In this section:
Textile Stories And
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Fringe Forward |
Smart Cultural Style |
Mexican Glass Art & Design |
Love Birds, Trade, Feather-Painting and Design |
On Men and Women
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On Critical Tourism |
What’s Blue Corn |
Several Mexico |
Hecha en México |
Marine Figures of Lily and Ixtle |
That’s A Wrap |
Home Made |
The Amuzgos: Research Findings On Clothing Anthropological Approaches.
Handmade
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How We Bring Change…
The fashion industry is a complex and multifaceted entity that has far-reaching effects on culture and society.
While Occupy Cultural Threads (2021), from Viviana M. Calderon de la B., mirrored the increasingly detachment in our societies from the long-term consequences of relentless fashion consumerism and the fast-fashion industry’s actions, it also confronted the audience together with the Baltan Laboratories team —in Eindhoven, Netherlands— reason why the title of Viviana’s end-of-residency project came to be OCCUPY CULTURAL THREADS.
Today, Viviana’s role in the fashion industry as a stylist or visual merchandiser focuses heavily on equitable change to combat the industry’s sweatshops to manufacture their apparel, shoes, accessories, and other products. Viviana’s commitment to her roles in the fashion industry continues to promotes equal rights for all individuals to have the opportunity to succeed, regardless of their background or circumstances.
OCCUPY CULTURAL THREADS informed the audience of the initiatives’ sustainable approaches to craft textiles, yet it also confronted viewers with societal gender, age, and racial prejudice. Further, the installation consisted of a triptych recreating fashion waste and the overwhelming landfills that pollute communities and fuel climate change. The installation featured audiovisuals with New Yorker Dr. Nora Desmond Kravis, Università di Pisa veterinarian and owner of Chianti Cashmere Goat Farm in Tuscany, Italy. We are immensely thankful to Nora for her insights and hospitality during our visits to her farm. We are equally thankful to all who participated in this production.
This commitment, in all the roles Viviana has had in culture Mexico, Canada, and the Netherlands continues with the sole goal of exchanging insights and creating change in the areas of learning and development.
Since the launch of the OCCUPY CULTURAL THREADS exhibit, all efforts to grow awareness have been non-stop. We have joined several causes, campaigns, and activists across the Netherlands and overseas. Most recently, we have been in Amsterdam Fashion Week networking and attending talks that bring tremendous value and open windows for future cooperation.
All this has been achieved with hard work.
Our message has been abroad with the LIFE IS AS A CULTURAL THREAD short production —part of the Dutch Design Week 2022 official program, where OCCUPY CULTURAL THREADS is included.
Equitable and social change in our current fashion industry is imperative. The state of fashion as it is today needs a shift, from cultural to political change.
OCCUPY CULTURAL THREADS’s message continues.
We won’t stop.
inspire action. learning. development. culture.
While Occupy Cultural Threads (2021), from Viviana M. Calderon de la B., mirrored the increasingly detachment in our societies from the long-term consequences of relentless fashion consumerism and the fast-fashion industry’s actions, it also confronted the audience together with the Baltan Laboratories team —in Eindhoven, Netherlands— reason why the title of Viviana’s end-of-residency project came to be OCCUPY CULTURAL THREADS.
Today, Viviana’s role in the fashion industry as a stylist or visual merchandiser focuses heavily on equitable change to combat the industry’s sweatshops to manufacture their apparel, shoes, accessories, and other products. Viviana’s commitment to her roles in the fashion industry continues to promotes equal rights for all individuals to have the opportunity to succeed, regardless of their background or circumstances.
OCCUPY CULTURAL THREADS informed the audience of the initiatives’ sustainable approaches to craft textiles, yet it also confronted viewers with societal gender, age, and racial prejudice. Further, the installation consisted of a triptych recreating fashion waste and the overwhelming landfills that pollute communities and fuel climate change. The installation featured audiovisuals with New Yorker Dr. Nora Desmond Kravis, Università di Pisa veterinarian and owner of Chianti Cashmere Goat Farm in Tuscany, Italy. We are immensely thankful to Nora for her insights and hospitality during our visits to her farm. We are equally thankful to all who participated in this production.
This commitment, in all the roles Viviana has had in culture Mexico, Canada, and the Netherlands continues with the sole goal of exchanging insights and creating change in the areas of learning and development.
Since the launch of the OCCUPY CULTURAL THREADS exhibit, all efforts to grow awareness have been non-stop. We have joined several causes, campaigns, and activists across the Netherlands and overseas. Most recently, we have been in Amsterdam Fashion Week networking and attending talks that bring tremendous value and open windows for future cooperation.
All this has been achieved with hard work.
Our message has been abroad with the LIFE IS AS A CULTURAL THREAD short production —part of the Dutch Design Week 2022 official program, where OCCUPY CULTURAL THREADS is included.
Equitable and social change in our current fashion industry is imperative. The state of fashion as it is today needs a shift, from cultural to political change.
OCCUPY CULTURAL THREADS’s message continues.
We won’t stop.
inspire action. learning. development. culture.
Conceptual Art And Textile Stories
We met Kyungmi Lee at her studio during Dutch Design Week 2025 where she exhibited Oori Apparel: a conceptual art project on the topic of garment material and human existence as agency.
Oori Apparel traces its roots to a first-generation garment manufacturer active from 1999 to 2023. This legacy is reimagined through Kyungmi Lee’s unique generational perspective and artistic vision. In this open studio, Oori Apparel invites the audience to witness their ongoing sculptural exploration.
Growing up surrounded by stacks of clothing in a garment production environment, Kyungmi Lee absorbed the repetitive gestures and passage of time as sculptural impressions. Clothing, for her, embodies both labor and repetitive beauty, yet also carries an underlying discomfort. This duality stems from her past couture training, which honed her refined craftsmanship, and the repetitive labour gestures she performs today, such as folding, fastening, and hanging. Continuing her sculptural experimentation, Kyungmi Lee explores the concept of garments. Once separated from the body, they remain incomplete yet alive, constantly shifting between passivity and agency. Her display structures, expanding from XS to XL, form landscapes of labour, transforming repetition into a sculptural language.
Oori Apparel traces its roots to a first-generation garment manufacturer active from 1999 to 2023. This legacy is reimagined through Kyungmi Lee’s unique generational perspective and artistic vision. In this open studio, Oori Apparel invites the audience to witness their ongoing sculptural exploration.
