A great place to start exploring Oaxacan street food is in the city’s markets. Most are open every day from dawn ‘till dusk, although I recommend going in the mornings. Dive in and you can find a rainbow of fresh produce and beautiful artisan goods.

Which Oaxaca street food markets are best to visit? 

My favorite market spot is the food court at the Mercado Merced, off Calle Murguía. The first tables you come to are catered by Fonda Rosita. The family makes amazing chilaquiles that come still bubbling in a casserole dish: layers of tortilla chips, herbs and cheese in spicy red or green sauce. I usually get my chilaquiles with a couple of fried eggs on top.

The largest market in Oaxaca is the Central de Abastos. It’s home to a huge expanse of stalls, more or less organized into different sections such as fruit, flowers, clothes and carpentry. There are also some great spots to get classic street food. The sprawling market can be a little difficult to navigate at times, so it’s helpful to explore with a guide who can help you start out picking from the wealth of different options available. 

Recently Netflix shows such Street Food Latin America have highlighted the food of Doña Vale. She makes delicious memelas, a perfect morning snack. Memelas are a small, soft corn base spread with refried beans topped with crumbled queso fresco or stringy quesillo. One from Doña Vale will run you between 20 and 30 pesos each.

Tlayudas

Tlayudas are an iconic Oaxacan street food. My favorite tlayuda spot, Dos Cielos, makes an awesome one with ribs, folded and grilled over a flame. You can also pick up tlayudas in the markets, but these are usually open faced and can be a little dry or chewy to my taste. 

A famous place to be immersed in the smell of barbecue is the Pasillo de Humo, or Smoke Corridor, on Calle 20 de Noviembre. Walking through this area, you can immediately see where the name comes from. The air is full of smoke and the smell of cooking meat is all around as each vendor tries to entice you to their spot.

A treat to have after a big plate from the Pasillo de Humo is a cup of cold tejate from La Flor de Huayapam. Tejate is a pre-Columbian drink made from maize, cacao, mamey pits and cacao flower, served in a beautifully painted jicara gourd for 20 pesos. 

Tamales

Tamales are made from masa, a dough of nixtamalized corn, usually with some kind of filling such as mole. A great way to try Oaxacan mole on the move!  

One of the best places to get tamales is the Sanchez Pascuas market. Nestled close to the entrance, steam pours from a big cooking pot. You can grab a stool and squeeze up alongside the pot to eat them there and then, piping hot, or have them bundled up in paper to take away. The chicken amarillo tamales served inside a corn husk are delicious, as are the rich black mole ones served inside a fresh banana leaf. 

Other popular tamale fillings include Rajas which are roasted poblano peppers, beans and a Oaxacan herb called chipil.

Tacos

The street tacos you typically find in Oaxaca are rolled in soft tortillas sometimes referred to as blandas. Find the best in front of Carmen Alta church on the corner of García Vigil and Jesús Carranza.

Tacos del Carmen is a Oaxaca institution. They have been serving tacos and quesadillas of chicken tinga, chorizo with potato, squash blossom and mushroom since 1977. You can get a glass of agua de jamaica to go with your tacos, or grab a mezcal margarita from La Popular next door. These tacos run out, so don’t go too late. 

If you’re looking for a fix later in the day, Tacos Roy or La Flamita Mixe offer great al pastor tacos. Carving the meat straight off the ‘doner’ like trompo, this style stemming from Lebanese roots.

Late night tacos at Lechoncito del Oro are essential. These are tacos filled with succulent slow-roasted suckling pig. The loaded tostadas are also amazing, if a little difficult to eat after a few drinks. 

Desserts

Once you have filled up,  you might be looking for dessert. The streets of Oaxaca, of course, have plenty to offer. 

During the day it’s well worth visiting the Plaza de las Nieves in front of the Basilica de la Soledad. Nieves are ice cream and can be either water or milk based. The flavor options are endless: some are to be expected, such as fruit, cacao or even mezcal. Others require a bit more thought, such as quesillo, tuna or the mysterious “Beso de Oaxaca.”

Grabbing a box of fruit with lime and chili, or a roasted banana slathered in condensed milk from roving vendors are also great ways to get a sugar fix. You’ll hear them coming by the sound of the steam whistle.

Chefs and foodies have long been making the pilgrimage to Oaxaca City to experience the profound flavors. Michelin has awarded stars to Oaxacan restaurants and chefs. However, there is more than just fine dining to enjoy in Oaxaca. Quite simply, the street and market food here is some of the best in the world!

Anna Bruce is an award-winning British photojournalist based in Oaxaca, Mexico. Just some of the media outlets she has worked with include Vice, The Financial Times, Time Out, Huffington Post, The Times of London, the BBC and Sony TV. Find out more about her work at her website or visit her on social media on Instagram or on Facebook.

The post How to experience the best of Oaxaca’s street food scene appeared first on Mexico News Daily

This makes Oaxaca the state with the most land area affected by fires so far this year in Mexico.

Since early May, wildfires have threatened communities and reserves in Oaxaca’s Tlacolula Valley, including the protected Area Voluntarily Destined for Conservation (ADVC) “El Fuerte.”

Helicopters have been seen transporting water from reservoirs near Santiago Matatlán to battle the blazes. Some reports indicate 20,000 hectares have burned in the Tehuacán-Cuicatlán biosphere reserve, which is a UNESCO World Heritage Site located in both the states of Oaxaca and Puebla.

The fires are exacerbated by an overwhelming drought in Oaxaca, intensifying the severity of the situation. Barbara Garzon of eco-cultural organization Zapotrek, which has been coordinating donations of water, food, and face masks, told Mexico News Daily that “what little rain we’ve been blessed with is not enough.”

Local communities say government has been slow to respond

On May 18, San Pablo Villa de Mitla authorities announced that the latest fire was controlled. Their statement praised the volunteer efforts: “After thirteen days of intense and brave volunteer work by women and men, the forest fire which occurred in our territory has finally been extinguished.”

However, locals have reported slow governmental response, leading to three blockades near the communities closest to the fires: Unión Zapata, Rancho de Lago, and San Dionisio Ocotlán.

Locals attempted to suppress the blaze independently, but this carried risks. On Feb. 5, five men died trying to control a fire in nearby San Lucas Quiaviní. The communities called for federal intervention, requesting the Program for Emergency Response to Natural Threats and the DN III-E Plan, which outlines the Mexican Army and Air Force’s disaster relief activities.

