Monthly Archives: March 2014

Nuno Felt Fashion Workshop 2015: Clothing Design with Pre-Hispanic Flair

Escape winter, roll up your sleeves, and make a nuno felted wool garment you will be proud to wear. For seven nights and eight days, from January 17 – 24, 2015, you will experience the textile culture of Oaxaca, make wearable fiber art from felt fabric, learn about natural dyes and the process to make them, and explore the textile workshops of local artisans.  In January 2014, we welcomed Californians, Canadians, and Brazilians! What they made is featured here.

Beginners and experienced felters are welcome.

Norma'sPhotosFeltFashion-16

We use comfortable, unstructured, easy to wear, easy-to-construct , yet elegant indigenous Mexican patterns to show off your design creativity.  If you aren’t confident, don’t worry! The place itself is an inspiration.

Norma'sPhotosFeltFashion-28 IMG_0154_2 FeltFashion2-40

Maddalena Forcella is our expert instructor for 2015.  She is a fiber artist-clothing designer born in Italy where fashion is part of one’s DNA. Maddalena came to Mexico over 20 years ago to study textile design and never left. She is joined by Eric Chavez Santiago from Oaxaca, who will demonstrate the natural dye process using locally sourced plants and cochineal. 

About Your Instructors 

Maddalena Forcella is an internationally renown fiber textile artist whose work has been exhibited in Rome, Los Angeles, Antigua, Guatemala, Mexico City, Oaxaca, and Minneapolis, Minnesota.  Her clothing is sensual and substantial. She studied at the National Museum of Modern Art in Rome, Italy, and the University of Iberoamericana in Mexico City.  For many years, Maddalena has been working with indigenous women in Oaxaca and Chiapas states to preserve natural dye traditions, leading women’s textile projects with the support of private funds. She is committed to indigenous culture and sustainable development.

FeltFashion2-20 FeltFashion2-7

Eric Chavez Santiago is a one of Mexico’s most knowledgeable authorities on natural dye sources, chemistry, and production.  He has taught natural dyeing techniques in Oaxaca and at U.S. universities and museums since 2006.  He is a graduate of Anahuac University and is director of education for one of Mexico’s leading arts and cultural organizations.

FeltFashion2-12

I attended the workshop in 2013. Wow! The village of Teotitlan is an experience in itself and will immerse you in a totally different and vibrant world. The B&B and especially the meals were awesome and conversation around the table with other workshop participants was totally fun and absorbing — a bunch of creative, independent and feisty women! And, you can’t lose — even I made several shawls I’m very proud to wear. Highly recommended! –Leslie Larson 

Our Itinerary

Working with Maddalena daily from 9:30 a.m. to 2:30 p.m. in our outdoor studio, we will create lengths of felted nuno fabric enough to make a garment design of your choice.  You might decide to felt on silk or cheesecloth to make a lighter weight and beautifully draping fabric. After your fabric is dry, you will have the option to cut and sew it into one of several indigenous Oaxaca styles: the huipil (tunic), the blusa (blouse), rebozo (shawl), boufanda (scarf) or quechequemitl (cape), or modify the basic pattern into a design of your own.  We give you patterns to adapt to your own body.

FeltFashion2-6 FeltFashion2-11 FeltFashion2-42

This workshop is for all levels of experience!  You do not have to be an artist or experienced felt-maker to attend.  We welcome beginners who have never worked in wet felting and more advanced fiber artists. This is a perfect residency for university students, teachers and artists who may want to explore a different medium, too.

We are based in the weaving village of Teotitlan del Valle where for generations families have created wool textiles.  During our time together, we will go on local field trips to gain design inspiration, and meet and talk with weavers who work with natural dyes.  Some weave wool fabric for wearable art as well as sturdier floor and wall tapestries.  We will see examples of the types of garments that can be created from the felted fabric we make.

FeltFashion2-41  Norma'sPhotosFeltFashion-31 Norma'sPhotosFeltFashion-4

Supplies to bring (preliminary list).  After you register we will send you a list of supply sources where you can buy the workshop materials to bring:

  • Cotton cheesecloth, preferably pre-colored, 5 to 6 yards or more
  • Silk chiffon, your favorite colors, at least 5 to 6 yards
  • 1-1/2 to 2 pounds of merino wool, preferably naturally dyed, in your favorite colors
  • Raw silk and/or wool fleece locks for texture and interest
  • Sewing kit: sharp scissors, needles, threads, tailor chalk 
  • Optional embellishments: beads, sequins, buttons, ribbons, embroidery thread, yarn, etc.

Note: We will provide the bubble wrap, soap, sponges, buckets, work tables, and other necessities for the process.

What is included in your registration fee:

  • all instruction
  • 7 nights lodging
  • 7 breakfasts
  • 6 dinners
  • pattern booklet and natural dye recipes
  • sewing machine to share with needles, thread
  • selected embellishments, yarns, threads
  • guided visit to Oaxaca textile museum and galleries 

Workshop is limited to 8 participants.

IMG_0105_2  FeltFashion2-31 FeltFashion2-15

Daily Workshop Schedule:  Arrive Sunday, January 18 and leave Sunday, January 24.   7 nights and 8 days with options to extend your visit. 