Growing up surrounded by stacks of clothing in a garment production environment, Kyungmi Lee absorbed the repetitive gestures and passage of time as sculptural impressions. Clothing, for her, embodies both labor and repetitive beauty, yet also carries an underlying discomfort. This duality stems from her past couture training, which honed her refined craftsmanship, and the repetitive labour gestures she performs today, such as folding, fastening, and hanging. Continuing her sculptural experimentation, Kyungmi Lee explores the concept of garments. Once separated from the body, they remain incomplete yet alive, constantly shifting between passivity and agency. Her display structures, expanding from XS to XL, form landscapes of labour, transforming repetition into a sculptural language.
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How To Understand Conceptual Art
Conceptual art uses an idea or group of ideas, also known as concepts, as its medium. These ideas are typically manipulated through language and documented with photography. The focus of conceptual art is on the idea itself, rather than formal elements.
Conceptual art, often linked to American artists of the 1960s and 70s, redefined the traditional artist-audience relationship. It empowered artists to work both within and outside the gallery system. By the mid-1970s, conceptual art had become a widely accepted approach in Western visual art. While the 1980s saw a resurgence of “traditional” image-based work, conceptual art remains one of the most influential movements of the late 20th century. It’s a logical extension of the work begun by French artist Marcel Duchamp in 1914, who challenged the primacy of perception in art.
Conceptual art uses an idea or group of ideas, also known as concepts, as its medium. These ideas are typically manipulated through language and documented with photography. The focus of conceptual art is on the idea itself, rather than formal elements.
Conceptual art, often linked to American artists of the 1960s and 70s, redefined the traditional artist-audience relationship. It empowered artists to work both within and outside the gallery system. By the mid-1970s, conceptual art had become a widely accepted approach in Western visual art. While the 1980s saw a resurgence of “traditional” image-based work, conceptual art remains one of the most influential movements of the late 20th century. It’s a logical extension of the work begun by French artist Marcel Duchamp in 1914, who challenged the primacy of perception in art.
Fringe Forward: An Exploration of Fringed Footwear and Their Cultural Significance
Fringes, decorative edges or strips adorning clothing, have a rich history and cultural significance in the Americas. These seemingly simple embellishments carry profound meanings for many indigenous communities.
Deeply rooted in tradition, fringes have evolved into a cultural symbol, representing the identity of northern Mexico, for a start. Originating from the rugged cowboys and ranchers of northeastern Mexico, fringes have transcended their practical purpose to become a symbol of cultural heritage.
The Significance of Fringes in Native American Clothing
Fringes on clothing extend beyond mere fashion trends; they embody an unwavering sense of intercultural identity and cultural revitalization. These intricate threads of history, woven with skill and imbued with meaning, are cherished by Native Americans.
Many tribes believe that the fringes of their clothing establish a physical connection to the spiritual realm. The gentle swaying of fringes in the wind is thought to mimic the movements of grasses, trees, and spirits. This connection to the natural world is integral to Native American spirituality.
Fringes carry the weight of tradition and cultural identity. They are frequently employed in ceremonial attire, representing the continuation of ancient customs and a link to the past. By donning fringed garments, Native Americans honour their ancestors and contribute to the preservation of cultural heritage.
The creation of traditional dress, once a spiritual practice, was a meticulous process of transforming raw materials into objects of beauty and power. It involved patience, skill, and reverence for the materials and the spirits associated with them. This connection to creation fostered a profound sense of ownership and pride in one’s attire.
In addition to their cultural and symbolic significance, fringes play a practical role in ensuring the comfort and functionality of Native American clothing, particularly in diverse weather conditions. They served a practical purpose in facilitating the drying of garments. Their use was particularly beneficial in clothing crafted from leather and hide, which were prevalent materials in the attire of numerous Native American tribes.
Cultural Context:
Viviana M. C. De La Barca is a practice dedicated to providing accurate and trustworthy information to educate younger generations about the rich heritage of clothing in the world. We carefully select sources and employ a rigorous fact-checking process to uphold the highest standards.
Deeply rooted in tradition, fringes have evolved into a cultural symbol, representing the identity of northern Mexico, for a start. Originating from the rugged cowboys and ranchers of northeastern Mexico, fringes have transcended their practical purpose to become a symbol of cultural heritage.
The Significance of Fringes in Native American Clothing
Fringes on clothing extend beyond mere fashion trends; they embody an unwavering sense of intercultural identity and cultural revitalization. These intricate threads of history, woven with skill and imbued with meaning, are cherished by Native Americans.
Many tribes believe that the fringes of their clothing establish a physical connection to the spiritual realm. The gentle swaying of fringes in the wind is thought to mimic the movements of grasses, trees, and spirits. This connection to the natural world is integral to Native American spirituality.
Fringes carry the weight of tradition and cultural identity. They are frequently employed in ceremonial attire, representing the continuation of ancient customs and a link to the past. By donning fringed garments, Native Americans honour their ancestors and contribute to the preservation of cultural heritage.
The creation of traditional dress, once a spiritual practice, was a meticulous process of transforming raw materials into objects of beauty and power. It involved patience, skill, and reverence for the materials and the spirits associated with them. This connection to creation fostered a profound sense of ownership and pride in one’s attire.
In addition to their cultural and symbolic significance, fringes play a practical role in ensuring the comfort and functionality of Native American clothing, particularly in diverse weather conditions. They served a practical purpose in facilitating the drying of garments. Their use was particularly beneficial in clothing crafted from leather and hide, which were prevalent materials in the attire of numerous Native American tribes.
Cultural Context:
Viviana M. C. De La Barca is a practice dedicated to providing accurate and trustworthy information to educate younger generations about the rich heritage of clothing in the world. We carefully select sources and employ a rigorous fact-checking process to uphold the highest standards.
Smart Cultural Style
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Days of cheap knock-offs are long overdue. We’re moving forward to highlight global quality contenders every season, so that means original craft whenever possible. With vests remaining beyond the spring and summer, we’re looking into accessorizing tailored vests that suit autumn and winter.
