Mexico Cooks!

The Heart of Mexico: Our Lady of Guadalupe

2009-12-12T10:00:00-06:00

Originally published on December 8, 2007, this story of Nuestra Señora de Guadalupe (Our Lady of Guadlupe) has been one of the most-read articles on Mexico Cooks!.

The new Basílica de Nuestra Señora de Guadalupe (Our Lady of Guadalupe), built between 1974 and 1976, is one of the most-visited religious sites in the world.

My head was whirling with excitement at 7 AM last New Year's Day. I was in a taxi going to the Guadalajara airport, ready to catch a flight to Mexico City. Although I had lived in the Distrito Federal (Mexico's capitol city) in the early 1980s, it had been too many years since I'd been back. Now I was going to spend five days with my friends Clara and Fabiola in their apartment in the southern section of the city. We had drafted a long agenda of things we wanted to do and places we wanted to visit together.

The old Basílica was finished in 1709. It's slowly sinking into the ground. You can easily see that it is not level.

First on our list, first on every list of everyone going to Mexico City, is the Basílica of Our Lady of Guadalupe, the heart of the heart of Mexico. When I chatted with my neighbors in Ajijic about my upcoming trip, every single person's first question was, "Van a la Villa?" ("Are you going to the Basílica)"

To each inquirer I grinned and answered, "Of course! Vamos primero a echarle una visita a la virgencita." (The first thing we'll do is pay a visit to the little virgin!)

The interior of the new Basílica holds 50,000 people.

Nuestra Señora de Guadalupe is Mexico's patron saint, and her image adorns churches and altars, house fronts and interiors, taxis and buses, bull rings and gambling dens, restaurants and houses of ill repute. The shrine of Our Lady of Guadalupe, La Villa, is a place of extraordinary vitality and celebration. On major festival days such as the anniversary of the apparition on December 12th, the atmosphere of devotion created by the hundreds of thousands of pilgrims is truly electrifying.

Click here to see: List of Pilgrimages, December 2006. There are often 30 Masses offered during the course of a single day, each Mass for a different group of pilgrims as well as the general public.

The enormous Basílica of Nuestra Señora de Guadalupe in Mexico City is the most visited pilgrimage site in the Western Hemisphere. Its location, on the hill of Tepeyac, was a place of great sanctity long before the arrival of Christianity in the New World. In pre-Hispanic times, Tepeyac had been crowned with a temple dedicated to an earth and fertility goddess called Tonantzin, the Mother of the Gods. Tonantzin was a virgin goddess associated with the moon, like Our Lady of Guadalupe who usurped her shrine.

The Tepeyac hill and shrine were important pilgrimage places for the nearby Mexica (later Aztec) capital city of Tenochtitlán. Following the conquest of Tenochtitlán by Hernan Cortez in 1521, the shrine was demolished, and the native people were forbidden to continue their pilgrimages to the sacred hill. The pagan practices had been considered to be devil worship for more than a thousand years in Christian Europe.

Some of you may not know the story of Our Lady of Guadalupe. For all of us of whatever faith who love Mexico, it's important to understand the origins of the one who is the Queen, the Mother, the beloved guardian of the Republic and of all the Americas. She is the key to understanding the character of Mexico. Without knowing her story, it's simply not possible to know Mexico. Indulge me while I tell you.

On Saturday, December 9, 1531, a baptized Aztec Indian named Juan Diego set out for church in a nearby town. Passing the pagan sacred hill of Tepeyac, he heard a voice calling to him. Climbing the hill, he saw on the summit a young woman who seemed to be no more than fourteen years old, standing in a golden mist.

Revealing herself as the "ever-virgin Holy Mary, Mother of God" (so the Christian telling of the story goes), she told Juan Diego not to be afraid. Her words? "Am I not here, who is your mother?" She instructed him to go to the local bishop and tell him that she wished a church for her son to be built on the hill. Juan did as he was instructed, but the bishop did not believe him.

On his way home, Juan climbed the sacred hill and again saw the apparition, who told him to return to the bishop the next day. This time the bishop listened more attentively to Juan's message from Mary. He was still skeptical, however, and so asked for a sign from Mary.

Two days later Juan went again to Tepeyac and, when he again met Mary, she told him to climb the hill and pick the roses that were growing there. Juan climbed the hill with misgivings. It was the dead of winter, and flowers could not possibly be growing on the cold and frosty mountain. At the summit, Juan found a profusion of roses, an armful of which he gathered and wrapped in his tilma (a garment similar to a poncho). Arranging the roses, Mary instructed Juan to take the tilma-encased bundle to the bishop, for this would be her sign.

When the bishop unrolled the tilma, he was astounded by the presence of the flowers. They were roses that grew only in Spain. But more truly miraculous was the image that had mysteriously appeared on Juan Diego's tilma. The image showed the young woman, her head lowered demurely. Wearing a crown and flowing gown, she stood upon a half moon. The bishop was convinced that Mary had indeed appeared to Juan Diego and soon thereafter the bishop began construction of the original church devoted to her honor.

News of the miraculous apparition of the Virgin's image on a peasant's tilma spread rapidly throughout Mexico. Indians by the thousands came from hundreds of miles away to see the image, now hanging above the altar in the new church. They learned that the mother of the Christian God had appeared to one of their own kind and spoken to him in his native language. The miraculous image was to have a powerful influence on the advancement of the Church's mission in Mexico. In only seven years, from 1532 to 1538, more than eight million Indians were converted to Christianity.

The shrine, rebuilt several times over the centuries, is today a great Basílica with a capacity for 50,000 pilgrims.

Juan Diego's tilma is preserved behind bulletproof glass and hangs twenty-five feet above the main altar in the basilica. For more than 475 years the colors of the image have remained as bright as if they were painted yesterday, despite being exposed for more than 100 years following the apparition to humidity, smoke from church candles, and airborne salts.

The coarsely-woven cactus cloth of the tilma, a cloth considered to have a life expectancy of about 40 years, still shows no evidence of decay. The 46 stars on her gown coincide with the position of the constellations in the heavens at the time of the winter solstice in 1531. Scientists have investigated the nature of the image and have been left with nothing more than evidence of the mystery of a miracle. The dyes forming her portrait have no base in the elements known to science.

The origin of the name Guadalupe has always been a matter of controversy. It is believed that the name came about because of the translation from Nahuatl to Spanish of the words used by the Virgin during the apparition. It is believed that she used the Nahuatl word coatlaxopeuh which is pronounced "koh-ah-tlah-SUH-peh" and sounds remarkably like the Spanish word Guadalupe. 'Coa' means serpent, 'tla' can be interpreted as "the", while 'xopeuh' means to crush or stamp out. This version of the origin would indicate that Mary must have called herself "she who crushes the serpent," a Christian New Testament reference as well as a a reference to the Aztec's mythical god, The Plumed Serpent.

Nuestra Señora de Guadalupe statues of all sizes are for sale at the Basílica.

