Fave Sancris books

Academia, background, Book, Mexico, Sancris en Colores

Just because I’m publishing a colouring book doesn’t mean that it doesn’t come with references!

I’ve found in-depth background for my drawings in these excellent books. (You can find many of them at the bookshop La Cosecha.)

Aubry, Andrés: San Cristóbal de las Casas. Su historia urbana, demográfica y monumental 1528-1990.

Segunda edición, Colectivo Bats’il K’op, San Cristóbal de las Casas 2017. This is a masterpiece about Sancris, covering the city’s history through its architecture, using poetic language and solid sources. Although it doesn’t try to entertain it often does, with anecdotes like the fine ladies’ church strike when the Bishop tried to stop them drinking hot chocolate during Mass. I used it for points about the orientation of the town, San Nicolás being the church of the black residents, the eggs in the stucco of the Cathedral, and la Merced (including the detail about the disturbing-sounding institution for detaining “obstreperous women” that was run on the square in the 1700s.) A lot of the decisions taken here at the city’s initial founding are still relevant today, such as the orgins and crafts of the different barrios. Since Sancris is an old, colonial city (only the second founded by the Spaniards in the Americas) we tend to look around the pretty centre and think that this is what it’s always looked like. But Aubry writes about things like the shifts in colour from the mudejar (Moorish) to the Neoclassical styles, reminding us that nothing is immutable.

Morris, Walter F; Martínez, Alfredo; Schwartz, Janet & Karasik, Carol: Guía Textil de los Altos de Chiapas, A Textile Guide to the Highlands of Chiapas.

Segunda edición, CONACULTA y Na Bolom, Ciudad de México y San Cristóbal de las Casas 2014. This photo-packed book charts the different local indigenous weaving styles with a tongue-in-cheek commentary that comes from real earned insider knowledge. I especially enjoyed the tidbit about the cardigan being introduced to Chamula by evangelican fanatics trying to bribe their way into peoples’ faiths. I used the book for the information about the embroidery from Zinacantán. Morris et al tell us that the striking Zinacanteco flower embroidery was inspired by Guatemalan refugees who came through in the 1970s. Again, you look at something that looks traditional and assume it’s always been that way… The flower designs on the Zinacantan family’s clothes in the colouring book are my own improvisations.

Guess, Virginia Ann: Spirit of Chiapas: the Expressive Art of the Roof Cross Tradition.

Museum of New Mexico Press, Santa Fe, 2004. I came across this scholarly book in Oaxaca and bought it for big money. Guess does a great job of cataloguing San Cris’ roof crosses and talking to their owners and blacksmiths about them, but she doesn’t actually manage to get to the root of where they came from and what they mean.

Montaña Barbano, María M., Huicochea Gómez, Laura, & Mejía Lozada, Diana (2015). Being “coleto”: plants inside the houses of “El Cerrillo”, San Cristóbal de las Casas, Mexico.

Culturales, 3(2), 181-207. Instituto de Investigaciones Culturales-Museo, Mexicali Here’s an article about Coleta women talking about their houseplants. Coletos is a name for the locals, but it’s fraught with meaning: it refers to the dominant class who’ve lived in San Cristóbal for centuries and claim Spanish ancestry. When the Zapatista rebellion took San Cristóbal in 1994, three civil society movements arose in response: two in favour, and the grouping los Auténticos Coletos, against. Our other neighbours are known as Sancristobalenses, meaning locals who don’t consider themselves coletos, and foraneos, or “outsiders” like me who come from other parts of Mexico and the world. The article about the plants also gives insights into how traditional houses are organised, with their central patio for decorative flowers and their backyard “sitio” for urban farming – and how the subdivision of houses as families grow makes this trickier.
Aubry, Andres; Guess, Virginia Ann; Morris et al; Zebadua, Emilio. Zapantera Negra, afromexicanos, textiles de los Altos de Chiapas

I haven’t read these other books yet but they are very intriguing. Zapantera Negra contains stories by Black Panthers who have visited the Zapatistas in solidarity – the urban-rural clash came out very vividly in one of the testimonies I read, with the aged Black Panther being expected to ford streams and balance on narrow mountain paths. ¿Dónde Están? or Where Are They? is about Afromexicans.
You can buy the PDF print-at-home version of the whole colouring book on my Gumroad page.

Zapatista women’s festival

croquis, Events, Mexico, Sketch

7000 women make a noise like a low-frequency beehive. Every morning when we crawled out of our tents in the freezing, clear air, the hum was already going and it kept getting stronger as more people woke up and started looking for breakfast. The festival was organized by the Zapatista movement and hosted by Caracol 4 in Morelia. Nobody knew quite what to expect. I arrived with a contingent from Ama-Awa, the women agroecologists, carrying tents, food and water for three days. We were pleasantly surprised to find abundant flushing toilets, food outlets (although the queues did stretch out), showers and drinking water taps… all without the presence of a single man. And no alcohol either. My friend’s ten-year-old daughter could attend any session she liked without her mum having to worry. And there was plenty to choose from, ranging from lectures on land rights, Indigenous lesbianism, masculinity in childhood to art, dance and theatre and workshops for making reusable menstrual pads. And a Colombian batucada.
I sketched participants during the lectures, amazed at the sheer range of women there… tall, short, skinny, round, old, young, lawyers, hippies, gorgeous, ugly, of all colours, made-up and rolled-out-of-bed. Here are some of them.

History of the festival: http://luchadoras.mx/mujeres-zapatistas/

Amazing photos by Trasluz photographers 

Cancuc zapatista with daughter

At the opening ceremony

 This was just one of the hardcore women who brought their babies to the event and stood with them in the hot sun for hours during the first day’s plays. Wearing layers of heavy clothing and knitted black balaclavas.

WimminCompress25

Tostada seller

WimminCompress3

Smoking and chatting

WimminCompress4

The Danish delegation

 

Zapatistas and zapaturistas

Events, Mexico, Sketch, sustainable development

Some sketches from the art festival CompArte at the zapatista centre Caracol Oventic. The festival took place for a week at the campus of CIDECI with concerts, changing art shows, workshops, documentaries and theatre; and at the weekend there were performances at Oventic too.

barrier

EZLN soldiers holding the crowd barrier

An intrigueing experience for sure. This time I had a bit more time for sketches as most people stayed put watching the performances of theatre, dance, poetry and music.

bailable

A “bailable” dance

The girl band – like all the zapatistas, wearing Indigenous traditional dress and balaclavas – were a riot of energy and power.

singer

Zapatista girl band singer

bassist

Zapatista girl band bassist

As always, people couldn’t resist filming instead of watching. Or, in my case, drawing.

filming

Filming

audience

Spectators

ears

Ears

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EZLN soldier holding up a crowd barrier