Reforma newspaper reported that on May 11, residents of Villa de Mitla detained Víctor Vásquez Castillejos, head of Oaxaca’s Ministry of Culture, to demand more governmental effort in fighting the fires. Protesters intercepted him at a blockade and held him overnight at the municipal palace. He was released the next day.

Leodegario Monterrubio, a protester interviewed by Quadratín Oaxaca, emphasized the need for government support, stating that communal efforts alone were insufficient to fight the rapidly spreading fires. He highlighted the necessity of helicopter assistance, noting the area’s ecological importance, which includes sightings of jaguars and pumas.

The government eventually responded with twelve brigades from Conafor and National Commission of Protected Natural Areas (Conanp), who fought the fires directly and created fire breaks. Community members from Unión Zapata, San Miguel del Valle, San Miguel Albarradas, Santa Catarina Albarradas, and San Pablo Güilá de Santiago Matatlán also assisted. Two helicopters were deployed to bring water to the active fire fronts, with additional reconnaissance aircraft surveying the area.

Despite these efforts, fires have continued to blaze across Oaxaca and the rest of Mexico. As of Friday, there are 109 active forest fires nationwide, in 24 states.

Deforestation, land clearing and human actions to blame

While climate change contributes to the current water scarcity and drought in Oaxaca, human actions are blamed for the majority of the forest fires according to the Forest Commission (Conafor) and Environment Ministry (Semarnat).

They identify the primary causes as accidental (e.g., power line breaks, car accidents), negligence (e.g., uncontrolled agricultural burning, campfires, burning garbage), and intentional actions (e.g., conflicts, illegal logging). Deforestation and land clearing for urbanization, mining, or agave growing exacerbate the situation, making landscapes vulnerable to erosion and further drought.

However, recent rainfall offers some hope for controlling the fires and preventing further spread. Organizations like Zapotrek are now shifting focus to reforestation efforts in affected areas.The ADVC “El Fuerte” plans reforestation activities starting in July.

How to report a fire

Reporting fires can save not only human lives, but vital forests, which are crucial for regulating water cycles, purifying air, and maintaining a stable climate. Allowing them to disappear through negligence or intentional actions can lead to negative weather cycles and a loss of vital resources.

Conafor’s 24-hour forest fire hotline number is 800 737 00 00 and 911 can also be dialed for assistance.

Anna Bruce is an award-winning British photojournalist based in Oaxaca, Mexico. Just some of the media outlets she has worked with include Vice, The Financial Times, Time Out, Huffington Post, The Times of London, the BBC and Sony TV. Find out more about her work at her website or visit her on social media on Instagram or on Facebook.

The post Locals fight fires and slow government response in Oaxaca appeared first on Mexico News Daily

I first visited Oaxaca over 20 years ago. My family and I took the bus over the mountains from Oaxaca city to the town of San Pedro Pochutla, near the coast, which serves as a hub to reach the numerous bays near Puerto Escondido. As a British teenager, the Oaxacan beaches were as close to paradise as I could imagine, with their turquoise waters, towering palms and tropical vibes.

Over the years since then I have explored many of Oaxaca’s most popular beaches, as well as some of the more hidden ones. I have driven, bussed and flown in a tiny Aerotucan plane. Nowadays regular flights to Puerto Escondido and Huatulco from Mexico City have increased the amount of visitors to each and driven the expansion of local infrastructure. 

Huatulco

Huatulco has long been known as more of an Acapulco-style resort location, developed by the National Fund for Tourism Promotion (Fonatur). Deterred by this reputation, I didn’t visit until recently. However, Huatulco has nine bays and 36 beaches, many of which are still virtually untouched by tourism. 

Last time I went I was based in La Crucecita, a small town slightly inland. From there I walked to bays like Entrega, Violin and Maguey.

Unlike the high rise hotels that you find in other parts of Huatulco, Entrega has more of a family feel. It was busy when I was there on a Sunday in the December high season, but it felt quite local with fishermen offering fresh clams and oysters.

Violin isn’t far from Entrega, up the main road and then down a steep path to reach vivid blue waters. If you can make it, you will likely have the beach to yourself.

From there, the walk on the footpath is a tough and very exposed one. There are tours that take you through the eco reserve, stopping at amazing beaches like Cacaluta. It is important to be cautious here, as this wild beach has small waves but often a strong undercurrent. Some days it’s not possible to swim at Cacaluta at all, so do check the conditions. This beach was used for scenes in Alfonso Cuarón’s “Y Tu Mamá También,” a story about chasing the dream of remote paradise.

The furthest point I walked to was Playa Maguey, which was sweet and peaceful at the end of a challenging road hike. If you aren’t up for the hike, getting around by boat is the easiest way to find the more remote bays. One particular bay I have spent some wonderful days in is San Agustin, known to have some of the best snorkelling in Mexico.

The first places I went with my family were Mazunte, San Agustinillo and Zicatela. Unsurprisingly, these places have changed over the years, with more restaurants and hotels. Yet they still preserve their unique personalities, as do many of the bays that stretch along the coastline of Oaxaca.

Mazunte

The first place I ever stayed in Mazunte was an eco-lodge on the hill overlooking the bay. There was no electricity, and it really felt like a hidden oasis. Now it has become a favorite with travelers looking for wellness retreats and a place to meet other travelers. Mazunte is the only one of Oaxaca’s beach towns designated as a Pueblo Mágico. It is also home to the National Mexican Turtle Center at the community-managed Laguna Ventanilla.

There are technically three beaches in Mazunte: the main beach, Playa Mazunte, which then curves around to Rinconcito and Playa Mermejita. I have spent the most time at Rinconcito, where the beach dips quickly into deep water. Although deep, the beach is protected, so you can float in the water without worrying so much about currents. 

Being protected means you don’t get much of a sunset at Mazunte or Rinconcito, but you can take a paddle board round to Punta Cometa to see a spectacular one at Oaxaca’s southernmost point.  Round the point of Cometa is Playa Mermejita where there is a growing scene of boutique hotels. Mermejita is not safe to swim, but its black volcanic sands and amazing sunsets give it a magical quality.

For a truly relaxing beach vacation, San Agustinillo is perfect. The village being a fifteen-minute walk from Mazunte means you can find the social aspect of Mazunte when you want but can go back and chill in San Agustinillo when you need a break.  I usually stay to the point furthest right of the bay, where the fishermen hang out by their boats in the afternoon before surfing in the evening. 

