeries. In an attempt to keep their feet clean, they were not allowed to go outside the bakery during the day–locked in with the ovens, barefoot boys and young men clad in the white pants and shirts of the campesino, danced 17 hours a day in the heat of a wood-fired bakery to knead the fresh-made dough . It's no wonder that some customers complained occasionally that their bread was too salty: blame the extra salt on the campesinos' sweat blended into the flour mixture. Don Braulio's bakeries were considered to be extremely sanitary because, unlike in other Mexico City bakeries, machinery did all the kneading. No one's feet touched the dough.

Conchas (shells, a kind of sweet bread) from Panadería El Molino. These conchas are quiet large, and you can see that the price per piece is five pesos (at today's exchange rate, approximately 36 US cents).

At the end of the 19th century in Mexico, the salary for a Mexico City panadero (baker) was two pesos per month. Yes, two. In 1903, Mexico City's bakers began what is known as la huelga de los bolillos (the bread strike). Their demand? A raise in salary to 2.5 pesos per month. The bakers gave or threw away thousands of the individual loaves of white bread known as bolillos to protest the bakery owners' reluctance to pay them a half peso more per month. The bakery owners' main fear was that their young men would drink substantially more due to the salary increase.

Sr. Iriarte rapidly rose to the highest level of prominence in Mexico's world of wheat, flour, and yeast. Within 30 years of his arrival in Mexico City, he and a business partner owned numerous bakeries, had opened a flour mill in Toluca (near the urban center of Mexico City), and founded Mexico's first commercial yeast factory. By the end of the 1920s, he was grinding nearly all of Mexico's wheat.

In early 1922, Sr. Iriarte added another business to his stable: the Corona brewery, which has grown to become one of the largest and most important breweries in the world. Its flagship beer, Corona, is the largest-selling Mexican beer in the world. What's the connection between beer and bread? Yeast.

At El Molino, a bakery worker paints apricot syrup onto fresh-from-the-oven trenzas (braids) made of puff paste. She will then sprinkle the braids with sesame seeds.

You don't use your fingers to pick up bread in Mexico's bakeries. Near the entrance to any bakery, you'll find trays and tongs for choosing what you want to buy. The check-out clerk will use your tongs to put your bread in its bag or box, then bang the crumbs off the tray and back it goes for the next customer's use.

Our tour took in three bakeries, all within a few blocks on Calle 16 de septiembre in Mexico City's Centro Histórico. Pan Segura is the smallest of the three, barely big enough for four or five people to shop for bread at the same time. Pastelería El Molino, just down the street, has been in business since 1918 and was purchased first by Carlos Slim Helú's Panadería El Globo and then was sold to Grupo Bimbo, a giant international wholesale bread-baking concern which bought both bakeries in 2005.

One small room on the first floor of Pastelería La Ideal.

Cochinitos (gingerbread pigs), detail of one tray with stacks and stacks of one of the most traditional sweet breads in Mexico, Pastelería La Ideal. The number of trays of cochinitos is beyond comprehension. Seeing is almost–almost!–believing.

Little cookie men in their two-button suits at La Ideal.

The crown of our bakery tour was its visit to Pastelería La Ideal, long one of Mexico Cooks!' favorite spots in Mexico City. The bakery is enormous. Founded in 1927, the bakery specializes in…well, it specializes in being special. The first floor is devoted to decorative and delicious gelatins, flans, small cookies called pasta seca, everyday cakes, and breads. Hundreds of kinds of breads–350 different kinds, to be exact. Unbelievable amounts of bread, but there it is: right in front of your eyes and absolutely believable. This bakery alone (it has two more branches in the city) turns out 50 to 55 thousand pieces of bread every day, seven days a week.

Muffins with candied fruits, Pastelería La Ideal.

This branch of Pastelería La Ideal is closed for cleaning for exactly one hour a day. If you go between five and six o'clock in the morning, you'll find the doors locked. Otherwise, teams of master bakers (17 to 20 per shift, three eight-hour shifts per day) supervise and work with 350 workers to give us this day our daily bread.

La Ideal traditional package on Mexico Cooks!' dining room table. We bought our neighbor a coffee cake. Honest, it was for her, not for us.

During the early morning hours, you'll see men and women rushing up and down Calle 16 de septiembre and its surrounding streets, carrying packages from La Ideal, tied up with string, tucked under their arms or dangling from outstretched fingers. Mexico City's desayuno (breakfast), whether at home or at the office, almost always includes a pan, either salado or dulce (salty or sweet bread). Cuernitos (like croissants), biscoches (biscuits), panqué (poundcake), pan danés (Danish pastry), bigotes (bread shaped a bit like a moustache), orejas (elephant ears), and conchas (shells), plus bolillo, telera, and all the other kinds of breads fly off the shelves and into Mexico City kitchens, to be served with a coffee or hot chocolate.

Chocolate cake filled with strawberry marmalade and topped with cream horns, Pastelería La Ideal. In the evening, Mexico City stops back in at La Ideal to buy a little something for cena (light supper): a cake, a gelatin, or some cupcakes or cookies. This cake costs 190 pesos. Click on any photo to enlarge and show details.

The second floor of Pastelería La Ideal is entirely about big-deal party cakes. You and the person who is giving a party with you sit down at a tiny desk with a La Ideal sales associate to have a serious discussion about cake: how many people you plan to invite, how much other food there will be, what the occasion might be, how much you want to spend, and any other question you need to ask to have just the right cake made for your needs.

This six-kilo cake (model J-28) decorated with a chocolate basket and pink sugar roses would be perfect for your aunt's birthday, Mother's Day, or any occasion where a small cake is necessary. Hold onto your hats:

Model L-20, decorated with clowns, balloons, ribbons, and stalactites made of icing, weighs 25 kilos and is designed for a child's birthday party. Twenty-five kilos and four stories equal a mid-size cake at La Ideal. There are cakes for quinceañeras (girls' fifteenth birthday parties), engagement parties, first communion parties, and wedding receptions that weigh as much as 50 kilos or more. Those cakes are constructed with stories, bridges, and some have actual running-water waterfalls. The size of your expected crowd dictates the size of the cake.

