At Centro Academico y Cultural San Pablo we discover secrets, surprises and ancient stones.
An 18th century rosary chapel with contemporary stained glass window designed by Francisco Toledo, the imposing green stone façade mingled with original 16th century adobe, and a gold-leaf altar are only a few of the architectural delights of San Pablo de los Indios, the first Dominican convent in Oaxaca.
Our guide, Janet Chavez Santiago, coordinator of educational programs, described the features and history of this glorious structure. She said there were important surprises found during the excavation for the foundation:
Two female skeletons were uncovered that date from 500 B.C. These are the oldest found in Oaxaca, older than those from Monte Alban I. The women were buried with ceramics of the same style found at Monte Alban, though older.
Every convent has a fountain, Janet says. The location was evident but the design of the original fountain was illusive, so architect Mauricio Rocha created a symbolic water feature out of obsidian, a native Mexican stone.
In the main patio, the outline of a doorway framed by ruffled stone, was the opening to Benito Juarez University, which was known as Instituto des Artes de Oaxaca.
Later, Janet would show us where Benito Juarez, director of the institute, later president of Mexico and leader of the reformation, had his offices. At the entrance, there are two layers of painting: 17th century frescoes and grafitti and 19th century wallpaper.
The main patio area, called the sala capitula, is where the Dominicans assembled to govern the convent. Architects wanted to go down to the original floor and as they did, they found a large rock and river stones. As they kept excavating they uncovered a Zapotec temple foundation that was the same age as the bone discoveries. Archeologists who were brought in to examine the materials believe the city was an indigenous religious center that pre-dates the famed mountaintop site.
The beauty of San Pablo is more than skin deep. It takes us back to the origins of Oaxaca and it is not too difficult to imagine life as it might have been then. The convent is dedicated to the cultural and linguistic diversity of the state and preserving the traditions and language of its indigenous people. Originally, it was the only convent to serve the indigenous population.
As Janet explains the language of the stones used in the original structure (flat and hand hewn) and the later restorations, she also tells us that one of her primary goals is to teach Zapotec (Tlacolula valley dialect) to anyone who is interested. She hopes the courses will begin in May 2012.
As we leave, we take one last glimpse at the imposing green glass wall that surrounds and protects the library archives. We marvel at this architectural masterpiece that so consciously and sensitively blends past with present and future to keep the dream of cultural continuity alive.
Footnote: Originally, the entrance to San Pablo faced toward the Zocalo and was framed by a large patio. There were three alleyways open to access it. Over the years, these alleyways were closed off and the patio disappeared as the Dominicans sold off property to pay to restore the church bell tower and other damage during a major 18th century earthquake. That’s when private homes and the Macedonio Alcala Theatre were built. San Pablo was last used as a hotel when the Alfredo Harp Helu Foundation purchased it in 2005. The restoration began in 2006, totally supported by the Foundation.
Oaxaca Cultural Navigator : Norma Hawthorne
Dance of the Old Men in Teotitlan del Valle, Oaxaca
It looks like Carnival. Some people call it Carnival. But, it isn’t. El Baile de los Viejos — Dance of the Old Men — is an ancient annual Zapotec pre-Hispanic tradition. The “dance” is a ritual communication to ensure the stability and survival of a people. The dancers remind the volunteer elected village leaders and especially the president to attend to their own behavior and the justice of their decisions.
The oral history of this dance, also called “disfrasan de vestementas,” is passed from generation to generation. I asked Pedro Montano Lorenzo to tell me the story of the Dance of the Old Men. We are sitting all together around the table for comida (lunch) during a giant afternoon thunder and lightening storm. The heavens are pouring rain. Listen! he says to his nearly adult children. This is important for you to know.
The spirits of the Old Men first came to the village to save the people. They return each year to celebrate life and remind us that we must be good people. The Old Men have the right to represent the people, and speak honestly and directly to the authorities on their behalf. They must have the courage to tell the president of the village about what needs to be improved. They transmit to the leaders specific areas of concern after going from home to home in their section of town to talk directly to the people. Pedro says this tradition is “muy fuerte” — very strong and powerful. It is a reminder that the people are more powerful than the leadership, and it is the people who put them there.
The Old Men are masked and anonymous. Each of the five sections of the village select their “old man” representatives. These are trusted individuals who speak Zapotec and know the traditions and customs. They must be be strong enough to hear the issues and complaints of the people in their section and transmit the information honestly to the leadership. Theirs is a serious responsibility.
Each section hosts a party that is financed by the people of the section, every household giving according to their means. It could be money, a bottle of mezcal or a chicken. The party is to welcome the Old Men from the other world, to celebrate them, and to feed them and give them strength before they leave the host house and proceed to the municipal building where they will meet with the president to give feedback. Each section goes to the municipal building on one of the five days to speak to the president and dance the ritual, hence the five-day celebration.
The Old Men and their two other-worldly assistants, men dressed as women (to represent the women of the village, I am told), laugh with a ribald, stylized “risa” that tells everyone they are present and to pay attention. The laugh is called a broma sannas — a good joke — to remind the pueblo that is needs to be in equilibrium and to restore good feelings if relationships need mending.
The band accompanies the procession and all ritual gatherings
The Old Men wear traditional manta cloth out of respect for the old ways. They perform a ritual dance in the municipal palace with the president and village leaders to mime the relationship between the leaders and the village people. The dance says that there is mutual respect between the leadership and the people, that they agree to fulfill the obligations to the village, responsible for each others’ behavior and the behavior of the leadership. The dancers give an offering of mezcal, sweets and beer to the president of the village. This is a ritual exchange to offer congratulations if everything is going well. It can also be a reminder that the balance of power is out of equilibrium and needs correction.
Some people think that the fiesta celebrates the resurrection of Jesus because it falls on the Monday immediately after Easter Sunday and call it Carnival. Others say it has no relationship to Christianity and is an ancient pre-Hispanic practice. All say that the children need to know this story in order to sustain the culture.
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Posted in Cultural Commentary, Oaxaca Mexico art and culture, Travel & Tourism
Tagged blogsherpa, community, culture, governance, Mexico, Oaxaca, organization, ritual, Teotitlan del Valle, tradition, Zapotec