These fishermen also offer dawn trips in their boats to see the area’s abundant marine life. I’ve had amazing experiences with Pacifico Mágico tours, seeing whales, turtles and rays and swimming with dolphins. 

Zicatela

Zicatela is one of Oaxaca’s best-known beaches. Located near the Puerto Escondido airport and bus terminal,  it has a great food and nightlife scene. Nicknamed the Mexican Pipeline, Zicatela is a professional surf destination during the summer and fall. It’s not safe for swimming, but walking the beach’s shore is beautiful, as waves rise up to reveal fish and rays like a window into the ocean.

If you are looking for beaches further from the beaten path in the vicinity of Puerto Escondido, to the west are Playa Bacocho and the hidden Playa Coral. About a 30-minute drive east is Agua Blanca. If you are driving the new highway, it’s a short drive, exiting at kilometer marker 172. From there, it’s approximately two kilometers to the beach. 

Agua Blanca

Following last week’s drive on the highway we settled in Agua Blanca, staying at a newly-built boutique hotel called Casa Utopia del Mar, perched at the far right of the small town. It seemed like we had that bit of the beach to ourselves, enjoying dawn, dusk and the eclipse in peace. The ocean was a bit rough to swim, but with a private pool overlooking the beach we had the best of both worlds. 

Agua Blanca has stunning rock formations just off the shore that create rock pools perfect for exploring. It is also the best place I have been for oysters, where you can get fresh food at most of the small restaurants nestled along the coast. We shared some mezcal at one of these local spots called Cocodrilo, where we spotted owner Luis García opening oysters with a hatchet. 

García moved to Agua Blanca in 2016 when it had still felt very secluded. “The reason I moved to Agua Blanca is because it is a very quiet place,” he told me. “At night all I can hear is the ocean waves and the water moving making splashes.”  In 2022, he developed his restaurant. “This place is very famous because of the oysters. The people also go fishing and free diving for their own seafood like octopus and lobster.” 

With regard to the new highway, García said that he knows the place will change eventually, but for now “no place is comparable to the beauty of Agua Blanca.”

Despite development, Oaxaca is still full of hidden secrets

Undoubtedly we will see considerable change as the Oaxaca coast opens up to tourists beyond its most famous bays. More and more of my friends are choosing to visit beaches near Puerto Angel that still have a fishing vibe, instead of the classic surf beach combo of Zicatela, for example. 

Other favorites with travelers who are happy to commit the time to get off the beaten path include the lagoons of Chacahua and the dunes of Chipehua. These are both several hours from Puerto Escondido and Huatulco, respectively. 

My friend describes the experience of visiting Chacahua: “The magic is taking the collectivo boat about 45 minutes through the mangroves and arriving where the lagoon meets the sea. When you get off the boat there is only one way to go, and that’s towards the ocean side. You can instantly spot anyone who just arrived based on the confusion on their faces while they’re trying to decide which cabana they want to stay in. Everything is cash. If you run out there are no ATMs but you can buy cash with your card at the supermarket for a 10 percent fee.”

Chacahua is a location that locals and those in the know guard fiercely. Hopefully, the opening of the road will encourage more people to discover the diverse beauty of the Oaxaca coastline while respecting the areas they are visiting. 

The road is free to use for everyone until September 2024. After September, it will continue to be free for state residents with Oaxaca-registered cars, but a toll will be put in place for everyone else. The easiest way to make the journey is via ADO coaches, which run every 1-2 hours and cost 299 pesos.

Anna Bruce is an award-winning British photojournalist based in Oaxaca, Mexico. Just some of the media outlets she has worked with include Vice, The Financial Times, Time Out, Huffington Post, The Times of London, the BBC and Sony TV. Find out more about her work at her website or visit her on social media on Instagram or on Facebook.

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Oaxaca state lies in a mountainous region that stretches down to the southwestern border of Mexico. Oaxaca de Juárez, normally shortened to Oaxaca, is the state’s capital and largest city. Like many before me, I fell in love with the vibrant atmosphere, eclectic architecture and the overall vibe of the city.

Known for its delicious mezcal and sumptuous mole, Oaxaca is also a hub for beautiful textile and ceramic crafts. The city boasts colorful markets, numerous galleries and cultural centers. Lately there has been a wave of new boutique hotels, rooftop bars and trendy cafes. 

With many structures dating back to the 16th century, the city has a strong connection to its history. In the last decade or so, a wave of new builds and renovations has added a contemporary flare. 

I knew I wanted to be outside of the hustle and bustle of the historic center, which was becoming busier and more expensive every year. I eventually decided on a spot about a thirty minute walk from downtown with a more residential feel and beautiful views of Oaxaca city.

Fortunately, buying in the area was relatively straightforward. With the help of a local attorney, I completed the private sale, first making a deposit and then following with the rest of the full amount a couple of months later. I am a permanent resident in Mexico, which also helped make these transactions smoother, although it is possible to buy without being a resident. 

Why are people investing in real estate in Oaxaca city?

During the COVID-19 pandemic, it became easier to get temporary residency through a process called normalization. It is clear that since the pandemic there are many more people looking to move to and buy property in Oaxaca city. 

Mary Aquino of Re/Max Cantera, a brokerage in Oaxaca, explains that “there are many factors why not only locals but also foreigners are becoming more and more convinced to invest in the state of Oaxaca. In the case of locals, they are investing in the outskirts of the capital city, while foreigners are investing within the capital city due to its tourism and gastronomic appeal. While it is true that the prices are not cheap, it is a good investment for the future.”

Aquino considers the key areas that are growing include “the city center, El Tule, Huayapam, Etla and some of the most emblematic neighborhoods: Xochimilco and Jalatlaco.” In my opinion, San Felipe and Guadalupe Victoria are also areas with significant development. Each of these areas have their own identity and are suited to different living and working requirements. Recently, a wave of friends have moved further from the center to areas like Etla, El Tule and San Felipe.

The Etlas, El Tule and Xochimilco 

The “Etlas” are several small communities about a half hour’s drive from Oaxaca city. Many people have moved there to be part of the creative network that has grown there. It is also an area with more water than most, which is a sought after commodity in Oaxaca.

Santa María del Tule, also known simply as El Tule, is a peaceful suburb famous for its massive Montezuma cypress tree. The town boasts market stalls and restaurants, as well as a bike track that takes you into Oaxaca city. 