Clara, Fabiola, and I took the Metro and a microbus to La Villa, a journey of about an hour from their apartment in the south to the far northern part of the city. We left the bus at the two-block-long bridge that leads to the Basílica and decided to take a shopping tour before entering the shrine. The street and the bridge are filled chock-a-block with booths selling souvenirs of La Villa. Everything that you can think of (and plenty you would never think of) is available: piles of t-shirts with the image of the Virgin of Guadalupe and that of Juan Diego, CDs of songs devoted to her, bandanna-like scarves with her portrait, eerie green glow-in-the-dark figurines of her, key chains shaped like the Basílica, statues of her in every size and quality, holy water containers that look like her in pink, blue, silver, and pearly white plastic, religious-theme jewelry and rosaries that smell of rose petals, snow globes with tiny statues of La Guadalupana and the kneeling Juan Diego that are dusted with stars when the globes are shaken.

You can have your picture taken as a memento of your visit to the Virgin.

There are booths selling freshly arranged flowers for pilgrims to carry to the shrine. There are booths selling soft drinks, tacos, and candy. Ice cream vendors hawk paletas (popsicles). Hordes of children offer chicles (chewing gum) for sale. We were jostled and pushed as the crowd grew denser near the Basílica.

The virgin's image is everywhere.

Is it tacky? Yes, without a doubt. Is it wonderful? Yes, without a doubt. It's the very juxtaposition of the tourist tchotchkes with the sublime message of the heavens that explains so much about Mexico. I wanted to buy several recuerdos (mementos) for my neighbors in Ajijic and I was hard-pressed to decide what to choose. Some pilgrims buy before going into the Basílica so that their recuerdos can be blessed by a priest, but we decided to wait until after visiting the Virgin to do my shopping.

Pope John Paul II loved Mexico, loved Our Lady of Guadalupe, and visited the country five times during his tenure as pope. Here he celebrates Mass at the new Basílica.

The present church was constructed on the site of the 16th-century Old Basílica, the one that was finished in 1709. When the Old Basílica became dangerous due to the sinking of its foundations, a modern structure called the new Basílica was built nearby. The original image of the Virgin of Guadalupe is now housed above the altar in this new Basílica.

Built between 1974 and 1976, the new Basílica was designed by architect Pedro Ramírez Vásquez. Its seven front doors are an allusion to the seven gates of Celestial Jerusalem referred to by Christ. It has a circular floor plan so that the image of the Virgin can be seen from any point within the building. An empty crucifix symbolizes Christ's resurrection. The choir is located between the altar and the churchgoers to indicate that it, too, is part of the group of the faithful. To the sides are the chapels of the Santísimo Sacramento (the Blessed Sacrament) and of Saint Joseph.

One of the many processions that constantly arrive from cities and towns all over Mexico and the Americas.

We entered the tall iron gates to the Basílica atrium. It was still early enough in the day that the crowds weren't crushing, although people were streaming in. Clara turned to me, asking, "How do you feel, now that you're back here?"

I thought about it for a moment, reflecting on what I was experiencing. "The first time I came here, I didn't believe the story about the Virgin's appearance to Juan Diego. I thought, 'Yeah, right'. But the minute I saw the tilma that day, I knew—I mean I really knew—that it was all true, that she really had come here and that really is her portrait." We were walking closer and closer to the entrance we'd picked to go in and my heart was beating faster. "I feel the same excitement coming here today that I have felt every time since that first time I came, the same sense of awe and wonder." Clara nodded and then lifted her head slightly to indicate that I look at what she was seeing.

Faith.

I watched briefly while a family moved painfully toward its goal. The father, on his knees and carrying the baby, was accompanied by his wife and young son, who walked next to him with his hand on his shoulder. Their older son moved ahead of them on his knees toward an entrance of the Basílica. Their faith was evident in their faces. The purpose of their pilgrimage was not. Had the wife's pregnancy been difficult and was their journey one of gratitude for a safe birth? Had the baby been born ill? Was the father recently given a job to support the family, or did he desperately need one? Whatever the reason for their pilgrimage, the united family was going to see their Mother, either to ask for or to give thanks for her help.

Clara, Fabiola, and I entered the Basílica as one Mass was ending and another was beginning. Pilgrims were pouring in to place baskets of flowers on the rail around the altar. The pews were filled and people were standing 10-deep at the back of the church. There were lines of people waiting to be heard in the many confessionals.

We stood for a bit and listened to what the priest was saying. "La misa de once ya se terminó. Decidimos celebrar otra misa ahora a las doce por tanta gente que ha llegado, por tanta fe que se demuestra" ("The Mass at eleven o'clock is over. We decided to celebrate another Mass now at 12 o'clock because so many people have arrived, because of so much faith being demonstrated.")

Indeed, this day was no special feast day on the Catholic calendar. There was no celebration of a special saint's day. However, many people in Mexico have time off from their work during the Christmas and New Year holidays and make a pilgrimage to visit la Virgencita.

The framed tilma hangs above the main altar in the new Basílica.

Making our way through the crowd, we walked down a ramp into the area below and behind the altar. Three moving sidewalks bore crowds of pilgrims past the gold-framed tilma. Tears flowed down the cheeks of some; others made the sign of the cross as they passed, and one woman held her year-old baby up high toward the Virgin. Most, including the three of us, moved from one of the moving sidewalks to another in order to be able to have a longer visit with the Mother of Mexico.

When I visited several years ago, there were only two moving sidewalks. Behind them was space for the faithful to stand and reflect or pray for a few minutes. Today's crush of visitors has required that the space be devoted to movement rather than reflection and rest.

We walked to the back of the Basílica to look at a large bronze crucifix exhibited in a glass case. The crucifix, approximately 3 feet high, is bent backward in a deep arch and lies across a large cushion. According to the placard and the photos from the era, in 1921 a bouquet of flowers was placed directly on the altar of the Old Basílica beneath the framed tilma. It was later discovered that the floral arrangement was left at the altar by an anarchist who had placed a powerful dynamite bomb among the flowers. When the bomb detonated, the altar crucifix was bent nearly double and large portions of the marble altar were destroyed. Nevertheless, no harm came to the tilma and legend has it that the crucified Son protected his Mother.

After a while, we reluctantly left the Basílica. With a long backward glance at the tilma, Clara, Fabiola, and I stepped out into the brilliantly sunny Mexico City afternoon. The throngs in the Basílica atrium still pressed forward to visit the shrine.

Jackson and Perkins created the Our Lady of Guadalupe hybrid floribunda rose.

We stopped in some of the enclosed shops at sidewalk level and then continued over the bridge through the booths of mementos. After I bought the gifts, we moved away to hail a taxi. My mind was still in the Basílica, with our Mother.

Today, December 12, the tiny and gloriously beautiful Santuario de Nuestra Señora de Guadalupe in Morelia, Michoacán, will be in full fiesta. Her feast day falls on December 12 each year. Think about her just for a moment as you go about your day. After all, she's the Queen of Mexico and the Empress of the Americas.

