Tag Archives: artisan

Oaxaca Deep Dive: Cooking, Culture + Craft Tour

Jump into the magic of Oaxaca, Mexico, from January 11 to 17, 2025. During this six-night, seven-day immersion tour you will discover (almost) everything this UNESCO World Heritage city has to offer. You will take a hands-on cooking class from a traditional chef who uses an outdoor wood-fired kitchen to prepare acclaimed pre-Hispanic dishes, visit the bustling Mercado de Abastos to shop, taste and savor artisanal mezcal especially distilled from rare wild agave, visit outstanding makers of craft and textiles that distinguish Oaxaca and elevate her above and beyond any place in the world, sample street tacos, take a graphic arts and printmaking workshop from a renowned artist, and enjoy the best that Oaxaca has to offer. Recap it all at our Grand Finale Dinner at one of Oaxaca’s top restaurants. A perfect Oaxaca Visitor’s Tour.

We will be based in one of Oaxaca’s most trendy, vibrant neighborhoods where murals will dazzle you, coffee bars will delight you, restaurants will tempt you, and galleries will excite you.

PRELIMINARY ITINERARY

Day 1 – Saturday, January 11. Arrive to Oaxaca, check into our comfortable hotel located in one of the city’s most captivating neighborhoods filled with murals, galleries, coffee bars. Meet for a no host dinner at 6:00 pm. We suggest you arrive before 3 p.m. today. Meals included: none.

Day 2 – Sunday, January 12.  Today we start with an orientation and introduction during breakfast. Then we get in the van for a short trip to Santa María Atzompa, where we will meet a traditional cook who specializes in pre-Hispanic food prepared in an outdoor smoke kitchen called Cocina de Humo. First, she takes us on a culinary shopping tour of Mercado de Abastos, the largest Oaxaca market, to procure all the ingredients we need. After our workshop and delicious lunch, we will visit our friend Rufina who specializes in making pottery with lead-free glazes and oxygen reduction techniques. We will return to the hotel in time for you to enjoy Margaritas and dinner on your own. Meals included: breakfast and lunch.

Day 3 – Monday, January 13.  After breakfast, our luxury van takes us deep into the Ocotlan Valley.  We call this the Handcraft Route since it takes us through black pottery studios, embroidery workshops, and wood-carving spaces. We introduce you to the famed painter Rodolfo Morales who created extraordinary murals of rural life in the municipal building and then move on to meet a cooperative of embroiderers where we will learn about the different techniques used for ceremonial garments in San Antonino Castillo Velasco. Our lunch is at an outdoor kitchen in San Martin Tilcajete, one of our favorite spots for relaxed al fresco dining. Meals included: breakfast and lunch.

Day 4 – Tuesday, January 14. Wear your comfortable shoes for a city walking tour – we will cover a lot of territory!  First, we stop to meet our artist friends at a printmaking collective gallery, learn about the rich graphic art movement in Oaxaca, and take a deep dive into learning more about lithography by taking a workshop. We guide you every step of the way.  After a lunch of street tacos at one of our favorite taquerias, we recharge and refresh, then carry on to the Benito Juarez Market, the Museo Textil de Oaxaca, and a noted folk art gallery. Meals included: breakfast and lunch.

Day 5 – Wednesday, January 15. Weaving is Us! Today we travel to Teotitlán del Valle, the famed tapestry weaving village forty minutes outside the city to meet our family of weavers who create outstanding traditional and contemporary designs using all natural, sustainable dyes. Then, we visit a cooperative of women who specialize in making bags and purses from leather and tapestries. After lunch on the way to Mitla, we will meet up with our friend Arturo for a demonstration on flying shuttle land back strap loom weaving techniques. Home goods are his speciality! 

Then we will stop at our favorite Palenque – the distillery — to learn everything about how artisanal mezcal is made, ending our day with a tasting of rare wild and espadin agave spirits. Meals included: breakfast and lunch.

Day 6 – Thursday, January 16.  After breakfast you are on your own to explore the city at your leisure until we meet at a top-rated Oaxaca restaurant for our Grand Finale Dinner. Meals included: breakfast and gala dinner.

Day 7 – Friday, January 17.  Depart to home.  We will help you arrange transportation at your own expense to the Oaxaca airport, or extend your stay independently, or add-on a one- to three-day natural dye workshop (lodging not included). Meals included: breakfast.