Most of my friends with children have moved to San Felipe. Rebecca Bailey, founder and editor of the Qué Pasa Oaxaca cultural guide, explained that she considered San Felipe “because we have a lot of friends there and it’s close to schools. Even though it’s kind of famous for wealthy politicians, there are lots of young families there because there are a lot of houses with gardens.”

The historic center

As Mary Aquino mentions, Oaxaca city’s two most emblematic neighborhoods are Jalatlaco and Xochimilco; east and north of the historic center, respectively. With cobblestone streets and striking street art, they are extremely charming. 

Price per foot changes drastically depending on the distance from the city center. Aquino estimates a price per square foot in Oaxaca’s historic center at 2500 pesos, while the nearby area of Xochimilco is 1500 pesos per square foot. If the property has a luxury amenity such as a pool, expect this to be doubled. 

John Harvey Williams, owner-partner at Real Estate Oaxaca, notes that “Real estate values in Mexico are the sum of the value of the land and construction.” “Land in Jalatlaco,” Williams says, “is valued at around US $100 per square foot. Construction is valued from zero for a tear-down to around US $75 per square foot for the finest quality construction and finishings.”

Empty lots in Jalatlaco, however, are few and far between. “I can think of only a half dozen that are empty now, and none of them are for sale,” Williams told me.

According to Dolores Pérez Islas, general director and CEO of the real estate investment company Silmexico, explains that prices in Oaxaca’s historic center start at US $180,000 for a two-bedroom, two-bathroom house. Homes in a great location on one of the neighborhood’s main streets in the main square command anywhere from US $800,000 to $1.5 million. 

The carefully preserved colonial architecture, Pérez added, “gives a magic touch that every owner wishes to obtain. It’s surprising that there are still places like Jalatlaco, since it looks like it did 100 years ago.”

Value also depends on the legal and preservation status of the structure or land.  Restoration should be carried out in compliance with guidelines provided by the National Institute of Anthropology and History (INAH’s) Oaxaca division, which dictates the preservation of primary features and the original layout.

Guadalupe Victoria

Guadalupe Victoria is an up-and-coming area of Oaxaca that has ejido status, meaning that the land is communally owned. In recent years, there has been considerable construction in the area. Architect Tom Van den Bout, who has several projects in Guadalupe Victoria, describes ejidos as self-governed and largely independent — from Oaxaca City, for instance. Some ejidos are truly communal, co-owned and regulated by all residents. Others, like Guadalupe Victoria, are still run by the founding families but allow sale of land to outsiders and all sales are registered with the ejido.

With over thirty years of experience, Van den Bout found the process relatively straightforward. However, the terms of buying land with ejido status can vary. According to Van den Bout, “Any ejido that is comunal would be virtually impossible to purchase into. Every resident would need to agree to the sale and agree in perpetuity. Your ‘purchase’ could be reclaimed at any time and living there often requires a form of community service. Most ejidal land beyond those near Oaxaca city, such as Guadalupe Victoria, is communal.”

Other things to consider when investing

The coast of Oaxaca is an area with similar complications when it comes to buying land. Per the Mexican Constitution, foreigners cannot own land within 100 kilometers of a land border and 50 kilometers of a beach. It is possible, however, to acquire property in this restricted zone through a fideicomiso (trust) or by constituting a  Mexican company. As a buyer, you will be designated as the primary beneficiary. Aquino explains that “there are several companies offering this service and it actually works very well, but it can be a bit pricey. However, it provides much more peace of mind and confidence for buyers.”

If you are considering buying property in Oaxaca, Van den Bout suggests “looking closely to be sure the land can be legally sold and a deed will be issued in the buyer’s name.” 

Aquino recommends buying privately when possible, ideally with a certified real estate agency. “Certified agencies are attached to a government institution that fulfills the function of safeguarding the rights of sellers and buyers.” Real estate brokers such as Remax or Silmexico take on the task of investigating the legal status of the property to prevent the client from having problems in the future. There are also excellent land use attorneys in Oaxaca.

Anna Bruce is an award-winning British photojournalist based in Oaxaca, Mexico. Just some of the media outlets she has worked with include Vice, The Financial Times, Time Out, Huffington Post, The Times of London, the BBC and Sony TV. Find out more about her work at her website or visit her on social media on Instagram or on Facebook.

The post The insider’s guide to investing in real estate in Oaxaca appeared first on Mexico News Daily

And on the first weekend of August this year, a festival will celebrate mushroom season and the culture in the towns of San José del Pacifico and San Mateo Río Hondo.

“Our main mission in the Wild Mushroom Festival is to meet every year to jointly celebrate the arrival of the rainy season and, with it, the mushrooms,” says one of the festival’s founders, Ariadna Pinacho Cruz, who also runs a beautiful restaurant on the outskirts between San José and San Mateo called Huitzil.

Huitzil pays homage to the area’s mushroom culture: its open-air dining room surrounded by wooded land showcases local mushrooms in beautiful broths, alongside steak and blended with pasta.

Pinacho remembers learning how to forage and identify wild varieties from her father.

“As a child, he used to take me to the forest for a walk to look for mushrooms during the rainstorm,” she says.

The pine trees, mist, rain and mushrooms of the environment here brings “a little piece of the forest to the palate of our diners.”

Pinacho has been running the event since 2020 in collaboration with two partners, Cesar Kevin Pérez Pacheco and Erik Gasgar. The festival consists of a guided walk with local mushroom growers and mycologists. Attendees get a unforgettable encounter with the fungi kingdom and learn how they function in an ecosystem.

The Wild Mushroom Festival’s experts teach the importance of fungi as food and how it fits in with local gastronomy. They also identify the toxic fungi in the region, and discuss mushrooms’ general impact on the health sector and society.

They also teach the importance of the sacred mushrooms from the genus Psilocybe within the culture of San José.

For decades, Oaxaca’s mountains have famously been a destination for pilgrims seeking to explore the “magic” properties of mushrooms thanks mainly to American amateur mycologist Robert Gordon Wasson, who traveled to Oaxaca in the 1950s to investigate rumors of a hallucinogenic variety in the region. His article in Life Magazine, “Seeking the Magic Mushroom” (1957), about his experiences at a velada (vigil) in the village of Huautla with the Mazatec healer María Sabina, inspired travelers worldwide — including many rock stars and celebrities of the era — to pursue the world of mushrooms.