Glossary of Loving Terms for Nuestra Señora de Guadalupe
La Morenita	The Little Dark-Skinned Woman
La Guadalupana	The Guadalupan Woman
La Reina de México	The Queen of Mexico
La Paloma Blanca	The White Dove
La Emperatriz de las Américas	The Empress of the Americas

How to get there once you're in Mexico City:

From the Centro Histórico (Historic Downtown) take Metro Line 3 at Hidalgo and transfer to Line 6 at Deportivo 18 de Marzo. Go to the next station, La Villa Basílica. Then walk north two busy blocks until reaching the square.
From the Hidalgo Metro station take a microbus to La Villa.
From Zona Rosa take a pesero (microbus) along Reforma Avenue, north to the stop nearest the Basílica.
Or take a taxi from your hotel, wherever it is in the city. Tell the driver, "A La Villa, por favor. Vamos a echarle una visita a la Virgencita." ("To the Basílica, please. We're going to make a visit to the little Virgin.")

Looking for a tailored-to-your-interests specialized tour in Mexico? Click here: Tours.

Frijolitos Refritos, Estilo Mexico Cooks! (Refried Beans, Mexico Cooks! Style)

2009-12-05T10:00:00-06:00

Some of the many varieties of beans for sale at the daily indigenous market in San Cristóbal de las Casas, Chiapas. The metal cup measures one kilo.

The Spanish word frijol is a bastardization of ancient Spanish frisol, which itself is a rendering of the Catalán word fesol--which comes from the Latin scientific name--are you still with me?--phaseolus vulgaris. Is that more than you wanted to know about bean nomenclature?

Here's yet another little bit of Mexican bean esoterica: in Mexico, when you go to the store or the tianguis (street market) to buy beans, you are buying frijol. When you prepare the frijol at home, the cooked beans become frijoles. That's right: raw dried beans in any quantity: frijol. Cooked beans, frijoles. If you ask a tianguis vendor for a kilo of frijoles, he could rightfully send you to a restaurant to make your purchase.

The simple utensils you need to cook dried beans: an olla de barro (clay pot) and a strainer. These pale yellow, long-oval beans are frijol peruano (Peruvian beans, or phaseolus vulgaris), the most commonly used bean in the Central Highlands of Mexico.

Mexico Cooks! loves beans. In our kitchen, we prepare about a pound of dried beans at a time. After cooking, this is enough frijoles de la olla (cooked-in-the-pot beans) to serve, freshly cooked, for a meal or two. We freeze the rest of the cooked beans in five or six two-portion size plastic sandwich bags. Cooked beans and their pot liquor freeze very well.

I found this little batch of rocks, discolored or very wrinkled beans, and other garbage in the half-kilo of frijol that I cooked yesterday.

Beans are very easy to cook. First, pick carefully through your beans. Even if you buy bulk beans or commercially packaged dry beans at a modern supermarket, be certain to pick through them and discard any beans that look badly broken, discolored, or wizened, as well as any small rocks. You may also find pieces of straw, pieces of paper, and other detritus in any purchase of beans. Put the cleaned beans in a strainer and wash well under running water.

To soak, or not to soak? Some folks recommend soaking beans for up to 24 hours to shorten their cooking time, but Mexico Cooks! has tried both soaking and not soaking and has noticed that the cooking time is about the same either way. We never soak. You try it both ways, too, and report back with your findings.

Epazote (wormweed) growing in a maceta (flower pot) on our terrace. Just before turning on the fire to cook the beans, Mexico Cooks! adds two sprigs of epazote, just about this size, to the pot of beans and water. The strong, resinous odor of the herb absorbs almost entirely into the beans, giving them a mild flavor punch and, some say, diminishing flatulence.

My olla de barrlo (clay bean pot) holds about a half kilo of frijol plus enough water to cook them. You can see the light glinting off the water line, just below the top part of the handle. If you don't have an olla de barro, a heavy metal soup pot will do almost as well. The clay does impart a subtle, earthy flavor to beans as they cook.

Over a high flame, bring the pot of beans to a full, rolling boil. Turn the flame to a medium simmer and cover the pot. Allow the beans to cook for about an hour. At the end of an hour, check the water level. If you need to add more water, be sure that it is boiling before you pour it into the bean pot; adding cold water lowers the cooking temperature and can cause the beans to toughen. Continue to cook the beans at a medium simmer until, when you bite into one, it is soft and creamy. The pot liquor will thicken slightly.

Now's the time to salt your beans--after cooking, not before and not during. We use Espuma del Mar (Mexican sea salt from the state of Colima) for its wonderful sweetly salty flavor, but any salt will do. Add a little less salt than you think is correct--you can always add more later, and you don't want to oversalt your beans.

If you live in the United States or Canada, you'll want to order the fabulous heritage dried beans sold by Rancho Gordo. Rancho Gordo's owner, my friend Steve Sando, has nearly single-handedly brought delicious old-style beans to new popularity in home and restaurant kitchens. If you've tasted ordinary beans and said, "So what?", try Rancho Gordo beans for a huge WOW! of an eye opener.

Mexico Cooks! likes frijoles de la olla (freshly cooked beans, straight from the pot) with a big spoonful of salsa fresca (chopped tomato, minced onion, minced chile serrano, salt, and roughly chopped cilantro). Sometimes we steam white rice, fill a bowl with it, add frijoles de la olla and salsa fresca, and call it comida (main meal of the day).

Chiles serranos and manteca (lard)for frijoles refritos estilo Mexico Cooks!.

For breakfast, Mexico Cooks! prepares frijoles refritos (refried beans). Served with scrambled eggs, some sliced avocado, and a stack of hot tortillas, they're a great way to start the morning.

Here's some more bean trivia: frijoles refritos doesn't really mean 'refried' beans. Mexican Spanish often uses the prefix 're-' to describe something exceptional. 'Rebueno' means 'really, really good'. 'Refrito' means--you guessed it--well-fried.

Melt about a tablespoon of manteca (lard) in an 8" frying pan. Split the chiles from the tip almost to the stem end. Fry the chiles until they are blistered and dark brown, almost blackened. To prevent a million splatters, allow to cool a bit before you add the beans to the pan.

Frijoles Refritos Estilo Mexico Cooks! (Refried Beans, Mexico Cooks! Style)
Serves six as a side dish

3 cups recently-cooked frijoles peruanos
1 or 2 chiles serrano, depending on your heat tolerance
1 or 2 Tbsp lard or vegetable oil—preferably lard and definitely NOT olive oil
Bean cooking liquid
Sea salt to taste

Melt the lard in an 8-inch skillet. Split the chile(s) from the tip almost to the stem end and add to the melted lard. Sauté over a medium flame until the chile is dark brown, almost black.

Lower the flame and add the beans and a little bean liquid. When the beans begin to simmer, mash them and the chile with a potato or bean masher until they are smooth. Add more liquid if necessary to give the beans the consistency you prefer. Add sea salt to taste and stir well.