The staple? a neck bandana from Swiss Glarner Tüechli with one of the oldest block prints from Indian, Iranian, and Kashmiri weavers, the Paisley. |
Glarner Tüechli’s square bandanas, usually with a side length of 50 or 70 centimeters, have been part of Swiss tradition after the Swiss Confederation founded their first printing works. Its square central field is printed with a paisley pattern border from the edge of this central field. The classic base color is red and the patterns are in black, grey and white. Meanwhile, there are no limits to the color design and many color and pattern variations are also very popular.
The “rebellious” character of the cloth is particularly noteworthy. As early as the 19th century, workers in textile factories in Europe protested with this cloth. It was common to work up to 16 hours a day without protection using toxic chemicals to dye the fabrics. These protests resulted in one of the world's first labor protection laws in 1864, which included a ban on children under the age of 12 working, safety and hygiene measures and a maximum working limit of 12 hours a day.
Inspired by this success, the neckerchief became a symbol of protest for workers' movements in Switzerland. That’s how the Glarner Tüechli is now known worldwide as the neck protest bandana. At the end of the 1960s, these neck bandanas widespread thanks to the hippie movement, and as a symbol of the protest movement against the Vietnam War.
Mexican Paliacates
Neck bandanas, known as ‘paliacates’ in Mexico, have also a deep history of miscegenation, as above highlighted, originating from the Indian subcontinent and traveling through Europe. Paliacates are today a symbol of Mexican traditional dress, political subversion, and cultural resistance.
In any Mexican traditional dance attires, a bandana is an indispensable accessory. In the Jarocho costume from Veracruz, men typically wear a red handkerchief knotted around the neck. Speedy Gonzales, yes, the fictional ultra-fast cute mouse from cartoonists Friz Freleng and Hawley Pratt from Warner Brothers, is also often depicted wearing a typical Jarocho attire with a red bandana.
Today, the characteristic paisley print, especially in its combination of red, white and black, is recognized in Mexico as a symbol of the working class, as well as political subversion and cultural resistance.
In Vogue Mexico, the leading fashion magazine in Latin America, noted Paliacates’ essential part as an accessory in many Mexican traditional dance outfits. It describes how Paliacates are worn like a tie, fastened around the neck with a pin, by those who ride for hours or travel long distances, making the handkerchief or bandana a necessity rather than a luxury, thanks to Mirtea Elizabeth Acuña Cepeda’s book ‘Cristeras, Las Mujeres en Combate’, (Cristeras, Women in Combat). This book is part of a research project on the history of education and women in the state of Colima in Mexico. Cristeras, Women in Combat) recounts the actions of the cristeras during an important period in the history of Mexico almost forgotten, which took place from 1926 to 1929. Despite its brevity, this period meant a demographic decline for the state of Colima of almost a third of its population. As for the women, their actions had not been the subject of study. Here, women warriors, educators, nuns, members of religious organizations, and intercessors—mothers, wives, sisters, daughters or girlfriends—all of them filled with the Cristero spirit, who, without abandoning their socially assigned feminine roles, risked their lives in defense of their ideals.
The “rebellious” character of the cloth is particularly noteworthy. As early as the 19th century, workers in textile factories in Europe protested with this cloth. It was common to work up to 16 hours a day without protection using toxic chemicals to dye the fabrics. These protests resulted in one of the world's first labor protection laws in 1864, which included a ban on children under the age of 12 working, safety and hygiene measures and a maximum working limit of 12 hours a day.
Inspired by this success, the neckerchief became a symbol of protest for workers' movements in Switzerland. That’s how the Glarner Tüechli is now known worldwide as the neck protest bandana. At the end of the 1960s, these neck bandanas widespread thanks to the hippie movement, and as a symbol of the protest movement against the Vietnam War.
Mexican Paliacates
Neck bandanas, known as ‘paliacates’ in Mexico, have also a deep history of miscegenation, as above highlighted, originating from the Indian subcontinent and traveling through Europe. Paliacates are today a symbol of Mexican traditional dress, political subversion, and cultural resistance.
In any Mexican traditional dance attires, a bandana is an indispensable accessory. In the Jarocho costume from Veracruz, men typically wear a red handkerchief knotted around the neck. Speedy Gonzales, yes, the fictional ultra-fast cute mouse from cartoonists Friz Freleng and Hawley Pratt from Warner Brothers, is also often depicted wearing a typical Jarocho attire with a red bandana.
Today, the characteristic paisley print, especially in its combination of red, white and black, is recognized in Mexico as a symbol of the working class, as well as political subversion and cultural resistance.
In Vogue Mexico, the leading fashion magazine in Latin America, noted Paliacates’ essential part as an accessory in many Mexican traditional dance outfits. It describes how Paliacates are worn like a tie, fastened around the neck with a pin, by those who ride for hours or travel long distances, making the handkerchief or bandana a necessity rather than a luxury, thanks to Mirtea Elizabeth Acuña Cepeda’s book ‘Cristeras, Las Mujeres en Combate’, (Cristeras, Women in Combat). This book is part of a research project on the history of education and women in the state of Colima in Mexico. Cristeras, Women in Combat) recounts the actions of the cristeras during an important period in the history of Mexico almost forgotten, which took place from 1926 to 1929. Despite its brevity, this period meant a demographic decline for the state of Colima of almost a third of its population. As for the women, their actions had not been the subject of study. Here, women warriors, educators, nuns, members of religious organizations, and intercessors—mothers, wives, sisters, daughters or girlfriends—all of them filled with the Cristero spirit, who, without abandoning their socially assigned feminine roles, risked their lives in defense of their ideals.
Mexican Glass Art and Design
Archaeological evidence suggests that the earliest true glass was crafted in coastal north Syria, Mesopotamia, or Egypt. Glass beads represent the earliest known glass objects, dating back to the mid-2,000 BCE. Since then, silica has been utilized for the production of various glass products, including ceramics, gemstones, and architectural elements.
Traditional glassmaking in Mexico owes its distinctive style and design to the indigenous civilizations that inhabited the region, such as the Olmec in the Gulf of Mexico (1200 BCE - 400 BCE) and the Mayas (250 CE - 1697 CE). Additionally, the craft that emerged during and after the colonization of the continent further enriched Mexican glassmaking.
Presently, numerous factories in Mexico continue to manufacture glass products for export to the United States. The Mexican Republic boasts a thriving pottery industry, with numerous glazed pottery makers scattered throughout the country. As of 2025, there are 20 glass manufacturers in Mexico that uphold the family formula and technique of glassmaking that was established during the Spanish colonization.