What’s Included:

  • 6 nights lodging at a comfortable hotel in the heart of one of Oaxaca’s most artistic neighborhoods
  • 6 breakfasts
  • 4 lunches
  • 1 Gala Grand Finale Dinner with complimentary Margarita
  • Luxury transportation to artisan villages
  • Cocina de Humo cooking class
  • Printmaking workshop
  • Mezcal tasting
  • Demonstrations and market visits
  • An immersion experience beyond your dreams!

Tour Cost:

$2,790, Single—one-traveler in room with one bed and private bath

$2,190, Double—two travelers in room with either two beds or one Queen or King bed, private bath

Add 10% for a ground floor room and eliminate the stairs

Discounts: Oaxaca snowbirds and residents with your own lodging, take $500 off tour cost!

Reservations and Cancellations.  Two easy steps.

  1. Complete this REGISTRATION FORM and email to Norma Schafer
  2. Send a $500 non-refundable deposit (first payment) to guarantee your place.

The balance is due in two equal payments. The second payment of 50% of the balance is due on or before September 1, 2024. The third payment, 50% balance, is due on or before November 15, 2024. We accept payment using Zelle cash transfer or a credit card with Square. For a Zelle transfer, there is no service fee.  We add a 4% service fee to use Square. We will send you a request for funds to make your reservation deposit when you tell us you are ready to register. Please tell us how your account is registered (email or phone number).

After November 15, 2024, there are no refunds. If you cancel on or before November 15, 2024, we will refund 50% of your deposit received to date (less the $500 non-refundable deposit). After that, there are no refunds UNLESS we cancel for any reason. If we cancel, you will receive a full 100% refund.

Required–Travel Health/Accident Insurance: We require that you carry international accident/health insurance that includes $50,000+ of emergency medical evacuation insurance. Check out Forbes Magazine for best travel insurance options. https://www.forbes.com/advisor/travel-insurance/best-travel-insurance/

Proof of insurance must be received at least 45 days before the tour start date.

Add  from 1 to 3 days of a natural dye workshop either before or after the tour for a deeper dive into textile arts. Work with indigo, cochineal, wild marigold, tree bark and other plant dyes. Create your own sampler and record formulas to carry home with you.

Collecting Indigenous Art: From Oaxaca to New Mexico and Back

On June 16, 2022, the New York Times published a story about Native American artist Cannupa Hanska Luger focusing on the tension between what white collectors’ want and how the native artist responds. Titled Cannupa Hanska Luger is Turning the Tables on the Art World, the story digs deep into artistic expression, art as social commentary and political activism, and why art is made and for whom.

I read this story several times to digest the commentary and implications. I want to write about it because it relates to those of us who travel to Oaxaca to explore indigenous culture and collect.

These are the questions that came up for me that I’d like to share with you as a point of consideration and self-reflection as you read further:

  • What does it mean to be a collector?
  • When we buy something, does our relationship with the maker change?
  • Do we consider that we buy something of beauty and nothing more? What more is there for you?
  • If we are motivated by helping an artisan by making a purchase, does this put us in a power position?
  • How does it make us feel personally to buy indigenous art?
  • When we travel, are these souvenirs or something else?
  • What’s the difference between buying from a gallery and directly from the maker?

The western trading posts of the early 20th century, owned by white traders, drove the marketplace and shaped the type of art and craft that would be salable to tourists/collectors. Trading post owners (re)introduced techniques that had been lost during the forced migration of tribes onto reservations. Today, gallery owners fulfill much of that role, buying only what will sell to their particular clientele, encouraging artists and artisans to focus and shape their wares for the commercial market. Original utilitarian pieces made for personal use –cooking, clothing, and using during ceremonial festivals were adapted, and I would say embellished, to appeal to visitors coming west on the Santa Fe Railroad looking for a romantic ideal, a souvenir of Old Town. Oaxaca and Santa Fe are collector destination points, hubs for Native American art.

Cannupa Hanska Luger, the featured artist of the story, is based near Santa Fe, NM, about an hour and a half south of where I live part of the year in Taos. It is easy for me to make the translation between the American indigenous artist of the southwest and indigenous people of Oaxaca who are also makers of beautiful textiles, pottery, carved wooden figures, jewelry, tinwork, etc.