Day 1, Saturday, January 17 – Arrive and settle in to your bed and breakfast posada in Teotitlan del Valle (we send directions)

Day 2, Sunday, January 18 – Welcome, introductions, Tlacolula Market Visit for inspiration and to source local embellishments, afternoon natural dye demonstration with Eric Chavez Santiago.  (B, L, D)

Day 3, Monday, January 19 – Jump right in to make samples with silk and cheesecloth to understand the process. We will make an actual mini- scarf during this session, as well as fabric samples. (B, D)

Day 3, Tuesday, January 20 – Take a morning field trip to the village market and church for pattern inspiration from the local environment. Visit a local weaver.  After lunch we will work on designs using inspiration from the morning studies. (B, D)

Day 4, Wednesday, January 21 – After a visit to a local weaver,  you will  start on making larger pieces of felt for your final project/garment. (B, D)

Day 5, Thursday, January 22 – Finish completing your felted fabric. In the afternoon we will demo the art of making felt flowers. (B, D)

Day 6, Friday, January 23 —  Cut, sew and embellish your project. We will have a Show and Tell with Fashion Photo Shoot before our final celebration dinner. (B, D)

Day 7, Saturday, January 24 – Departure (B)

(This is a preliminary daily schedule and subject to modification.)

FeltFashion2-30 FeltFashion2-27 FeltFashion2-38

Note: Vest design shown is by Jessica de Haas, FunkShui Studio, 2014 Felt Fashion Workshop instructor.

Workshop Fee:

Option 1:   $1,295 double occupancy basic cost per person includes shared room and bath, double occupancy.

Option 2:  Single occupancy with private bath, $1,595

Extension Options: 

Add-On 1:  Arrive Friday, January 16 and take a Zapotec cooking class on Saturday, January 17.  Includes one night lodging, breakfast, lunch, cooking class and recipes.  $115 USD each.

Add-On 2:  Extend your trip one day and depart Sunday, January 25.  Enjoy Saturday in Oaxaca City with Norma to explore the best textile shops and visit the Museo Textil de Oaxaca. Includes transportation to Oaxaca, overnight on January 24 in Oaxaca City. $195 per person double occupancy, $275 per person single occupancy. Dinner on your own.

Add-on 3:  Stay extra days before or after the workshop.  Add on nights in Teotitlan del Valle at $55 per night,or in Oaxaca City at $125 per night.  Let us know your preference and we make all the arrangements for you.

FeltFashion2-44

Cecelia, Margaret, Sandra, Kirsten, Lynne, Margaret show their work from the 2014 Felt Fashion Workshop.Vest design by Jessica de Haas, FunkShui Studio.

About Our Workshops, Retreats and Programs.  We offer educational programs that are hands-on, fun, culturally sensitive, and offer you an immersion experience.   Our workshop leaders are experts in their field, knowledgeable, have teaching experience and guide you in the learning process.  Our goal is to enhance your knowledge while giving you time to explore and discover. 

About Lodging and Accommodations. To keep this trip affordable and accessible, we stay in a local posada/guest house in Teotitlan del Valle. The food is all house made (including the tortillas), safe to eat and delicious. Vegetarian options are available. 

Insurance Required:  Proof of international travel insurance that covers accidents, medical coverage and emergency evacuation to the U.S.A. or your home country is required by all participants.  If you do not want this, you must send us a notarized waiver of responsibility, holding Norma Hawthorne and Oaxaca Cultural Navigator LLC harmless.  Thank you for your understanding.

Your registration fee does NOT include airfare, taxes, admissions to museums and archeological sites, tips, liquor/alcoholic beverages, some meals, some transportation, and insurance. 

Deposits, Reservations and Cancellations.  A 50% deposit is required to guarantee your spot.  The last payment for the balance due (including any supplemental costs) shall be paid by December 1, 2014.  We only accept Payment with PayPal.  We will be happy to send you an invoice.

If cancellation is necessary, please notify us in writing by email.   After December 1, 2014, no refunds are possible; however, we will make every possible effort to fill your reserved space.  Your registration is transferable to a substitute.  If you cancel before December 1, we will refund 50% of your deposit.

To register or for questions, contact: normahawthorne@mac.com

Women’s Creative Writing and Yoga Retreat 2015: Lifting Your Creative Voice

Announcing the 5th Annual Women’s Creative Writing and Yoga Retreat.  Arrive Friday, March 6, depart Saturday, March 14, 2015–8 nights, 9 days with market tour,  plus options for traditional Oaxaca cooking class, and temescal* sweat lodge.

SOLD OUT!  JOIN THE JULY 28-AUGUST 6, 2015 SESSION.