San José del Pacifico didn’t become known for its mushrooms until the 1970s, when an eclipse drew visitors to this town above the clouds. As with Huautla, there is a tradition of using “magic” mushrooms. Cruz remembers trying them for the first time when she was 14.

“They are very good for curing diseases, healing the mind, spirit, soul, clearing the conscience and many more benefits,” she says. “It is a healing introspection that I do only once a year, every August 22. First I take a temazcal [an indigenous traditional sweat lodge experience], like my dad, to detoxify my body, relax and prepare myself for the medicine.”

“Later it is the taking of the sacred mushrooms in the forest to be able to connect with Mother Earth and have your own healing,” she says.

Anna Bruce is an award-winning British photojournalist based in Oaxaca, Mexico. Just some of the media outlets she has worked with include Vice, The Financial Times, Time Out, Huffington Post, The Times of London, the BBC and Sony TV. Find out more about her work at her website or visit her on social media on Instagram or on Facebook.

The post Mushrooms aren’t just part of Oaxaca’s cuisine but its heritage appeared first on Mexico News Daily

According to Liliana, “most of the candlemakers here in Teotitlán inherited work from our great-grandparents.”

And the generations of knowledge passed down shows: their stunning creations hang from the walls and fill tables in an abundant feast for the eyes. Candles in every shape, size and color. Nor are the colors random: each different color represents specific personality traits — white for purity, blue for serenity and orange for vitality. 

Liliana invited me up to the second floor, where the practical side of the workshop is located.

The air is sweet with the aroma of locally sourced beeswax in the process of melting. The naturally yellow wax is made into thin bowls by dipping a jicara (gourd) into the liquid. These bowls are then put in the sun to bleach, creating a white base to color with natural dyes. 

As Liliana showed me around, her cousins worked on intricate wax flowers. They were making petals by using wooden molds dipped in hot wax before submerging them in cold water. 

Originally these candles were known as velas de concha (shell candles) because shells were used as molds to make the flowers. 

The flowers are then attached to the base of tall candle stems to make an ornate arrangement. They make the stem by hanging cotton wicks from a suspended metal ring.

The artisans bathe each wick in wax, building up layers: ceremonial candles can be almost 2 meters tall, taking hundreds of wax “baths,” and weeks of patient work. 

Traditionally, these candles were used as part of a marriage proposal ritual. 

Lila described how in Teotitlán, “when asking for the hand of a bride, it is important to carry these candles as symbols of spirituality, abundance and prosperity, and to unite the family of the bride and groom.

“The light, or the fire, is what will guide the path of that couple,” she said. 

Liliana recalls that when her husband Gregorio Montaño Pablo proposed, he brought an immense number of candles.

“His whole family participated. My whole family participated. It’s very nice to be part of this tradition.”

The other main reason to make candles was for the Catholic Church. These candles were expected to be a donation, rather than a commercial sale. 

One of the first candlemakers to counter this tradition was maestra Viviana. After her husband fell ill, she began to sell candles to support her family. The controversy led Viviana to be marginalized for many years. 

Fortunately, Viviana persevered, and the restrictions led to innovation in her candles. Now she is an inspiration to many and has helped revive the practice of candlemaking. Her efforts paved the way for workshops like San Pascual, and now the elegant candles of Teotitlán can be found around the world.

Anna Bruce is an award-winning British photojournalist based in Oaxaca, Mexico. Just some of the media outlets she has worked with include Vice, The Financial Times, Time Out, Huffington Post, The Times of London, the BBC and Sony TV. Find out more about her work at her website or visit her on social media on Instagram or on Facebook.

The post Religion and romance burn bright in Oaxaca’s candle workshops appeared first on Mexico News Daily

A man who dedicated his life to the preservation and dissemination of musical heritage, he is described by Mexico’s Culture Ministry as a promoter and defender of traditional music. 

Llerenas began to record Mexican music in the 1970s with engineer Enrique Ramírez de Arellano under the label Música Tradicional. Their recordings of the huapango, huasteco son and istmeño son music became the highlight of a series called “Antología del Son Mexicano.”

This work caught the attention of journalist and fellow ethnomusicologist Mary Farquharson, and through a shared love of music, Llerenas and Farquharson became a couple and married.

I am lucky to have known Mary and Eduardo for most of my life. When I moved to Mexico, they welcomed me into their home and included me in amazing experiences with musicians from Mexico and other parts of the world. 

I know this is a story I share with many others, as Eduardo and Mary are renowned for their generosity and hospitality. This was evident at the tribute and following celebrations, where the spirit of their musical life together shone brightly. 

“Those who knew Eduardo Llerenas have one, 10 or 100 stories to tell,” the couple’s friend Hermann Bellinghausen said, “but at the time of his final passing, I believe that the best way to remember him is by listening to the collection of music he made during his half-century as a hunter and fisherman of sounds.” 

Together, the couple created the label Discos Corasón, gathering over 15,000 songs and producing more than 90 albums. Their collection of recordings preserves generations of traditional music and is the product of tireless tours through different parts of Mexico. Considered an important legacy of traditional Mexican music the Discos Corasón collection was included in 2016 in UNESCO’s Memory of the World Program. 

Research also led Eduardo and Mary to travel through Belize, Guatemala, the Caribbean and West Africa, as well as Eastern Europe.    

“At Discos Corasón, we never think about success when we record an artist,” Llerenas wrote in the alternative media outlet Desinformémonos. “Rather, we listen to many artists from different genres — Mexican, Cuban and beyond — and when we find music that surprises us with its beauty, its technique, its spirit, its vitality, we suggest recording its creators in order to share this fascination.” 

Prior to meeting Eduardo, Mary had cofounded the British record label World Circuit with trumpeter Nick Gold, who in 1996 proposed a project to the couple that would change their history and that of Discos Corasón: to record a group of musicians in Santiago de Cuba. 

It was the beginning of the legendary album “Buena Vista Social Club.” 

In his Desinformemonos column, Llerenas captured moments in the creation of this iconic record, including one night when Eduardo was with Gold and guitarist Juan de Marcos González of the Cuban group Sierra Maestra, a passionate defender of the traditional son and bolero. 

Eduardo described how “Juan de Marcos didn’t let go of Nick Gold throughout the night, determined to convince him to make a tribute album to the old soneros and bolero singers who still lived — some of them somewhat forgotten — on the island.”