Silica in Mexico is primarily found in the state of Puebla and with a fair supply in the vicinity of Guadalajara. The first specialized pottery industry in Mexico was established in the city of Puebla in 1542, just ten years after the city’s founding. Given that glassmaking in Europe was then a family craft industry, Spanish colonizers strategically established a glassmaking facility in Puebla, solidifying its status as a Mexican tradition over time. Unlike industrialized countries, Mexico lacked the presence of elaborate glass factories. Glass was crafted and blown by hand, and workshops were often closely associated with the glassmaker’s residence. The entire production process was a family affair, and the craft knowledge and tradition were passed down through generations.
This practice mirrored the manner in which most crafts were conducted in sixteenth-century Europe, which eventually migrated to the Americas.
Traditional glassmaking in Mexico owes its distinctive style and design to the indigenous civilizations that inhabited the region, such as the Olmec in the Gulf of Mexico (1200 BCE - 400 BCE) and the Mayas (250 CE - 1697 CE). Additionally, the craft that emerged during and after the colonization of the continent further enriched Mexican glassmaking.
Presently, numerous factories in Mexico continue to manufacture glass products for export to the United States. The Mexican Republic boasts a thriving pottery industry, with numerous glazed pottery makers scattered throughout the country. As of 2025, there are 20 glass manufacturers in Mexico that uphold the family formula and technique of glassmaking that was established during the Spanish colonization.
Silica in Mexico is primarily found in the state of Puebla and with a fair supply in the vicinity of Guadalajara. The first specialized pottery industry in Mexico was established in the city of Puebla in 1542, just ten years after the city’s founding. Given that glassmaking in Europe was then a family craft industry, Spanish colonizers strategically established a glassmaking facility in Puebla, solidifying its status as a Mexican tradition over time. Unlike industrialized countries, Mexico lacked the presence of elaborate glass factories. Glass was crafted and blown by hand, and workshops were often closely associated with the glassmaker’s residence. The entire production process was a family affair, and the craft knowledge and tradition were passed down through generations.
This practice mirrored the manner in which most crafts were conducted in sixteenth-century Europe, which eventually migrated to the Americas.
From Viviana M. C. De La Barca
Love Birds, Trade, Feather-Painting and Design
The brilliant colors of a sunrise in the mountains near the Gulf of Mexico, to a sunset on the Pacific coast, have inspired me since my childhood to write, make photographs or paint pictures.
This spring, we had the wonderful experience of riding through parts of the Mexican jungle. Trails with constantly growing vegetation and where the light is almost as dim as twilight. Only little sunlight can penetrate the foliage of the tall trees. We spotted vanilla fields and coffee farms. The tropical jungle is full of parrots and birds of all kinds. My favorite, the tiny green lovebirds.
In ancient Mexico, people used to capture, preserve, and use the beautiful, brilliant plumage of birds to develop the fine art of "painting" with feathers. No wonder, since in many mountain regions of Mexico, even the songbirds have bright, beautiful plumage. No photographer or artist can equal their colors, much richer than any artwork.
In the plateau of ancient Mexico, feather artists used the fine feathers of small birds to make works of art with the different colors. They would buy the birds in the markets to use their feathers to create pictures. Then, local people also traded tropical and all kinds of wild birds to trade their feathers, while some of the captured birds were kept in aviaries. The little hummingbird feathers, known for their great variety of bright colors and iridescence, were so precious. The plumes and long feathers were used for headdresses mainly.
Ancient Mexican feather art and feather cloaks.
Artists in ancient Mexico made pictures with feathers. From landscapes to art of religious ceremonies. The feathers were prepared almost the same way for both, to make a painting as for a feather cape. Artists would leave smaller tips of the feathers with enough of the little stem to fix the cloth with a drop of liquid gum. For a cloak, they needed to weave the stem into the cloth in order to be worn. In the shading from one color to another, an artist would use only a single barb of a feather, exactly in the right color, which was laid in place with little tweezers and fixed onto the cloth.
The making of feather capes required great skill and patience. A man's dress in those days was a rectangle of cloth, about the size and shape of a single-bed sheet, worn knotted over the shoulders and a ‘tilmatl’, a local sort of cape. Since the dog and the turkey were the only domesticated animals in ancient Mexico, cloth was woven of cotton and other vegetable fibers. A tilmatl wasn't as warm as a cloak of feathers, which was more expensive, warmer, and far more beautiful.
The colors of a feather cloak were made by an artist who carefully selected the feathers of the colors wanted. The work was rather delicate and would take hundreds of little feathers to make a simple line of color for a painter to produce a single stroke of a brush. The result was an exquisite, lovely painting, with natural colors and the special sheen that feathers have, which cannot be reproduced in any manufactured paints.
Each small feather was stripped of its lower barbs, leaving only the delicate tip end. Just as a painter would squeeze blobs of paint from the tubes or by a click from his tablet onto the palette. It would take quite a long time to make a feather cloak, plus the feathers of hundreds of birds. This made them so beautiful and costly that only the rich could afford to wear them. Some of them could be seen today in fashion museums because of their beauty and their fine workmanship.
This tradition has faded away, to some people for better and to others for worse.
Today, the once unique feather work made as in ancient times is one of Mexico's lost arts.
THE EDUCATOR IN SPANISH
On the thematic relationship between men and women in Mexican tradition in the surrealist short stories by surrealist writer Juan José Arreola.
Por Viviana M. C. De La Barca.
A quien busca entender la obra de Juan José Arreola se le aconseja intentar “verificar literariamente porque para mí es fundamental la imagen del parto”, él mismo nos advierte. (Emmanuel Carballo, DLM…, op. cit., p.380).
El cuento breve del escritor Juan José Arreola es importante en mi creatividad, porque su temática de la relación del hombre y la mujer vive en la cultura mexicana de mi padre y madre, y siento yo, a veces, malinterpretada. Por lo general, esta tradición es una donde se cree que la niña, la joven y la mujer tienen que ser amaestradas por el macho, a veces, hasta para vestirse. Igualmente, el cuento breve en su narración era especialidad del escritor surrealista.
Dentro de la cuentística del autor conocida en México como arreolina, al tono de sus escritos se le califica de antifeminista. Se percibe agresivo hacia la mujer y todo en su canje lleva siempre a una desarmonía y conflicto en la relación hombre-mujer. Esto puede leerse en las infidelidades del cuento Pueblerina. Entonces, ¿dónde cabe su admiración por la misma?