Group2 You are a woman with something to say. You keep journals, notes, drafts of unpublished material. Or, you dream of writing and never have. Ideas percolate and you want to capture and develop them. Perhaps you have written and/or published a while ago, let the writer’s life lapse and you need renewal.  You may want guidance and support to continue an unfinished piece or publish it.  The Women’s Creative Writing and Yoga Retreat: Lifting Your Creative Voice is your place to learn, express yourself, and be the woman who writes. A_WritingRetreat-29  WomenWritingReading-6 With published author/poet and university professor Robin Greene‘s guidance and coaching, you’ll gain knowledge and perspective about the art and craft of writing.   During the workshop you receive writing exercises and triggers, thoughtful discussion, caring feedback, and the simple gift of time to bring up the words and let them flow. YogaFoodWriting-12  A_WritingRetreat-5 Here, you are empowered to tell your story well. Write in the genre that best suits you:  memoir, journal, poetry, creative nonfiction, or fiction.

  • We accommodate novices and experienced writers.
  • We limit enrollment to 9 women to guarantee personal attention in a small group.
WritingChurchTlacolula-6  YogaFoodWriting-10

The daily yoga with Beth Miller enhances your writing.  We tailor the sessions to fit each person’s physical level and needs. As you flex your body, you stretch your imagination.  Yoga develops core strength to find voice and creative center.  This is a perfect combination of the physical and spiritual, says past participant LeeAnn Weigold. YogaFoodWriting-35  A_WritingRetreat-22 What Participants Say

  • I learned I am fully capable of being the writer I dreamed of becoming.
  • The location, teaching and program structure creates a truly transcendent experience of enormous value.
  • I was challenged and that turned out to be exactly what I needed.
  • Far exceeded expectations. Got many suggestions for how to write healing stories.
  • It was wonderful!
  • The combination of writing, yoga, meditation and shared sisterhood is transformational.
  • Oaxaca feels safe, safer than my hometown in the USA.
  • I identified a writing project that engages and excites me.
  • The balance of intensive writing workshops, cultural excursions and yoga lead to a powerful experience on all levels.
  • The feedback was so thoughtful.  I honestly can’t think of anything I would change.
  • Beth’s yoga is the best I have ever experienced.  A perfect combo of the physical and spiritual.

We are based in the Zapotec weaving village of Teotitlan del ValleOaxaca.  Imagine a setting so beautiful that it inspires all the best within you.  Here, amid the flowering Bougainvillea and in the shade of red pomegranates, with the backdrop of 9,000 foot mountain peaks, you will enjoy a rich and rewarding experience. Our all-inclusive workshop is perfect for renewal and self-reflection.  A_WritingRetreat-27  WritingChurchTlacolula-44  A Message from Your Workshop Leader, Author/Poet and Professor Robin Greene “The writing retreat is very relaxed, and in the past four years–yes, this is our fifth!–the participants have been wonderfully supportive and open-hearted. You don’t need to bring any writing, but if you wish, you can–anything from a piece in progress, notebook ideas, some journal entries, or finished work. Oaxaca is a lovely place and finding writing topics is easy. Also, I’ll have plenty of prompts, writing exercises, and suggestions—and, of course, as women write, we energize each other. “As the writing instructor, I like to encourage women to find their individual voices so that the retreat experience is personally meaningful. In addition to one scheduled conference with each participant, I’m available for feedback and coaching throughout our time together.  And, because I teach creative writing, I have a repertoire of techniques and strategies to share with writers at all levels. “While I’m a university professor, this Women’s Creative Writing and Yoga Retreat remains my favorite teaching experience.”

YogaFoodWriting-44  A_WritingRetreat-50

We cannot promise that you will win a poetry prize, as did one of our participants after writing her winning poem at the retreat, or be published in literary journals as several past participants have. We CAN promise that you will explore, develop and deepen as a writer. A_WritingRetreat-36  A_WritingRetreat-31 You’ll have an opportunity to write on your own during open time in the schedule.  And, if you choose, there’s also plenty to do here. We’ve scheduled options for you to take part in a cooking class, shiatsu massage, and temescal Zapotec women’s sweat lodge.  You might take a walk, a hike, watch birds, and visit village weaving and artists’ studios, too. What the Retreat Includes:

  • 21-hours of group workshop and feedback
  • One-hour individual coaching session
  • Focused sessions to hone your skills: grammar, reading in public, publishing, grammar
  • 7  yoga sessions tailored to your skill level
  • Guided visit to Tlacolula regional market
  • Self-guided map of village
  • 8 nights lodging
  • 8 breakfasts
  • 5 lunches
  • 6 dinners

Optional Added Fee-based Activities:

  • Shiatsu Massage scheduled during the workshop, $50 per person
  • Zapotec/Oaxaca cooking class, arrive early, spend one additional night, includes lunch, dinner, breakfast, $125 per person  (2 person minimum)
  • Temescal women’s sweat lodge, scheduled during the workshop, $50 per person

*What is Temescal?  The pre-Hispanic temescal of Mexico was used by the Aztecs, the Zapotec, the Mixtec, and the Maya for therapeutic and purification purposes—coming-of-age rites, childbirth, the burial of a relative, and other tribal ceremonies. Temescal comes from the indigenous Nahuatl word temazcalli, meaning “bathhouse.” The temescal is a rectangular or round adobe structure with a vaulted roof. In it volcanic rocks are heated, and steam is produced by throwing herbal teas, such as rosemary and eucalyptus, on the rocks. The bather is gently whipped with ritual or medicinal plants. Curanderas, locally trained folk healers perform the ritual. They say it is important not to bathe for twenty-four hours!