According to Llerenas, Gold wanted to reproduce the sound of Eastern Cuba — the son, bolero and guaracha — with musicians like Eliades Ochoa, whom he knew from previous Discos Corasón recordings. Eduardo had hoped to visit Mali and incorporate musicians who could speak to the roots of Afro-Cuban music in the recording. Unfortunately, visa delays prevented this from happening.

“In the end,” Eduardo wrote, “the album, called ‘Buena Vista Social Club,’ was made ‘only’ with musicians born and raised in Santiago, plus some Havanans such as Omara Portuondo, Cachaito López, Guajiro Mirabal, Miguel Angá Díaz and others, achieving a combination of the sounds of Havana and Eastern Cuba, which is one of the indisputable qualities of this record.” 

“‘Buena Vista Social Club’ was recorded live in three days in downtown Havana… with an analog console,” Llerenas remembered, achieving “a vintage sound naturally, without forcing or pretending.” 

Despite the success of this choice, old machinery led to technical issues. Fortunately, though, these challenges gave Eduardo and the record’s other producers more time with the musicians, who shared their stories and broader repertoires. Songs from these repertoires eventually made their way onto the final record.

Getting deeper into music from Cuba and parts of Mexico directs the gaze to Africa. The musical traditions of the Americas were not formed in a void, and the work of Llerenas and Discos Corasón explores some of their African ties. 

“The rise of Cuban music,” Eduardo wrote, “allowed us to go to Mali to record the griot singer Kasse Mady Diabete in his hometown of Kela. In that way, we fulfilled our dream of getting to learn in person about the deep roots of so much of the Latin American music we’ve recorded.”

Antonio Garcia de León remembers meeting Llerenas in the 1970s, describing him “with a heavy tape recorder on his shoulder to make his passionate field recordings in rural Mexico at the time, ending up years later in Mali, Senegal and Cuba.”

Garcia de Leon describes how “world music is all mixed music and products of different fusions distributed over time.” Therefore it is “necessary to have a historical vision, open to these complexities… a great musical archive — that of Discos Corasón.” 

In 2010, World Circuit and Discos Corasón released “AfroCubism” in Mexico. Eliades Ochoa sang alongside Kasse Mady with several other Malian musicians who would have contributed to Buena Vista Social Club if visas had gone through in 1996. 

Discos Corasón has continued to work with musicians from Mali, including the stunning Fatoumata Diawara, whom they invited to take part in the 2015 Centro Histórico Festival in Mexico City. This festival was the first time I had the honor of taking pictures on behalf of Discos Corasón, and it was eye-opening to get a glimpse behind the curtain of the incredible work brought together by Eduardo and Mary. 

Later, a personal highlight was traveling with Discos Corasón to the Afro-Mexican town of Santiago Llano Grande la Banda, in the Costa Chica region of Oaxaca. There we stayed with the musician and teacher Chogo Prudente. Prudente actively supports his community by making music a key component in education, positively motivating young people in the community. 

This trip took place during the lead-up to releasing “Como un Lunar — Boleros de la Costa Chica,”  a beautiful anthology compiled for the Cervantino festival, celebrating the songwriter and composer Álvaro Carrillo, a Costa Chica native. In 2021, the Culture Ministry described the album that shows “that the region’s reputation for violence and marginalization is only one part of its reality and that the bolero created and performed by its musicians enjoys a vitality and relevance unmatched in other parts of the country.” 

You can see more photos of Eduardo Llerenas over the years in this video from Discos Corasón.

This speaks to the ability of music to transform and elevate, something that is clear as you step into the world of Discos Corasón. 

“Llerenas’s work connected communities, creating an audience eager for that lively traditional music,” ethnomusicologist Bruno Bartra writes, 

Although Llerena’s style of research and recording did not always fall within academic guidelines, says Bartra, “His writings and recordings are now required references for musicologists studying the regions through which he passed with his recording equipment.”

Bartra’s words reflect the weekend of celebrations for Eduardo, which were presented as “Para Ti, Llerenas,” a weekend that wove together musical presentations between the academic echelons of the Palacio de Bellas Artes, public dancing in the cultural center of Coyoacán and intimate performances in the garden of Eduardo and Mary’s home. 

During the tribute, Gold described Llerenas as an innovative man with a sharp ear for talented musicians — a man with serious focus, yet able to move freely between the matter at hand, a joke and a dance. 

This certainly rings true to the friend I remember. However, the overwhelming sentiment throughout the weekend was that of a spirit still with us, ever present in the music shared by Discos Corasón played by his family, friends and music lovers around the world. 

Anna Bruce is an award-winning British photojournalist based in Oaxaca, Mexico. Just some of the media outlets she has worked with include Vice, The Financial Times, Time Out, Huffington Post, The Times of London, the BBC and Sony TV. Find out more about her work at her website or visit her on social media on Instagram or on Facebook.

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Lucha Libre, or Mexican freestyle wrestling, was introduced to Mexico in the first half of the 20th century. It grew into a unique form of the sport, characterized by high-flying maneuvers performed by wrestlers wearing iconic masks that have over time developed special significance. Wrestlers in the public eye often conceal their identity behind their mask full-time. In some matches, the loser must permanently remove his mask.

Wrestlers are known as luchadores and usually come from wrestling “families” who form their own stable of fighters.

Mexico City and Guadalajara have the biggest lucha scenes, but the sport is hugely popular throughout Mexico. I live in Oaxaca, where there is also a dynamic lucha scene. Unlike in Mexico City, there are only a few rows of seats around the ring here, so you’re part of the action no matter where you sit.

Geraldine, a friend from Guadalajara, took me to my first Oaxacan lucha event at the Pepe Cisnero Arena. I knew it was going to be wild based on her description of what she grew up with:

“To say awesome is an understatement,” she said. “There’s always heckling going from one section to the other that creates a great atmosphere. All kinds of people go to these events. You see people in their work clothes, straight out of the office, screaming at the wrestlers and just having a good time.”

The night really kicked off as the sun was setting and the first wrestlers arrived. The energy immediately changed as the audience started picking sides and heckling the opposing wrestler.

As in American professional wrestling, good guys (técnicos) and bad guys (rudos) create a story arc during the fight — or over several fights. Audiences typically heckle the rudos and back the técnicos. Rudos often fight dirty, breaking the rules and giving the audience plenty to heckle.