Some things at your bakery are just about the same as they were when the Basques came to Mexico: bread is freshly baked throughout the day and night, it's affordable, and some is still quite delicious. Other things have changed completely: in most commercial bakeries, margarine or vegetable shortenings are used instead of butter, most everything is mechanized, and the lowly, delicious bolillo–Mexico's original white bread–is now more like cotton batting than like honest bread. But Jane Mason of Virtuous Bread and Mexico Cooks! have vowed to track down any real bolillo that still exists. It's the best thing since–since before sliced bread! I promise to report back.

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

26 de May de 2012
Zirita: Exciting Cooking School Experience of the Taste of Michoacán

Zirita, in a rural paradise mere minutes from Morelia's busy Centro Histórico (historic center), is a center of traditional culinary teaching and experiences. Photo courtesy Guillermo Martínez Acebo.

The frame for Michoacán's traditional cuisine, in one of its most genuine forms, with the warmth of a wood fire and the application of hereditary techniques passed down through generations, are the essence of Zirita. Its creator, owner of Morelia's Restaurante San Miguelito and culinary promoter Cynthia Martínez, prefers to call it 'a workshop of gastronomic experiences'.

The old saying "…the mountain goes to Mohammed…" is especially true in terms of the opening of Zirita. The great merit of Zirita is its nearness to Morelia, Michoacán's capital. In the last several years, various regions of the state of Michoacán have become known for its ancestral culinary values. The subtleties, secrets, flavors and perfumes of some of the most reknowned sanctuaries of Michoacán's cuisines–for example, in the case of Angahuan, where Purhépecha women have continued and spread the great expression of food in their communities–will be present in these remarkable cooking classes. Zirita brings the regional cuisines of the most remote pueblitos (small towns) of Michoacán into readily accessible Morelia.

Michoacán's oro verde (green gold): the ubiquitous Hass avocado, which over the last 30 years has become one of the state's most lucrative crops as well as a prominent fixture in its cuisines.

Located close to Morelia's urban center and very nearly part of the city itself, Zirita is a space apart from the hustle and bustle of Morelia. The workshop location allows the visitor to experience the delights of country life, the sounds of nature, as well as the joys of flowers, fruits, and herbs as a daily recurring theme. Zirita is a small complex which has as its center a large troje (typical Purhépecha house). The troje, in turn, has, above all else, the kitchen as its heart: the place where supplies are stored, where preliminary food preparation is done. This is a traditional Purhépecha outdoor kitchen, supplied with all of the utensils used in any Purhépecha community's cooking techniques.

At Zirita, your hands-on experience will be preparing traditional foods typical of the pueblitos (small towns) of Michoacán as well as Mexican dishes common in other parts of the country. Photo courtesy Guillermo Martínez Acebo.

During a workshop experience, traditional cooks and visitors can prepare great delicacies from old family recetarios (collections of recipes). Those regional delights include atápakuas, corundas, uchepos, churipos, moles, adobos, and a thousand other culinary creations from the state of Michoacán. Needless to say, visitors learn to prepare tortillas from corn ground on the metate, patted out by hand, and cooked on a comal (clay griddle) placed over a fogón (cooking fire) contained by paranguas: the three stones which sustain the food world of the Purhépechas. The paranguas are a symbol of the cosmos, of family and community values, and of the relationship and harmony of humankind with nature and with the gods.

Chiles pasillas drying in the sun. When green, we know this long, fleshy chile as chilaca. Sun-dried in its mature (red) state, it is called chile pasilla. Typically part of the Michoacán chile repetoire, it is grown around north-central Queréndaro, Michoacán.

El Rincón de las Solteronas (the Old Maid's Corner), Restaurante San Miguelito. Photo courtesy Alejandro Canela.

Art and fine crafts are distinctive characteristics displayed at Restaurante San Miguelito, celebrated home of Saint Anthony standing on his head. The items displayed in the room, site of the hopes of so many women from Mexico and the world, are also a distinctive element of Zirita. In addition, Zirita has a great variety of herbs which complement the inventory of nuances, delicate touches, and details which nourish its cooking fires.

The wonderful Maestra Benedicta Alejo, fine regional cook and cornerstone of the Zirita experience, grinds green herbs and chile seeds on her metate. She is preparing tzirita, the typical Purhépecha dish that gives the cooking school its name.

Outdoor kitchen at Zirita, with its traditional fogón, comal, and all of the utensils common to the Purhépecha kitchen. Photo courtesy Guillermo Martínez Acebo.

Conceived as a cooking school, Zirita (which means 'seed' in the Purhépecha language) offers several different experiences to anyone who is interested in knowing the essence of Michoacán's culinary traditions. Those traditions, nourished by legends and family tips, by old sayings and anecdotes, by the wisdom of traditional cooks, is presented almost as if the women were in their own homes. However, in this case it is a shared home, completely outfitted as a faithful replica of the different processes of cooking. Broken down into specific themes, ranging from how to make a tortilla to the preparation of the most complex dish of mole de boda (wedding mole), Zirita offers an opportunity to learn these culinary traditions from their most worthy and authentic bearers. In addition, the visitor learns to use the tools and classical artifacts of the Mexican kitchen, right down to the teachers' secrets for their maintainance and use–including how to cure or 'educate' a metate.

The metate and metapil (three-legged volcanic stone grinding board and its roller). This kitchen tool has been used since well before the Spanish arrival in the New World.

