Brought into submission by the Aztecs of Tenochtitlan in 1428, the Tepanecas who lived in the ancient village of Coyoacan, the place of coyotes, remained resentful of their conquerors.
This historical enmity served the Spaniard Hernan Cortes (1485-1547) well. Retreating from revolting Tenochtitlan following the death of Moctezuma II (1466-1520) from unnatural causes, Cortes lost close to 900 men before arriving at Coyoacan. Fortunately for the Spaniards, they were welcomed as allies against the Aztecs. Coyoacan served as the conquistador’s headquarters and briefly as the capital of New Spain as his conquest of the Aztec empire was completed.
This early Spanish occupancy led to the beginning of construction of the parish church of San Bautista, completed in 1552, the third oldest parish church in Mexico City. The town remained independent of its expanding neighbor until finally its absorption into the federal district in 1857.
Los Danzantes pollo
San Bautista
San Bautista
Los Danzantes salsas
San Bautista
Los Danzantes pulpo
Student interviewing our friend Sharla
quinceanera
San Bautista
The central colonial plazas of Coyoacan are charming, an attribute not lost on those living in the center of Mexico City. On weekends, unfortunately when we chose to visit, traffic jams clog the arteries leading in and out. The quaint historic center is overrun by approximately 70,000 visitors. Advice: Visit on a Tuesday, Wednesday or Thursday if possible.
Still had a few “bony treats” left haunting my computer from wanderings around Hallowmas and Day of the Dead. A village of skeletons was the theme of a festival in La Alameda Central. Altars were set up everywhere, including Frida Kahlo’s Casa Azul in Coyoacan. “Una Ofrenda de Pelicula” exhibit in El Museo Dolores Olmedo in Xochimilco saluted filmmaking. Even shamans vending their cleansing spells in the zocolo enhanced themselves with bonemen make-up.
And then thrust in the middle were invasive Halloween traditions sneaking in more and more from el norte (see prior post). Once children discover the sweet rewards of trick-or-treating, it’s pretty impossible to close that door.
There does seem to be uncertainty about when to do what. In the Roma Norte area where we have been staying, the costumed children entered the restaurants and went to the bar areas at the back to ask the staff for treats. Sometimes they were given candy; sometimes spare change; often nothing. The businesses declining are fortunate the trick part as payback does not seem part of the formula.
Receiving mixed results, the period of requests seems extended. Families paraded their costumed kids out nightly – Halloween night, All Saints Day and All Souls Day in the confusion of adding this new tradition to ancient ones, or perhaps simply to maximize the possibilities of success.
Casa Azul in Coyoacan
Catrina in La Alameda
Diego Rivera tribute in Museo Anahuacalli in Coyoacan
Museo Dolores Olmedo in Xochimilco
Museo Dolores Olmedo
the facade of Los Danzantes in Coyoacan covered with marigolds
Centro Historico
La Alameda
shamans in el zocolo
Museo Dolores Olmedo in Xochimilco
La Alameda
Centro Historico
Museo Dolores Olmedo
Roma Norte
La Alameda
Centro Historico
Roma Norte
La Alameda
Museo Dolores Olmedo in Xochimilco
Museo Dolores Olmedo in Xochimilco
This seasonal free trade between Mexico and el norte flows both ways. Certainly San Antonio is far richer from its artistic adaptations of colorful Dia de los Muertos traditions.
In 1945, at the height of her career, the government commissioned (Maria) Izquierdo to do a mural for a building in Mexico City. (Diego) Rivera and (David Alfaro) Siqueiros, two of Mexico’s great muralist painters, blocked her from getting the job. When she dared to denounce them in public, she received little help and a lot of strong criticism….
Izquierdo began to experience nightmares that left her sleepless. One day, she arose and drew what she remembered… a clear vision of herself, in a window of metaphysical dimension, holding her own decapitated head as her body, still walking, becomes lost in the distance of steps leading to a void. That year, 1947, she painted “Sueños y Pensamento,” a premonitory painting that heralded great pain for her future. It was the last of her great works.
“Maria Izquierdo – Monumento Artistico de la Nacion,” Rita Pomade, Mexconnect, 2007
We journeyed to Panteon de Dolores, home to a population of a million old souls qualifying it as Mexico’s largest cemetery, on All Saints Day. We encountered less than a handful of families celebrating Day of the Dead traditions graveside with their ancestors. Perhaps more ventured out on the following day, All Souls Day?
While many graves were colored with an abundance of marigolds, the majority appeared untended by those left behind on earth. Perhaps the more antiquated term of Hallowmas is a more fitting name to apply to the day in this neighborhood occupying close to 600 acres between two main sections of the sprawling Chapultepec Park. Numerous graves were adorned with a jumbled combination of ancient Day of the Dead traditions with more recently imported Halloween decor – spiders, plastic pumpkins, orange and black plastic festoons and fake spider webs.
There was an ongoing mixture of entertainment, ranging from an annoying clownish play to a talented female vocalist while we were there, staged in the plaza of the Rotunda de las Personas Illustres. At dusk, children appeared in Halloween or Catrina costumes carrying plastic pumpkin baskets for trick-or-treating.
Diego Rivera, artist (1886-1907)
Edmundo O’Gorman, writer (1906-1995)
Ignacio Manuel Altamirano, journalist and Supreme Court Justice (1834-1893)
Ignacio Gonzalez Guzman, biologist (1898-1972)
Manuel M. Ponce, composer (1862-1946)
Rosario Castellanos, writer (1925-1974)
Diego Rivera, artist (1886-1957)
Mariano Arista, president of Mexico (1802-1855)
Virginia Fabregas, actress (1871-1950)
Agustin Lara, composer (1900-1970)
While the dearth of ancient practices was disappointing, change happens. And I need no flowers or incense to encourage me to wander through a cemetery. So many stories shout at you from all directions.
Despite the rejection of her mural, Maria Izquierdo gained admittance to the portion of the cemetery dedicated to the illustrious of Mexico. Perhaps her fellow muralists, Rivera and Siqueiros, forgave her for her earlier criticisms of muralists including political messages in their works before they joined her there. The excerpt above is a link worth tapping to begin to learn about her life. I found myself wandering on the internet to discover more about the fascinating artist who was the first Mexican woman to mount a major solo exhibition in the United States.
But there are others. Composer Agustin Lara, who left the women swooning with his “Senora Tentacion” in 1956.
Rosario Castellanos, who wrote because: “Writing has been a way of explaining to myself the things I do not understand.” And redefined laughter: “We have to laugh. Because laughter, we already know, is the first evidence of freedom.”
Actress Virginia Fabregas.
In addition to those celebrated within the inner circle of the cemetery, there are close to a million others with stories worth telling. Hopefully, the trials, tribulations and joys they experienced are preserved within their families’ oral histories, repeated over and over at holiday celebrations lest the tales be lost.
And then, there are the eerily spooky graves. The angel guarding the rusty doors of a crypt, unhinged as though indicating the residents fled the confined space long ago. The coffin rusting above ground. Occupied, empty or home to a vampire planning to emerge with the rise of the next full moon?
Postcards from Barton Springs 