The case for exercising caution prior to making a longterm committment to an apartment or home rental in Oaxaca:
http://mexican-travel.suite101.com/article.cfm/renting_an_apartment_or_house_in_oaxaca_mexico
12/14/2009
12/13/2009
Black Pottery, Used Clothing and City Markets in Oaxaca
For Alvin Starkman's most recent brief articles about barro negro, bringing your used clothing to Oaxaca, and Oaxaca's city marketplaces, please go to the following webpages:
1) The Development of Black Pottery in San Bartolo Coyotepec:
http://folk-art.suite101.com/article.cfm/the_black_pottery_of_san_bartolo_coyotepec
2) Bringing Used Clothing to Oaxaca:
http://mexican-travel.suite101.com/article.cfm/used_clothing_for_oaxaca
3) Markets in the City of Oaxaca:
http://mexican-travel.suite101.com/article.cfm/markets_in_the_city_of_oaxaca
1) The Development of Black Pottery in San Bartolo Coyotepec:
http://folk-art.suite101.com/article.cfm/the_black_pottery_of_san_bartolo_coyotepec
2) Bringing Used Clothing to Oaxaca:
http://mexican-travel.suite101.com/article.cfm/used_clothing_for_oaxaca
3) Markets in the City of Oaxaca:
http://mexican-travel.suite101.com/article.cfm/markets_in_the_city_of_oaxaca
12/10/2009
Hierve el Agua, Nieves and Helados, and Bicycing Oaxaca articles
For Alvin Starkman's brief Oaxaca articles about Hierve el Agua, Eating Nieves Sherbet and Ice Cream on the Steet, and Bycycling, go to the following webpages respectively:
http://mexican-travel.suite101.com/article.cfm/hierve_el_agua_oaxaca
http://mexican-travel.suite101.com/article.cfm/ice_cream_and_sherbet_eating_in_oaxaca
http://mexican-travel.suite101.com/article.cfm/cycling_in_oaxaca_with_mundo_cieba_ac
http://mexican-travel.suite101.com/article.cfm/hierve_el_agua_oaxaca
http://mexican-travel.suite101.com/article.cfm/ice_cream_and_sherbet_eating_in_oaxaca
http://mexican-travel.suite101.com/article.cfm/cycling_in_oaxaca_with_mundo_cieba_ac
11/23/2009
The Veria Network's Under The Sun series: Review of the Oaxaca episodes
Alvin Starkman, M.A., LL.B.
An international documentary film production company was drawn to the central valleys of the State of Oaxaca while investigating regions of the world where sustainable living still plays a major role in the way people live. After a preliminary visit to the state capital to scope out the feasibility of story lines, its production team ultimately shot two, five-segment episodes in the heart of Oaxaca.
The mandate of The Veria Network’s cable TV series Under the Sun is to capture a broad diversity of locales, organizations and individuals involved in healthy, harmonious, holistic, and environmentally friendly living and business enterprises. Each episode features British born Nathan LeRoy, a self-proclaimed adventurer, investigating how age-old means of production persist into the 21st century, and examining sustainable systems and products. This is done with a not-so-subtle underscore: maintaining and promoting unity with the natural world provides humankind the best opportunity to survive and thrive for generations to come.
Episode One
LeRoy accompanies internationally acclaimed native Oaxacan chef Pilar Cabrera Arroyo (Bon Appetit, The New York Times, Toronto Iron Chef judge & competitor) to Oaxaca’s Pochote Organic Market. An interesting discussion ensues as to the certification process in respect to organic products. LeRoy propounds that forcing growers to leap through hoops in attempting to obtain certification is actually inconsistent with supporting small- scale local production. He then accompanies Chef Pilar to her Casa de los Sabores (House of Flavors) Cooking School for a lesson in preparing three dishes – an organic salad with a honey mustard garlic dressing; world famous mole negro, the most labor intensive of the many moles, traditionally made with approximately 35 ingredients; and a delightfully fresh and uniquely flavorful organic rose petal sorbet.
Our adventurer then meets up with a family of San Martín Tilcajete wood carvers and painters, headed by Jacobo Ángeles and María Mendoza. His goal is to learn about the town’s longstanding Zapotec woodcarving tradition. While trekking through the countryside he and Jacobo discuss the properties and uses of the copal tree from which most figures – known as alebrijes – are carved. Leroy then explores the use of natural pigments for coloring the pieces; María deftly uses her hands as palettes as she variously mixes tree sap and bark, honey, pomegranate, corn fungus, berries and other natural substances to create a veritable rainbow of paint colors.