Cynthia Martínez said, "This has been a very intense effort, from the construction of the site to the fitting-out of the different areas. To begin with, traditional cuisine is an authentic showcase of the riches of our people with the added factor that in addition to its beauty, everything in the cuisine has a use.

Zirita cooking class taught by Maestra Benedicta Alejo. Photo courtesy Rubén Hernández.

"Nevertheless, the intellectual and emotional richness, and the sum of so many lives are concentrated in this place with the presence of women like Benedicta Alejo, one of the most enthusiastic transmitters of our culinary inheritance. By way of the courses, local, national, and international visitors can live the excitement of making their own tortillas, of grinding chiles, of treasuring our wild herbs as part of one of life's rituals. The huge difference is doing these things in completely traditional terms, living the chat and the get-togethers which start in our markets. Much of the wisdom that our women possess makes them standard-bearers and the ones who will continue to impart the knowledge of food which is one of our great national treasures, as a culture and as a country."

Original article written by Rubén Hernández and published in Spanish at Crónicas del Sabor, translated by Mexico Cooks!.

Zirita
Zirita Culinary Experiences
Circuito de los Manzanos 250
Colonia Arcos de la Cascada
San José del Cerrito
Morelia, Michoacán
Tel. 011.52.443.275.4536 (from the United States)
All of the Zirita experiences are available in either Spanish or English.

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

12 de May de 2012
Camera in Hand in Mexico City: Con la Cámara en la Mano en el DF

Where is the online game starring these birds NOT the latest craze? A couple of weeks ago, Mexico Cooks! took a small group tour to Mexico City's enormous Mercado de la Merced and was not the least surprised to find Angry Birds^®piñatas in every party goods stand. Red, yellow, blue, black and white birds were all there–but there was not a single green pig in sight.

The great violinist don Pepe Martínez, director of Mariachi Vargas de Tecalitlán–the self-described best mariachi in the world. It's true: there is no other mariachi that compares with the 114-year-old group founded in Tecalitlán, Jalisco by don Gaspar Vargas López. We were up-close-and-personal with them this past March, when we sat in the third row at their concert at the UNAM.

[youtube=http://www.youtube.com/watch?v=5_YLg7w4y9w&w=350&h=267]
Just in case you haven't heard Mariachi Vargas de Tecalitlán, listen to one of Mexico Cooks! favorites: Entra en Mi Vida (Come Into My Life). Part of the lyric goes like this: "Come into my life, I beg you! I started out missing you, then I needed you, now I don't want anyone else…I want you to be the owner of my heart." Of course I think the entire song expresses my feelings for my beloved wife.

This enormous Judas figure hangs in a stairwell at the Museo de Arte Popular (Popular Arts Museum) in Mexico City's Centro Histórico. Paper maché figures representing Judas Iscariot are traditionally hanged and burned in parts of Mexico on the Saturday night before Easter Sunday. They normally measure from this guy's shoe to his knee. This fellow is a giant, not to mention a fashion statement.

Can you look at the photo without tipping your head sideways? The green wall of plants, bringing a refreshing touch of the natural to downtown, makes up one side wall of Restaurante Padrino on Calle Isabel la Católica, Mexico City. The bicycle is parked on the–lawn? The doors lead into individual shops on the balcony of the former Palacio de los Condes de Miravalle, built in the mid-18th century. The former palace, which is now home to two restaurants (Azul/Histórico), a soon-to-open hotel, and some charming shops, is one of the Distrito Federal's oldest buildings.

Just when I think I have seen just about everything sweet or salty that people snack on here in the city, I learn about something I could not have imagined. A vendor outside the Mercado de la Merced sells these by the measure. I could not guess what I was seeing, can you? Click on the photo to enlarge it for a better view–but the who-knew secret is that these are salted wild cherry pits. Suck one for a while, then break it open and eat the tiny almond-shaped kernel inside. I regret not asking to try one.

Sometimes a person just has to show off a little. Mexico Cooks! was expecting company and decided to prepare a tortilla española–a Spanish omelet with potatoes and onions. This simple dish, served chilled or at room temperature, is a classic from Spain.

In Mexico, February 2 is el Día de la Candelaria (Candlemas Day). Candelaria marks the official end of the Christmas season; it comes forty days after the Christian celebration of the birth of Jesus. It's said to be the day that the Virgin Mary took the newborn Jesus to the temple for the first time. Here in Mexico, the feast day is celebrated by dressing a figure of the Niño Dios (Child God) in all sorts of finery and taking him to church like a babe in arms to be blessed. These Niños Dios representing various saints and traditions are for sale in shops along Calle Talavera in Mexico City, as well as in a number of other spots. There are a number of other customs for the day, and the celebration always includes eating tamales and drinking atole. Candelaria is linked to the Day of the Three Kings (January 6), when we eat rosca de reyes (a kind of sweet bread) that contains a tiny plastic figure of the Baby Jesus. Tradition says that the person who gets the little figure in his or her slice of rosca throws the tamales party on Candelaria.

Speaking of tamales, a gentleman vendor at our neighborhood tianguis (street market) gave me these on February 2 this year. They are made of typical corn masa (dough) and filled with refried black beans. Each tamalito (little tamal–that's the word for just one!) measures about three inches long by an inch in diameter. The little clay dish that holds them is about three inches across. The vendor told me that he makes them twice a year and he promised to invite me to the tamalada (tamales-making party) the next time the day rolls around. Rather than being twisted or tied closed, the ends of the corn husks are pushed into a dimple at the end of each tamal. These are a specialty of Milpa Alta in the southernmost part of Mexico City.

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

5 de May de 2012
James Metcalf and Ana Pellicer: Copper Artists in Santa Clara del Cobre, Michoacán

This article about Ana Pellicer and James Metcalf was originally published on September 19, 2009. I re-publish it today in homage to Jim, who passed away on January 27, 2012. Rest in peace, querido amigo.

