On Keeping Traditions Traditional

 

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Photo of Omar Castro around taken 1992 in Mochicahui, Sinaloa, Mexico

¡Feliz Día del Niño! Happy Children’s Day! April 30, 2014, Children’s Day here in Mexico.

The photo above is of a new friend of ours whom I greatly admire, Omar Castro. In this photo he looks to be about five years old. It was one of the first times he danced with his father in El KONTI, and the photo is taken in the central plaza of Mochicahui, in front of the church.

If you follow this blog, you know we had the pleasure of fulfilling my dream and attending KONTI this year. A week or so after that, I spent some time with a nationally renowned photographer and a well-known international journalist. As Greg and I were talking to them about our recent trip to Mochicahui for these Yoreme Mayo festivities, they were both bemoaning that EL KONTI had become too modernized, too watered down. They lamented the misfortune that some Fariseos now wear masks representing Disney characters, or metal leggings rather than traditional leggings made of  dried cocoons. They advocated that ceremonial leaders should be stricter: insist that participants only wear traditional dress, and that they follow the Catholic-native rituals more closely.

Normally, I would strongly agree with this point of view. I am an interculturalist; I am strongly in favor of preserving cultural traditions. So, my initial response to these two gentlemen was to explain that Omar and other Yoreme leaders are  doing their very best to educate their communities about these centuries-old traditions—explaining many of the points that are in my KONTI blog post. I so admire Omar and the other community leaders for their efforts to preserve the traditions.

But, I was torn. I also reminded my two meal-mates that the real tradition of KONTI is, of course, pre-Hispanic—and thus, pre-Catholicism. If we were to preserve traditions without change, there would surely be no crucifixes, no stations of the cross, no Spanish language prayers, no churches, and no Bible references in the celebration of KONTI. I explained to my esteemed colleagues that while I strongly feel traditions need to be preserved, that they belong to the people. To thrive as vital components of society, traditions need to be living, dynamic customs—and that perhaps requires change and “modernization.”

I believe Omar and other leaders of the Yoreme traditions see this. They teach community members the old ways, through their example, their coaching, and via the school system. They have a young artist from Europe living in the pueblos right now, contributing drawings to a book they are writing on the Yoreme traditions. They value tradition so much that they also permit the use of non-traditional masks or leggings. I believe this is because they know that the people need to make the traditions their own. The tradition needs to speak to individual members, to resonate with them, to have meaning and purpose for them.

I met several young men in Mochicahui who would not have been able to dance in KONTI if not for their tenabaris made by hand out of recycled tin cans, because the butterfly cocoons were far too expensive for them to afford, or they didn’t have access to the cocoons they needed. Thus, keeping the traditional open to some modernity and flexibility enables more people to get involved, to learn the tradition, to breathe continued life into it. I am confident that those young men will save their money or make a trade so that they have traditional tenabaris next year or the following; it’s a process.

Same with the Disney-esque masks. Personally, I loved them. To me it was proof that people want to participate in KONTI, that they find joy in the communal aspects of the worship and desire to join in. Again, I know community leaders prefer them to wear traditional, hand-carved wooden masks (almost every Disney-esque mask I saw was hand-carved from wood, by the way). I know leaders teach that, and promote that. But I also salute community leaders for the fact that they do no prohibit non-traditional masks. To me, it keeps the tradition vital.

It’s a delicate balance, preserving tradition and maintaining its vital place in community. It’s a process, with a tension between change and status quo. It requires us to remember a tradition’s purpose, what is at its core. The photo up top is of Omar as a child. He and his wife are now expecting their first child. The tradition continues. And adapts.

My admiration goes out to the Yoreme Mayo leaders who so well demonstrate that. I learned so much from them on that one day I spent in Mochicahui!

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Historic photo of the church in Mochicahui.
Today the building on the left is in ruins; the chapel at far right stands proudly.


 

Desfile de Semana de la Moto 2014

It was wonderful to have our friends over for the motorcycle parade this afternoon, the culmination of Moto Week 2014. Here are a few highlights.

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Governor Malova led the parade on his bike, as usual, and Mayor Felton and First Lady Sylvia accompanied him. They all looked like they were having a great time. Short clip below.

Unfortunately at the very end of the parade there was a crash: two bikes crashed, and one jumped the curb up to the malecón. The rider flew off, and Greg was collateral damage. He’s ok but very bruised, swollen and sore. One other young woman—who had been walking by—was bleeding, and she and the poor man who flew off the bike left in ambulances.