‘“Desde la infancia he sido un habido de completarme en la mujer’” Juan José Arreola.
En el trabajo de Iram Isaí Evangelista Ávila, a esta cita la describe como a una visión del narrador de una analogía del concepto andrógino, por reunir al sexo masculino y al femenino en su pensamiento. Un bien comunitario y bisexual que no nada más ahí explica, sino que lo hace también en una charla sostenida con Claudia Gómez titulada La Pasión, dentro del libro Arreola y su Mundo. Allí nos dice:
Pienso en la referencia platónica de la criatura original; en todos los rasgos de la biología podemos leer continuamente casos específicos de criaturas que alojan en su propio ser ambos sistemas fisiológicos de reproducción. Por lo tanto, debemos fácilmente admitir que originalmente pudo tratarse de una sola criatura, ahora dividida en la dialéctica del amor y el odio que separa al hombre y a la mujer. De esa división natural tenían que realizarse forzosos canjes genéticos que enriquecieran a cada una de las especies.
Ahora, ¿puede alguien ser considerado misógino después de haber escrito ‘Y ahora la mujer’?
—Veo la salvación del mundo en la aparición de la mujer en todos los ámbitos de la vida. Ella será moderadora y nos reintegrará otra vez a una vida de naturaleza, después del fracaso de la técnica, de la ciencia, de la propia cultura, pues pocas almas egregias no ajustan para compensar la masa gigantesca de miseria y de horror—(Juan José Arreola, Y ahora la mujer, CONACULTA, México.)
En la entrevista que dio a una mujer muy apreciada en el México moderno, Cristina Pacheco, habla de “Soy un traidor y un malabarista” y puede apreciarse cierto rencor que le tiene a su madre al reclamarle arrojarlo de su paraíso. ¿A qué se refiere exactamente con ese arrojo? Al parto porque de este trauma es donde para él surge la separación de géneros y de la pareja. Él busca regresar al vientre materno, por ello se dice que los hombres buscan en una esposa a una segunda madre, y ella quiere encontrar la parte que le fue arrancada, un segundo padre protector. En su cuento breve Un pacto con el diablo, se distingue esta construcción narrativa. Esta descripción y búsqueda de parejas sigue latente y presente en la cultura mexicana moderna. Al analizar esta aproximación bajo un antecedente foráneo por mi matrimonio llevarlo con un hombre neerlandés, me hace pensar en la temática de la relación con el amor y las mujeres mexicanas en el matrimonio.
Sin embargo, en su cuento breve La migala, la relación de pareja, la unión, no llega a consumarse y esto le aterra al personaje masculino, que no sabe cómo sobrellevar la soledad.
En Eva, la protagonista enfrenta al hombre exigiéndole sus derechos que le fueron vejados durante cinco mil años. Es en estos dos cuentos entre otros, donde se distingue en los argumentos de los personajes femeninos la conciencia humana del escritor por la desigualdad de género.
En su breve cuento de “Una mujer amaestrada”, se narra el episodio de la vida de una mujer dominada por un hombre saltimbanqui. Ella muestra una serie de simples trucos mientras baila al compás de un tambor tocado por un niño. Es un espectáculo de humillación a la mujer donde se presenta minimizada de sus capacidades mentales y locomotoras por los actos no ser del nada especiales. El mérito verdadero se le atribuye al hombre domador por su paciencia.
Esta satirización presenta la exageración de la imagen femenina en una pareja o matrimonio patriarcal. No es otra cosa sino un espejo de la misoginia de la sociedad mexicana del tiempo de mis abuelos, padres y tías, así como del mismo escritor.
Su humor es ácido. Una mujer sometida a su dueño, atada a él por una cadena que, como lo dice el narrador, con el menor esfuerzo se puede romper. Una escena que retrata lo tan normalizada que está la desigualdad de género en la tradición mexicana. El mismo relato explica la naturalidad con la que un público acepta ver esta sumisión pues apenas es una persona, el guardia, quien llega a mostrar cierto desacuerdo con lo exhibido. Sin embargo, no puede hacer mucho por prohibir el espectáculo porque el saltimbanqui tiene un permiso oficial para llevar a cabo este espectáculo.
Esta deshumanización de la mujer es casi imposible de interpretarla concienzudamente en el texto en una primera leída. Dada la brevedad del cuento, es difícil profundizar en la interpretación por la limitación de los datos que se otorgan en relación a los personajes aunque la caricatura es evidente. En esta caricatura, el saltimbanqui exhibe a su mujer frente al mundo, los espectadores.
Es evidente que la meta del escritor en Una mujer amaestrada, es narrar en breve cómo es su vida en una tradición misógina de los años cincuenta. Este relato es uno de los más complejos del escritor y también más malinterpretados. El escritor acude a la hipérbole y el humor ácido, el resultado es una vil sátira, o como diría mi abue querida, una tragicomedia de humor negro.
En conclusión, la pareja binaria arreolina, cabe en la descripción estilizada de cualquier matrimonio o vida en pareja de nuestros tiempos, no nada más en una tradición misógina mexicana moderna. El manejo del lenguaje recrea espléndidamente verdades que sangran. Todavía en los días donde una mujer mexicana ha llegado “a conducir los destinos de nuestra hermosa nación", como dijo la presidenta Claudia Sheinbaum durante su toma de posesión en Ciudad de México, falta mucho para lograr la equidad de género. En la narrativa arreolina se perciben las intenciones del autor por recrear una temática realista y compleja que injustamente se podrían encasillar en ser una misógina. En su cuenta breve Y ahora la mujer, lo corrobora al decirnos que preferiría el asesinato, que la mujer lo suprimiera del mundo, pero que no le suprimiese de su alma ni de su amor. — Viviana M. C. De La Barca
A quien busca entender la obra de Juan José Arreola se le aconseja intentar “verificar literariamente porque para mí es fundamental la imagen del parto”, él mismo nos advierte. (Emmanuel Carballo, DLM…, op. cit., p.380).
El cuento breve del escritor Juan José Arreola es importante en mi creatividad, porque su temática de la relación del hombre y la mujer vive en la cultura mexicana de mi padre y madre, y siento yo, a veces, malinterpretada. Por lo general, esta tradición es una donde se cree que la niña, la joven y la mujer tienen que ser amaestradas por el macho, a veces, hasta para vestirse. Igualmente, el cuento breve en su narración era especialidad del escritor surrealista.