Two trivets and a large olla de cobre con asa (copper kitchen pot with a handle), all hand-hammered in the French style by James Metcalf, catch the afternoon sun at the Metcalf/Pellicer home in Santa Clara del Cobre.

James Metcalf and Ana Pellicer, both important sculptors, choose not to live in Paris (where James worked early in his life, cheek by jowl with Constantin Brancusi, Marcel Duchamp, Man Ray, René Magritte, and other seminal modern artists), New York (where both have exhibited their work in stellar galleries and museums), or Mexico City (where Mexico's hippest and most active artist's circle burgeons). Instead, the Metcalf/Pellicer household has built a better mousetrap in Santa Clara del Cobre, Michoacán. The world beats a path to their door in the heart of this tiny community of artisans.

One of Metcalf's small copper pots. Ana Pellicer told me, "We use this one every day, to heat the milk." He created an entire baterie de cuisine (set of cooking pots) for their personal use.

In 1950, James went to Majorca, where he studied ancient Mediterranean metallurgy and created the illustrations for poet Robert Graves' Adam's Rib. In the mid-1960s, James left Paris for Mexico, where he had heard that pre-Hispanic coppersmithing techniques were still in use. Told that what he searched for only existed in Santa Clara del Cobre, Michoacán, he set off to investigate. By the late 1960s, James Metcalf and Ana Pellicer, his former student, were living and working in Santa Clara.

Their early explorations were related to el cazo de Don Vasco, the 16th Century cooking kettle introduced to Santa Clara del Cobre by Don Vasco de Quiroga. The copper cazo, which ranges from stove-top size to immense (large enough to cook an entire cut-into-chunks pig) is still used wherever carnitas or candy are made in Mexico. It's safe to say that all of Mexico's copper cazos come from Santa Clara.

This hammered copper cazo has a diameter at the top of approximately 60 centimeters (two feet).

When James Metcalf arrived, Santa Clara del Cobre offered no luxury to the artist accustomed to life in Paris, New York, and other cosmopolitan centers. Houses in the town were little more than hovels. There was no indoor plumbing. Although nearly every man in town worked copper as a livelihood, with few exceptions the only items produced in the talleres (workshops) were cazos. All of the cazos were formed with a thin edge which was rolled around an iron wire to finish the piece. Metcalf, using clay pots from the nearby state of Colima as examples of shapes, taught the Santa Clara smiths the design and construction technique of the thick edge.

James Metcalf, extraordinary Renaissance man–elegantly knowledgeable, elegant as well in speech, dress, and manner. His work, sometimes classified as both surrealist and abstract expressionist, is an important force in 20th Century metal sculpture.

A few of the hundreds of tools in James Metcalf's work room. He crafted many of his own tools to accomplish the techniques of particular works. Until Metcalf's arrival, the coppersmiths of Santa Clara del Cobre had never seen the highly polished hammers commonly used in urban metalsmithing.

Metcalf's thick edge copper technique, completely different from the techniques used at the time in Santa Clara, revolutionized Santa Clara's artisanal copper production. The smiths slowly began to produce hollow ware other than cazos, including jugs, kitchenware, and other decorative work.

James Metcalf puts the final touches on his huge sculptural portrait of Mexican president (1934-1940) General. Lázaro Cárdenas Ríos. In 1985, Metcalf donated the sculpture to the town of Santa Clara del Cobre. Photo by Miguel Bracho, courtesy of Artisans of the Future by Jorge Pellicer, SEP, 1996.

Metcalf and the artisan coppersmiths of Santa Clara del Cobre received the commission to create the Pebetero Olímpico (cauldron which holds the Olympic Flame for the duration of the games) for the Olympic Games to be held in Mexico in 1968. The enormous cauldron, adorned with repousée decoration of maíz (corn, representing the life force of Mexico), brought world-wide attention to the traditional artisans of Santa Clara and their work.

Ana Pellicer, August 5, 2009, at home in Santa Clara del Cobre. Exquisitely talented, Ms. Pellicer continues to create beautiful art. "What else can I do? Making art is my life, it's always my salvation."

Ana Pellicer arrived in Santa Clara del Cobre fresh from a privileged life in Mexico City and New York. Santa Clara, a community bound in rigid traditional gender roles and attitudes, did not respond well to her desire to work in copper. Talented, young and beautiful, her life in the small town was frequently difficult. Nevertheless, committed to the philosophy of 'mexicanidad'–the internalization of being Mexican in every aspect of life, including their art–both Pellicer and Metcalf felt deeply obligated to live and work in the Santa Clara community of artisans.

The maquette (small scale model) for La Máquina Enamorada (the Machine In Love), Ana Pellicer's enormous sculpture. The actual sculpture, commissioned by Mexican industrialist Francisco Trouyet, is now part of the collection of the Museum of Modern Art in Mexico City. La Máquina Enamorada weighs 250 kilos and measures nearly two meters high by nearly two meters wide and a meter and a half deep.

Over time, Pellicer to some degree gained the trust of the townspeople. In 1975, she and a group of artisan coppersmiths worked together to produce the commissioned piece La Máquina Enamorada (the Machine in Love). Enormous and enormously complex–made from nearly 300 kilos of solid copper ingot–the piece became the largest forged work ever made in Santa Clara and the first artisan-made work accepted by the Museum of Modern Art in Mexico City.

La Ulama or La Pelota que Rebota (The Ball that Bounces), by Ana Pellicer. The hammered copper decorative ring represents the cartwheel ruff, a heavily starched collar that was muy de la moda española (very stylish with the Spanish) during the time of the conquest of Nueva España. The black rubber ball represents the Purhépecha fire ball played in the pre-Hispanic game called Ulama. Pellicer collected the resin for the ball in the traditional method, from Michoacán pine trees. Exhibited in Denver, Colorado, as part of a complex installation, the piece represents ideas that transcend ancient times as traditions and native peoples bounce between cultures.