The article triggered my thinking about how creativity and innovation (which connotes change) is influenced, and whether the collector’s expectations serve to keep makers in their place doing production work rather than thinking about possibilities of what could come next. I also ask myself if, as collectors, we want what is traditional and what we consider to be authentic, which I have talked about before. I believe this is a form of colonialism. We must examine our own motivations to want to keep people as they were for our own vision and enjoyment of what is native. It is easy to stereotype. Are we locked into buying vintage pieces (or contemporary pieces made in the image of what was done before), that are representational of some ideal, or are we open in our own collecting to look at contemporary pieces that push the boundaries of self-expression?

Oaxaca is a mix of pre-Hispanic tradition and Colonial Spanish influences, as is New Mexico. Pre-conquest women used backstrap looms to weave native cotton and fiber garments. Sheep, wool and the European pedal loom were introduced around 1524 to provide warmth and comfort to Spanish settlers. They taught locals to use the technology. As the Spanish moved north into New Spain, they introduced the pedal loom and churra sheep wool to New Mexico. Navajos in NM and Zapotecs in Oaxaca took tapestry weaving to a new level.

Teotitlan del Valle tapestry rugs, churra wool, natural dyes–Galeria Fe y Lola

In the early 1970’s young travelers from the USA saw Zapotec-made wool horse blankets and sarapes and said, Wow, they can make rugs and I can export them to the American southwest, using Navajo designs and selling them for a fraction of the originals. Lots of white people made money. So did many Zapotec weavers from Teotitlan del Valle. Are all designs up for grabs? What is original or authentic?

San Marcos Tlapazola red clay pottery, pit fired

Today, some Oaxaca pottery from Santa Maria Atzompa and San Marcos Tlapazola is made in high-fire gas kilns or enclosed wood-fired kilns that bake the clay at even temperatures. Using these modern techniques, there is no longer the beautiful black flashing that gives wood-fired pottery its visual complexity and texture. This innovation, imported from the USA and Japan, is a way of improving the respiratory health of the makers (they are no longer breathing the toxic wood-fire in the outdoor pit). For those who want the traditional look, are we perpetuating respiratory disease in favor of our aesthetic desires?

Alebrijes, San Martin Tilcajete, Oaxaca

Alebrijes, the Oaxaca carved wood figures depicting anthropomorphic beings and scenes of daily life, were an adaptation of Mexico City’s Linares family papier-mache constructions, designed for tourism in the 1970’s. A very recent innovation, and a successful one at that.

Maria Martinez clay pot with slip decoration

I recently read that the famous San Ildefonso Pueblo potter Maria Montoya Martinez departed from making traditional simple black coiled pots to meet the demands of collectors in the 1960’s and 1970’s by adding slip-painting feather, snake and eagle designs on the stone-polished pieces. She collaborated with her son Popovi Da, doing the coil work while he did the painting. Her pieces are highly valued and collected. Why? Certainly, there are Rio Grande River Valley potters working today and making outstanding pieces for far less.

Let’s come around to why we collect and who determines what art should look like. Makers need to feed, clothe, educate, provide health care for their families. Often, they are responsible for the financial well-being of extended family members. There is no social security in Mexico. Everyone takes care of their own. By collecting traditional work, are we buying into Native stereotypes, as the Time article suggests? Are we confining artists to the world of crafts and keeping them out of the mainstream art market? Are we supporting artists/artisans who trade on traditional indigenous symbols of culture? Do we embrace a romantic vision of indigenous America? By collecting, are we attempting to absolve ourselves of collective guilt for the transgressions of the conquerors: Manifest Destiny, the taming of the west, annihilation, the hacienda system of servitude, land appropriation?

I often overhear our Oaxaca travelers talk about admiring the simple life of indigenous people. On the surface, we want to project that this life is simple — life in small, clustered communities of mutual support, ancient traditions. We must look more closely. People suffer from poverty, lack of health care and access to education, spousal and child abuse, substandard sanitation. Husbands, fathers, brothers, and sons migrate to the cities or to the United States for paying jobs, leaving women and families alone often for years at a time. Some never return. Subsistence farming provides little in economic support. It is understandable that art/craft adapts to what buyers want and what designers dictate. If a woman uses natural dyes to weave a cotton blouse over three months and she can sell this blouse for $350, those pesos will feed her children and elderly parents. Would you work for $115 a month?