Leave the melted lard and the chiles in the frying pan and add the beans and some pot liquor. Bring to a simmer over low heat. When the beans are hot, start mashing them with a potato or bean masher. Mash the chiles, too.

These beans are about half mashed.

Mexico Cooks! prefers that frijoles refritos have a little texture. These are just right for us, but you might prefer yours perfectly smooth. If you like them smoother, keep mashing! Either way, the beans should be thickly liquid. If the consistency is too thick, add more pot liquor. If the beans are too thin, add a few more whole beans to mash.

For a wonderful breakfast or supper treat, try making molletes estilo Mexico Cooks!. This is real Mexican home cooking; Mexico Cooks! has never seen this style molletes served in a restaurant. A wonderful Michoacán cook taught me how to prepare this easy meal.

Start with fresh pan bolillo (individual-size loaf of dense white bread), split in half lengthwise. Butter the cut bolillo halves and grill them on a comal (griddle) or hot skillet till they're golden brown. If you aren't able to buy bolillos where you live, use a dense French-style bread instead.

Spread each half bolillo with a thick coat--two tablespoons or more--of frijoles refritos.

Top the beans with a freshly fried egg and your favorite bottled or home-made salsa.

Breakfast, estilo Mexico Cooks!, will keep you going strong till time for comida. You're going to love these beans!

¡Provecho!

Note: Be sure to visit Patricia Jinich at Pati's Table this week for a great post about Mexico Cooks! and these very same frijolitos refritos!

Looking for a tailored-to-your-interests specialized tour in Mexico? Click here: Tours.

Feria de Artesanías (Artisans' Fair), November 2009, Pátzcuaro, Michoacán

2009-11-28T10:00:00-06:00

Esferas de barro y su platón (clay spheres and their platter) from Zinapécuaro, Michoacán. Feria de Artesanía, Pátzcuaro 2009.

Carved wooden molinillos (chocolate beaters), rolling pins, and spoons from Quiroga, Michoacán.

The state of Michoacán, rich in clay, copper, wood, and other natural resources, is home to thousands of highly skilled artisans. Their traditional work includes the use of all of those natural materials. Each year during Pátzcuaro's festivities for the Day of the Dead, an all-Michoacán artisans' fair entices tourists from all over Mexico (as well as from the rest of the world) to support the local crafts-making economy.

Floreros de barro (clay vases) from Tzintzuntzan, Michoacán.

La Huesuda (the bony woman) on a platter, Capula, Michoacán. La Huesuda is among the many, many Mexican terms for death.

Piñas (pineapples) from San José de Gracia, Michoacán. These were originally made to be containers for serving agua fresca (fruit water).

The November artisans' fair in Pátzcuaro and the larger all-Michoacán artisans' fair in Uruapan that takes place annually from Palm Sunday through the end of Easter Week are the biggest income-producing events for many of the state's artisans. Due in part to the global economic crisis, in part to fear of the AH1N1 virus, and in part to reported drug-related violence in Mexico, tourism all over the country has fallen to record low levels. During 2009, most Michoacán artisans have experienced a precipitous drop in sales.

Comedor (dining room table and chairs), Cuanajo, Michoacán.

Highly decorated platones de cobre (copper platters) from Santa Clara del Cobre, Michoacán. Photo courtesy of this Flickr user.

Michoacan's artisans work using centuries-old techniques to create both traditional and modern designs. Among village families, skills are passed from generation to generation. It's unusual to find an artisan who has formally studied his or her art, but it is far from unusual to find enormously talented artists, even in the smallest towns.

Cocuchas (pots from the tiny Purhépecha town of Cocucho), Cocucho, Michoacán.

Detail of cross-stitch blouse, Pátzcuaro, Michoacán.

Figuras de barro (clay figures), Ocumicho, Michoacán.

Many artisan families are currently confronting the tension between the desire to continue to produce arts and crafts and the overwhelming need to feed their children. In an economy geared toward the purchase of necessities, not luxuries, the purchase of personal and home adornment comes last for the average tourist. Although sales were up somewhat at the 2009 Pátzcuaro artisans' fair, in general sales for 2009 have been very low.

Viejito de trapo (Dance of the Viejitos rag doll).

In many instances, young artisans have left their family's traditional work altogether to seek employment in other sectors. Thousands of young men have left Michoacán to try their luck in the United States. Hands that once worked clay, copper, wood, and reed now wash dishes, bus tables, and pick crops far from home. The questions that plague the artisans who remain in Michoacán are: who will keep the traditions alive? Who will continue the work of centuries? Do today's young people care if the old ways die out?

Platón (platter), Guadalupe Ríos, Tzintzuntzan, Michoacán.

Some municipalities, such as the copper arts-producing town of Santa Clara del Cobre, the pine needle arts-producing town of Casas Blancas, and the rag doll producing town of Zirahuén, are working together to find a solution to the artisans' need for support. In Santa Clara, nearly 90% of the town is employed in the copper industry. Municipal authorities recognize that artisan productivity is vital to the town. The town governments have proposed a grant of two thousand pesos (approximately $155 USD at today's exchange rate) each to 35 needy artisans for the purchase of necessary materials to continue working in their traditional fields. The sole requirement for participating in the grant program is that the recipients document how the money is spent and how many people are either direct or indirect beneficiaries of the program. Of course, one very small municipality's tiny stimulus program will not save all of Michoacán's artisans, but it may help stave off their need to stop production. The larger question is whether this generation and those to come recognize the value of their historic work. That remains to be answered.

Vajilla (dishware), Capula, Michoacán.

Looking for a tailored-to-your-interests specialized tour in Mexico? Click here: Tours

Día de los Muertos: November 2, 2009 in the Tzintzuntzan, Michoacán Cemetery

2009-11-21T10:00:00-06:00

Graves decorated for Noche de los Muertos (Night of the Dead) in the Tzintzuntzan, Michoacán panteón (cemetery). These recent graves lie within easy sight of the yácatas (Purhépecha pyramids, mid-center in the photograph) just across the road. The yácatas were formerly both a priestly burial site and the site of ancient Purhépecha religious ceremonies.

The packed-earth paths among the graves at the cemetery in Tzintzuntzan wind through old trees and dappled sunshine.

This little car, decorated with cempasúchil (marigold) flowers, fruits, and pan de muertos (bread of the dead) in the shape of human figures, is the cemetery ofrenda (altar, or offering) for a baby born in October and dead in November 2005. Tiny white baby shoes are on the car's hood, along with a baby bottle. Click on any photo to enlarge it.

The faithful Purhépecha believe that the angelitos, the dead children, are the first of the departed who come to re-visit their loved ones each year during the day of November 1, arriving at noon. Their parents take an ofrenda (offering) of fruit, candies, and wooden toys to the children's graves and invite the little ones to come and eat. Late in the night, the godfather of a dead child goes to the cemetery with an arco (arch) made of cempasúchil (marigolds). At home, the parents have already prepared beautiful altars to honor the memory and spirits of their children.