One of Ana Pellicer's lasting and tremendous accomplishments in Santa Clara has been incorporating women of the community into artisanal copper making. Despite intense opposition from many male artisans, Pellicer taught jewelry-making to some artisans' wives, who began to create jewelry that subsequently has won prizes at the community's annual copper fair.

El Beso (The Kiss), hand-hammered copper, 35X40X15 centimeters, Ana Pellicer, 1995. This hinged sculpture is currently part of the traveling exhibit The Women of Michoacán, Art and Artists. Photo courtesy Fred Derosset.

James Metcalf and Ana Pellicer founded several schools in Santa Clara del Cobre. In 1973, they received the support of the Ministry of Popular Culture and opened La Casa del Artesano. La Casa del Artesano offered artisan training to Santa Clara coppersmiths apart from the traditional training they received as apprentices in local talleres. Later in the 1970s, La Casa del Artesano closed.

Ana Pellicer's double copper plaques, each one smaller than a postcard, with male and female figures.

In 1976, Metcalf and Pellicer began teaching classes in their home. All the while, deep tensions continued to exist, not only within the artisans' community but also between ancient and modern techniques and styles of work, dress, jewelry, and, at its essence, community life.

Metcalf and Pellicer later founded, under the auspices of Mexico's Secretaría de Educación Pública (Secretary of Public Education) what became the most important school for artisans in Santa Clara del Cobre and arguably in all of Mexico: the Adolfo Best Maugard Center for Technical/Industrial Training #166 (Cecati #166). Teaching different techniques of metalsmithing and jewelry making at all levels of production, the school incorporated traditional and European forging methods, taught blacksmithing, casting in both lost wax and sand, machine tools, lathing, enamel work, stone cutting, and electroplating. All of those techniques opened multi-faceted new horizons of artistic and commercial opportunity to Santa Clara artisans.

In 2002, a Michoacán branch of Mexico's teachers' union took over directorship of the school, displacing Metcalf and Pellicer. The move was highly politicized and its consequences spilled over into extreme community tensions and division between the copper artisans and the former directors of the school. Many members of the artisan community continued (and continue until today) to consider Metcalf and Pellicer to be outsiders, even after their more than 35 years' involvement in the life of Santa Clara del Cobre. The pain and stress of this division are still abundantly apparent in both Metcalf and Pellicer's recounting of its incidents.

Sala (living room), Casa Metcalf/Pellicer, August 2009.

The lives and work of James Metcalf and Ana Pellicer are profoundly rooted in both art and artesanía, in both an international community of artists and a local community of artisans. Richly philosophical and deeply reflective, the artists confront their life's mixture of joy and pain in their work. Their story continues to unfold.

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18 de February de 2012
Mexico Cooks! Turns Five: Thanks to You, We’re Celebrating Our Fifth Anniversary

This is the very first photo published by Mexico Cooks! on February 2, 2007: multicolor sonajas (rattles) for sale at a Michoacán artisans' fair. Wouldn't you love to work a jigsaw puzzle made from this picture?

The first week of February 2012, Mexico Cooks! joyfully celebrated its fifth birthday. In March, 2007, only weeks after our first publication, one of our articles was titled, 'From That Little Beginning', quoting the owner of the original producer of Salsa Cholula in speaking of his own business. Today, we echo his thoughts: who would have thought that after Mexico Cooks!' initial article on Candlemas Day 2007–that 'little beginning' article read out of the goodness of their hearts by an audience of 2 or 3 friends–that our current readership would number nearly one million faithful followers? Who would have thought that the London Times would name Mexico Cooks! the number one food blog in the world? And who would have thought that at ten o'clock every Saturday morning for five years, a new Mexico Cooks! article would be ready for you to read? Trust me, not us!

In February and March 2008, Mexico Cooks! published several articles about our travels to the southern Mexican state of Chiapas. Many of our readers asked if this photo, taken at the San Cristóbal de las Casas indigenous market, were for sale or if it would be part of a calendar.

September 2009 featured Ana Pellicer and James Metcalf, internationally-known copper artists from Santa Clara del Cobre, Michoacán. This large and utilitarian French-style tinned copper pot with hand-forged iron handle, although not representative of the artists' fine sculptural works, is part of a popular baterie de cuisine–a set of kitchen pots designed and sold by the couple. Mexico Cooks! featured Ana Pellicer again in November 2010 when she received the illustrious Michoacán Premio Estatal de las Artes Eréndira (Eréndira State Arts Prize of Michoacán). She is the first woman ever to receive the award.

Tortita de calabacita (little squash fritter) from the sorely missed Restaurante Los Comensales in Morelia, Michoacán. Mexico Cooks! featured the restaurant (the name means 'The Diners') in October 2009. Less than a year from the date of our interview with her, Señora Catalina Aguirre Camacho, the owner of Los Comensales since 1980, became too elderly and incapacitated to continue to operate her wonderful restaurant.

And of course there was always food at Mexico Cooks!: recipes, history, and mouth-watering photographs have filled our pages since the beginning. If these few memorable articles leave you hungry for more, our archives contain nearly 300 articles, each with six–or eight–or ten–or more photos. In January 2009, we featured the first retrospective of the prior year's highlights of some of your favorite articles about Mexican food.

Over the last five years, we have frequently featured Mexican ingredients and how to use them in your home kitchen. Some of the most popular articles showcased fresh and dried chiles, and some of Mexico's exotic fruits. This fruit, the wild ilama (Annona diversifolia) from Michoacán's Tierra Caliente (hot lands), is all but unknown outside its home territory. Its skin color is ashy green with tinges of pink on the outside. The flesh is rosy pink; the flavor is a little like a cross between a peach and a pineapple.