Next he receives a lesson from a triumvirate of absolutely charming apron-clad abuelitas (little grandmothers) on how to make three refreshing drinks, each of which is typical to the region and commonly found in both urban and rural Oaxacan markets: agua de Jamaica (juice or water of hibiscus flower), agua de limón (a natural limeade made with the outer peel), and the uniquely indigenous pre-Hispanic drink, tejate. Making tejate is a true art, and highly ritualistic. If a step in the process goes awry, the end result simply won’t cut it. Being the Drink of the Gods in pre-Hispanic times, process must be perfect.
Leroy then gets out into the fields just after dawn one morning, with a woman whose family has been making the naturally fermented drink known as pulque, for generations. Pulque is perhaps the single least understood drink in Mexico, at times mistakenly noted as the first stage in the production of mezcal and tequila. The plant, one of several pulquero varieties of agave or maguey, must mature in the field for 15 – 18 years before it yields aguamiel or honey water. At sunrise and sunset the liquid is religiously harvested from a deep well in the center of the plant. Natural fermentation of the aguamiel occurs over the course of just a few hours. Be it myth or science-based, the indigenous guide counsels as to pulque’s curative and life-prolonging properties.
In the final segment of the episode LeRoy learns about cochineal ( cochinilla ), the minute insect which feeds off of the nopal cactus. Cochineal has been commercially cultivated, harvested and exported since early colonial times because of its unique property – it yields a strong, natural red dye which to this day is used in the production of such diverse products as Campari, Knorr and Campbell soups, lipsticks and make-ups, Danone yoghurt, hot dogs and cookies. Manuel, the engineer / manager of the museum and educational facility known as Tlapanochestli, explains the historical importance of the cochineal industry while going through the lifecycle of the insect and production technique currently employed. Experimentation into the use of other natural dyes and fibers continues at the research station.
Episode Two
LeRoy heads out to the rug weaving village of Teotitlán del Valle, where sheep have been sheered, and their wool spun, dyed and woven into rugs in basically the same manner, since the mid – 1500s. He watches a villager sheer a sheep using nothing but a simple scissors and rope to tie it down; then takes a fascinating tour with Mariano Sosa, the head of a sixteen family co-op, to witness all the subsequent steps such as washing the wool without detergents, then drying and spinning it into yarn, followed by using plants from an experimental site to create natural dyes – with the process’ uncontaminated water returning to the earth; and finally weaving the most intricate of both traditional Zapotec and more innovative designs into tapestries and rugs.
For the next segment our host remains in the rug village, awakening well before sunrise to accompany Rocio and Malena of the extended family known as Casa Santiago to a mill to have corn ground into masa – in preparation for a lesson back at their homestead. Together with Gloria, the matriarch of the family, they prepare amarillo, the mole used in making a very special and typical festive dish unique to their town, tamales de amarillo con pollo. Breakfast includes hot chocolate also made from scratch, enjoyed in the traditional fashion – with a small loaf of pan de yema or egg bread, for dipping. The quaintness and welcoming nature of each and every family member is both striking and memorable.
Leroy then travels back in time to 16th century Toledo, Spain. The ancient and well-chronicled Old World knife-making technique is still practiced in the town of Ocotlán, by Apolinar Águilar. The master craftsman fashions knives, machetes, swords and much more, using only recycled materials. He demonstrates the use of his wood and skin bellows, stone and mud hearth, and a series of hammers, chisels, and other forging tools he himself makes to his exacting specifications. His products range from letter openers, to hunting and butchers’ knives, to turkey carving and cutlery sets, to martial arts weapons, and custom collector pieces. Even the fine finishes of the blades and handles are creating naturally, without the use of chrome or nickel, varnish or lacquer.
Our adventurer next arrives in Santiago Matatlán, the self-anointed world capital of mezcal (also referred to as mescal), for a visit with Enrique Jiménez, a spirits producer with a pedigree dating to his ancestors’ 1870 arrival in the tiny village. Enrique walks LeRoy through all stages of production of mezcal from the harvesting of agave in the fields, to baking it in a pit over flaming logs and river rocks, then mashing it with the use of a horse dragging a multi-ton stone, to fermenting in pine vats, and finally distilling in a brick and mortar firewood-fueled oven. The sampling of the finished product includes a two-year-old añejo aged in oak barrels, a much younger mezcal, and of course one “with the worm.”