It could have been much worse; our prayers are with all the riders. For the record, all those affected were immediately and very kindly attended to by Cruz Roja, Protección Civíl, Tránsito, and bilingual officials from MotoWeek.

Carnavál Parade 2014

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How in the world could we possibly top last year’s amazing Carnavál? The theme in 2013 was the movies. Everyone loves a good picture show, and last year’s parade most definitely made the most of that love! I figured there was no way anyone could top last year, so I was mentally prepared not to be sent over the moon by this year’s parade. NOT! Both 2014 Carnavál parades were incredible! The 34 floats, 23 dance troupes and 16 musical groups made for an absolutely fantastic nearly four hour event!

I love that we have two parades. For us, living here on the north end of the malecón, the first parade is an evening into night affair, making for a tremendous street party. The floats in the parade are all aglow, and the dancers are in party mode, grabbing us from our seats and cena on the curb to join in the merriment with them. The second parade, on Tuesday, has the floats lining up in front of our house from just after noon, ready for picture taking in the full light of day. The dancers and royalty come out about an hour before the parade, and it’s the most incredible photo opportunity of the entire year—dancers putting makeup on each other or rehearsing dance steps, bands warming up their instruments and tunes, people stretching, eating, laughing. I absolutely love both these events.

To me the very best thing about Carnavál Internacional de Mazatlán is that it’s a family affair. Nearly every family in town has a member who’s been Carnavál royalty, even if it’s a cousin or aunt, and nearly every Patasalada has danced in Carnavál at some point in his or her life. Royalty celebrate their silver and golden anniversaries, and what a joy it is to see them relive the original thrill, often accompanied by their children! Young children and grandparents dance in the parade, even though it’s such a long route. Several years ago I had a good friend from Mexico City who just hated Carnavál. She thought it was low class and tacky. What she hated most were what she called the beauty contests—that young people were taught to value superficial beauty rather than brains or talent. While I tend to agree with her about beauty contests in general, and I am very much saddened by the shadow cast over the voting for Queen of Carnavál the past few years and hopeful the process will become more transparent, the fact is that Carnavál is a festival of the people. It is much, much, MUCH more than a beauty pageant, involving literature, poetry and painting competitions, concerts galore, fireworks, a food festival, bullfight, several “manifestations” or pre-Carnavál energy-building events, the pomp and circumstance of the coronations, the parades and, of course, the huge street party in Olas Altas for six nights straight. Mazatlán has over a month’s worth of Carnavál-related events, and there’s enough variety to please everyone. Click on any photo below to enlarge it or view a slideshow.

Kids rule at the parade. Most of the dancers and musicians are teenagers, children or young adults, joining their friends from dance class, gymnastics, or school. They’ve worked for months to raise money for costumes and props, and have rehearsed their hearts out. They are eager to burst with joy and energy during that first parade. Then, by the second parade on Tuesday, they transform into relaxed, experienced parade marchers, more confident of themselves and the crowd around them.

The other star of the parades is the setting—the route goes along the malecón, south to north on Sunday, then north to south on Tuesday, with a clear view out to the ocean and the islands of our bay, the glittering lights of downtown, and the changing colored lights of Valentino’s on the northern end.

So, what made 2014 stand out for me? The most notable difference for me was the crowds! Usually people set out their chairs the night before the big day, but this year was unreal. There were solid chairs from one end of the parade route to the other, and it was reported that over 800,000 people—twice the population of the city—turned out to watch the first parade! We had three families that did not join our party because they couldn’t get through the crowd to get to us! It was a-m-a-z-i-n-g! The mayor tested out a bleacher system which seemed very popular with those wanting a seat at the last minute, but that met with huge pushback from those opposed to selling seats along the malecón. While I’d love to see seats and space continue to be free of charge, something obviously has to give if the crowds keep growing like they are. I’m sure we had many more spectators this year who joined us from Durango, Zacatecas and beyond, thanks to the new highway.

Last year you’ll remember that CULTURA invited a special group from Brazil to join us. They were scantily clad and a huge hit. I believe that is perhaps what influenced another change that we noticed this year: much sexier costumes, and many more scantily clad dancers. Several of the floats had hired models dancing on them, fortunately including scantily clad men as well as women, so everyone could enjoy. I noticed quite a few of the kids’ dance groups had sexier-than-usual garb, also. Perhaps that was in keeping with this year’s theme, Piel del Mar or “Skin of the Sea.”