The Spanish friars fought against this custom during the viceroyalty because they considered mixed-gender bathing inappropriate. Nevertheless, the temescal survived and is still used in certain parts of Mexico, mainly for bathing, for alleviating illness, or for recovery after childbirth. However, there is an increasing interest in reviving the traditional religious aspects of the temescal as part of the country’s heritage.

YogaFoodWriting-62   YogaFoodWriting-52 WomenWritingReading-2 2014 Exquisite Corpse Poem: In Oaxaca, Anything is Possible Now the eye of day closes, garlic and sapphires in the mud, the cactus flower fading, crumbling, becoming earth, the pond house evaporating like a cloud. And on the floor, still as any corpse, my spirit reaches, finds the flame, the infinite of the women around me, a workshop of distilled memory, the smell of fire I will miss, the crying mother who puts an arm around my shoulder, walks me toward the white curtain, open now, then drawn shut. It is only the Virgin de Guadeloupe, I tell you, who can quell my heart, take my pain like water from cactus. But as I prostate myself before her, explain that I only want the easy stuff, pap and pamper—not the bent knees and arms, upright and splayed, launched and launching— she focuses on the sensuous, on the lesson of emotion, on the long braided women, clunky mountain tops of stout brittle trees, on the practice that tells me: this shadow is fat, this heart is iron, this wind is voice. *Exquisite Corpse is a surrealist tradition, as Robin Greene explains, in which many create a piece of collaborative art.  The Corpse Pose in yoga is the Shivasana ending pose.  Robin asked each participant to add a favorite line or two that she wrote during the workshop. Robin collected the lines, wove them together, and created a poem in one voice to lift us and carry us forward as we leave.  Here is In Oaxaca, Anything is Possible. YogaFoodWriting-83  A_WritingRetreat-15 There are lovely walking paths around the village, along the river and into the countryside near a local reservoir. You are welcome to venture out and explore the village on your own. Personal safety is not a concern here. YogaFoodWriting-84  A_WritingRetreat-8 What Women Say . . . “I better learned how to put together a writerly life.  The coaching session will help me stay on track.  I enjoyed listening to and evaluating each others’ work.  What a great group of women.” –Leslie Larson, California “I came with the hope of being rejuvenated.  I am leaving with a lightness and grounding that is beyond comprehension.”  –Rebecca S. King, North Carolina WomenWritingReading-14 WomenWritingReading-13 WomenWritingReading-4 “The instruction was excellent and supportive. The personal coaching session offered me a chance to talk about my writing in a way I never had before.  The workshops are especially valuable because the feedback is so thoughtful.” –Susan Lesser, New York “I discovered that my writing entertains people!  Beth’s yoga is the best I have ever experienced.  A perfect combo of the physical and spiritual.  And I loved the cooking class.” –LeeAnn Weigold, British Columbia, Canada A_WritingRetreat-41 There is amazing resonance between Robin’s and Beth’s teaching — vigorous, solid, and accepting. –Deborah Morris, M.D., North Carolina A_WritingRetreat-26 A_WritingRetreat-51 “It was all perfect. You gave us a beautiful writing workshop in a beautiful village setting and you also gave us a strong community-of-women bond that will far outlast this conference. Mil gracias!” — Katie Kingston, MFA, Trinidad, Colorado “The quality of the teachers was stellar and the combination was a perfect fit for me. Robin has a clarity that is lovely, supportive, truth-telling, knowledgeable, superbly skilled. Beth is a beautiful, beautiful teacher. Combining the yoga and sound with writing was profound.” — Nancy Coleman, Portland, Maine Robin’s knowledge impressed and guided me throughout the week.  She is one of the most generous people, instructors and writers I have ever met. The week gave me the insight to reinvestigate life and write about it.”  Kathryn Salisbury, North Carolina “The week helped with my intention to write my book. There were too many valuable parts to list! We experienced an amazing time together, sweating leaves, meditation, chanting, writing, and honoring our lives. This was an awesome experience.” — Susan Florence, MFA, Ojai, California “We learned from the other women in the group, from the culture, the language and people in the village. It was magical.” –Bridget Price, Sydney, Australia and Mexico City WomenWritingReading-19  WomenWritingReading-8 Your Workshop Leaders Robin Greene is the McLean Endowed Professor of English and Writing, and Director of the Writing Center at Methodist University in Fayetteville, North Carolina. She is also co-founder and senior editor of Longleaf Press, a literary press that publishes contemporary poetry. Greene is the recipient of a NC Arts Council/NEA Fellowship, a university teaching award, and a visiting professorship in Romania. Her work is widely published in literary journals. Greene has led community and conference workshops, has served as a writing consultant, and has taught creative writing for over two decades. Her books include Real Birth: Women Share their Stories(nonfiction), Memories of Light and Lateral Drift(collections of poetry), and Augustus: Narrative of a Slave Woman (published in 2011). Greene holds an M.A. in English from SUNY-Binghamton and an M.F.A. in Writing from Vermont College of Fine Arts. See Robin’s website: www.robingreene-writer.com YogaFoodWriting-32  WomenWritingReading-17 Beth Miller is our yoga instructor who combines yogic practice and philosophy with meditation, creativity and improvisation. She specializes in Vinyasa-Hatha yogic traditions and employs sonorous yoga practices as an approach to help women of all ages to give voice to their lives.

