Carnaval de Mazatlán 2019 is the fifth anniversary of the death of our local legend, Maestro Rigo Lewis. Born on Valentine’s Day 1935, it was rather the fact that he was born as the Carnaval queen processed to her coronation that would define the reality of his life. He counted his age in queens rather than years.
Greg and I were privileged to count Maestro Rigo as a friend and visited him in his workshop every year. Rigo designed his very first float as a sophomore in high school (1960) when his art teacher, Nana Ramirez, had him build one for the Revolution Day parade. He was afraid of flying so never traveled the world, but instead he spent 54 years bringing the world to Mazatlán—who doesn’t remember his Doge’s Palace or Amazon jungle—via the design and production of our world-famous Carnaval floats in his signature baroque style with loads of flourishes and curly-cues finished in trademarked glitter blends and metallic foils. Beginning the following year he began designing many of the royal costumes as well. Click on any photo to enlarge it or view a slideshow.
That is how a group of housewives, out of love for their brother and uncle, have come to be Carnaval float designers. Each of them has memories of folding paper and working on floats from the time they were children, so the vocation is far from new to them. They are using Maestro Rigo’s designs and techniques in order to honor his legacy. Many of the same artists and laborers from his workshop have come back to help with this year’s floats. Rigo taught them, they know what they’re doing, and they work hard out of tribute to him. “I traveled to San Antonio in September with a very long list of things to buy. I kept checking back in with my mother, to make sure I was getting the right things, that I had everything,” one of the nieces told me.
The Lewis family is in charge of creating 13 floats, including the royal floats for both adult queens and most of the Floral Games section of the parade. The main royal float is called “The Light,” and symbolizes the pinnacle of the equinox. It is a Renaissance-style design, 15 meters tall (two meters less than Rigo’s tallest) and has four mythical lions along the sides. “Every queen always told Rigo that her float was the most beautiful ever,” her family recalls. Lori Lizárraga, last year’s queen, brought a photo of Rigo to the taller the morning I was there, as a thank you to the family. They promptly mounted it on top of the main float, at least while it’s there in the workshop. The float for the Queen of the Floral Games looks absolutely incredible to me. It is the castle of Chapultepec, right down to its black and white tiled floors and Maximiliano and Carlotta. The queen’s section will open with her jewels—diamonds, rubies, emeralds… Please note that CULTURA has asked that the press not show any photos of the floats prior to the big day; thus, you will see photos of details and elements only.
This year people will not be allowed to dance in the streets, we were told. Due to the width of the royal floats, people will need to stand or sit in the bicycle lane and beyond, behind the barrier that will be set up.
The float for last year’s queen includes a giant crown that goes up top, and chinacos or Mexican Independence fighters who will be mounted above canons on the float. There will also be a volcano that erupts—confetti! It should be a lot of fun.
Parade 2019 looks to delight, as we have these blasts from the past, Jorge Osuna’s illuminated floats, and Ocean Rodriguez’ innovative, high-tech renditions. There is something for everyone. In closing, the Lewis family reminded me that Rigo always wanted a Carnaval museum. He bought land on which to build one before he died. They tell me they will announce plans for it next Valentine’s Day, his birthday, 2020.