Monica Hernandez huipil, Pinotepa de Don Luis, Oaxaca, $370 direct from maker. Indigo and purple snail dye. Contact Norma to purchase.

The conversation, then comes around to our role as collectors. Do we take a risk on a carving or a painting or a garment that is a departure from the usual? Is there enough income coming in for the artist to take a creative risk? And, what about bargaining or haggling on price? Never, I say, when buying. If you can’t pay the price, then walk away. Bargaining is NOT fun, it is not entertainment, and it is not appreciated by the maker/seller. If they offer, that’s another thing!

Cannupa Hanska Luger, Mirror Shield Project

Finally, the artist Luger posits that we as collectors are in search of meaning, belonging, something deep within us that yearns for connection to our own homeland from which we were uprooted as immigrants, often left to adapt to a hostile environment in a new land. I have read that as children, grandchildren and great grandchildren, we carry with us the emotional upheaval of our ancestors and are not immune from the deep memory of resettlement pain. Indigenous Oaxaca culture is rooted in 8,000+ years of history, of community, and reverence for the land. The same holds true in New Mexico, where native peoples have established communities on ancestral lands thousands of years old. We are migrants, moving, relocating, searching for home. Therefore, we want to embrace those who have what we don’t. Having something they made fulfills that.

In Oaxaca, there are painters, graphic artists and rug weavers taking steps beyond the traditional, pushing envelopes, experimenting, creating, innovating.  Seek them out and support them. One fine example is Teotitlan del Valle weaver Omar Chavez Santiago (IG: @omarchasan), who adapts traditional designs and contemporizes them. Others are painters Gabriel (Gabo) Mendoza (IG: @mendoza_gabo) and printmaker Alan Altamirano (IG: @grafica_mk_kabrito) at Taller La Chicharra (IG: @tgallerlachicharra)

Questions? Comments? email Norma Schafer mailto:norma.schafer@icloud.com

India Journal: Fill in the Blanks, Stencil Art

Remember when you were a child and got a set of crayons and coloring book? The book was printed with figures and designs. It was your job fill in the color between the lines.

Stenciled design on cloth gives embroiderer stitch guide

Be careful, a parent or teacher would say. Be neat. Don’t go outside the lines. There were no blank pages on which to scribble or be creative. You got a gold star for staying inside the lines, filling in all the shapes.

Young Ahir woman honing her craft

Soon, you may have been bored and gone on to do something else. Perhaps the color intensity lessened as you hastily went on to the next page. Maybe, you went outside the lines on purpose to make your own mark.

Working on a pre-printed pattern. Is there freedom for color choice?

Yesterday we went to visit India textile expert Judy Frater at the NGO she runs in Adipur, about an hour east of Bhuj near the Gulf of Kutch and the Arabian Sea. Before starting Somaiya Kala Vidya in 2014, Judy was the founding director of Kala Raksha, another NGO dedicated to textile promotion and development.

New Ahir embroidery that will become pillow or handbag

Today she works with indigenous artisans to provide education and training programs designed for cultural sustainability, market development, and indigenous identity.

Ahir women in embroidery circle, all working on stenciled patterns

With Judy during my visit and with Salim Wazir the following day, I talked about the questions we discuss in Mexico that India shares. I suspect that these are pressing questions among artisans throughout the world.

Old embroidered Ahir textile with fine detail

  1. How do you create a sustainable craft enterprise without compromising an artisan’s innate creativity and urge for innovation?
  2. When a designer comes in to work with local artisans, employing his or her own drawings and hires the local artisan to execute them, how does this have an impact on craft preservation and design ownership?
  3. If NGO’s create cooperatives that then produce cookie cutter patterns printed on cloth that the embroiderers then fills in with silk threads in pre-selected colors, is this craft development or exploitation?
  4. If something is produced for the tourist market and not for personal or community use, what impact will this have for design sustainability?
  5. What compromises can be made to make sure that people work for fair wages, without being piece workers doing routine jobs for work they don’t own?
  6. Is paid work the only important consideration or does originality and integrity of communal design hold more value?
  7. How will textile craft survive and who will decide its future?

Workshop participant making panel for tourist market

What other questions would you ask?

How would you answer these questions? I’m interested in hearing from you!