My personal favorite float this year was the Venetian float that Francisco Igartúa made for Marcela I, Queen of the Floral Games. It transported all of us to the Palazzo Ducale, complete with a couple of gondola rides, and beautifully honored the style that Maestro Rigo Lewis established for royal carriages of Carnavál these past 50 years.

Queen Lorena’s float was also incredible, representing Rio. It was begun by Maestro Rigo himself, and finished up by his family after his death. Suzset, the Child Queen’s float was also made by Maestro Rigo and the Lewis family, representing New Orleans. Maestro Jorge González Neri had a huge hit with the King of Joy, Adolfo Blanco’s, exuberant and colorful Cuban float. You can definitely see the different styles of the floats’ creators!

There were so many terrific floats, and also the LED-lit cars that we’ve grown to love these past few years. At least four continents were represented this year: the Americas, Europe, Africa and Asia. It was all definitely a feast for the senses!

Here are a few final pics of some of the dancers in this year’s parade. I hope you enjoyed it all as much as we did!

The past couple of year’s I’ve put together a video of Carnavál. This year, Mahatma Millan has already put together such a terrific one, that I figured I don’t need to bother. Let me share with you his terrific work:

Today is Ash Wednesday; Lent begins. Time to rest, reflect and recenter, after the exuberance and sleep deprival of the past week! Please, share with us your favorite part of Carnavál, in the comments below.

See you all next year!

List of Carnavál Floats and Dancers, 2014

1525675_613881078684076_1820584939_nCULTURA has just released this list of the floats and dance troupes that will appear in this year’s Carnavál parades. Print this out and bring it with you to the parade, so you know what’s what and who’s who!

There will be 34 floats constructed by seven different teams, 23 dance troupes, seven typical Sinaloan tamboras de viento, five bands, plus two percussion groups and two school bands, who will ensure that all attending test our their dance moves!

The parade this year will be in four sections, as usual.

First Section
Homage to Carnavál in Rio
Queen of Carnavál 2014 Lorena I

  1. Police
  2. Fireworks
  3. ECIMI
  4. PRIMERA PLUS
  5. Band from Technical Secondary School #5
  6. Float #1: Pacífico Brewery, Carnavál sponsors, created by Jorge González Neri
  7. Comparsa/dance group: Percusiones en la  Costa  Grupo Percusiones
  8. Float #2: Percussions on the Coast, designed and produced by Monofaber
  9. Comparsa/dance group: Splendor in Rio
  10. Float #3: Splendor in Rio, created by Monofaber, with models from Brasil, Mazatlán, Colima and Durango
  11. Electric Car: Brazil Tiger, first car with LED lighting
  12. Float #4: The Amazon, designed by Graciano Grande, with professional models
  13. Comparsa/dance troupe: A Mandela
  14. Float # 5:  A Mandela, designed by Jorge González Neri, homage to the African leader Nelson Mandela.
  15. Comparsa/dance troupe: Sol Brasileño
  16. Float #6: Sun, Sea and Fantasy, created by Jorge González Neri and representing South American nature
  17. Comparsa/dance troupe: Volando a Rio
  18. Float #7: Flying to Rio, created by Jorge González Neri, the sights of Rio
  19. Rolling sculpture of recently departed Carnavál Maestro Rigo Lewis
  20. Float #8: Royal Carriage of the Queen of Carnavál
  21. Float #9: The Sphinx of Cleopatra, 50 Year Anniversary of Queen Lupita V (1964)

Second Section
Homage to Carnavál in Venice
Queen of the Floral Games 2014 Marcela I

