BY Ximena Escalera | November 1, 2011

Survival through change

Mexico is well-known for its traditions and customs. Its broad biodiversity fosters an incredible range of raw materials and natural products that together with the imagination and original techniques of many artisans, result in the development of amazing and unique crafts.

During the last 20 years, Mexico has increased its multiculturalism, influenced in particular by the United States. The introduction of an American way of living has infiltrated every aspect of the community. Gastronomy, clothing and even festivities have been altered. An interesting phenomenon occurs with one of Mexico´s most famous celebrations: Day of the Dead, where thousands of customs are followed throughout the country, observing an event to welcome back the dead. This is one of Mexico´s most important holidays as the cosmogony surrounding death has been important since Pre-Hispanic times and the relationship between Mexicans and death, although not static, has endured through the centuries.

Foreign concepts such as Halloween with its iconographic symbols like pumpkins, goblins and witches, are now accepted, especially in the big cities. This merging of elements results in the presence of North American icons in typical altars, the adoption of certain activities such as trick or treating, wearing costumes and participating in parades. The updating of Mexican customs transforms identity and arguably depreciates links to the past. It seems as if older traditions have lost their purpose and have become mere spectacle, aiming only to attract tourism, while losing cohesion between the communities.

We are not trying to set out an unhopeful scenario; on the other hand, we intend to point out the context in which the work of today’s craftsmen emerges. Today, there are several artisans throughout the country that wish to rescue and preserve the authenticity of Mexico´s cultural statements. This is a new generation of artists who take up their ancestors’ manufacturing techniques and creative processes to produce pieces that contain re-contextualized elements from the past in order to validate themselves in the present.

In our search of outstanding young craftsmen in Mexico, we decided to take a trip to Tlalpujahua, Michoacán, a small town dedicated to the making of glass Christmas ornaments. During this trip, we found out that there´s always an exception to every rule. In this case it was 79 year-old Saulo Moreno, one of Mexico´s most renowned artists, whose work is dedicated to the making of alambroide skeletons, especially for Day of the Dead celebrations. Alambroides (wire androids) are fantastic characters made using a similar technique to papier-mâché, but supported by a metallic wire structure covered with paper glued with flour mixed with water. These structures are then hand painted.

Saulo has three sons who have carried out his heritage, but each one has his own style and personality. Juan, 17, likes to create monsters and dinosaurs; Pedro, 19, has in his father´s words, “a more gothic style”; and Mario, 21, tries to preserve his father’s traditional skeleton and skull figures. Mario is a perfect example of how a new generation´s vision towards death and the sacred, the underworlds and the beyond, translates in the renewal of traditional icons such as José Guadalupe Posada´s “Catrinas”, devils, and skeletons (Calaveras).

Mario is closest to his father. He recognizes himself as a self-taught artisan. “I learned from my father because I had the will to learn and I just kept on watching and watching him work. My dad never forced me to do the same thing as him, he just invited me to share his dreams and practice his methods,” he says. Mario continues to carry out his father’s procedures, but keeps on trying to start out a new proposal inside the limits of tradition.

When Saulo comments on his son he says, “His work has already exceeded mine.” With a humble response Mario explains, “I don´t think I have gone beyond my father´s work, I just consider that my personal influence has been that I add  structure, and I use brighter colors for greater visual impact.” Another contribution is that he studies computer science and intends to create a digital platform for the commercialization of his pieces. He has started to market online in order to speed up his sales. “Ninety-five percent of what I produce is sold online,” he states. “That is something I learned from my dad, he taught me to negotiate.”
Talking about identity, Mario says he tries to express what being a Mexican is for him in every piece he makes. He has figured out that unfortunately his work isn´t as recognized as he would like in his own country, therefore, he intends to share his feelings as a Mexican citizen with the world: “I wish to represent Mexico in foreign countries.”

As many other craftsmen in Mexico, Mario says that more than ever his inspiration is limited due to market conditions. The more creative, personal and original an art piece is the less quickly it sells. Many artisans in Mexico currently build pieces to attract consumers, especially foreign clients. Makers pay less attention to expression and artistry. Nonetheless, Mario talks about his creative process and divides it into “creative moments” during his life. At the beginning of his career he was obsessed with two headed dragons, and then he began to create fantastic animals. Nowadays his work focuses in building skeletons especially for Day of the Dead.

Mario is father to a baby girl and intends to share with her their ancestor´s legacy. He recently applied for the FONCA (National Fund for Arts and Culture) scholarship dedicated to “The Young Creatives.” If selected, this will allow him to express his ideas and emotions through his pieces without limiting him to the market conditions.

Ximena Escalera is an art historian who works as PR Manager at the Tienda del MAP in Mexico City. She is in charge of supervising special events related to the promotion of Mexican popular art in various sectors.

La Tienda del Map A.C. (The Museum of Popular Art Store) located in Mexico City, supports the preservation of cultural heritage by promoting and giving a place to fair national commerce, in order to defund traditional crafting, in this case, by taking in and motivating young artisans with new artistic expressions. La Tienda del Map A.C.  focuses on  the permanence of Mexico´s traditions through generations. For more information you can visit: www.tiendamap.com.