BethMillerPortrait

Beth has a background in Holistic-Health Counseling, working primarily with teen girls and young women to inspire healthy lifestyle habits. In addition, Beth is a vocal artist, performer and teacher of Western classical and sacred music. She holds a B.A. in music from Westminster Choir College, is a Certified Holistic Health Counselor, and completed the chef training program from the Institute for Culinary Education. A_WritingRetreat-12 A_WritingRetreat-13 Norma Hawthorne produces arts and educational programs in Oaxaca, Mexico, operating as Oaxaca Cultural Navigator LLC since 2006. She offers textile and fiber arts, tapestry weaving, natural dyeing, creative writing, and photography workshops that people throughout the world attend.  During her 30-year university career, Norma organized national award-winning programs for Indiana University, University of Virginia, and George Washington University.  Before she retired, Norma raised more than $23 million for The University of North Carolina School of Nursing. She holds the B.A. from California State University at Northridge and the M.S. from the University of Notre Dame.   Preliminary Workshop Outline

  • Friday, March 6, travel day, arrive and check-in
  • Saturday, March 7, introductions, orientation, village walk, writing exercises, yoga
  • Sunday, March 8, regional market visit, yoga, writing
  • Monday, March 9, yoga, writing, coaching, temescal
  • Tuesday, March 10, yoga, writing, coaching, weaving demonstration
  • Wednesday, March 11, yoga at Yagul archeological site, writing, coaching
  • Thursday, March 12, yoga, writing, option to visit World Heritage archeology sites
  • Friday, March 13, yoga, writing, reception and reading
  • Saturday, March 14, departure

Add-on 1:  Come early, arrive Thursday, March 5, and take a cooking class on March 6, $125 per person, includes breakfast, lunch, dinner, lodging on March 5. Add-on 2:  Oaxaca Textile and Shopping Excursion. Stay a day later. Spend the day and night in Oaxaca city.  Norma will take you to the Museo Textil de Oaxaca and her favorite shopping spots.  Includes one night lodging on March 14. Depart March Sunday, 15.  $185 per person shared occupancy with private bath.  $255 per person single occupancy with private bath. A_WritingRetreat-35 A_WritingRetreat-43 Lodging/Accommodations and Cost To keep this program affordable, we have selected clean and basic accommodations at family operated bed and breakfast inns.  Local cooks prepare delicious meals from scratch, including corn tortillas, with organic ingredients. Vegetarian options are available. Cost: 

  • $1,195 per person double occupancy with shared community bathroom facilities
  • $1,395 double room with private bath (sleeps 2)
  • $1,495 single room with private bath (sleeps one)
  • $50, add-on Shiatsu massage
  • $50 add-on Temescal sweat lodge
  • $125, arrive early, add-on traditional Zapotec cooking class and learn to make mole. Includes lodging on March 6 with breakfast, lunch and dinner
  • Oaxaca Walk and Shop, $185 shared/$255 single occupancy in Oaxaca city on the night of March 14.  Includes transportation and lunch. Depart Sunday, March 15.

Most travel workshops of this type and length cost more than twice as much! YogaFoodWriting-46  WomenWritingReading-10 The workshop does NOT include airfare, taxes, tips, travel insurance, liquor or alcoholic beverages, some meals, and local transportation to and from Oaxaca city.  We will arrange taxi pick-up and return from/to the Oaxaca airport at your own expense. We reserve the right to substitute instructors and alter the program as needed. A_WritingRetreat-33 A_WritingRetreat-49 Reservations and Cancellations A 50% deposit is required to guarantee your spot. The final payment for the balance due (including any add-ons) shall be paid by January 10, 2014. We accept payment with PayPal only. We will  send you an itemized invoice when you tell us you are ready to register.  After January 10, refunds are not possible.  You may send a substitute in your place.  If you cancel before January 10, we will refund 50% of your deposit. Required–Travel Health/Accident Insurance:  We required that you carry international accident/health/emergency evacuation insurance.  Proof of insurance must be sent at least two weeks before departure.  If you do not wish to do this, we ask you email a PDF of a notarized waiver of responsibility, holding harmless Norma Hawthorne and Oaxaca Cultural Navigator LLC.  Unforeseen circumstances happen! Workshop Details and Travel Tips.  Before the workshop begins, we will email you a map, instructions to get to the workshop site from the airport, and a document that includes extensive travel tips and information. To get your questions answered and to register, contact: normahawthorne@mac.com  Since we are in Oaxaca most of the year, we are happy to arrange a Skype conversation with you if you wish. A_WritingRetreat-34 This retreat is produced by Norma Hawthorne, Oaxaca Cultural Navigator LLC. We reserve the right to make itinerary changes and substitutions as necessary.

