Tag Archives: San Pablo Villa de Mitla

Oaxaca Day of the Dead Day Tour: Dia de los Muertos in Mitla, November 1, 2023

Our path along the Pan-America Highway leads us to some of the most iconic villages in Oaxaca. The artisans we visit in San Pablo Villa de Mitla not only talk about and demonstrate their craft, they will discuss their personal experiences and traditions growing up and honoring their ancestors during Day of the Dead. When you participate with us, you will go deep into a rich Zapotec history and culture that pre-dates the Spanish conquest of Oaxaca in 1522 and the settlement of Oaxaca as a colonial capitol.

We pick you up at 9:00 a.m. at a central location in the Historic District of Oaxaca city and return you there by 6:00 p.m. We will let you know the location two-weeks before the tour.

Our first stop is to Santa Maria del Tule where we will see the massive, 2,000 year old cypress tree known as the Arbol de Tule, considered to be the oldest in the Americas. The mother tree has given birth to numerous nearby offspring and this is a sight to behold.

In San Pablo Villa de Mitla we meet Don Arturo at the Panteon Mitla, the cemetery where his family is buried. We will accompany him to the tomb, participate in honoring his family, and observe how other families memorialize their loved ones. We then return to Arturo’s weaving studio where he explains the traditional altar, the history and cultural significance of the celebration.

Arturo is a famous weaver who works on the traditional back strap loom with wool. This loom is primarily used by men here because it is wider and heavier than the looms used by women to weave cotton fabric. He is also a master at creating natural dye recipes, and uses the flying shuttle loom, an industrial revolution innovation of the mid-1800’s designed to make large scale lengths of cloth for tables, bedspreads, and curtains. His workmanship is so outstanding, he has been invited to participate in the Santa Fe International Folk Art Market repeatedly. We will have a traditional Day of the Dead lunch, including homemade Mole Oaxaqueño on the patio of his home studio, prepared by his wife who is an excellent cook!

Don Arturo has a traditional altar. He uses only pre-Hispanic fruits and vegetables to decorate, and the mural behind his altar, featuring the Virgin of Guadalupe, Mexico’s patron saint, is a sight to behold. This is a time for reflection and understanding of pre-Hispanic traditions blended with Spanish Catholicism that is known as syncretism.

Our final stop is to the home of antique dealer Epifanio who has an amazing presentation of traditional pre-Hispanic decorations. You will have a chance to discover many hidden antiques at reasonable prices –off-the-beaten path. We return you to the city by 6:00 p.m.

Registration

Tour cost is $148 per person. This includes transportation in a luxury van, bilingual guide services with translation, cemetery visit and a traditional Dia de los Muertos lunch. A $40 non-refundable deposit per person will reserve your space.

Final payment is due in cash (either dollars or equivalent pesos) on the day of the tour.

Deposits can be made with a Zelle transfer (no service fee), or with Venmo or PayPal (with a 3% service fee). Please tell us by email which payment method you prefer along with your intent to participate, how many people will be in your party, and we will send you a request for funds. Thank you.

Reflections: Oaxaca Day of the Dead 2022

The intensity of organizing three Day of the Dead programs — a culture tour, a writing workshop, a folk art tour– in Oaxaca this October and November gave me little time to adequately reflect upon and write about how Day of the Dead is spiritually satisfying, evolving and changing in Oaxaca. Now, back in Northern New Mexico until the New Year, I have more time to think and write about the experiences of visiting cemeteries, reflecting on memory and loss, and describing how village celebrations take us deep into Zapotec culture and tradition. Why? Its downright COLD here and having gone from eighty degrees Fahrenheit in Oaxaca to a chilly low of eleven degrees, complete with snow on the ground and atop nearby mountains, I am inclined to hunker down and stay indoors. Saving grace: New Mexico sunshine that keeps the spirits elevated and a glow of optimism alive.

Oaxaca is a mecca for Day of the Dead celebrants, now attracting hordes of visitors from around the world. On Oaxaca streets, I heard German, Italian, English, Portuguese, Spanish, French and Chinese. On the evening of November 2, when Zapotec residents of Teotitlan del Valle accompany the spirits of their deceased ancestors back to their gravesites, sit quietly to honor their memories, perhaps having a picnic supper with a mezcal toast, a group of Korean tourists intent on capturing the moments, approached with heavy-duty telescopic lenses, pointing cameras into sacred spaces. I reminded our travelers to be respectful, to ask permission for photos, and to not gawk. Gawking is not culturally responsible tourism.

At strategically located corners throughout the Historic Center of the city, local entrepreneurs set up face-painting stations. For $150 and much more, one can become a Calavera Freda, complete with a ghostly appearance and head topped with a fake floral crown. We also heard of families offering authentic experiences at the cost of $200 per person to join in a family meal followed by a cemetery visit. Those of us who live in Oaxaca applaud this creative approach to earning extra income, particularly when visitors are willing to pay any price, it seems, to participate in a more intimate experience.

