Tag Archives: Teotitlan del Valle

It’s a Dog’s Life in the Campo

Twelve years ago, when I moved into my casita in the campo, I was the only one out here except for a few wild dogs, discarded by owners because they were either no longer cute puppies, grew bigger than expected and ate too much, or needed veterinary care that was too expensive. It was all milpas then, corn fields intermingled with squash and beans, the traditional indigenous diet of Mexico. I remember hearing the raucous caw of crows, the high-pitched screams of coyotes at dusk, the rustling of dried corn leaves in winter, the proliferation of orange-flowered wild marigolds ready for plucking during Day of the Dead, and blood-red poinsettias, native to this area, shooting out from the tops of long stalks at Christmas. Earth has her cycles, and I am part of it here.

The campo is the agricultural fields beyond the Rio Grande, the small stream that borders the village on the north side.  It used to be the outskirts of the village, but no more. As the population grew and more migrants returned home after years of working abroad and sending money home to build, new houses began to proliferate in the campo.

In the summer rainy season, water gushes down from the reservoir on the foothills, built eighty years ago. It is the source of life here. I still see the grandmothers in their faded gray, black, and wine-red plaid wrap-around handwoven skirts worn thin from more than fifty years of washing. The skirts are secured at the waist with loomed red belts dyed with cochineal, decorated with fringes and tassels. Sometimes, I see the the abuelas washing laundry in this stream, kneeling and bending to rinse, drying their laundry on the bushes lining the stream. Here, donkeys and horses drink their fill, too. Here, the wild dogs wallow in the mud to clean themselves, taking refreshment, as well.

This morning, the birds are singing. In the distance, I hear the cocks crowing and dogs barking. It is past breakfast time. Two days ago, as I walked, two hiking sticks in hand to guide me over uneven terrain, I circled the periphery of the two-acre property I live on. It was late in the day, and I could feel the chill beginning to set in. It will be cold tonight, I thought.

As I circled, I decided to make a detour behind my casita. I noticed a small, black, furry lump huddled in the corner of the concrete platform that holds the water cistern I use for the plants. It was a whimpering puppy. I scooped it up, and its small body was shaking uncontrollably. What could I do but rescue it, bring it inside, make it warm, feed it? What I would do beyond that was never in my consciousness.

You may remember that about a year-and-a-half ago, I wrote about the black dog named Zopilote that I tried to rescue and who escaped. I wanted to capture, adopt, and neuter her before she could have babies. I was not successful. This time, I wasn’t going to let that happen again. When I returned here in early January, my family told me Zopi was dead, either poisoned or killed with a gun. Life for dogs in the campo is harsh.

When I looked at this puppy, I knew she was part of Zopilote’s lineage, with long legs, wide black eyes, a well-shaped pointed nose, and black fur with white paw markings. She was beautiful. My friend, Arnulfo, identified her as a she. But I didn’t name her, not knowing if I would keep her. I didn’t want to bond. She curled up on my lap, turned her head to look at me with doleful eyes and I was hooked. I wrote to Merry Foss who runs Teo Tails, a sterilization clinic here. What do I feed her? I asked. Impatient, I looked online. No cow milk. That’s good. All I have is almond milk; I warmed it up to wrist temperature, just like you do for a baby. I used a small spoon to bring the liquid to her mouth, and she began to lap. I tipped the cup and she slurped it all up.

That night, she wailed. I put in earplugs and wrapped the blankets over my head. Finally, I fell asleep. Eventually, she did, too, settling into a corner in the living room, her nose tight against the corner where the north and east walls meet, where I found her in the morning. Her cries were baby-like, yearning for her mother. I put her on my lap to soothe her.

Merry said, take her to the veterinary clinic she works with in Tlacolula. So, I did. The vet said, this baby was sick with intestinal inflammation, mucous, and fleas. She was pegged at two months old, and undernourished. After administering the exam and then dosing with proper medicine, the vet opened a small pouch of food, and I hand fed the puppy. I left with her tucked into a shopping bag after paying the equivalent $50 USD bill, and medicine, syringes, and puppy food, along with a list of instructions in hand.

At home, we settled into the hammock. It was a spectacular afternoon. Clear blue skies, 78-degree weather, puffy clouds floating over the 11,000-foot high mountains. We were shielded from the sun by a guaje tree, red pods ripe with dangling overhead, an ancient source of sustenance. Guaje is an acacia tree native to southern Mexico that produces long, flat pods filled with crisp tender green seeds. These seeds have a very pleasant, mild garlic flavor. They look, feel, and taste similar to pumpkin seeds. The tree’s fringed leaves left mottled shadows below. It was like swinging under a canopy. A yellow songbird perched on one of the branches. The puppy, still unnamed, was splayed on my belly dozing intermittently between deep sighs.

She got up, stretched, and began panting. Her legs were unsteady on the hammock. She peered over the edge, pushed her head through the netting, walked across my outstretched body, and seemed restless. I thought she needed to pee. So, I swung my legs around, stood up, and put her on the ground. She steadied herself and in seconds, she took off for the corn fields and disappeared.