If you had to guess, which of Mexico Cooks!' nearly 300 articles do you think would be the most searched for on Google? Think of the ultimate comfort food. Yes: it's caldo de pollo, Mexican-style chicken soup. The article is so popular that once a year, we publish it again!

Another enormously popular article features the preparation of Mexico Cooks!-style frijolitos refritos (refried beans). Prepare them this way once and you may never eat them any other way.

It's almost always a party here at Mexico Cooks!, and you are always invited. Join us at ten o'clock every Saturday morning. Look at the right-hand side of the page to click on "Subscribe to this blog's feed' and receive each new week's Mexico Cooks! article and photos via email.

And what might be Mexico Cooks!' favorite part of this five-year-long party? It's not the food, nor the travels, nor the fascinating cultural insights to this marvelous country that I can share with you, the country for which I fell hook, line, and sinker in 1981. Nope. The best part of all is you.

Mexico Cooks! met a number of fellow food writers in Mexico City in 2010. What did we do? Oh please! We met for lunch, of course.

Many of you have written to me to talk about your joy at discovering Mexico's traditions, including its traditional foods. Many of you have written to me for advice about travel, restaurants, and the use of various Mexican ingredients. Many of you have written to me, like this person, to share a memory: "Thanks. I cried and remember my family. They always ate corundas with pork and chile. It has been many, many years since I visited my family's town in Mexico. Your articles always take me home to my beloved Mexico." Be assured that knowing that you are there–wherever you are in the world–you are the reason that Mexico Cooks! continues. Thank you for five years of support, trust, and confidence.

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11 de February de 2012
The Rebozo in Mexico, Witness to Life: El Rebozo en México, Testigo de la Vida

Lovely young Agustina in her pink silk rebozo (long rectangular shawl).

A friend recently gave me a copy of an old and anonymous Mexican poem, written in Spanish, in homage to the rebozo. The rebozo's importance to Mexican women cannot be exaggerated: from swaddled infancy to shrouded death, a rebozo accompanies our women throughout their days. It is at once warmth, shade, infant's cradle, cargo-bearer, fancy dress, screen for delicious flirtation, and a sanctuary from prying eyes.

Enjoy my translation.

Michoacán-made rebozos and guitar, on exhibit in Morelia. Note the elaborate fringes on both rebozos.

My Rebozo

Rummaging through my closet one fine day
I found this garment—my old rebozo!
How long had it been resting there?
Even I can’t say exactly.
But seeing it brought back so many memories
Tears clouded my eyes and fell one by one as I held
My beloved rebozo!

Mother and infant daughter wear matching rebozos, Fiesta de Nuestra Señora de Guadalupe 2010.

What a faithful friend you have been.
Shall we relive just an instant of that far-distant past?
When I first showed you off, you were so beautiful, so new,
With your lively color and flowing fringe
Your reflection gleamed in the mirror like the morning star!

Fine lace rebozo still on the loom, from the Reboceros de Aranza (Aranza Rebozo Weavers Cooperative).

Come on, come on, let me fling you over my heart
The way I did in bygone years,
Next to this heart that disappointment has turned to ash!
Don’t you remember that beautiful blouse I wore,
Embroidered with poppies and carnations?
Don’t you remember all my triumphs and successes,
And my flounced skirt, so full of its pretty sequins, beads, and glitter?

Lavender and white rebozo with elaborate fringe.

See, tightened to the span of my narrow waist and
Crossed just so over my straight young back
Showing off my fresh round breasts,
With two vertical parallel lines.
We stepped out to the beat of those long-ago songs,
That dance that determined my life.
Your fringes hung down just so!
And the two of us formed one soul.

Finely woven black and red rebozo.

How was it that I wanted him? You know!
Rebozo, you heard first how I loved him!
Your fringes were hopeful prisoners of my teeth
While I heard the soft slow songs of love
Oh perverse rebozo, unfaithful friend!
You were my confidante and my hiding place
You pushed me, burning, into romance
Wrapped in your fringes as if they were cherished arms.

Intricately patterned deep red rebozo.

But what’s this I see!
An ugly hole
That looks like a toothless mouth
Bursting out into furious laughter.
You laugh at my romantic memories?
You make fun of my long gone triumphs?
You know that the one who loved me has forgotten me
And that my soul, just like my love, is sacked and plundered?

Two elderly women share a secret joke in Pátzcuaro.

And you—you aren’t even a shadow of what you were
And because we don’t remember what we have been
We are betrayed! Old! Faded!
I’ll throw you in a box with other trash—
You, who are a traitor and so worn out!
How strange and how complicated
Just like you, I also betrayed—sometimes–in little ways!
Those sweet lies and silly nonsense
That made so many of my yesterdays happy.

White and black rebozo fringed with feathers.

Laugh, rebozo! Don’t you see that I’m laughing–not angry?
The tears that spring from these eyes
Are just laughter, nothing more. I’m not crying, I’m laughing!
But how can I be laughing, when I hate you so?
Let your mantel cover my head
The way it did in days long past, when I was possessed
By a kiss so strong, so violent.

Gold and salmon rebozo de gala (fancy dress).

No! I will not throw you away, old rebozo!
You have a soul like mine
A Mexican woman's soul, wild, unmanageable
That will not bend even when faced with death itself!
I will fold you up and keep you in the closet
And there, like a holy relic,
My heart will once again put on
Your flowing fringe.

Elderly flower seller, Pátzcuaro, Michoacán.

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21 de January de 2012
8° Encuentro de Cocina Tradicional de Michoacán: Eighth Annual Michoacán Traditional Food Festival
Maestra Benedicta Alejo Vargas grinds cilantro and mint to prepare tzirita, a deliciously spicy botana (appetizer or snack) based on metate-ground chile seeds and various herbs.