Arcana, a Oaxacan wrestler, described himself as a rudo but with a lot of technique. He claimed to have created original wrestling maneuvers.

During the evening, we saw different styles of matches: men’s, women’s and teams. Arcana loves one-on-one fights but finds team events more enjoyable. The first rounds stayed in the ring, but as the bouts got toward the headliners, things got more and more unruly: even though we were further back in cheaper chairs, we spent a lot of the night leaping out of our seats to avoid flying bodies.

Surprisingly, I found the women’s competitions were more intense than the men’s: two female wrestlers we saw that night, Cataleya and Pili, had a fight so rough, it ended in a call for an additional grudge match to settle the score. Grudge matches usually end in an unmasking or a wrestler’s hair being cut.

Arcana describes these rivalries in championships as “priceless to win.”

Masks have been part of Lucha Libre since its beginnings in the early 20th century. In the earliest days of the sport, masks were very simple, with basic colors distinguishing a wrestler. In modern Lucha Libre, masks evoke animal imagery, gods and heroes, helping define a wrestler’s character.

“Personalities in the wrestling world, like the son of the legendary Blue Demon, don’t take their masks off in public, even on their holidays,” Geraldine said. “You protect your identity as a famous wrestler. In some gyms in Oaxaca, you might see a guy working out with their mask on.”

El Santo, arguably Mexico’s most famous luchador and the wrestler credited with popularizing the sport in the country, was famously never unmasked by an opponent during his five-decade career and was even buried in his legendary silver mask after his death.

He changed Lucha Libre forever when he entered the ring with his trademark silver mask in 1942. Audiences fell in love with Santo’s mystique and made him into a folk hero who represented justice for ordinary people. He starred in about 50 low-budget films.

Lucha Libre has a unique rule in team matches where a legal wrestler who touches the ground outside the ring can be replaced by a teammate without tagging. This leads to more frantic action in the ring than standard tag rules allow.

At first, I was under the impression that Lucha Libre matches were scripted, since they’re made up of choreographed moves. But Arcana explained that “nobody knows who is going to win. Sometimes wrestlers are careless. Whether you win or lose is defined in the ring.”

I was lucky enough to meet with Cateleya and her husband Fantasma, who together make quite the luchador power couple. Fantasma is the person who supports her most, Cateleya says.

“He understands me [and] accompanies me, and it is a great experience to be able to share this with him.”

At their gym in Oaxaca, I got a behind-the-scenes look at the intense strength training they do together.

“It is something that you always keep in mind in your day-to-day since you have training to improve both in technique and appearance,” Cateleya said.

Women like Cateleya have been competing almost as long as men. By 1952, the first generation of female Mexican wrestlers were gaining fame, including Chabela Romero, Toña “La Tapatía,” Marina Rey, Irma González, “La Dama Enmascarada” and “La Jarochita” Rivero.

It’s clear how these women have inspired Cateleya: “The appeal of becoming a fighter is to show that there is no such thing as the weak gender,” she says.

Lucha Libre fans will typically have a favorite wrestler, and Geraldine is no exception.

“Rasputin is probably my guy,” she says. “It’s not very common to see LGBTQ+ people in sports, and in Mexico, that’s even worse. Although I don’t really think Rasputin is gay, he is the first queer wrestler I’ve seen, and he really wins you over. He does portray a stereotype, but at the same time I think that’s by being such a badass. He’s positively influencing the culture [in wrestling] around these issues.”

At a larger arena in central Oaxaca, I witnessed a more spectacular match than the first one, featuring the grudge match between Cateleya and Pili, along with Rasputin and Fantasma, who played the antagonist against Místico, the headliner. Though three times the size of the Pepe Cisnero stadium, Geraldine still considered it a poor venue compared to the massive arenas in Mexico City and Guadalajara.

More confident this time, I put myself ringside, shooting pictures and heckling to my best ability. It was a huge adrenaline rush, ducking and diving as wrestlers threw themselves (and each other) from the ring. Fantasma describes feeling a sense of euphoria when he fights. To me, the whole arena is full of it, and I, for one, can’t wait to go again!

Anna Bruce is an award-winning British photojournalist based in Oaxaca, Mexico. Just some of the media outlets she has worked with include Vice, The Financial Times, Time Out, Huffington Post, The Times of London, the BBC and Sony TV. Find out more about her work at her website or visit her on social media on Instagram or on Facebook.

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In December, Oaxaca city hosted a new kind of mezcal festival, called Mujer Agave — an event in which women in the agave spirits industry came together to share their work, experience and passion.

The three women running it — Sandra Ortiz Brena, Silvia Philion and mezcalera Graciela Ángeles — have forged a path for other women working with mezcal: Ortiz and Philion run two of the best-known bars in Oaxaca, InSitu and Mezcaloteca respectively. Ángeles carries the torch for the prestigious brand Real Minero. She is often described as a woman leading the way in the agave spirits industry. 

Ángeles’ strength and skills have won her fame from the earliest days of the international mezcal “boom.” Other mezcaleras whose names are always at the tip of the tongue when discussing “women in mezcal” in Mexico include Reyna Sánchez and Berta Vásquez. 

These women have been bold, making a name for themselves in a predominantly masculine field. Until recently, however, it felt like they were the exception to the rule, a novelty rather than people in an accepted position of equality. 

Fortunately, in the last few years, more and more women are finding their place in the mezcal industry, running bars and brands and heading production.

During my earliest visits to palenques (mezcal distilleries), the men were front and center — called mezcaleros. Often their spouses — equally involved in managing production — did not claim a title beyond “the mezcalero’s wife.” 

This is something that up-and-coming mezcalera Jessica Hernández is keen to change.

I first met Hernández at a mezcal event where she was representing her families’ product, Espina Dorada (Golden Spine). Since then, I visited their palenque many times, learning more about her respect for her ancestors, her experience in the industry and her vision for the future. 

“I like working with this distillate because it is more than a drink; it is history, a culture and tradition that my predecessors have transmitted to me, and I would like to preserve their legacy and essence.”

Reverence for the women in her history is evident as you arrive at the Espina Dorada palenque. From the road, you can see a stunning mural of a healer on the side of the distillery, representing Hernández’s female ancestors that worked with the medicinal properties of mezcal. 

Hernández is a fourth-generation mezcal producer of Zapotec descent. She was raised on a palenque in Santiago Matatlán, Oaxaca, nicknamed “World Capital of Mezcal.”  