The Funeral of Arnulfo Mendoza

In the Oaxaca village of Teotitlan del Valle, there are hundreds of excellent weavers.  Few have gained the international recognition of Arnulfo Mendozo, owner of La Mano Magica gallery, and renown for his tapestry weaving skills and talent as a painter.  Arnulfo died from a sudden heart attack a few days ago, leaving behind a young wife and child.  He was fifty-nine.

imagenThe church is resplendent, filled with lilies, lit with massive beeswax candles adorned with wax birds and roses. On every dark wood pew, rubbed to a polish from years of use, are four or five people shoulder to shoulder, rising, kneeling, sitting, praying, singing. I steady myself. Hold the smooth wood of the seat back in front of me, feel the wood resonate and penetrate me as if it was Arnulfo speaking.  I am glad I do not have my camera.  Today, the space is sacred.

The hundred or so pews are filled with family and friends, distant relations, collectors from Puebla, Mexico City, Oaxaca, the U.S.A., and Canada, onlookers, paparazzi. Some straggle in just before the mass ends. Before me are red pony tails, black braids woven with dark blue ribbon, lowered heads covered in shawls with their intricately woven fringes swaying in rhythm to the a capella ring of bells.  The priest performs mass, sends Arnulfo’s spirit soaring.  For a moment, I go with him and then come back to here, now.  This prayer is for Suzie, too, as tears come. The man I sit with, another fine weaver I know, embraces me. The mass ends. We reach out and hold each person around us, moving from one to another in benediction.

Four men each carry a stanchion topped with a circle of encrusted white roses four feet in diameter.  As they leave the church altar, twelve pallbearers, six on each side, follow shouldering the ornate mahogany-colored wood casket decorated with etched copper where Arnulfo rests. Behind them are four more men bearing another four stanchions of rose circles.  Family members spill into the aisle with lit candles, armloads of fresh flowers, heads downcast.  I see that the village grandmothers carry flowers, too.

We assemble in the church courtyard.  I hug Arnulfo’s cousins and nieces, offer murmurs of condolence, and join the procession through the village streets to the cemetery.  The band is out front.  The tubas, clarinets, trombones, saxophones, drums alternate between dirge and dance.  I walk slowly, lagging, matching steps with Magdalena, half my height now, who buried a husband and son years before during the same year. Every several blocks, we stop, pray, give the pallbearers rest.  The sky darkens heavy with clouds on this late Sunday afternoon in southern Mexico.

Across from the cemetery entrance is the woman who usually sells snacks at the health clinic.  The ice cream vendor scoops, fills cones with burnt vanilla, angel kisses, hot pink nopal fruit. A woman silently offers bottled water for sale.  Inside, fresh flowers fill almost every urn. The grandmothers peel away from the procession as it enters sacred space and scatter to family graves. They begin to sweep away the leaves and debris, remove dried flowers and replace them with the fresh bundles they carry. The pallbearers stop under an ancient tree where the earth is soft and ready.  Copal incense wafts smoky and pungent.  If you get too close you will begin to cry.

The band forms a circle under the permanent awning.  There is a press of people around the gravesite. I hang back to leave space for the family. An ex-pat moves away from the edge of the grave, approaches me, asks me why they dig up the bones of Arnulfo’s father to place Arnulfo there. I explain about the ten-year cycle of using the same family plot, then ask how she knows Arnulfo.  “Oh, I read about it.  I took a group to the Tlacolula Market today and we decided to stop here, too.” she says.  “It’s time I find them and go.”

Someone is in the tree beside Arnulfo’s grave, taking photos, high above the rest of us, another ex-pat I recognize but don’t know.  He is hovering at the perfect vantage point, wears white. The band plays a waltz.  The ex-pat lowers himself from the tree, passes inches from me with no eye-contact, takes a few more steps, then pivots as the father-in-law of the deceased moves past me going in the other direction toward the grave.  They criss-cross in front of me. The father-in-law is from another country across the Pacific Ocean. They are both now steps away.  The ex-pat stops the older man, asks, “What will happen to all the things in the gallery?”  I say, “That’s not a question for today.” The father-in-law’s face scrunches up, his brows almost touch, he stares, then shrugs, doesn’t answer, turns, continues on. The man in white, says, You interrupted me, that was rude. He didn’t understand you, I say. I did, he says. That’s perfect, I say. He moves to another side of the cemetery, takes photos of people huddled on tombstones.

There is clapping.  Testimonials.  A thunderclap answers.  Human hands clap again. He was so young, I hear someone say. He was so talented, says another. That’s life, says a man I know who stops to greet me as I walk slowly away.

I think of Arnulfo. He looked so young, even at fifty-nine.  Smooth, chestnut skin, a few laugh lines, a shock of slightly receding pitch hair drawn into a ponytail at the nape of his neck, the contentment of fatherhood.  I remember him standing at the gallery doorway on Macedonio Alcala, he waves and smiles, I do the same, stop in, buy artist-imprinted T-shirts for my husband and son. His new wife packages them in tissue with gentleness.