For me, the days leading to the Eighth Annual Encuentro de Cocina Tradicional de Michoacán moved almost as slowly as the days leading to a five-year-old's Christmas morning. This event celebrating the traditional cuisines of regional Michoacán, held annually during the first weekend of December, is the high point of my personal and professional year.

Essentials of the Michoacán kitchen: clay pots, wooden utensils, a ventilador (fan) to urge the wood fire hotter, and the skilled hands of a cook.

The Encuentro started life in 2004, sponsored by the Secretaría de Turismo and the Secretaría de Cultura del Estado de Michoacán as well as by several generous corporate sponsors. During its eight years, it has grown and changed, evolving into the unique event that so many of us enjoy. Although there are many different food festivals in Mexico, no other has the impact of the annual Encuentro.

Maestra Amparo Cervantes (left) of Tzurumútaro and Señora Paulita Alfaro of Nuevo San Juan Parangaricutiro are two of several elegant and vital grandes damas (great ladies) of the Michoacán kitchen. They pass their recipes and secrets of the kitchen to their daughters and granddaughters.

In November 2010, UNESCO (the United Nations Educational, Scientific, and Cultural Organization) announced that Mexico, and particularly the state of Michoacán, had been officially inscribed on the Representative List of the Intangible Cultural Heritage of Humanity. Since then, Michoacán regional cooks have proudly carried the banner of what is called el paradigma michoacano–the Michoacán paradigm. UNESCO included those words in its award based on miliennia-old indigenous Purhépecha way of food preparation that has been preserved, protected, and promoted up to the present day. The Michoacán paradigm is a model for other regional Mexican cuisines.

Freshly hand-made corn tortillas toasting on a wood-fire heated clay comal (griddle). Note that the tortilla in the foreground is puffed up; this is a key sign of a properly made tortilla. The tortilla will flatten out again as it toasts. There are no tortillas like those hand-made in Michoacán.

Much of Michoacán's regional cuisine is based on Mexico's native corn. These dried ears, hung up to decorate a festive food stand at the 2010 Encuentro, show just a few of the several colors of corn native to this area. The preservation of native corn varieties is crucial to the continuity of the Michoacán paradigm.

Maestra Antonina González Leandro of Tarerio, Michoacán, is radiant in her hand-embroidered blouse.

This year, the organizing committee gave special honors to a few of the consistent winners of the cooking competition at the heart of each annual Encuentro. These great women of the regional kitchen, now retired from competition, are the soul of this festive event. They are:
- Benedicta Alejo Vargas, San Lorenzo. Her specialities for 2010 were wild mushrooms, traditional churipo (a beef-based soup), rabbit mole, cheese mole, and tzirita.
- Juana Bravo Lázaro, Angahuan. Her specialities were atápakua de kuruchi kariri (dried fish stew), filled corundas with churipo, and two varieties of tortillas.
- Antonina González Leandro, Tarerio. She specialized in fried trout with traditional mole, tomato mole, or in a broth, pozole, and ponteduro (a kind of toasted and sweetened corn snack).
- Esperanza Galván Hernández, Zacán. Her specialties were mole tatemado con arroz (baked mole with rice), quesadillas, corundas filled with vegetables, and blue corn tortillas.
- Amparo Cervantes, Tzurumútaro. For this Encuentro, she specialized in mole con pollo y arroz (mole with chicken and rice), carne de puerco con rajas (pork meat with poblano chile strips), corundas, and uchepos.
A few of Maestra Antonina's special dishes, including (lower right) tortitas de charales, (center, in the molcajete) salsa de chile perón, (back left) nopalitos en salsa de jitomate, and (back right) caldo de trucha (freshly fried Michoacán-farmed rainbow trout in broth).

Maestra Amparo's carne de cerdo con rajas, cooking over a wood fire. She constantly tended and stirred the cazuela (clay cooking dish) so that the preparation would neither dry out nor stick.

Sra. Cayetana Nambo Rangel of Erongarícuaro prepared choricorundas, a type of pyramid-shaped corn tamal filled with cooked chorizo, a spicy pork sausage. The corunda is wrapped in a long green corn leaf (not a corn husk) and then steamed. Traditionally, corundas can be either blind (made without a filling) or filled.

Young cook Susana Servín Galván of Zacán entered the food competition with cuchiatápakua en chile verde con frijoles de la olla, a traditional dish from her small town. The dish consists of pork meat cooked in a thick sauce made of highly spicy chile serrano and served with freshly cooked beans and blue corn tortillas. This is my jealously guarded plateful; the dish was stunningly delicious and sold out quickly. I was lucky to taste it.

Susana Servín Galván, the up-and-coming young cook who prepared the fabulous dish in the preceding photo.

Salsa de chile de árbol pounded into existence using this enormous molcajete y tejolote (volcanic stone mortar and pestle).

More ingredients and utensils crucial to the regional Michoacán kitchen.

Mexico Cooks! will keep you informed about the dates for the 2012 Ninth Annual Encuentro de Cocina Tradicional de Michoacán. This unique event, a true look at Michoacán's regional cuisine, should be on everyone's calendar for early December. Come with us and we will introduce you to all of these dishes and more!

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14 de January de 2012
The Mexican Nativity Scene at Christmas: El 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, 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 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. The Niño Dios (Baby Jesus) is not usually placed in the pesebre (manger) until the night of December 24. The Niño Dios for this nacimiento is just over an inch long and is sleeping on his stomach with his tiny knees drawn up under him, just like a real infant. This nacimiento was made about 25 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-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 newest baby 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 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 Mexican communities, there are hundreds of 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, our 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: el 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; we have added many figures to the original few. This year we expect the total number of figures to rise to more than 60.

Click on the photo 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 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 standing in the Spanish moss: that's Satan, who is always present in a Mexican nacimiento to remind us that although the birth of Jesus offers love and the possibility of redemption, sin and evil are always present in the world.