“I played among agave, learning about maguey care [the cousin to blue agave that’s used to make pulque], techniques, mezcal and pulque production,” she said. “Thanks to the tradition of my ancestors and ancestral techniques, today I produce my own batches of mezcal.”

Eventually, Hernández’s family moved from this agave-centric community to the highway by San Francisco Lachigoló, much closer to Oaxaca city, so that Hernández and her siblings could be closer to schools. Hernández , currently pursuing a master’s degree in business administration, is the first woman in her family with a university degree. 

“Absolutely everything I have studied, and am studying, is for my family business. It  allows me to reduce costs and improve the administration of our mezcal.”

The focus on higher education is just one of the ways in which her parents supported Hernández. However, they also encouraged her to learn about the family’s traditions and its work on the palenque. 

“When I was little, I helped my parents in whatever way I could. It’s a tough job, so at that time, I only guided the horse or stoked the fire, but little by little, I became more fully involved in this trade.”

She remembers how involved her mother and grandmother always were in production. Now each member of the family has their own role in making a batch, such as setting the oven or watching over distillation. 

In an interview subtitled in English, Berta Vásquez discusses how she came to run her husband’s mezcal business only after he died, leaving her with four children.

For each batch, one person takes the lead and responsibility for the overall production, and they are the one who signs the final bottles.  

“I make three or two batches per year. The rest… belong to my parents, and I help them however I can.”

Although Hernández’s family are now supportive of her endeavors, things were not always a smooth ride. She had to overcome certain societal expectations in a local culture where sons were the ones expected to carry on the family mezcal business.

“I have always been very rebellious,” she says. “I was not the longed-for eldest son of the culture… but I have always liked playing that role. I was the girl who, if they did not take her to the countryside, hid in the truck to be able to go.” 

One of the traditions passed down through her family is that a unique batch of mezcal is made for each of the family’s newborns, saved for years until it’s drunk on their wedding day. Hernández, who’s unmarried, chose a different path. She says she wants to create her own milestone moment in which she’ll share that mezcal made for her as a newborn.

It has taken many years for mezcaleras to deconstruct ideas about the role of women in the tradition. Although they’ve made progress, Hernández says there is still much for which women haven’t been acknowledged. 

“The part played by women has always been important,” she said, explaining that women have always taught the next generations the art of cultivating and making mezcal….” 

Women are finally finding their own space in all branches of the agave spirits industry, says Hernández, who wants to follow in her ancestors’ footsteps and teach others to make mezcal.

“Each of our bottles represent the history and essence of whoever produces it, paying tribute to our ancestors,” she said.

Every time I visit Hernández, she’s working on a new project, developing her family’s work with agave. As well as making new areas for visitors to enjoy their product, she’s building a space to share details of their past, including the tradition of medicinal practices. 

She also has ambitious ideas to export the family’s product internationally. On this year’s International Women’s Day, she participated in a panel of mezcaleras, including previously mentioned icons of the industry, Reyna Sánchez and Berta Vásquez.

The world of agave spirits owes much to these iconic women who have forged the way for platforms like Mujer Agave. It feels like the dialogue is finally reaching a point where there will be inclusivity for women working with mezcal, rather than just a few famous exceptions. 

Undoubtedly, Jessica will be a leader among this new wave of mezcaleras who open the door to a future where women in the industry become the rule.

Anna Bruce is an award-winning British photojournalist based in Oaxaca, Mexico. Just some of the media outlets she has worked with include Vice, The Financial Times, Time Out, Huffington Post, The Times of London, the BBC and Sony TV. Find out more about her work at her website or visit her on social media on Instagram or on Facebook.

The post Who says she can’t? Women in mezcal industry buck male tradition appeared first on Mexico News Daily

However, in the lead-up to Shrove Tuesday (also known as Fat Tuesday), the town is also known for its Carnaval celebrations, and a tradition known as the “Dance of the Devils,” in which revelers run through town in costume — their bodies covered in body paint to look macabre or otherworldly. Some wear grotesque-looking hand-made masks.

The dancers typically just wear shorts and cover the rest of their bodies in oil or paint. They paint their faces or wear masks with horns. If they don’t wear a mask, they will often use cow horns to allude to the devil aspect. They can paint themselves any color they choose, as long as it is striking.

There are three main colors used, however: black, representing the underworld; yellow, representing the earthly world; or red, representing infinity.

Everything about this local tradition is attached to Zapotec, pre-Hispanic beliefs.

The colors are prepared with different materials: those in black make their body paint using a mixture of carbon and oil; the yellow dye is made with yellow corn, earthen clay and cooking oil; the red color is prepared with brick dust mixed with oil.

In earlier years, dancers would wear shells to shake and summon the community from their houses as they passed by. Nowadays, bells are more typical, making a distinctive rattle that can be heard all over town. Often the dancers will try and rub paint onto spectators, bringing them into the procession.

Originally, only San Martín’s males participated in the celebration. However, in the mid ‘90s, a woman disguised as a man broke this tradition, and since then, women have been part of the celebration, and now everyone is welcome to take part, whether they are from the town or not.

Although dancers are of all ages, most are young men who flirt with the girls and try to mark them with their body paint.

San Martín local Elías José Ángeles Ojeda, who produces mezcal, told me about this tradition’s history.

“When the Spanish arrived in Oaxaca, Zapotec communities defended themselves so as not to be subjected to Catholicism. They did not fight but thought that by doing dances and rituals they could ward off the friars.”

The Spaniards considered these dances to be “of the devil,” which is how the celebration got its name.

Ojeda also described how people today in San Martín believe in spirit animals. At birth, each person is assigned their protector animal. During Carnaval, you can see this belief represented in costumes: the necklaces and masks symbolize their spirit animals that can ward off evil beings and “defend themselves from being subjugated by Catholicism,” he explained.

These days, the community is primarily Catholic; after Carnaval festivities end, these dancers, and most other residents, will receive a cross of cenizas on their forehead to mark Ash Wednesday.

Festivities take place every Sunday from January leading up to Shrove Tuesday.

Anna Bruce is an award-winning British photojournalist based in Oaxaca, Mexico. Just some of the media outlets she has worked with include Vice, The Financial Times, Time Out, Huffington Post, The Times of London, the BBC and Sony TV. Find out more about her work at her website or visit her on social media on Instagram or on Facebook.

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