We heard tell of another scene, this more private, whereby only those invited could buy a $250 ticket to a secret venue in Santiago Matatlan, Mezcal Capital of the World. You have to know someone who knows someone to get in. In addition to the ticket cost, arriving in costume is mandatory. A van picks-up the party-goers at a secret meeting point in Oaxaca city and takes them to an undisclosed location where mezcal flows freely well into the night, and a frenzied dance-party Burning Man-style ensues, entertaining revelers.

We eschew these experiences, preferring a more culturally quiet and sympathetic approach to the holiday. This is one important reason we are based in the villages. What I did notice this year in our Teotitlan del Valle cemetery, is that no visitors appeared wearing face make-up like they did last year. I also noticed that more visitors were there under the auspices of local families, hovering with them around their family gravesites. There were more villagers sitting around the cemetery this year than last. Perhaps, this is because our group arrived earlier at four-thirty in the afternoon. Most of us departed by six just as the light was waning. Yes, there were tourist vans, but fewer and smaller than before. We did hear that the village authorities had intervened to discourage large groups.

When we went with Arturo to his mother’s grave in San Pablo Villa de Mitla the day before, we arrived in late morning. At noon, the difuntos (deceased) arrive, announced by the cohetes (firecrackers). This is the signal to leave and accompany the spirits back home. There were very few foreign visitors here and participating felt so special. At the home altar, Arturo said a prayer to his mother, lit the copal incense and invited her to partake of special pre-Hispanic foods on display at the altar–chocolate, tortillas (corn), squash, water, chile, honey, peanuts, pulque, beans, limes –all native to Mexico.

(Let me introduce you to Arturo Hernandez, an outstanding weaver who has gained worldwide recognition, and invited to the Santa Fe International Folk Art Market. He has been a good personal friend for many years)

How do you know her soul will follow you home, someone in our group asks.

I ask her in Zapotec to come with me. I feel her with me in my heart. I talk to her. I let her know our happiness and our challenges. I also ask her to remember me and welcome me when it is my time to join her. She is inside me and it brings us both joy to have this day together, Arturo says.

The base of this altar is constructed with three arches or openings, representing three stages–birth, life, death. They are replicas of the arches found at the nearby Mitla archeological site. Mitla, once known as Mictlan, meaning Place of the Dead or Underworld. This was a major Zapotec burial site for royalty. With the Spanish conquest, the openings were renamed to become God, the Son of God and the Holy Ghost.

After the altar ceremony and explanation of this important tradition, we followed Arturo to the al fresco dining area where his wife Marta had prepared a delicious meal of mole negro, chicken, rice, tamales and nopal salad for us, followed by my favorite dessert, nicuatole, a corn pudding. Buen provecho!

Day of the Dead in San Pablo Villa de Mitla 2022

San Pablo Villa de Mitla is known as the City of the Dead. This is where Oaxaca Zapotec royalty were buried during the height of power. The village is steeped in a tradition that goes very deep in the Tlacolula Valley of Oaxaca. Once called Mictlan, this is the word for underworld in Aztec mythology. Most people who die will travel to Mictlan. We learned from our day with master weaver Arturo Hernandez and his wife Marta, that dogs were an essential part of this belief in Mitla. They are loyal mascots and serve to guide their masters from the world of the living to their tombs beyond.

Diane brings a gift of Day of the Dead flowers to present on behalf of us all

The village closed its cemetery to visitors this year, limiting those who enter to two people per family. The reason: fear of Covid-19. At the entrance to the village on our way to visit Arturo’s home and studio, our van pulled up to a check-point where we were asked to get out, to check our temperatures and to apply hand-sanitizer. The van was then disinfected with an alcohol spray. Whether that does any good or not, I don’t know, but people here feel more secure with this process.

Arturo’s traditional back-strap loom weaving. Corn, cacao and the sacred serpent are represented here.

We came with traditional gifts of flowers, chocolate and bread to present to our host, to add to their altar. He greets us in Zapotec and we present our gifts. This is a very special day for the family. And, it is our blessing to honor those from this home who have passed. Whatever is placed on the altar is not removed until after Day of the Dead, which starts here on November 1. At noon, the church bells rings, firecrackers explode, and the dead souls (difuntos) arrive to participate in a meal with the family.