Old mirrored embroidery on silk bandhani, imperfectly beautiful

Mexico and India are both sources for great textile artistry.  Weavers in Mexico have made cloth on back strap, flying shuttle and pedal looms for centuries and longer. In India, artisans have been weaving cloth, dyeing it with natural colors and embellishing it with embroidery since Mughal conquerors and spice trade adventurers moved from central Asia and the Levant.

She is beginning to fill in the blanks.

As tourist preferences drive the crafts market, most non-governmental agencies direct people to make things that will sell. Production uniformity is important to outside markets as collectors demand high-quality, perfect workmanship, and sophisticated design (in their point-of-view).

Whimsical embroidered blouse belonging to Wandh herding community

The whimsy of asymmetry and uneven stitches seems to be losing ground in the commercial marketplace. Only foreigners are interested in tribal textiles.

Rabari women in another workshop also follow a designer provided pattern.

If a boutique owner or retail client orders 100 handbags, he or she may expect that while color may vary, design will be consistent.  If there is deviation or variation, something may not sell and then the risk is that the worker and the organization will no longer receive orders and then go out of business.

Contemporary Rabari needlework

What price will be paid for quality consistency and uniformity? Will the naive, free-form folk art design produced for self-use disappear in favor of making something more polished that will then be sold at a higher price to foreigners?

Vintage Rabari embroidery trim on bandhani tie-dyed shawl

What about making goods for the local market vs. the foreign market? I was told repeatedly that woven goods are now being made with acrylic because it is cheaper to produce and that is what local people will buy.

Whimsical Toran in Ahir village community center

What is the cost and the loss for using cheaper raw materials and industrial mechanization?

I’d love what she’s wearing!

It is difficult to find artisans in India, as well as in Mexico, who are still working in natural dyes because the process is longer and the investment in raw materials is much higher.

Rabari embroidered storage bag, 40 years old

The tourist season in Gujarat, India is about four months long, from November through February, about the same as in Oaxaca, Mexico. It’s the dry season, easier to travel. Yet, this is the hottest December that people in Bhuj can remember. There is no global warming, right?

Sheep wool, hand-woven skirt trimmed in embroidery, pure Rabari

And, this year, because of India’s demonitization crisis and no access to cash currency, about 60-70% of international tours cancelled.  This region that depends on tourism is being hard hit. Sound familiar to those of you who visit or live in Mexico?

Rabari woman working on dress trim to be sold in a boutique somewhere

I’ve heard stories about embroidery designs from one tribal group that are co-opted and used by another because it is more popular. I have heard about a village that weaves a piece of cloth which is sent to another village for embroidery embellishment. Neither is credited with for the work.

Rabari women’s hands make quick work; tattoos and cloth, key symbols of identity.

Since cloth is about identity, does this practice contribute to loss of cultural identity? Who is responsible for this loss? How do we put value on what is made by hand? Are we willing to compensate or are we looking for a bargain, at whatever the cost to the maker?

Tools of the trade: cotton or rayon floss, needles, mirrors

I’m writing this blog post from the airport in Seoul, South Korea. It’s 10:50 a.m., December 14 here. I will be back in California, USA by 8:30 a.m. December 14. Go figure! The international news is daunting, and the prospects of a new presidency are depressing as cabinet appointees are named. I’m still apologizing, especially to the terrific Muslim people I have met along this Path to and from India.

Old block print, made with madder root, backs vintage textile.

 

 

Boulenc: Bringing a World of Flavors to Artisan Bread + More in Oaxaca, Mexico

We invited Martha Sorensen to write this post. She has raved about Boulenc since they opened.  Martha makes it a daily breakfast habit to include a slice or two of toasty, crusty rye or whole grain bread from Boulenc topped with their not t00 sweet house made mango jam.  She’s got me hooked.

***

Bernardo (left) and Juan Pablo send greetings

Bernardo Davila (left) and Juan Pablo Hernandez, founder, welcome bread lovers

Walk through the doorway of Boulenc and the comforting scent of fresh-baked bread and pastries envelops you. On the high shelves behind the front counter, whole grain sourdough loaves topped with artistic flour swirls or leaf patterns delight the eye.  More than a bakery, good food to eat is here, too.  Boulenc is a cafe, restaurant, bakery and provisions shop. 