LeRoy concludes his visit to the State of Oaxaca with a much needed relaxing and rejuvenating temazcal and massage. He arrives at the home of Doña Emilia, a retired nurse of Zapotec heritage. After decades of tutelage from her grandmother she has become an expert in the ancient art and science of temazcal. One of the hallmarks of temazcal is the environment in which the ritual is enacted – an adobe hut with water and lava rocks used to create and control steam. It’s akin to a sweat lodge where chanting together with aromatic and curative herbs and branches cleanse the body and soul.
Watching the two episodes of Under the Sun gives the viewer a glimpse into some of the present-day manifestations of sustainable living in the central valleys of Oaxaca – and can just as easily be a precursor to the experiences of those contemplating a visit to the city. Virtually every individual and institution highlighted is accessible by tourists within the context of a couple of well-planned tours to the towns and villages surrounding the state capital.
Alvin Starkman has a Masters in Anthropology and a law degree from Osgoode Hall Law School. Alvin began traveling to Oaxaca in 1991, taking up permanent residence in 2004. He has written over 90 articles about life and culture in Oaxaca for several Mexico travel publications. Alvin consuls to documentary film production companies working in the region, and leads personalized tours for couples and families to the craft villages, market towns, ruins and more off-the-beaten-track locations rarely visited by tourists. He and his wife Arlene operate Casa Machaya Oaxaca Bed & Breakfast (http://www.oaxacadream.com), a bed and breakfast experience combining comfort of a downtown Oaxaca hotel, with the personal touch of country inn accommodations.
An international documentary film production company was drawn to the central valleys of the State of Oaxaca while investigating regions of the world where sustainable living still plays a major role in the way people live. After a preliminary visit to the state capital to scope out the feasibility of story lines, its production team ultimately shot two, five-segment episodes in the heart of Oaxaca.
The mandate of The Veria Network’s cable TV series Under the Sun is to capture a broad diversity of locales, organizations and individuals involved in healthy, harmonious, holistic, and environmentally friendly living and business enterprises. Each episode features British born Nathan LeRoy, a self-proclaimed adventurer, investigating how age-old means of production persist into the 21st century, and examining sustainable systems and products. This is done with a not-so-subtle underscore: maintaining and promoting unity with the natural world provides humankind the best opportunity to survive and thrive for generations to come.
Episode One
LeRoy accompanies internationally acclaimed native Oaxacan chef Pilar Cabrera Arroyo (Bon Appetit, The New York Times, Toronto Iron Chef judge & competitor) to Oaxaca’s Pochote Organic Market. An interesting discussion ensues as to the certification process in respect to organic products. LeRoy propounds that forcing growers to leap through hoops in attempting to obtain certification is actually inconsistent with supporting small- scale local production. He then accompanies Chef Pilar to her Casa de los Sabores (House of Flavors) Cooking School for a lesson in preparing three dishes – an organic salad with a honey mustard garlic dressing; world famous mole negro, the most labor intensive of the many moles, traditionally made with approximately 35 ingredients; and a delightfully fresh and uniquely flavorful organic rose petal sorbet.
Our adventurer then meets up with a family of San Martín Tilcajete wood carvers and painters, headed by Jacobo Ángeles and María Mendoza. His goal is to learn about the town’s longstanding Zapotec woodcarving tradition. While trekking through the countryside he and Jacobo discuss the properties and uses of the copal tree from which most figures – known as alebrijes – are carved. Leroy then explores the use of natural pigments for coloring the pieces; María deftly uses her hands as palettes as she variously mixes tree sap and bark, honey, pomegranate, corn fungus, berries and other natural substances to create a veritable rainbow of paint colors.
Next he receives a lesson from a triumvirate of absolutely charming apron-clad abuelitas (little grandmothers) on how to make three refreshing drinks, each of which is typical to the region and commonly found in both urban and rural Oaxacan markets: agua de Jamaica (juice or water of hibiscus flower), agua de limón (a natural limeade made with the outer peel), and the uniquely indigenous pre-Hispanic drink, tejate. Making tejate is a true art, and highly ritualistic. If a step in the process goes awry, the end result simply won’t cut it. Being the Drink of the Gods in pre-Hispanic times, process must be perfect.