Guava is a pre-Hispanic fruit used to adorn this altar

Everything on this altar has pre-Hispanic significance: honeycomb — representing the sweetness of life, salt signifies bitterness, pulque—a preHispanic fermented pineapple drink used by the ancestors often more potent than mezcal (distillation came to Mexico with the Spanish conquest), and tabacco. Before the conquest, locals smoked marijuana that they rolled in corn husks, used in celebrations. It is called a sacred leaf Ojas de humo sagrado. When Catholicism arrived, this practice was prohibited. Guaje, a tree pod whose seeds are filled with protein and also has digestive medicinal benefits. Some of you may know that this tree is prolific in Oaxaca and that is how the city got its name. Pumpkin seeds and native corn, representing sustenance. Nopal cactus is also excellent for the stomach to prevent sickness and preserve health. Chocolate (chocolatl, an Aztec word) was a sacred beverage, too, and always made with hot water, not milk.

Traditional Mitla altar with arches representing the three stages of life

Arturo comments that many decorate altars with fruit that is imported and symbols that represent the modern world, like coca cola or beer. He prefers to use native apples from the mountains (not from California), guava, pecans, peanuts, jicama, banana, squash and corn that were available during the time of the ancestors. He tells us the names in Zapotec and linguistically explains that anything that has a name that includes some Spanish is not original. Evidence of many of these seeds were found in the caves at Yagul, just up the road and are carbon-dated to 8,000 years ago. Furthermore, he only uses the wild marigolds, not those that are cultivated.

Pumpkin seeds for the altar

The altar is a shelf with three arches below representing the stages of life. The first arch represents birth and childhood. The center arch represents youth to middle age. The third arch represents old age and death. Originally, altars were made with reeds to look like a table with three openings below. The shape of the arch was introduced by the Spanish.

In the Mitla tradition, women are given power at marriage. They wear the key to the door of the house at the ceremony and the keys to the money that is in the baule (the wedding chest). There is no evidence of femicide or abuse of women in this village, according to Arturo.

Arturo gives us a backstrap loom wool weaving demonstration, telling us that this is men’s work here. He is using indigo that he dyes himself.

Shannon with the throw woven by Martin using natural dyes

Precisely at noon we stop what we are doing and have five minutes of silence. Precisely at noon the firecrackers go off at the cemetery and Gabriel, who is doing an internship from Guanajuato, lights one in the front yard. Marta comes out with an incense burner filled with copal and lights it. She walks with Arturo to the altar room and he purifies the space with the smokey, aromatic copal. This is the moment that the ancestors arrive — women lay down on the woven palm petate (mat) and men take their seat at the chair flanking the altar. It is sacred space.

The altar at the home of Epifanio Perez

After a short visit to the home and altar of Mitla antique dealer Epifanio, we return to Arturo and Marta for a traditional black mole and turkey tamale lunch. This made-from-scratch lunch for 12 of us is complete with locally grown chayote squash, nopal cactus salad, beer, mezcal, and topped off with nicuatole for dessert. This is a traditional pre-Hispanic corn pudding flavored with vanilla (also original to Mexico) and cinnamon.

Our group with Arturo, Marta, Martin and our co-leader Eric Chavez Santiago
Barbara admires an indigo dyed throw woven on the flying shuttle loom

It’s a privilege to go deeper into the meaning of Day of the Dead and learn the oral history from local people. This is what makes what we do different to give our visitors a cultural immersion experience. Cultural sensitivity and respect is an essential part of our approach.

Commercialization Creep is happening with Day of the Dead. Oaxaca City is completely overrun with an atmosphere of party going. Face painters ply their talent on the streets so that the atmosphere is becoming more like a combination of the U.S. version of Halloween and Mardi Gras. This is encroaching on the traditional villages, too.

I will be writing about our Day of the Dead experience in Teotitlan del Valle in the next few days, where tourists have taken over the cemetery and few local people come to sit by their loved ones tombs.

Arturo shows us each of the special offerings on the altar and explains their significance

Oaxaca Speaks: COVID-19 Report #6 from Mitla

San Pablo Villa de Mitla, a Pueblo Magico, has one of the most important archeological sites in the Zapotec world. It is a tourist destination along the Tlacolula Valley. Many visitors combine a visit to Mitla with the Sunday Tlacolula Market and a mezcal tasting in nearby Santiago Matatlan.

It is also home to my friend Arturo Hernandez Quero, an outstanding weaver who works in natural dyes on the flying shuttle pedal loom. He is also a traditional backstrap loom weaver, making gorgeous wool ponchos just as they were made centuries ago by men who took it up after the Spanish conquest.

Arturo Hernandez Quero at his flying shuttle pedal loom

Here is what Arturo reports about the virus, and how he and his family are doing:

Monday, March 30: Hello, Normita. I’m glad that you wrote to me. Life has changed. We are living in sadness and concern. We are afraid to get sick. There is a case in El Tule and a case here in Mitla. We are not going out to Oaxaca. I don’t know if we will return to normal like it was before, but for so many people they are living like it is normal now.