Cempasúchiles, gladiolas, and candles adorn this grave. The cross is made of red veladoras (candles in holders) in a framework of blue and white.

Each year, late in the night of November 1, the spirits of deceased adults make their way back to this earthly plane to visit their relatives. The living relatives, bearing food, bright golden flowers, strong drink, and other favorites of the dead, file into Purhépecha cemeteries to commune with those who have gone before. The assembled lay out blankets, unfold chairs, bring out plastic cups, cartons of beer, a bottle of tequila, and assorted food for their own consumption as they settle in for the long, cold night of vigil.

A band or two or three often wander the cemetery, hired for a song or two or three to entertain the living and the dead.

Copal incense burns, calling the souls of the dead home. Candles, hundreds and hundreds of candles, flicker on and around the graves, showing the way home to the wandering spirits. Food--especially corn tamales and churipo, a beef soup for festivals--and other personal gifts to the 'visitors' show that the spirits are still valued members of their community. Special pan de muertos (bread of the dead) in the form of human bodies represents the relationship between the living and the dead. Fruits, including bananas, oranges, and limas, are hung on the ofrendas de cempasúchil to represent the relationship between nature and human beings.

This elaborate bóveda de cempasúchil ( marigold arch) hung with an old family photograph and topped by a feather dove (the symbol of the Holy Spirit) decorates a family grave. Under the photograph, an angel stands vigil.

Marigolds are used as symbols for their yellow color, which resembles the gold that was used as decoration for the ancient grand festivals. The flowers were used to adorn the visitor in the form of crowns or necklaces. Today, the belief is that the ofrendas de cempasúchil (marigold arches) aid the visiting spirits to identify their homes. Cempasúchil petals are also strewn over the bare earth mounds of the graves.

These modern coronas (wreaths) are made of ribbons and plastic, much more durable than fresh flowers. The brilliant colors eventually fade over the course of a year, but the wreaths will stay up till next October.

Cempasúchiles, pata de león (lion's paw, as cockscomb is known in this part of Michoacán), freshly cut gladiola, nube (baby's breath) and just-in-season wild orchids from the mountains are the flowers most commonly used on Tzintzuntzan's graves.

My favorite ofrenda of 2009: a terrific full-size bicycle made of cempasúchiles, decorated with fruit--and with pineapple on the seat! The flowers at the base of the grave marker are wild orchids. This style figural ofrenda is very unusual.

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Día y Noche de los Muertos: Day and Night of the Dead, November 2009

2009-11-14T10:00:00-06:00

Catrinas de papel maché (death-mocking figures made of paper maché). The catrín (male figure) and catrina (female figure) come from the late 19th-early 20th Century drawings by political cartoonist José Guadalupe Posadas. Posadas drew his skeletons dressed in finery of the Porfiriato (the era between 1875-1910 when Porfirio Díaz, a Francophile, ruled Mexico) to demonstrate the pointlessness of vanity in life that, in the end, covers nothing but bones.

Día (y Noche) de los Muertos (Day or Night of the Dead) is celebrated in Mexico each year on November 1 and 2. It's a festival both solemn and humorous, both sacred and profane: it's a wildly and uniquely Mexican fiesta (party), although other Latin American countries--Guatemala, Honduras, and Perú, among others--celebrate the dates in other ways.

Called Día de los Muertos in most of Mexico, in Michoacán the fiesta is known as Noche de los Muertos. The traditional celebrations in Purhépecha pueblos (indigenous towns) near Morelia are among the most famous in Mexico.

Everywhere in Mexico, it's traditional to eat pan de muertos (bread of the dead) before, during, and after the early November Día de los Muertos. Mexico Cooks! photographed this gorgeous pan de muertos at Panadería Hornos Los Ortiz on Av. Vicente Santa María in Morelia.

These catrínes de barro (clay) are tremendously elegant. They are the creations of acclaimed painter and bronze sculptor Juan Torres Calderón and his wife, clay sculptor Velia Torres Canals. The Torres couple work in Capula, Michoacán, where they started the tradition of clay catrines in the early 1960s.

Cohetes (rockets) are another tradition for Día de los Muertos and other fiestas. Coheteros carry bundles of long-stick rockets in local processions, lighting one after another during the duration of the parade. The young boy walking behind the cohetero is carrying a pole to move electrical wires out of the way of the rockets. The intense boom! boom! boom! of the cohetes announces the arrival of the procession.

Calabaza en tacha (squash in syrup) is one of the most traditional foods for a Diá de los Muertos ofrenda (home or cemetery altar to honor the deceased). Learn its very simple preparation right here.

During the Día y Noche de Muertos fiesta, a loved one's grave becomes a place to pray, party, and reminisce. Candles, a glass of water to quench the deceased person's thirst, a bottle of his or her favorite liquor, and favorite foods such as mole or tamales, pan de muertos, calabaza en tacha, and seasonal fresh fruits are always placed on the grave.

During this very Mexican, very special festival, the dead--at least in spirit--pay a visit to their loved ones here on earth. It's a mutual nostalgia: the living remember the dead, and the dead remember the taste of home.

An acquaintance in Pátzcuaro dedicated this very large ofrenda (offering, or altar) to his deceased parents and other family members. The colors, the candles, the foods, the photos, and the flowers are all part of the old traditional altar decoration.

Next week, Mexico Cooks! will take you to one of the most important cemeteries in Mexico for a last look at the special Michoacán traditional commemoration of Noche de los Muertos 2009.

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Day of the Dead 2009 in Pátzcuaro, Michoacán

2009-11-07T10:00:00-06:00

This quirky calavera (skull, in this case about six inches high) is made of white chocolate with applied chocolate decorations dyed in various colors.

Every year, Mexico Cooks! heads for Pátzcuaro to see what's new and eye-catching in the world of alfeñiques (molded sugar trinkets for the Día de los Muertos--Day of the Dead). Skulls, caskets, skeletons, and miniature food are found almost everywhere in Mexico during this season. Some other sugar figures, made of azúcar glass (confectioner's sugar) as well as granulated sugar, are traditional just in Michoacán. This year, white chocolate was the new kid on the block.

More traditional sugar skulls are made in wooden molds, dried, and then hand-decorated. The eyes of these calaveras are sequins; the rest of the decor is stiff colored icing.

The artisan has applied white icing teeth, orange icing eyebrows and nose outline, green sequin eyes, and a blue-and-green patterned topknot.

Each of these one-inch calaveras has a name tag. Pick the skull that matches your best friend, your romantic interest, or a relative. Click on the photo to enlarge it for a better view--then see if you can find your own name!

These six-inch high molded sugar hearts bear sweet sentiments: Para Mi Corazón (For My Sweetheart) and Con Amor (With Love).

You can find more Mexico Cooks! photos and other information related to the Day of the Dead here, here, and here.

Tiny sugar representations of your dearly departed's favorite foods: pan dulce (sweet bread), enchiladas, tacos, and tostadas. These little plates measure about three inches in diameter.