I remember years ago when I first came here, in search of his fine tapestries, the shoulder bag with strands of gold and silver, woven into wool the color of nightfall, wet earth, blood, garnet, magic, climbing the hill to Casa Sagrada to find the kitchen where the family taught the secrets of Zapotec mole negro.

I think of Suzie, thirty-five, still in a coma.  Why did she get into this particular taxi that crashes into a concrete barrier at sixty miles per hour?  Yesterday, Kathryn and I talk about Suzie.  We remember her giddy filled-with-life laugh, how people light up when she enters a room.  Is it all about when our time comes, Kathryn asks?  You mean, is it predetermined, how and when?, I ask.  Yes, she says. No, I say. I think it is random, like when my son was held up at gun-point, averted his eyes, lived. Life happens in a moment. This is life, and to know and accept is all that matters.

After the funeral, I pick up Robin, whose daughter-in-law is scheduled for an emergency cesarean to deliver an early, underweight baby.  The risks are high. The baby is in stress. We drink white wine, wait for news.  The phone rings.  She begins to sob, then says to her husband on the other end, thank you, Grandpa.

Market Town Sunday in Oaxaca, Mexico

Our Oaxaca Women’s Creative Writing and Yoga Retreat 2014 is coming to a close. We have been furiously writing this week, opening up to truth, reality, powerful voices, memories, love, comfort and despair.  Tonight, we will speak at a reading. Tomorrow, most will return home.  Today, I share this creative non-fiction piece with you as homage to life’s randomness.

Market Town Sunday in Oaxaca, Mexico 

First, getting to the bus.

The green bus they call Turtle is two blocks ahead of us. My impulse is to run after it and I start to squawk:  Stop.  Stop.  Let’s catch it, I say to the women who walk beside me, as I step out in front.  Uneven cobblestones underfoot slow me and I feel my ankle twist as my foot lands on a crevice between two stones.  I think, don’t trip and break a hip; don’t anyone else fall either. It’s a silent prayer for Suzie and one for the women who trail behind me now.  Accidents happen and I’m not ready to deal with another one.  I look back reassured they are taking it slow.  Still, I speed walk, pulling the old lady rolling shopping cart behind me, stopping every few steps to catch my breath and my footing.  The stones are slippery after years of others running before me, smooth from the beat of sun, the polish of rain, the tread of tires and tired feet.  The bus honks, hurry up. I imagine it will pull away any moment and the next one to carry us to the market town will take forever or thirty minutes.  Impatience is my cultural predisposition unlike this Oaxaca village where time drips like a leaky faucet. The driver waves. You take this as a signal and dart ahead like a bullet sprinter.  Your hair comes loose, flies away, sways like a tic tock pendulum with each leap until you reach the bus.  The rear lights flash red.   Now, I know it will wait for us.  We climb aboard, take our seats, look at each other, smile.  We made it.   There are no seat belts.

Second, woman in a gingham apron.

She boards the bus at the next stop.  All the seats are taken.  She stands in the aisle next to me, leaning tight against the seat back, an anchor.  The gingham apron she wears is brown and beige, a pattern of small checks that could be called plain, boring, undistinguished.   She is tidy.  As she turns to face forward, I see that each of the three buttons down the apron back is fastened with a matching fabric loop.  A perfect bow is tied at the back of her ample waist like a package ready to present as a gift.   Embroidered white daisies with deep yellow centers and green stems crawl across her bodice from elaborate baskets that mimic real life.  One of the two deep pockets on either side of the skirt likely contains the small purse with market money for rice, beans, chicken, roses for the empty vase on the altar room table. This is the uniform of Zapotec housewives.  The bus lurches forward as the driver lets out the clutch.  The bus sways.  Her moorings loosen. It is hot, though it’s only mid-morning.  In unison, she and I wipe our brows and our eyes meet. Her mouth opens into a wide smile.  Her fillings are gold and sparkly, reminding me of how the ancients drilled their teeth to embed precious stones and bits of gold, signs of wealth and prestige.  In that time, this was ample protection.

Third, buying tablecloths.

Do you mind? She asks, careful not to want this particular one too much.  Oh, no, says the other, I like either one.  You choose.  Both are blue, though one is the color of ocean and the other of sky.  I imagine the click, click, clack, clack of the flying shuttle loom that wove the threads into whole cloth, soon to drape a table, a bed, a comforter, all the comforts of home.  We concentrate on cloth, stroke the nubby cotton surface, admire the combinations of peach and minty green, plum and ash, rose and cream.  I am surrounded by sound:  a hurdy-gurdy accordion, a raucous laugh, screeches of children playing tag, the cheep, cheep, cheep of chicks caged, the thunder thump and beat, beat brass of salsa.  I hear Suzie’s sweet voice at lunch, excited about the trip, making plans.

How much, the shopper asks?  Doscientos pesos, says the vendor, plump, matronly, seasoned at sniffing what a buyer will pay.  The two hundred peso notes are green with the image of Sor Juana, Mexico’s high priestess of intelligence, women’s rights and devotion to study.  Just like us.  Just like Suzie.

Fourth, barrage of smells and sights.