Thursday, March 22: Good afternoon, Norma. Thanks for your concern for us. As of today, everything is fine with the family. The city of Oaxaca is deserted. There are no sales or tourism. The archeological zones are closed, just as the schools are closed. Many people do not leave their homes. Prices are increasing like tortillas, eggs, bread and many other things. We don’t have a food shortage. It’s just that merchants are taking advantage of the situation.

We also have a water shortage. I think this is going to have negative consequences in the future.

For now, I have employment for the weavers who are working with me. We are doing some new innovations that maybe when this is over, we can sell. Our wholesale clients are not buying anything at the moment. The Textile Museum [where Arturo sells his work in the gallery shop] is closed.

We just want to be healthy for now. We don’t think there are any cases of corona virus in Mitla. We are washing our hands with detergent often.

It’s very, very hot here.

Take care of yourself, Normita. We love you very much.

Arturo

Symbols in Arturo’s weaving: corn kernels, plumed serpent, lightening
Indigo shawl just off the loom from Arturo’s studio

Inside the Tomb: San Pablo Villa de Mitla Archeological Site

Some of our fiesta group: Feliz Cumpleaños, Martha

Many visitors make a stop in Mitla as a side trip, along with a whirlwind shopping extravaganza to the Sunday tianguis Tlacolula Market, or a bypass on the way to Santiago Matatlan, the mezcal capital of the world, to imbibe in a tasting.

Culture juxtaposition, Zapotec and Catholic in perspective

For my friend Martha’s BIG birthday celebration, a dozen of us started out with early pre-fiesta festivities on Friday before the big Saturday party. Our destination was an archeological immersion into Mitla, once called Mictlan in Nahuatl, which means place of the dead.

Inside a chamber of the original monastery, a reconstruction

We were led by Eric Ramirez Ramos from Zapotrek. Eric is a very knowledgeable guide who is from Tlacolula and tells all the stories about mysteries and myths in the region that he heard from his grandfathers.

Eric tells us about Zapotec culture at Mitla

The Aztecs named Tlacolula, which means Land of the Twisted Branches, because of the ancient trees here. The Zapotec name for Tlacolula is Guish Baac, that means Old Town. Today, locals from nearby villages still say they are going to Baac, when they travel here, according to Eric. 

Tree with a twisted branch at Mitla archeological site

Not yet restored, fallen lintel

As we travel along the Pan American Highway, that goes from our starting point in Teotitlan del Valle (also an Aztec word), we see pre-Hispanic glyphs at Yagul, the small but important archeological site of Lambiteyco, and hills that look like mounds. Eric points out that when there is a hill covered in cactus, that is usually a sign that a ruin lies underneath. Everywhere there is a cross installed by the Spanish conquerors is a designation that this was an ancient Zapotec ritual site. 

Deep inside the tomb, second patio

Along the highway, just before coming to Mitla, lies the village of Union Zapata. In adjacent caves, fossilized corn was found, proving that maize was domesticated here 7,000 years ago. Squash seeds were dated to 10,000 years ago. I live among ancient agricultural peoples who continue to thrive. 

One arm of the “cross” in the tomb — one of the 4 directions

Detail, end of tomb chamber

At Mitla, we see Zapotec and Mixtec walls of a ceremonial burial site for the priestly class. They are carved with intricate designs, named grecas by archeologist Guillermo de Pie, who thought they looked like the Greek keys.

This tomb carving could be “lightening”

The tombs are open in the patio of the second structure and I decide to climb down the steep steps, then duck under two narrow passageways to get inside. I’m short but it still wasn’t easy! 

Carvings on the outside of the Mitla temple, traces of cochineal-painted plaster

The tomb is laid out in the shape of the cross, which has a pre-Hispanic meaning for the Four Directions and the Four Elements, meaning the cycle of life and unity. When the Spanish came, this symbol made it easier for evangelization of indigenous people. In Maya territory, the cross is the symbol for the God of Wind, so it was easier there, too. 

Columns atop stairs of first plaza, perhaps roof support

Some of the other symbols carved on the walls of the temples and inside the tombs represent fire, lightening, the serpent god Quetzalcoatl, and water. We learn from Eric, too, that the pre-Hispanic dog Xoloitzcuintle was revered as a sacred animal, god of the underworld. The Xolo’s were put in the tombs to guide the spirits of the dead, the important first step on the journey to the Nine Levels  of the heavens. 

Steep stairs: bow your head in supplication

We ended the day with a tasting of pulque and then mezcal in Matatlan, and then with a fine meal prepared by Traditional Cook (cocinera tradicional) and teacher, Reyna Mendoza. A great way to celebrate your birthday, Martha.  Thank you!

Native landscape, San Pablo Villa de Mitla
Self-portrait at the pulque bar
Traditional Zapotec cook Reyna Mendoza Ruiz, Teotitlan del Valle
Mezcal accompaniment, orange slices and worm salt
REAL tostadas, hot off the comal, crunchy and fresh