I’m angry at myself for not knowing better. I believed this puppy had bonded with me and would stay close. I had dreams of her trailing me, little black tail wagging. I imagined training her to fetch, to obey on command, to wear a collar and be led by a leash. I would get her spayed at five months old and she would become my companion for the rest of my days here. The other two campo dogs, Butch and Tia, came to me fully formed. Butch was about six when he appeared. Tia was yearling. That was eight years ago. Butch now has trouble walking and Tia has slowed down considerably. A new puppy felt right.

I loved the feeling of having this small animal nestled on me. I loved touching her fur, rubbing her little nose, scratching her head, and stroking her. I thought This is just what I need. In an instant of misjudgment, she was gone. I doubt she will return. The call of the pack is powerful. This is about ancient instincts. I have to accept and let go. Another lesson learned.

A Writer’s Life in Teotitlan del Valle, Oaxaca

Oh, goodness. Where to start? Since Thursday evening, January 2, I have participated in a women’s creative writing workshop retreat in the Oaxaca village of Teotitlan del Valle. I have produced this workshop (or something like it) for the past fourteen years (minus the last two, when we took a break). We end on Wednesday morning, January 8, and I find myself digging deeper because I’m thinking about writing a memoir.


This could be considered a daunting task, but I am learning that this type of writing can come in chunks and snippets and does not need to be complete. It can be a series of essays that string together in a related and meaningful way — or not. Randomness is something I try to embrace. Maybe it’s because my brain works that way.


Our writing instructor, Marcia Meier, says that writing a memoir is more about taking things out than putting things in. She also emphasizes that most of us have several memoirs in us. You can write as many memoirs as you have had different experiences.


Different from an autobiography, which is a factual accounting, usually from birth to the time of writing and encompassing events, relationships, achievements, and challenges, a memoir focuses on specific themes, emotions, and reflections. This is a more personal and introspective approach to writing. A short memoir can be several hundred words, pages, or more. It doesn’t have to be 50-100,000 words! The key is to focus on telling a compelling and cohesive story, regardless of length.


Marcia has had over 10 books published, plus many essays, and creative works. She ran a California writer’s conference and literary press. She was a journalist, university professor, editor, teacher, and coach. Her memoir, Face, took her fifteen years to write, edit, and submit for publication. This must have been a daunting task and an inspiration for each of us. This book won the New Mexico-Arizona Book Award.

Each day, Marcia gives us writing exercises for inspiration. She reads us poetry, prose, memoirs, and fiction by familiar writers or some we have never heard of. She gives us challenges: identify an inanimate object and have it speak to you about who you are and where you live. She asks us to list our fears about our writing and anyone connected to it. What would they say or think if they read this? She gives us colored pencils and paper and instructs us to draw our dreams. She opens a box of play dough and asks us to shape something meaningful. These exercises open us up to the writing process, freeing us from constraints.



We dig deep into memoirs, creative non-fiction, and personal essays. Our participants range from novice to experienced. This year, women have come from Sydney, Australia, Oaxaca, California, Arizona, and New Mexico, to write.


We are now on day five with one more to go. This is a small, intimate group. We read what we have written to each other, giving supportive feedback. No one is critical. We are all in this together.

What participants say about Marcia Meier.

Open, gracious, and encouraging
Supportive, gentle, calm
Detailed, positive, organized
Welcoming, knowledgeable, informative
Inspiring, insightful, humorous
Expressive, honest, real

One participant says: She pulls out what we didn’t know was there. She has given me the tools and confidence to write about what makes me happy and sad. She is warm and a great instructor. Her teaching is empowering and transformative, and her style is both nurturing and stimulating.

We will consider offering this workshop in 2026 for six or seven days in Teotitlan del Valle, Oaxaca. If you are interested in knowing more, please send me an email. We will put you on an interested list and notify you when we have more details.


Holiday Greetings! Best of the Best Oaxaca Photo Workshop

Sending you warmest greetings from sunny, sparkly Taos, New Mexico, where we are basking in high desert winter sunshine and 50 degrees (20 degrees above average). Perfect walking weather. Global warming? Definitely!

I’m getting ready to return to Oaxaca on December 30. I won’t be complaining about the mid-70’s there. I want to thank you for a spectacular year for Oaxaca Cultural Navigator (OCN). As I focus more and more on health and well-being, I am grateful to YOU, who read and follow and shop here. And, special gratitude for Eric Chavez Santiago and his wife Elsa Sanchez Diaz who are my OCN partners. They are managing so many of the details that I no longer have the bandwidth to concentrate on. They are a blessing to me. I’m also grateful to the many artists and artisans who we know. They contribute their family history, talent, and resourcefulness to what we do, and welcome our guests with open arms and kindness.

As we close out 2024, I want to share with you the Best of the Best Photos from our October Day of the Dead Photography Workshop in Teotitlan del Valle with Luvia Lazo. Luvia had a private session with each workshop participant, and they selected the three best photos they took during our three days together. Here they are:

Andrea James, Santa Fe, New Mexico

Mai Nguyen, New York City

Sherri Kratchmer, Alberta, Canada

Ted Fahy, Ajijic, Lake Chapala, Mexico

Priscilla Taylor, Ajijic, Lake Chapala, Mexico

Eric Chavez Santiago, Oaxaca, Mexico

Norma Schafer, Taos, NM, and Oaxaca, Mexico

A Word From Luvia Lazo Gutierrez, Award-Winning Photographer

A long time ago, I participated in a workshop that Norma organized. She brought professional photographers from the Duke University Center for Documentary Studies to Oaxaca to teach us about composition, lighting, tips, and tools for using the camera. This opportunity helped immensely to improve my approach to photography.