 Boulenc 2015-8

In the glass cabinet below, cardamom rolls sit beside ricotta berry Danish, orange chocolate brioche and buttery concha rolls decorated with a sprinkling of cocoa powder. Each beckons with the promise of a taste sensation.

Boulenc 2015-19 

To the right, a bread oven from Sweden purchased via eBay warms the room. The six bar stools are usually filled. Behind the bar is a bookshelf with a collection of master bread making books, including Tartine Bread from San Francisco’s renowned artisan bakery. In the kitchen, four young bakers look up from their  floury hands with a smile of greeting. Can this be Oaxaca?

Boulenc 2015-16

Born in Saltillo, Coahuila, Juan Pablo Hernandez, a.k.a. Papa, is the founder of the European-style artisan bakery Boulenc.  He began baking years ago while still in school, ordered books and later experimented in a friend’s Oaxaca restaurant. Passionate about producing the highest quality, he gave away bread in exchange for comments.

Boulenc 2015-19  Boulenc 2015-4

Then, he sold loaves at El Pochote while learning the art of baguette and croissant making from a young French baker who was traveling through Mexico. In January 2014, with Bernardo Davila and two other friends from Saltillo, he opened Boulenc.

Boulenc 2015-25

Juan Pablo’s European apprenticeship came from an unlikely source: a Dubai entrepreneur who found him via an international bakers’ Facebook group.  She was looking for someone to open an artisan bakery there. Last autumn she sponsored his travels to Sweden, Denmark and France. In October, he was in Dubai for a month where he made sourdough pan de muertos. Juan Pablo says that over 5,000 Mexican families live in Dubai. 

Boulenc 2015-17 Boulenc 2015-13

His time in Scandinavia was life-changing. In southern Sweden, he took a sourdough course from world-renowned baker Manfred Enoksson, (who taught him to make cardamom rolls) learning more about stone-milled organic whole grains and the sourdough fermentation process. The living microbes in the culture need care. As Juan Pablo says, it is a relationship that must be nurtured.  “It makes you humble,” he says.  Most of products in Boulenc have a sourdough element. All other ingredients are sourced as locally as possible, including wheat from Nochixtlan in the Mixteca region of Oaxaca and cacao cream from another part of Mexico.

Boulenc 2015-24 Boulenc 2015-22

Using a term from his permaculture training, Juan Pablo says that he and his partners see Boulenc as “a spiral, not a pyramid.” While there is some specialization, everyone at Boulenc has multiple roles, contributes ideas for new products, and values working together for the good of the community. This includes sharing sources and information with new bakeries that have a commitment to quality.

Boulenc 2015-5  Boulenc 2015-14 Boulenc 2015-6

They have given one bread making class and hope to do more. At the end of the day, any bread that is left over goes to an orphanage and a social service organization. Part of Juan Pablo’s mission is to educate about the importance of eating bread that is nutritious vs. bread made from white flour and chemicals in an industrial process. He sees this as vital, particularly here in Mexico where obesity rates are among the highest in the world.

Boulenc, Porfirio Diaz 222, between Murguia and Morelos, Centro, Oaxaca, (951) 514-0582

Boulenc’s future plans include opening a pizza cafe at a location nearby. For more information, including photos and short videos go to:

https://www.facebook.com/pages/Boulenc/534647166618801

Boulenc 2015-7

Norma’s Notes:  Belly up to the bar and grab one of the six bar stools that overlooks the kitchen. Come for breakfast and order Shakshuka, a Lebanese poached egg and spicy tomato dish or a Belgian waffle drizzled with chocolate syrup, nuts and fresh fruit. Don’t be in a rush. This is slow food. Wait with a cup of the organic coffee or aromatic hot chocolate made with milk. Lunch offers up pizza rolls and tasty sandwiches on crusty bread. My favorite is the 100% rye infused with nuts, a meal in itself.

Handmade in Oaxaca Group Sale, December 19 + 20, 2014

This Friday and Saturday, December 19 and 20, the plaza at the corner of Calle Rufino Tamayo #800-C and Xolotl across from the Stone Cross — Cruz de la Piedra — will come alive with an exhibition and sale representing some of Oaxaca’s most talented young artist designers. Here you will find all handmade textiles, clothing, furniture, jewelry and ceramics. Artist list below. Don’t miss it!

 @ La Tiendita del Barro by 1050 Degrados

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