  1. Comparsa/dance troupe: Mexico-Japan Association (Nikkei), celebrating 400 years of the first diplomatic mission from Japan to Mexico.
  2. Float #10: Saint John the Baptist, the name given in Spanish to the Japanese ship Date Maru of the Hasekura Expedition to New Spain. Float created by Monofaber.
  3. Comparsa/dance troupe: Mexico-Japan Association
  4. Comparsa/dance troupe: Carruaje Sobre el Adriático
  5. Float #11: Carriage on the Adriatic
  6. Comparsa/dance troupe: León Veneciano
  7. Float #12: The Venetian Lion, symbol of the power of the Venetian Duke, created by Jorge González Neri, characteristic of a gondola
  8. Comparsa/dance group: Spirit of Carnavál
  9. Float #13: Spirit of Carnavál, Venetian personalities from the art of comedy: Harlequin, Pierrot, and Colombin, by Jorge González Neri
  10. Comparsa/dance troupe: Imperial Horses
  11. Float #14: Imperial HorsesMaestro Jorge González Neri.
  12. Comparsa/dance troupe: Venetian Masks
  13. Electric Car: Venetian Masks
  14. Float #15: Venetian Maks, by Jorge González Neri 
  15. Float #16: Perfume of Carnavál, the costumes and decorations of Venetian Carnavál, by Jorge González Neri
  16. Float #17: Royal Carriage of the Queen of the Floral Games, by Francisco Igartúa, respecting the style that Rigo Lewis established for Carnavál de Mazatlán for more than 50 years.
  17. Float #18: The Winged Lion, illuminated work of Jorge Osuna, Henry Wilson and Rafael Mitchell Cruz, representing the legend of Mark the Evangelist who was greeted by an angel on Lake Venice, ascending to heaven and returning to earth as a winged lion.
  18. Comparsa/dance troupe: Venetian Harlequins
  19. Float #19: Venetian Harlequins, illuminated sculpture by Jorge Osuna, Henry Wilson and Rafael Mitchell Cruz.

Third Section
Homage to Carnavál of New Orleans
Child Queen 2014 Zuszet I

  1. Musical Band from Puebla, guest school
  2. Electric Car: The Harlequin
  3. Comparsa/dance troupe: Masquerade
  4. Float #20: Masquerade, the masks and contagious musical rhythms of Mardi Gras in New Orleans, by Jorge Osuna, Henry Wilson and Rafael Mitchell Cruz.
  5. Comparsa/dance troupe: Flor de Lis
  6. Float #21: Flor de Lis, which will transport the Queen of Poetry 2014. Signifies New Orleans’ origins as a French colony, created by Jorge Osuna, Henry Wilson and Rafael Mitchell Cruz.
  7. Float #22: Challenge in the Swamp, commemorating the pagan spiritual traditions of New Orleans. Created by Jorge Osuna, Henry Wilson and Rafael Mitchell Cruz.
  8. Electric car: Crab, created by Jorge Osuna, Henry Wilson and Rafael Mitchell Cruz.
  9. Float #23: Carnavál on the Sea, created by Jorge Osuna, Henry Wilson and Rafael Mitchell Cruz.
  10. Float #24: Royal Carriage of the Child Queen, in the traditional style of Dr. Rigoberto Lewis.
  11. Comparsa/dance troupe: Wind, Percussion and Harlequins
  12. Electric car: Saxophone, music of New Orleans
  13. Float #25: Wind, Percussions and Harlequins, Ana Becerra debuts as a float designer. This float will transport Elba María Alcalá, commemorating her 25th anniversary as Child Queen, in 1989.
  14. Comparsa/dance troupe: See You Later Alligator
  15. Float #26: See You Later Alligator, which will transport Culiacán’s Child Queen. Float by González Neri, sponsored by El Debate.
  16. Comparsa/dance troupe: Bird Over Louisiana
  17. Float #27: Bird Over Louisiana, the diverse ecosystem of the New Orelans area, by Maestro González Neri.

Fourth Section
Homage to Carnavál of Havana
King of Joy 2014 Adolfo Blanco

  1. Electric car: Rio
  2. Comparsa/dance troupe: INAPAM María Elena Ríos (three cars from the port/API, with elderly women)
  3. Float #28: Tropical Bird, by Monofaber with professional models
  4. Comparsa/dance troupe: Cuban Flavor
  5. Float #29: Cuban Flavor, drum rhythms since the times of slavery, memories of Carnavál’s history. Royal Court of the King 2013 will ride on this float designed by Maestro González Neri.
  6. Electric car: Cubana
  7. Comparsa/dance troupe: Burn the Bongo
  8. Float #30: Burn the Bongo, muñecones and mamarrachos are distinctive of Carnavál in La Habana, complete with pots and pans as drums. Ramón Loaiza will ride this float to commemorate his 25th Anniversary as King of Joy. Float by González Neri.
  9. Float #31: Royal Carriage of the King of Joy 2014, by Jorge González Neri
  10. Float #32: Monarchs of the Caribbean, by González Neri.
  11. Comparsa/dance troupe: Play, Black Man
  12. Float #33: Play, Black Man, rolling float by González Neri 
  13. Electric car: Cuba
  14. Comparsa/dance troupe: Cuban Rhythms
  15. Float #34: Cuban Rhythms, rhythms and melodies from the island colonized by Spaniards and inhabited by African slaves, with a bit of Asian immigration thrown in. Float by González Neri.
  16. Police
  17. Civil Protection

Carnavál de Mazatlán 2014 Final Details

Photo of Belinda from Wikipedia

Photo of Belinda from Wikipedia

Are you ready?!!! Some last-minute details have been released, in order to build anticipation for this major event, Carnavál Internacional de Mazatlán 2014, Litoralia!

