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Norma Writes for Selvedge Magazine Issues #89 + #109
Creating Connection and Meaning between travelers and with indigenous artisans. Meet makers where they live and work. Join small groups of like-minded explorers. Go deep into remote villages. Gain insights. Support cultural heritage and sustainable traditions ie. hand weaving and natural dyeing. Create value and memories. Enjoy hands-on experiences. Make a difference.
What is a Study Tour: Our programs are designed as learning experiences, and as such we talk with makers about how and why they create, what is meaningful to them in their designs, the ancient history of patterning and design, use of color, tradition and innovation, values and cultural continuity, and the social context within which they work. First and foremost, we are educators. Norma worked in top US universities for over 35 years and Eric founded the education department at Oaxaca’s textile museum. We create connection and help artisans reach people who value them and their work.
Why We Left, Expat Anthology: Norma’s Personal Essay
We Contribute Two Chapters!
Meet Makers. Make a DifferenceOaxaca Cultural Navigator LLC has offered programs in Mexico since 2006. We have over 30 years of university, textile and artisan development experience. See About Us.
Programs can be scheduled to meet your independent travel plans. Send us your available dates.
Designers, retailers, wholesalers, curators, universities and others come to us to develop artisan relationships, customized itineraries, study abroad programs, meetings and conferences. It's our pleasure to make arrangements.
Select Clients *Abeja Boutique, Houston *Selvedge Magazine-London, UK *Esprit Travel and Tours *Penland School of Crafts *North Carolina State University *WARP Weave a Real Peace *Methodist University *MINNA-Goods *Smockingbird Kids *MINNA *University of North Carolina at Chapel Hill
Tell us how we can put a program together for you! Send an email firstname.lastname@example.org
- WEAVE Podcast: Oaxaca Coast Textiles & Tour
- NY Times, Weavers Embrace Natural Dye Alternatives
- NY Times, Open Thread–Style News
- NY Times, 36-Hours: Oaxaca, Mexico
- Cooking Classes–El Sabor Zapoteco
- Currency Converter
- Fe y Lola Rugs by Chavez Santiago Family
- Friends of Oaxaca Folk Art
- Hoofing It In Oaxaca Hikes
- Living Textiles of Mexico
- Mexican Indigenous Textiles Project
- Museo Textil de Oaxaca
- Oaxaca Lending Library
- Oaxaca Weather
- Taller Teñido a Mano Natural Dyes
Diego Rivera Murals at Secretariat of Public Education (SEP), Mexico City
Diego Rivera, Mexico’s famed muralist, returned there from Europe in 1921 at the invitation of Jose Vasconcelos, Mexico’s Secretary of Public Education, to paint three floors of murals in the national headquarters that was once a Franciscan convent.
From 1923 to 1928, Rivera worked in the building with assistants to create 125 panels that would help define a new nation after the 1910 revolution. Over a million people died in the 10 year conflict that most historians now call a civil war.
The idea for the murals was to coalesce the various post-war factions and shape a national identity that would recognize its indigenous roots, valuing the work of the peasant, the common man. At the heart of the message was that better education and health care would lift up the nation.
On the first floor, mural topics focus on Mexican festivals and labor. The second floor concentrates on science and technology. On the third floor, Rivera translated the populist approach to government to reflect his own ideology as a communist.
The themes of the worker, the enlisted soldier and the peasant are repeated throughout. Here we see Frida Kahlo depicted as a revolutionary heroine. Ribbons with heroic revolutionary messages connect the frescoes.
The last of the murals, painted in 1928 are a portend to the 1929 stock market crash. They depict the greed of industrialists and the church, the debauchery and waste, and the widening distance between the wealthy and poor, the cynical and the hopeful.
The murals undergo constant restoration. A group of full-time art restorer-fresco painters are employed to prevent deterioration. There is usually always a team of two or more people, paint brush in hand, high up on scaffolding.
They told us that they paint in exactly the same brush strokes as Rivera, but like any building restoration of antiquities, there is always a telltale mark that indicates it is not the original.
Our group of six, plus our art historian Valeria, immersed ourselves into this intensive study tour day that started at 9:30 a.m. and ended after lunch. I counted almost 13,000 steps as we walked around the historic center of Mexico City, visiting SEP and two other mural locations.
If you are interested in joining us for a comprehensive, intensive four-day art history tour in Mexico City this winter or spring, please contact me.
These photos were all taken with my Nikon D7000 camera and the Nikkor 50mm 1:1.8G lens. This is a prime lens (no zoom), so I got lots of close ups and had to move my feet to get perspective. I prefer total control over my photos so I use the manual setting with autofocus, choosing aperture and shutter speed.
I’m having trouble learning the new Olympus mirrorless, so set it aside for a while. It works really well in automatic. I can’t seem to get it to work with manual setting.
Posted in Cultural Commentary, Mexico City, Photography, Travel & Tourism
Tagged art history study tour, Diego Rivera, frescoes, Mexico City, murals, nationalism, photography, SEP, tour, travel