Blue awnings, tarps spread across the sapphire sky, pillow clouds float by.  Guava, orange, apple, papaya, mango sit on tiers, altar to goodness and fulfillment to whomever worships here.  The scent of fruit mingles as if this is a secret potion mélange that will cure all.  I want some of that for Suzie, I think as I drift along the pavement inhaling the next sensation: smokey wood fires where chickens roast and red meat sears.  Do you see the red coals where fat drips? Do you hear the sizzle?  Watch the faces of women, flushed red, turning the red meat with tongs not quite long enough to keep their eyes from tearing up.   Women sing in mezzo soprano: tomates, tomates, ajo, ajo, diez por diez.   Scarves wrap their heads or carry babies, squash, flapping chickens, eggs, a bundle of kindling, dozens of lilies.   The scarves are intense turquoise, violet, magenta, black, cerulean, stamped in a Chinese factory with images of chrysanthemums, pansies, peach blossoms, lush green vines.   Perhaps, they are blue and white ikat made by a weaving machine in a far distant Mexican town where made-by-hand is only a memory.   Do you see their braids dangle down bent backs, wrapped in a tangle of red or purple or green ribbon?  Do you notice the ones whose barefoot feet are calloused or covered with worn leather huaraches, worn soles, souls seeking redemption, something to eat, shelter from intense heat?

Fifth, going home.

Together we pull the cart and carry the burden. We are overloaded with a day of waiting for money to dispense from the magic machine, then spending money, enough to make a difference in another’s life.  Buy a whistle.  Hear the police whistle direct traffic, the vroom-vroom motorcycle starting up and taking off, churning cart  wheels propelled by human feet and the grunt of the effort.  We make one last stop for art, for clay, for the hand-woven basket, for a perfectly ripe, ruby-red grapefruit. I speak a warning: Watch the speed bumps in the road, look out for that wheelbarrow filled with dripping honeycomb coming straight at us. Swerve around the gaggle of crouched women peeling nopal cactus paddles. Do you see those peddlers on bicycle carts careening toward you? The barriers are soft, not concrete.  We are not catapulted forward at sixty miles per hour.

We shift loads, trade our burdens, find a taxi driver to carry us home.  Three of us climb in the back, two of us wedge into the front alongside the driver.  No seat belts today.  I am wary, though we don’t have far to go.  Go slow, I tell him in Spanish, drive on the right shoulder.  Suddenly, up ahead smoke bellows, a vapor of grief trailing skyward.  A car on the highway is aflame surrounded by fire trucks.  An ambulance whizzes by.  Our driver downshifts into second.  His hand on the shifter pushes into my thigh.  Don’t goose me, I say, wiggling, giggling, knowing he doesn’t understand.  Then, again in Spanish, please use only first, third and fifth gear.  He laughs, reddens.  I am straddling the stick and it is almost up my ass.  My knees are jammed against the dashboard.  I tilt my head back into the space between the two front seats and know that with one stomp on the brake, my head would bounce forward, then back, forward again into the dashboard.

I think of Suzie in a coma and make a wish for life, full and unedited.  Today, I hear she briefly opened her eyes.

-Norma Hawthorne, March 3, 2014 

 

 

 

 

 

Where, What and When: My Last Three Weeks in Mexico

I haven’t posted much in the last three weeks and I’m sorry.  Some of you may be wondering about that. It began with our Looking for Diego Rivera Art History Tour in Mexico City three weeks ago.

Rivera1 The day we were set to gather for our first dinner together to launch our program, Suzie and Lydia were in a taxi crash.  Suzie has been in a coma ever since.  This has been an extraordinary difficult time for Suzie’s family, as we have reconstructed the accident and follow-up care. In the melee of getting her moved from a small, suburban clinic to a major Mexico City medical center that could handle her head injury, I lost my journal where I recorded every detail of her first clinic stay.

Rivera2

The journal also held my notes about the great Mexican muralists Rivera, Orozco and  Siquieros, and the comprehensive Maya art exhibit at the Palacio Nacional.

Maya1-4 Maya1-3 Maya1-2

Then, as soon as I got back to Oaxaca, our weeklong Women’s Creative Writing and Yoga Retreat started. I have always participated in this program in addition to doing the administrative and logistical support. So, I was detoured from writing the blog, but plunged in to write about Suzie and my experience trying to help her get the care she deserved but didn’t get. It was a wonderful retreat and I produced several personal essays that I intend to publish. Add to this a deadline to close on a home mortgage, and I was covered up in details.

Maya1

The day this retreat ended, a weaving workshop began.  It has just ended, and I feel that now I have breathing space to take a look at the photos, tell you about the extraordinary murals we saw in public spaces, the Mayan art and civilization exhibit at the Palacio Nacional, and delicious food we discovered in elegant restaurants and humble markets.

Maya1-5

Suzie was evacuated to Georgetown Hospital. She opened her eyes briefly and we are hopeful. Yet, she remains in a coma. Her family has moved her to long-term care where she can get constant medical attention. When she improves, the next step will be to begin rehabilitation. We all send prayers for that day to come very soon.

Again, I remind all international travelers to please purchase health and accident insurance that includes medical emergency evacuation.  Accidents happen and none of us is immune.