Dentro de la cuentística del autor conocida en México como arreolina, al tono de sus escritos se le califica de antifeminista. Se percibe agresivo hacia la mujer y todo en su canje lleva siempre a una desarmonía y conflicto en la relación hombre-mujer. Esto puede leerse en las infidelidades del cuento Pueblerina. Entonces, ¿dónde cabe su admiración por la misma?
‘“Desde la infancia he sido un habido de completarme en la mujer’” Juan José Arreola.
En el trabajo de Iram Isaí Evangelista Ávila, a esta cita la describe como a una visión del narrador de una analogía del concepto andrógino, por reunir al sexo masculino y al femenino en su pensamiento. Un bien comunitario y bisexual que no nada más ahí explica, sino que lo hace también en una charla sostenida con Claudia Gómez titulada La Pasión, dentro del libro Arreola y su Mundo. Allí nos dice:
Pienso en la referencia platónica de la criatura original; en todos los rasgos de la biología podemos leer continuamente casos específicos de criaturas que alojan en su propio ser ambos sistemas fisiológicos de reproducción. Por lo tanto, debemos fácilmente admitir que originalmente pudo tratarse de una sola criatura, ahora dividida en la dialéctica del amor y el odio que separa al hombre y a la mujer. De esa división natural tenían que realizarse forzosos canjes genéticos que enriquecieran a cada una de las especies.
Ahora, ¿puede alguien ser considerado misógino después de haber escrito ‘Y ahora la mujer’?
—Veo la salvación del mundo en la aparición de la mujer en todos los ámbitos de la vida. Ella será moderadora y nos reintegrará otra vez a una vida de naturaleza, después del fracaso de la técnica, de la ciencia, de la propia cultura, pues pocas almas egregias no ajustan para compensar la masa gigantesca de miseria y de horror—(Juan José Arreola, Y ahora la mujer, CONACULTA, México.)
En la entrevista que dio a una mujer muy apreciada en el México moderno, Cristina Pacheco, habla de “Soy un traidor y un malabarista” y puede apreciarse cierto rencor que le tiene a su madre al reclamarle arrojarlo de su paraíso. ¿A qué se refiere exactamente con ese arrojo? Al parto porque de este trauma es donde para él surge la separación de géneros y de la pareja. Él busca regresar al vientre materno, por ello se dice que los hombres buscan en una esposa a una segunda madre, y ella quiere encontrar la parte que le fue arrancada, un segundo padre protector. En su cuento breve Un pacto con el diablo, se distingue esta construcción narrativa. Esta descripción y búsqueda de parejas sigue latente y presente en la cultura mexicana moderna. Al analizar esta aproximación bajo un antecedente foráneo por mi matrimonio llevarlo con un hombre neerlandés, me hace pensar en la temática de la relación con el amor y las mujeres mexicanas en el matrimonio.
Sin embargo, en su cuento breve La migala, la relación de pareja, la unión, no llega a consumarse y esto le aterra al personaje masculino, que no sabe cómo sobrellevar la soledad.
En Eva, la protagonista enfrenta al hombre exigiéndole sus derechos que le fueron vejados durante cinco mil años. Es en estos dos cuentos entre otros, donde se distingue en los argumentos de los personajes femeninos la conciencia humana del escritor por la desigualdad de género.
En su breve cuento de “Una mujer amaestrada”, se narra el episodio de la vida de una mujer dominada por un hombre saltimbanqui. Ella muestra una serie de simples trucos mientras baila al compás de un tambor tocado por un niño. Es un espectáculo de humillación a la mujer donde se presenta minimizada de sus capacidades mentales y locomotoras por los actos no ser del nada especiales. El mérito verdadero se le atribuye al hombre domador por su paciencia.
Esta satirización presenta la exageración de la imagen femenina en una pareja o matrimonio patriarcal. No es otra cosa sino un espejo de la misoginia de la sociedad mexicana del tiempo de mis abuelos, padres y tías, así como del mismo escritor.
Su humor es ácido. Una mujer sometida a su dueño, atada a él por una cadena que, como lo dice el narrador, con el menor esfuerzo se puede romper. Una escena que retrata lo tan normalizada que está la desigualdad de género en la tradición mexicana. El mismo relato explica la naturalidad con la que un público acepta ver esta sumisión pues apenas es una persona, el guardia, quien llega a mostrar cierto desacuerdo con lo exhibido. Sin embargo, no puede hacer mucho por prohibir el espectáculo porque el saltimbanqui tiene un permiso oficial para llevar a cabo este espectáculo.
Esta deshumanización de la mujer es casi imposible de interpretarla concienzudamente en el texto en una primera leída. Dada la brevedad del cuento, es difícil profundizar en la interpretación por la limitación de los datos que se otorgan en relación a los personajes aunque la caricatura es evidente. En esta caricatura, el saltimbanqui exhibe a su mujer frente al mundo, los espectadores.
Es evidente que la meta del escritor en Una mujer amaestrada, es narrar en breve cómo es su vida en una tradición misógina de los años cincuenta. Este relato es uno de los más complejos del escritor y también más malinterpretados. El escritor acude a la hipérbole y el humor ácido, el resultado es una vil sátira, o como diría mi abue querida, una tragicomedia de humor negro.
En conclusión, la pareja binaria arreolina, cabe en la descripción estilizada de cualquier matrimonio o vida en pareja de nuestros tiempos, no nada más en una tradición misógina mexicana moderna. El manejo del lenguaje recrea espléndidamente verdades que sangran. Todavía en los días donde una mujer mexicana ha llegado “a conducir los destinos de nuestra hermosa nación", como dijo la presidenta Claudia Sheinbaum durante su toma de posesión en Ciudad de México, falta mucho para lograr la equidad de género. En la narrativa arreolina se perciben las intenciones del autor por recrear una temática realista y compleja que injustamente se podrían encasillar en ser una misógina. En su cuenta breve Y ahora la mujer, lo corrobora al decirnos que preferiría el asesinato, que la mujer lo suprimiera del mundo, pero que no le suprimiese de su alma ni de su amor. — Viviana M. C. De La Barca
On Critical Tourism
What to gift the man who has everything?