Detail of the lead figures in our 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 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). This year, 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 us smile each time we 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. Last year 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 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.

Near Mexico City's Basílica of Our Lady of Guadalupe, this religious goods store also advertises that it will dress the Niño Dios for your nacimiento.

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

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 your little finger and elephants bigger than a soft drink can. 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 humilty–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 Guadalajara 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!

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.

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24 de December de 2011
Christmas–Piñata Time in Mexico!

Traditional piñatas ready for sale decorate the door to the Hernández family's tiny taller (workshop) on Av. Lázaro Cárdenas in Morelia, Michoacán.

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. She'll celebrate her 80th birthday 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, nearly 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!"

Pre-cut rounds of papel de china (tissue paper) wait to be glued onto a piñata. The black plastic bag holds strips of newspaper.

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 clay pots 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 for 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).

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!

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 slide show: Las Posadas.

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 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 (a hot fruit punch), buñuelos (a thin circle of fried 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 lots of 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.

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: Tours

Disclaimer: Marca País-Imágen de México is a joint public and private sector initiative designed to help promote Mexico as a global business partner and an unrivaled tourist destination. This program is designed to shine a light on the Mexico that its people experience every day. Disclosure: I am being compensated for my work in creating content for the Mexico Today program. All stories, opinions, and passions for all things Mexico that I write on Mexico Cooks! are completely my own.

17 de December de 2011
Giant Alebrijes–Fantasy Monsters–Invade Mexico City!

Mexico City's iconic Ángel de la Independencia, nearly 43 meters high (that's 140 feet, for you who are metrically-challenged) is known all over the Distrito Federal simply as 'El Ángel'. Need a place to meet your friends to head for the Zona Rosa? "Nos vemos en el Ángel a las once…" ('see you at the Angel at eleven o'clock…'). For a good idea of the size of just the Ángel, look at the man standing near the right-hand corner of the railing–and consider that the platform is very, very high up on the column!

The fifth annual exhibit of alebrijes monumentales (monumentally-sized alebrijes) started just at the Ángel, in October 2011. This one is called Hipnóptera.

Very much in the style of Pedro Linares, this giant and quite happy alebrije exhibited along Paseo de la Reforma is called Pedrito (little Pedro). No fear–in spite of his sharp teeth, he won't bite!

The alebrije, created originally by 20th century Mexico City papel maché (paper maché) artisan Pedro Linares, has become part of Mexico's mythology. If the creatures appear to be the stuff of nightmares, they in fact are just that: in the mid-1930s, sick and hallucinating with a high fever, Linares dreamed that these fantastical creatures surrounded him and heard them calling out their hitherto nonsense-syllable name: alebrijes, alebrijes, alebrijes. When his health improved, he began making the figures in his media, paper maché and cardboard.

This towering two-headed, four-armed creature with wings is called Pescando Soles. I spoke to the man standing at the right of the photo; he is close to six feet tall. That should give you an idea of the size of this giant.

Artist Mireya Carrera Bolaños smiles for the camera in front of her creation called Pescando Soles, which won an honorable mention in the competition.

Even though Sr. Linares originated the genre of alebrijes based on his fevered dreams, and even though his family continues to produce them in Mexico City, the alebrije name has passed into common usage for any fantastical creature made in the Linares style or a style that is similar. In Mexico City and the surrounding area, most alebrijes are made of paper maché and cardboard; this work is called cartonería. However, in the state of Oaxaca (and most famously by the artisan workshop headed by Jacobo and María Ángeles in the town of San Martín Tilcajete), alebrijes are usually carved from copal wood.

Ponte Almeja, a horned devil figure, sports a green tail covered with pre-Hispanic symbols.

The alebrijes exhibit started on a Sunday, which is always family day on Paseo de la Reforma. Every Sunday the divided wide boulevard is closed to all motorized traffic and is taken over by throngs of bicycles, tricycles, scooters, runners, walkers, children, and stroller-pushing parents. Vendors–of everything from food, toys, lucha libre masks (Mexican-style wrestling), bubble machines, pink and lavender cotton candy, and other non-essentials–line the sidewalks on both sides of Reforma.

Lucha libre mask vendor. You only wish it were Mexico Cooks! behind that marvelous mask!

This artist crafted a stack of monumentally-sized paper maché books between the feet of his giant alebrije. The title of the blue book in the middle of the stack is "Como Hacer Un Alebrije Monumental en Dos Semanas" ("How to Make a Monumental Alebrije in Two Weeks").

A toothy paper maché smile. This one looks much fiercer than Pedrito!

This wildly colorful dragon called Michtic (Gracioso) has its tail in its mouth, ready to go for a spin.

The head of the Ecofloon–part giraffe, part reindeer, part bird-beak, and 100% alebrije.

P-ezme Pezcadilla. The invented names of the creatures are as fanciful as their paint jobs.

Detail of paper maché bolitas (little balls) and wonderful design.

I've got my eye on you…

The end of the three-block exhibit of alebrijes: the fountain and glorieta (traffic circle) of Diana la Cazadora (Diana the Huntress). Click to enlarge the photo for a better view of her with her bow and arrow. In the background, the Hotel St. Regis.

After the weekend-long alebrijes exhibition along Paseo de la Reforma, the figures were trundled over to Mexico City's Centro Hístorico for a week in the Zócalo (central plaza), a fittingly monumental site for the 2011 crop of monumental alebrijes. We can hardly wait till the 2012 exhibit–come join us!

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

Disclaimer: Marca País-Imágen de México is a joint public and private sector initiative designed to helppromote Mexico as a global business partner and an unrivaled tourist destination. This program is designed to shine a light on the Mexico that its people experience every day. Disclosure: I am being compensated for my work in creating content for the Mexico Today program. All stories, opinions, and passions for all things Mexico that I write for Mexico Cooks! are completely my own.

10 de December de 2011