Belinda, yes the Belinda who duets with Pitbull, is confirmed to be on the Pacífico float in Carnavál this year. The Burning of Bad Humor this year will be Lucerito, the actress who infamously went hunting with her partner for endangered animals, despite the huge outcry to burn Predial for its billing fiasco.

Photo ©Banda El Recodo

Photo ©Banda El Recodo

While the light parade and fireworks on the malecón that traditionally take place Monday night appeared in early CULTURA announcements, it seems that they indeed will not take place this year. In some places it has been announced they will take place in Olas Altas (party zone). My guess is that the change is due to the addition of the Banda El Recodo and Los Recoditos concerts on Monday and Fat Tuesday, respectively. Both concerts are scheduled to start at 10:00 pm. This means much more music than ever this year!

This year we lost our beloved Carnavál-meister, Maestro Rigo Lewis. Maestro Jorge González Neri has made a sculpture of Rigo, and it will appear in the parade ahead of the Queen of Carnaval’s royal float, in the same position that Maestro Rigo walked every year.

As I’ve mentioned previously, we will have a Japanese float and comparsa/two dance troupes this year, with over 120 dancers! They will dance Japanese festival style, to a mashup of Japanese traditional and salsa music, to celebrate 400 years of Japan-Mexico diplomatic relations. Banzai!

The main parade begins on Sunday at 5:30 pm from the Fisherman’s Monument and heads north to Valentino’s/Rafael Buelna. Chairs, tables, and bleachers are already lining the malecón. Lorena I, Queen of Carnavál and her entourage—including princesses Siu Ying Audelo, Daniela García and Harriet Vázquez, will be decked out in homage to Rio’s Mardi Gras. The Floral Games contingent, headed by Queen Marcela I and including the princesses Harriet Carreón and Pamela de la Vega,will pay tribute to the Carnavál of Venice. Adolfo Blanco, the King of Joy, will head up a group of floats and dancers celebrating the Carnavál of La Habana. In total the parade will include 34 floats, 23 dance and musical groups, involving 2000 people, 300 of whom will ride on the floats. Here is our video compilation from last year’s (2013) Carnavál parade:

Be sure to turn out early for either of the two parades, Sunday or Tuesday, as it’s great for photographs and video. The second parade starts at the Aquarium at 4:00 pm on March 4th, heading south to Olas Altas. Our video compilation of pre-parade from two years ago, below:

Over 30,000 people filled Olas Altas party zone Thursday night for the Chuy Lizárraga and Las Horóscopos de Durango concert, according to the Noroeste, and it is predicted 80,000 will attend the El Recodo concert on Monday night. I can personally attest that Thursday was wall-to-wall crowded. I can not imagine how 80,000 people will fit in Olas Altas. Be careful and stay calm and happy, everyone!

According to Mazatlán Interactivo, groups scheduled to perform in Olas Altas party zone this year, all beginning at 10:00 pm, include:

  1. Stage by the Escudo/Seal of Sinaloa: Banda los Porteños
  2. Stage on Sixto Osuna: Banda Crucero
  3. Stage between Sixto Osuna and Constitución: Fussion Teens, Notas Latinas
  4. Stage on Constitución: Banda Legal, Banda Dorada
  5. Stage on Mariano Escobedo: Grupo Ritmo Playa, Grupo Once Rios
  6. Stage by the Deer Statue: La Rezaka, Hermanos Romero
  7. Stage by the Mazatlecan Woman: Banda Patty, Los Navegantes
  8. Stage below the Mirador: Grupo Nueva Estrella, Sentido Contrario
  9. Stage at the Cliff Divers (Sánchez Taboada): Banda La Conquistadora, Grupo Zen Evolución Musical
  10. Stage at Zaragoza: Uva Show, Banda Cam

For a full schedule of events, visit CULTURA’s Carnavál page.