Okay readers, time for more wanderlust.
City Escape: Oslo, Norway.
Creative, cultural and fashion tourism is one of the hottest trends in the global tourism industry. Here at Viviana M. C. De La Barca we focus on quality rather than quantity when purchasing souvenirs. We value art and design that help as examples of sustainable thinking. We cultivate each time more the idea of local production with made-to-order garments to reduce overproduction —as with our participation at DEMO Eindhoven in Dutch Design Week 2024.
Now, when we are abroad, we look for the local creative minds and their art and design, that is, the local culture. Why?
When it comes to finding the perfect sustainable gift for friends and family in Mexico or in Norway, finding something for my better half can feel like an impossible challenge—even after over twenty years of togetherness. Finding these coasters made of volcanic rocks was so meaningful as it adds to our connection and his collection. What about critical tourism?
Here at Viviana M. C. De La Barca we approach travel with cultural critique that regard tourism analysis as a responsible project dedicated to creating conditions of equality, social sustainability and human freedom.
One of the main reasons why creative, cultural and fashion tourism is gaining popularity is the possibility of living unique and local experiences related to gain domestic creativity and craftsmanship. To us this means shopping in a second hand store, or in a high end boutique redefining luxury in our contemporary consumer culture.
We explore the connections with sustainability beyond labels to gift meaningful souvenirs. We support research and production that challenges conventional knowledge for social sustainability. Metamorphosis in art is the transformation of one item into another shape that represents something deep. As someone being born in a valley between two volcanoes in Mexico, the use of volcanic soil to make coasters, is deeply rooted.
These Saulo coasters come from Sulitjelma, a lush inland valley in Norway. The Saulo products are made of impregnated natural ore from the mountains surrounding the town by a mining community about 100 kms north of the Arctic Circle. History tells that the first copper ore in the area was discovered by the lap Mons Petter in 1860 and from 1891 there has been continuous mining production. The ore was formed about 450 million years ago by volcanic eruptions on the seafloor.
In 1977 however, a new activity began by using the same ore, but with an entirely different end product: gifts, ornamental objects, and decor. These coasters are part of such production. The special shimmer of the Saulo products is due that the content of copper, zinc and iron in the ore occurs in the minerals chalcopyrite, sphalerite, pyrite and others. The ore also contains traces of gold and silver.
Our short visit to Oslo in Norway, one of the greenest destinations we’ve been, was packed of relaxation, consciousness and wonder. Oslo is a city with sustainable credentials in the design industry and innovative ethos we look forward to visit again.
Delicious Mexico | What’s Blue Corn?
What’s Blue Corn? In the last image of delicious Mexico, the tortillas are made of blue corn. Blue corn in Mexico comes from the corncob of this bluish tone due to anthocyanins, a natural pigment that works as a powerful antioxidant and provides the corn with valuable nutrients. Among the benefits of anthocyanis are: Protects the capillaries of the retina. In addition, it helps strengthen the cardiovascular system. It has a powerful antioxidant effect which delays aging and protects against free radical damage. It’s also antiviral: it helps fight various infections and colds.
There’s not only one Mexico to visit. There are several.
Today, some of the traditional features of small-town Mexico are its stairs- and window railing, bandstands, benches and streetlights that illuminate picturesque squares and parks. As said, a feature of Mexico that few people stop to wonder about their origins, and how they came to form part of what it means to be Mexican.
In the nineteenth century, the modernization of many Mexican cities and towns, particularly Mexico City, was accompanied by a desire to beautify them in a way that would denote progress. From parks to streets, all were adorned with cast-metal design and figured imported mainly from France.
While cast iron designs arrived also from England, Germany or the United States, Mexico‘s preference for the French culture since the late nineteenth and early twentieth centuries is seen in the cast-iron work around. In some cases these pieces have over a hundred years. Mexicans are so used to them today and consider them an integral part of their identity and urban landscape.
In the nineteenth century, the modernization of many Mexican cities and towns, particularly Mexico City, was accompanied by a desire to beautify them in a way that would denote progress. From parks to streets, all were adorned with cast-metal design and figured imported mainly from France.
While cast iron designs arrived also from England, Germany or the United States, Mexico‘s preference for the French culture since the late nineteenth and early twentieth centuries is seen in the cast-iron work around. In some cases these pieces have over a hundred years. Mexicans are so used to them today and consider them an integral part of their identity and urban landscape.
Hecha en México
Mole poblano is a sauce (or thick salsa) that has long been a staple of Mexican cuisine.
There are several delicious mole versions, not only the famous 7 moles of Oaxaca. There are dozens of regional variations — 3 in pic. Its complex flavor in all variations, is a combination of dried chiles, spices, and earthy notes made possible by more than 23 different ingredients all together, including chocolate.
These are the chiles for Mole Poblano (from a recipe in the city of Puebla, thus the name poblano), mole that my dear grandmother made from scratch!
Ancho Chiles: Ancho chiles are dried chiles found in Puebla’s markets with a mild heat. It ripens to a deep red.
Mulato Chiles: These are mild peppers, similar to the ancho pepper, but with a slightly different flavor. It ripens to brown, and then is dried.
Pasilla Chiles: Pasilla or “little raisin” are chilaca peppers, also known as pasilla bajio, or as the chile negro or “Mexican negro” because, while it starts off dark green, it ends up dark brown in color.
Chipotle Chiles: Chipotle peppers are dried smoked jalapeño peppers.
There are several delicious mole versions, not only the famous 7 moles of Oaxaca. There are dozens of regional variations — 3 in pic. Its complex flavor in all variations, is a combination of dried chiles, spices, and earthy notes made possible by more than 23 different ingredients all together, including chocolate.
These are the chiles for Mole Poblano (from a recipe in the city of Puebla, thus the name poblano), mole that my dear grandmother made from scratch!
Ancho Chiles: Ancho chiles are dried chiles found in Puebla’s markets with a mild heat. It ripens to a deep red.
Mulato Chiles: These are mild peppers, similar to the ancho pepper, but with a slightly different flavor. It ripens to brown, and then is dried.
Pasilla Chiles: Pasilla or “little raisin” are chilaca peppers, also known as pasilla bajio, or as the chile negro or “Mexican negro” because, while it starts off dark green, it ends up dark brown in color.
Chipotle Chiles: Chipotle peppers are dried smoked jalapeño peppers.