Six-inch-high sugary crosses.

In the open casket, the calaca (skeleton) partakes of his favorite drink. Click on the photo to read the placard on the grave: "De tontos y panzones están llenos los panteones." ('Cemeteries are full of fools and gluttons.')

Laid out on an old painted wood table, this sheet of papel picado (cut tissue paper) depicts a skull and an ofrenda (Day of the Dead personal altar in honor of the deceased).

Former Mexican president Carlos Salinas de Gortari in the form of a murcielago (bat). Sin comentario (no comment), but this little candy made Mexico Cooks! laugh out loud.

Traditional sweet sugar gallinas (hens).

Coronas (funeral wreaths) with their motto Descansa en paz (rest in peace).

Sra. Gallina Roja (Mrs. Red Hen), made of azúcar glass (confectioner's sugar) rather than granulated sugar, sits on her nest with her huevos y polluelos (eggs and chicks).

Nuestra Señora de Guadalupe (Our Lady of Guadalupe)--this time in white chocolate, dyed in multi-colors--watches over all of us, the living and the dead.

Mexico Cooks! will have more Día de los Muertos traditions for you in the weeks to come. The annual holiday is just too big and colorful for just one week's article.

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Black Magic Woman: Lila Downs Bewitches Morelia

2009-10-31T10:00:00-06:00

Lila Downs, Morelia, Michoacán, October 3, 2009. Unless otherwise noted, all photos are copyright Mexico Cooks!.

Lila Downs hypnotized Morelia and absconded with the city's heart a few weekends ago. For a time, we Morelianos forgot about la crisis económica, we forgot about la influenza H1N1, we forgot about the violent problems that have plagued our city for more than a year. We forgot everything except the essence of la Lila, who worked her black magic on all of us and captured our every sensibility with her voodoo moves and bewitching voice. In a jam-packed Morelia theater, for a couple of hours on a Sunday evening, Lila Downs gave us the gift of letting us remember our best selves.

Mexico Cooks! has watched Lila (pronounced LEE-lah) Downs grow as an artist since 2004. We first saw her perform in the patio of the University of Guadalajara's Escuela de Artes Plásticas, and again at the city's Teatro Galerías, then in a marvelous get-the-crowd-dancing open air concert in the Plaza de las Américas in Zapopan, and most recently this September in Guadalajara, where she opened her 2009 Black Magic Woman tour.

The tour, scheduled to run from August through November, started late because, as Lila said, "Me metieron un cuchillo..." ('They stuck a knife in me...'). Just before the tour was due to open in Denver, Lila had a different, unexpected opening: her appendix had to be removed.

A scant month after surgery, still looking a bit physically challenged from the procedure, Lila launched the Black Magic Woman tour at the sold-out Teatro Diana in Guadalajara. But oh boy, two weeks later in Morelia, Lila was back at the top of her form.

Lila Downs and her incredible troupe of musicians took the stage with a bang in Morelia and never let up.

Lila is the daughter of a Oaxacan Mixtec cabaret singer and a father from the United States who taught at the University of Minnesota. Raised in both Oaxaca (in the far southern mountains of Mexico) and Minnesota (in the far northern plains of the USA), Lila grew up conflicted by her roots in two worlds. Viewed as an exotically brown-skinned girl in north, known as the daughter of a gringo in the south, Lila herself barely knew where she fit in.

Photo courtesy Fernando Aceves and Lila Downs.

When her father moved to Southern California, her mother sent teenage Lila to live with him to finish high school. After high school, Lila returned to her mother's home in Oaxaca. While visiting them at their home, Lila's father died unexpectedly of a heart attack. Left alone with her Indian mother, bitter and angry that her father had disappeared from her life, Lila started college in Minnesota but dropped out prior to finishing her education. She stopped singing, although she had sung while growing up and studied voice in college. She drifted with the Grateful Dead, a Deadhead and latter-day hippie.

Pure energy, pure movement, pure voice: Lila Downs captivated everyone in her Morelia audience.

After a two-year mix of intensive psychotherapy and deep personal introspection, Lila returned to the University of Minnesota and finished a degree in voice and anthropology. Consciously or unconsciously, her studies mirrored both of her parents.

When she returned to Oaxaca after college, she finally discovered herself: rooted deeply in Oaxaca, profoundly influenced by the suppression and hardship suffered by Mexico's indigenous peoples, she composed. And she sang, for the first time in several years.

Lila! For a sneak peek at Lila in action, watch and listen to her perform La Cumbia del Mole.

In the mid-1990s, Lila met Paul Cohen, an East Coast saxophonist. They soon joined their lives and their careers to poner las pilas (put on the batteries) for huge success. Paul encourages her to keep exploring Mexico's music traditions: ranchera, bolero, ballads, and more. Lila's next CD, which she hopes will be on the market in 2010, will be a compilation of música ranchera, from the mariachi tradition.

Joy and delight in Lila's music reverberated in every corner of Morelia's Teatro Morelos.

On Saturday night before the Sunday evening concert, Lila graciously received Mexico Cooks! for a little private conversation. We both wanted to talk about Lila's newest project, a musical theater version of Laura Esquivel's book, Like Water for Chocolate. Lila and Paul are writing nearly 20 original songs for the musical, songs that Lila hopes will endure long after the curtain closes on the play. Like Water for Chocolate will have a libretto by Quiara Hudes (In the Heights, running since early 2008 in New York), with creative direction by Jonathan Butterell (most recently, Fiddler on the Roof revival) and music direction by Ted Sperling (most recently, Guys and Dolls and South Pacific revivals). Lila expects the music to preview in concert in 2010 and hopes for an off-Broadway opening soon after that--and then to Broadway!

Book cover, Like Water for Chocolate by Laura Esquivel.

Like Water for Chocolate, published in 1989, is celebrating its 20th anniversary this year. There are nearly three million copies in print. When Like Water for Chocolate became a movie in 1992, it won all eleven of the Ariel awards (analogous to the Oscars) for that year.

"I'm really excited about this project." Lila drummed her fingers on the arm of her chair. "So many things about this story remind me of life in Oaxaca, even though the book is set in the north of Mexico. Like Water for Chocolate has already had such huge success as a book and a film! It's just made for the musical stage. The work is a tremendous opportunity for us."

Lila grinned when I asked if she likes to cook. "I do! I really do! My recipe for mole is fantastic! I love nopalitos (strips of nopal cactus, often served as a salad), and I love beans." She rolled her eyes and ducked her head. "My husband calls me a real beaner." She laughed. "Seriously, the fragrance of beans cooking, the flavor of the nopal--those are things that say 'home' to me. Those are the things that give me so much nostalgia. That's one of the reasons I love Like Water for Chocolate so much: home, love, and food are all mixed together. But you know that. That's what I believe, and that's what your Mexico Cooks! is all about, too: a Mexico that is home, love, and food."