Over the years, I discovered the most important tool for me: Storytelling. There came a point in my career when I realized that as long as I could tell a story in a natural, honest, and sincere way, it would bring me more joy and create deeper empathy with the subjects I was portraying.

When I was invited to give this workshop, my challenge was to teach this lesson to the participants: How do we begin to see again without being influenced by everything we have learned from others? How do we start to discover our personal way of seeing the world through the lens of our cameras?

Teaching is an honor because it provides the opportunity to exchange ideas, learn, and share. During this workshop, I emphasized that we all have a story to tell and a unique way of seeing the world. The photographs that each participant took, reflected this, and I couldn’t be happier with the results.

Are you interested in our next Portrait and Street Photography Workshop in 2026 with Luvia?

Send an email and we will add you to our interested list.

Teotitlan del Valle, Oaxaca, Portraits

Yesterday, Luvia Lazo, our instructor, scheduled an online review of photographs I had taken during our recent Day of the Dead Photography Workshop in Teotitlan del Valle, Oaxaca. Everyone who participated sent Luvia a selection of what they considered to be their best 10-15 shots taken during the three days we were together. She arranged a personal session with each participant to talk about strengths and ways the photography could be improved upon.

During this time together, I focused on street photography, still life, and portraits. Luvia pointed out that she felt my strongest work captured people’s faces. I had taken these during arranged portrait sessions in local homes or when I stopped people on the street or in the market to ask permission to photograph them. She sifted through the 17 photos I had submitted for review and selected those she felt were the strongest — capturing light, shadow, emotion, telling a visual story.

Luivia’s comments were instructive. She said these captured natural moments, with the subjects looking at the photographer and not at the camera, how the shot was framed, perspective, composition, with shadows deep in the image. She recommended that each photograph provide enough information to keep the viewer’s attention. She called out those she didn’t like as much (I haven’t published them), telling me what could have made a difference and improved the shot — some were out of focus, others needed cropping, a few were overexposed, several were out of kilter and needed better framing.

It demonstrated that I need to pay attention to set up the shot and take my time. Morever, Luvia was a guest at Apple’s launch of the iPhone 16 in Cupertino — all expenses paid! (Yes, she is that famous.) They gave her a new phone as a gift. She showed me technical features on my iPhone 14 Pro Max that improved my picture-taking capabilities. Very, very helpful. Yes, I took all these using my iPhone!

We are considering offering this workshop in a longer format in 2025 or 2026, but not during the Day of the Dead. All types of cameras are welcome — from SmartPhone to DSLR to mirrorless! If this interests you, please email me to get on an interested list.

Photo Workshop Day 3: Luvia’s Grandmother +

We met at Luvia’s photography studio at 9:30 a.m. Before that, most of us returned to the village market to take more pictures. The early morning light here is illuminating. The light plays with shadows and texture; there is so much to capture the eye. This is a daily market in Teotitlan del Valle, one of the few remaining here in indigenous culture. During Dia de los Muertos, as families buy flowers, bread, chocolate, fruit, candles to decorate graves and home altars, the market is even more resplendent.

At the studio, we send photos to Luvia’s computer and then have a look-see with a discussion about each of our works taken the day before and this morning. We were frantically editing the ones from this morning to get these ready to send. We talked about composition, cropping, lighting, finding the details, getting closer to our subjects than many of us are comfortable with. It’s an exercise in asking permission to photograph and then stepping into a space that is tighter than usual.

We began to see our world differently and with more definition.

We especially enjoyed our visit to the home of Luvia’s grandmother. She is age 78. Many women age faster here, especially the older generation who have borne and raised many children, and did everything by hand including: shucking corn from the cob, washing laundry and dishes, carrying water, preparing meals three times a day, and feeding the farm animals — chickens, goats, turkeys, cows. Each morning they walked to the market and home again throughout their lives where the daily social contact there was so important. Many ducked into the local convenience store to sip mezcal together and catch up on gossip.

Then it was home again to do everything necessary to keep an extended-family household going.

We were so happy this workshop fit into Luvia’s schedule. Her work has been featured in The New Yorker and Vogue magazines, and she has had exhibitions in the USA and Europe. Fujifilm and Leica awarded her grants as a rising star, and she will be going to New York to participate in an arts residency in 2025. Both Luvia and I agree: we do not want to hold workshops during Day of the Dead — November 1 and November 2. We want this to be quiet time with our families to reflect on meaning, loss, life and death, and to remember our loved ones.

Here are some of the photos I took that day in the market and with Luvia’s grandmother:

And here is my Day Of the Dead Altar to remember my parents. I call it my Memory Altar. It looks very much the same year after year, which is very reassuring.