Marine Figures of Lily and Ixtle
Origin: La Antigua and Tantoyuca, Veracruz in Mexico.
Description: Veracruz basketry has a wide variety of materials; for these figures artisans used the ixtle fibres made by teenek artisans of Tantoyuca, and the water lily extracted from the banks of the La Antigua river, where the final pieces were also worn.
With both materials, soft and elegant colors and textures are achieved, with the skill of the artisans extraordinary figures are created like these that represent the marine fauna of Veracruz.
Description: Veracruz basketry has a wide variety of materials; for these figures artisans used the ixtle fibres made by teenek artisans of Tantoyuca, and the water lily extracted from the banks of the La Antigua river, where the final pieces were also worn.
With both materials, soft and elegant colors and textures are achieved, with the skill of the artisans extraordinary figures are created like these that represent the marine fauna of Veracruz.
That’s a wrap!
Another creative year ends for us successfully, this time, at Demo Eindhoven with our social design session on 29 November around an amazing crowd of thinkers and makers.
Time for the festive celebrations — see you again in a shiny new 2025.
Ocean Wearable Leg-wing (O. W. L.) blueprint for a smartly designed ecosystem and social sustainability proudly exhibited at Demo Eindhoven during Dutch Design Week 2024.
Viviana’s proposal involved an apparel softbotic leg-wing design to innovate our ecosystem and create custom accessories that require merging intelligent manufacturing and computer vision with current paradigms in materials. O. W. L. (2024) is both, a speculative softbotic scenario visioning a fashion accessory and soft machine with a moving robotic in smaller human scale that enables natural edibles and aquatic food sensing to aquatic animals. O. W. L. (2024) thereby enters aspects of the environment to provide new solutions that help solve the micro- and nanoplastic sea pollution problem in the apparel industry. This, to join efforts in advancing the science, technological translation, and societal impact of educational outreach.
Join us on Friday, 29 November as we will be joining the young creators and innovators of Demo Eindhoven PROJECT NEXTUP, with an Ideation Session platform to open discussion on social sustainability and soft skills.
HOME MADE
Our kitchen table is part of the heart and soul of our home in the Netherlands since Viviana and her husband are lovers of good food.
“We share the taste for great dishes and fresh food wherever we are. Here’s a recipe of a dessert my mother used to make and another from the Commemorative Edition of Mexican Cuisine by ‘Fondo de Cultura Económica’ —first published in France over 30 years ago — as I like to wrap up another year by celebrating my dear birthplace with food that continues to inspire my life.”
Viviana M. Calderon de la Barca.
Mexican cuisine is as diverse as its rich history and Viviana’s family where the indigenous, European and Oriental converge.
MUSHROOMS WITH PARSLEY
(4-6 persons)
Ingredients:
1k of mushrooms
150g of onion
1 spoonful of fresh parsley
50g of butter
2 cloves of garlic
1/2 lemon
Olive oil
salt and pepper
As the authors suggest “Mushrooms are never washed. They are cleaned and the soil is removed well with a brush or a clean cloth.”
Cut off the tip of the base.
Put the butter in a frying pan to melt with three teaspoons of oil. Slice the onion into strips and fry it in the butter until it is browned with the garlic. Slice the mushrooms lengthwise, throw them into the pan and stir them over medium heat, along with a teaspoon of salt, pepper, the juice of half a lemon and the equivalent of a tablespoon of chopped parsley; cover until they are well cooked (about ten minutes). To prevent them from burning, lower the heat and add a little water if they dry out.
CARROT PUDDING
(4-6 persons)
1 k of carrots
2 eggs
1 cup of sugar
1 teaspoon of baking powder
150 g flour
125 g butter
100 g raisins
1 teaspoon vanilla essence
breadcrumbs
Peel and grate the carrots.
Put the butter in a deep bowl and beat it well with the sugar. Then add the eggs and beat again with a teaspoon of vanilla essence. Add the grated carrot and beat well again. Add the teaspoon of baking powder to the flour. Set aside a spoonful of this mixture to flour the raisins and the rest is added to the other mixture. Both mixtures are stirred together, the raisins are added and everything is poured into a baking dish that has been buttered and sprinkled with bread crumbs. Place in the oven, preheated to about 250°C, for thirty to forty minutes.
“We share the taste for great dishes and fresh food wherever we are. Here’s a recipe of a dessert my mother used to make and another from the Commemorative Edition of Mexican Cuisine by ‘Fondo de Cultura Económica’ —first published in France over 30 years ago — as I like to wrap up another year by celebrating my dear birthplace with food that continues to inspire my life.”
Viviana M. Calderon de la Barca.
Mexican cuisine is as diverse as its rich history and Viviana’s family where the indigenous, European and Oriental converge.
MUSHROOMS WITH PARSLEY
(4-6 persons)
Ingredients:
1k of mushrooms
150g of onion
1 spoonful of fresh parsley
50g of butter
2 cloves of garlic
1/2 lemon
Olive oil
salt and pepper
As the authors suggest “Mushrooms are never washed. They are cleaned and the soil is removed well with a brush or a clean cloth.”
Cut off the tip of the base.
Put the butter in a frying pan to melt with three teaspoons of oil. Slice the onion into strips and fry it in the butter until it is browned with the garlic. Slice the mushrooms lengthwise, throw them into the pan and stir them over medium heat, along with a teaspoon of salt, pepper, the juice of half a lemon and the equivalent of a tablespoon of chopped parsley; cover until they are well cooked (about ten minutes). To prevent them from burning, lower the heat and add a little water if they dry out.
CARROT PUDDING
(4-6 persons)
1 k of carrots
2 eggs
1 cup of sugar
1 teaspoon of baking powder
150 g flour
125 g butter
100 g raisins
1 teaspoon vanilla essence
breadcrumbs
Peel and grate the carrots.
Put the butter in a deep bowl and beat it well with the sugar. Then add the eggs and beat again with a teaspoon of vanilla essence. Add the grated carrot and beat well again. Add the teaspoon of baking powder to the flour. Set aside a spoonful of this mixture to flour the raisins and the rest is added to the other mixture. Both mixtures are stirred together, the raisins are added and everything is poured into a baking dish that has been buttered and sprinkled with bread crumbs. Place in the oven, preheated to about 250°C, for thirty to forty minutes.