Lila moves to deep rhythms and moves her audience to intense feelings. "Lila, te estoy queriendo!" shouts a fan. "Y yo a ti..." Lila responds from the stage, blowing a kiss. ('Lila, I am loving you!' 'And I am loving you...')

Lila Downs' life is a complex mix of intellect and feeling, tradition and the modern, of joy and pain, of hard work and well-deserved success. She gives exquisite voice to her deepest self, she offers unusual accessibility to her adoring fans, and she's made it to the top in a very harsh world. If you are ever in a place where Lila will be singing, get a ticket. Whatever the cost, it's worth every penny.

Qué viva Lila! Te estamos quieriendo...(Long live Lila! We are loving you).

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Rigoberta Menchú y La Ceremonia por La Paz, Morelia, September 15, 2009

2009-10-24T10:00:00-05:00

Actúa por la Paz: Take Action for Peace, on the back of a T-shirt, Morelia, September 15, 2009.

On the night of September 15, 2008--just a bit over a year ago--all of Mexico celebrated its annual re-enactment of the Grito de Dolores (1810 call for independence from Spain). Many of Morelia's citizens, filled with the joy of Fiestas Patrias (Independence Day) festivities, gathered in the two downtown plazas facing the balconies of the Palacio del Gobierno (state capitol building) to await the appearance of Michoacán's governor. Traditionally, the governor waves the Mexican flag, rings a bell, and calls out a string of VIVAs: Viva México! Viva Hidalgo! Viva Morelos! Viva la Corregidora! Viva los Niños Héroes! Viva México!

In Morelia, those historic VIVAs are always followed by glorious patriotic fireworks in front of the Cathedral. At the 2008 celebration, the governor's actions were aborted by a loud explosion: instead of fireworks, the sound was from two live grenades thrown into crowded Plaza Melchor Ocampo. The balance: hundreds injured, eight killed, and scores of lives changed forever. Recovery of confidence has been slow in Morelia; we who live in Morelia lost our innocence that night.

Rigoberta Menchú Tum from Guatemala, 1992 winner of the Nobel Peace Prize, moved hearts and minds with her Ceremonia por la Paz (Peace Ceremony) speech on September 15, 2009, in Morelia.

The event didn't look much like a ceremony for peace, but rather resembled a locked-down security risk. Morelia's Centro Histórico, an area that encompasses most of our colonial-era buildings, was cordoned off by Federal, State, and local police. No private vehicles, taxis, or buses were allowed to circulate within a several-square-block area of the Cathedral. Pedestrians who wanted to enter the area passed first through metal detector security arches. Federal police checked all handbags, camera bags, and backpacks for suspicious objects.

Just across the street from Plaza Melchor Ocampo, sharpshooters and special security forces lined the roof of Hotel Los Juaninos. In order to enter the plaza, we had to pass under yet another security arch. Friends who work for the government called out to us to sit with them for the event.

Fausto Vallejo Figueroa, mayor of Morelia, greets supporters at the Ceremonia por la Paz.

Once settled, we looked around at the crowd. Government officials of all ranks, university officials, relatives of the 2008 victims, and a few selected schools were present, but no ordinary Morelia citizens were in the chairs. The press was amply represented. It became apparent that this Ceremonia por la Paz was more a photo opportunity and sound bite for government promotion than it was an event for the common person.

Dra. Silvia Figueroa Zamudio, distinguished rector of the Universidad Michoacana de San Nicolás de Hidalgo. Dra. Figueroa, whose term began in 2007 and will end in 2011, is the first woman rector since the university was founded in 1540.

Leonel Godoy Rangel, governor of Michoacán, chats with Rigoberta Menchú prior to her Morelia speech.

In spite of the militaristic aspects of the event, Sra. Menchú exhorted Morelia, "Don't be afraid. Fear turns us into accomplices and prisoners of violence. Today I stand before you to plead for your courage."

Some survivors and relatives of those dead and injured in the September 15, 2008, grenade blasts attended the 2009 commemoration in Plaza Melchor Ocampo.

She begged the relatives of last year's injured and deceased, "Hold out your dead like a flag of struggle for the well-being of all. Forgive the attackers, involve yourselves in the search for liberty."

Children from a few specially selected schools attended the commemorative event.

At the end of the ceremony--where seating was limited to 1000 people and standing room was at the very edge of the plaza, behind a security barricade--Rigoberta Menchú called out once again for peace. "From Morelia, we celebrate peace, life, and dignity. In the struggle for peace, we all have something to give. The amount of material things we can offer isn't important. What is important is our struggle for the common good."

A strong military presence at the event seemed to contradict Rigoberta Menchú's plea for peace.

Morelia's Municipal Tourism Secretary Roberto Monroy noted that the government invited Rigoberta Menchú so that her presence in Morelia could be seen as a message of peace, of cordiality, and a sign that the capital and the state of Michoacán are still standing, working for the development of peace.

Several of Mexico's Federal police helicopters circled and circled the Centro Histórico after the event.

Despite the contradictions between Sra. Menchú's compelling speech and the military actions of the government, the event left Mexico Cooks! with the joy of seeing and hearing a woman struggling tirelessly on behalf of peace. There are so few like her in today's world: committed, valiant, single-minded in the search for peace. Qué viva Rigoberta! Qué viva!

Picasso's Dove of Peace is still a sign hope for the future of Mexico and the world.

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Restaurante Los Comensales, Traditional Morelia Dining

2009-10-17T10:00:00-05:00

The covered dining terraza at Los Comensales borders the restaurant's central garden, beautifully in bloom in rain or sunshine. Indoor dining is also available.

When Mexico Cooks! is looking for a traditional old-style Morelia comida corrida (soup-to-nuts main meal of the day, usually inexpensive), we often head to Restaurante Los Comensales, on Calle Zaragoza in the Centro Histórico. A Morelia tradition since 1980, Los Comensales (the name means 'the diners') satisfies its clients' hunger very well, and in a genteel, old-fashioned way.

A small plate of verduras en escabeche (pickled vegetables) is the first dish to arrive at our table. This little plate holds carrots, cauliflower, green beans, chayote, and onions--along with a bay leaf or two and a sprig of oregano.

The lovely terraza and dining rooms at Los Comensales are filled with memories of days gone by. Photographs of the founders--Señora Aguirre has survived her husband by many years--are scattered on the walls. He was a bullfight aficionado; she was a great home cook, specializing in the broad gamut of Michoacán comida casera (home cooking). In 19th and 20th Century Mexico, French and Spanish cuisine were the sought-after flavors when Mexicans dined out in style. Mexican cooking was considered second-class at best. Nevertheless, Sra. Aguirre and her husband decided to feature typical Michoacán cuisine when they opened Los Comensales in their own home in early 1980.

You'll have a choice between at least two soups-of-the-day. The last time Mexico Cooks! enjoyed comida at Los Comensales, the choices were between caldo tlalpeño made with a touch of chile chipotle (pictured above) and crema de zanahoria (cream of carrot). We've also loved the delicious leek, mushroom, and potato soup and the simple consomé de pollo (chicken consomme).

Los Comensales was the first private home in Morelia to be converted into a restaurant. It immediately became a great success. In 1989, the pair opened a second downtown Morelia restaurant. Las Viandas de San José (The Foods of Saint Joseph), located directly in front of Morelia's Templo San José, was in the same style as Los Comensales: the rich and varied cuisine of the couple's beloved home state, Michoacán.

This tortita de calabacita was a tremendous hit, fresh and delicious in its pool of caldillo (thin tomato sauce). We chose it from the sopas section of the comida corrida menu. Other choices were spaghetti in cream sauce or standard Mexican red rice with diced vegetables.

Mexican sopas are divided into two classes: sopa aguada (wet soup) and sopa seca (dry soup).

Sopa aguada is divided into two further categories: caldos and cremas. Caldos are clear broths, usually with other ingredients like vegetables and meat. Cremas are cream soups; the different possibilities are endless.

Sopa seca includes dishes such as pastas, rice, and vegetable tortitas--like the tortitas de calabacita shown above. These are easy to prepare and absolutely delicious.

Tortitas de Calabacita (Little Zucchini Fritters)
Ingredients
6 small calabacitas (or zucchini), no more than 3" long
6 1/4" thick slices mild white cheese (queso fresco, if possible)
2 eggs, separated
Salt
Flour
Vegetable oil for frying

Slice the calabacitas in half, lengthwise. Place one slice of cheese between the slices of each calabacita. Hold the slices of calabacita and cheese together with toothpicks. Dredge each calabacita with salted flour.

Beat the egg whites until stiff. Beat the egg yolks until thick and pale lemon in color. Gently fold the yolks into the whites.

Heat oil in a frying pan until hot but not smoking.

Coat the floured calabacitas in the egg batter and fry until golden brown. Serve bathed with caldillo.

Caldillo (thin tomato sauce)
4 or 5 red-ripe Roma tomatoes
1/2 small white onion
Chicken broth
Oregano
Sea salt to taste

Bring a small pot of water to a full rolling boil. Add the tomatoes and boil till the skins split--just a couple of minutes. Remove tomato peels.

Place the peeled tomatoes and the onion in a blender. Add a very small amount of chicken broth and blend until smooth.

In a frying pan, fry the sauce for about five minutes. Add chicken broth until you have a very thin sauce. Add a sprig of fresh oregano and salt to taste. Cook for another five minutes and remove the oregano. Serves 6 as a side dish.

Carne de res en salsa chipotle (beef in a smoky chile sauce) was Mexico Cooks!' main dish. Others at our table ordered milanesa de pollo (thinly sliced, lightly breaded chicken breast).

Los Comensales also has an a la carte menu, but it hasn't really tempted us. The daily comida corrida offers such a big variety of dishes that we've always chosen our meal from that menu.

Our dessert, Flan napolitano (Naples-style custard with caramel), is firmer than its ordinary cousin. Flan napolitano is made with cream cheese, in addition to the usual milk and eggs.

The last time Mexico Cooks! dined at Los Comensales, our comida corrida was exactly what's pictured here. The total cost for the three of us was $300 pesos; each comida corrida was $60 pesos, plus the addition of our order of a large jarra (pitcher) of naranjada (orangeade, made with freshly squeezed orange juice and sparkling water)--and the tip is included in the cost.

Señora Catalina Aguirre Camacho, the owner of Los Comensales since 1980.

Los Comensales is open for desayuno (breakfast) and comida every day except Wednesday. If you're visiting Morelia, be sure to stop in for a lovely treat. You'll feel as if you're part of Morelia's culinary history.

Restaurante Los Comensales
Calle Ignacio Zaragoza #148
Centro Histórico
Morelia, Michoacán, México

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Pátzcuaro, Michoacán: Pine Needle Garlands the Old-Fashioned Way

2009-10-10T10:00:00-05:00

Basílica dome at twlight, Basílica de Nuestra Señora de la Salud (Our Lady of Health), Pátzcuaro. The setting sun gives the dome its heavenly pink glow.

Just before Mexico's Independence Day holiday, a spur-of-the-moment email ("Show me real Mexican food, show me your part of Mexico!") from a fan inspired a whirlwind Mexico Cooks! morning tour of Morelia's Mercado Independencia and an afternoon visit to Pátzcuaro. Jeffrey Jones, in Mexico City for a business conference, hopped on a bus and arrived in Morelia on Saturday evening. We met at ten o'clock on Sunday morning and were off and running for the day.

Touring Pátzcuaro is second nature to me. I am always overjoyed to show its pleasures to someone who has never experienced them: the entrance to town, lined by huge eucalyptus and cedar trees; two bustling plazas, the daily market, the Museo Regional de Artes Populares, Doña Ofelia's corundas for breakfast, the several glorious 16th Century churches, extraordinary crafts to purchase, nieve de pasta (almond and honey ice cream) under the portales, and Super Pollo Emilio's enchiladas placeras for supper.

This young man is concentrating on the machetazo (machete blow) he is about to give to a bundle of pine needles.

Once in a while, Mexico Cooks! is surprised and delighted by a new discovery in long-familiar location. Not only had we never seen this traditional way of making pine garland, we'd never even heard of it. To say that we were absolutely floored is putting it mildly.

One of several men cutting the pine needles to the proper length, this fellow grips a handful to make sure they're straight before he takes off the ends with his machete.

Using huinumo (the Purhépecha word for pine needle), machetes, coarse twine, and a tool made for twisting, a few men worked to create 1000 meters (that's over 3900 feet, for you who are metrically challenged) of pine garland to adorn all four sides of Plaza Don Vasco de Quiroga.

Starting at either end of the twine on the paving stones, men lay out the carefully cut pine needles.

Mexico Cooks! chatted with some Pátzcuaro natives while we all watched this process. All of them were as open-mouthed with awe as I was. Lifelong residents of the area, none of these people had ever seen guirnalda (garland) made from these simple components.

The work isn't difficult, but it has to be done correctly in order to make the garlands. Enlarge the photo to see that the needles are all the same length.

The gentleman supervising the work assured me that no trees were harmed in the collection of these millions of pine needles. "We don't take them all from just a few trees. We're very careful to take some from here, some from there, so that the trees don't miss them at all. The process is ancient, and the trees still thrive."

In just a few minutes, the two men laying the pine needles meet in the middle of the twine.

Next, a man walks from one end of the pine needles to meet another man walking from the other direction. While he walks, the wooden tool (in the right hand of the man in the white hat) spins to fasten the needles between the lower twine and the upper twine.

The same tool--in the hand of the man with the white cap--spins the twine at the other end of the pine needles while the second man walks toward the center.

This man uses a cane for balance as he approaches the mid-point of the garland.

Jeffrey was so taken with the process that he filmed it. He graciously allowed me to publish his video on Mexico Cooks!. Thanks, Jeffrey!

View the video: Pine Needle Garlands

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