Leroy then gets out into the fields just after dawn one morning, with a woman whose family has been making the naturally fermented drink known as pulque, for generations. Pulque is perhaps the single least understood drink in Mexico, at times mistakenly noted as the first stage in the production of mezcal and tequila. The plant, one of several pulquero varieties of agave or maguey, must mature in the field for 15 – 18 years before it yields aguamiel or honey water. At sunrise and sunset the liquid is religiously harvested from a deep well in the center of the plant. Natural fermentation of the aguamiel occurs over the course of just a few hours. Be it myth or science-based, the indigenous guide counsels as to pulque’s curative and life-prolonging properties.
In the final segment of the episode LeRoy learns about cochineal ( cochinilla ), the minute insect which feeds off of the nopal cactus. Cochineal has been commercially cultivated, harvested and exported since early colonial times because of its unique property – it yields a strong, natural red dye which to this day is used in the production of such diverse products as Campari, Knorr and Campbell soups, lipsticks and make-ups, Danone yoghurt, hot dogs and cookies. Manuel, the engineer / manager of the museum and educational facility known as Tlapanochestli, explains the historical importance of the cochineal industry while going through the lifecycle of the insect and production technique currently employed. Experimentation into the use of other natural dyes and fibers continues at the research station.
Episode Two
LeRoy heads out to the rug weaving village of Teotitlán del Valle, where sheep have been sheered, and their wool spun, dyed and woven into rugs in basically the same manner, since the mid – 1500s. He watches a villager sheer a sheep using nothing but a simple scissors and rope to tie it down; then takes a fascinating tour with Mariano Sosa, the head of a sixteen family co-op, to witness all the subsequent steps such as washing the wool without detergents, then drying and spinning it into yarn, followed by using plants from an experimental site to create natural dyes – with the process’ uncontaminated water returning to the earth; and finally weaving the most intricate of both traditional Zapotec and more innovative designs into tapestries and rugs.
For the next segment our host remains in the rug village, awakening well before sunrise to accompany Rocio and Malena of the extended family known as Casa Santiago to a mill to have corn ground into masa – in preparation for a lesson back at their homestead. Together with Gloria, the matriarch of the family, they prepare amarillo, the mole used in making a very special and typical festive dish unique to their town, tamales de amarillo con pollo. Breakfast includes hot chocolate also made from scratch, enjoyed in the traditional fashion – with a small loaf of pan de yema or egg bread, for dipping. The quaintness and welcoming nature of each and every family member is both striking and memorable.
Leroy then travels back in time to 16th century Toledo, Spain. The ancient and well-chronicled Old World knife-making technique is still practiced in the town of Ocotlán, by Apolinar Águilar. The master craftsman fashions knives, machetes, swords and much more, using only recycled materials. He demonstrates the use of his wood and skin bellows, stone and mud hearth, and a series of hammers, chisels, and other forging tools he himself makes to his exacting specifications. His products range from letter openers, to hunting and butchers’ knives, to turkey carving and cutlery sets, to martial arts weapons, and custom collector pieces. Even the fine finishes of the blades and handles are creating naturally, without the use of chrome or nickel, varnish or lacquer.
Our adventurer next arrives in Santiago Matatlán, the self-anointed world capital of mezcal (also referred to as mescal), for a visit with Enrique Jiménez, a spirits producer with a pedigree dating to his ancestors’ 1870 arrival in the tiny village. Enrique walks LeRoy through all stages of production of mezcal from the harvesting of agave in the fields, to baking it in a pit over flaming logs and river rocks, then mashing it with the use of a horse dragging a multi-ton stone, to fermenting in pine vats, and finally distilling in a brick and mortar firewood-fueled oven. The sampling of the finished product includes a two-year-old añejo aged in oak barrels, a much younger mezcal, and of course one “with the worm.”
LeRoy concludes his visit to the State of Oaxaca with a much needed relaxing and rejuvenating temazcal and massage. He arrives at the home of Doña Emilia, a retired nurse of Zapotec heritage. After decades of tutelage from her grandmother she has become an expert in the ancient art and science of temazcal. One of the hallmarks of temazcal is the environment in which the ritual is enacted – an adobe hut with water and lava rocks used to create and control steam. It’s akin to a sweat lodge where chanting together with aromatic and curative herbs and branches cleanse the body and soul.
Watching the two episodes of Under the Sun gives the viewer a glimpse into some of the present-day manifestations of sustainable living in the central valleys of Oaxaca – and can just as easily be a precursor to the experiences of those contemplating a visit to the city. Virtually every individual and institution highlighted is accessible by tourists within the context of a couple of well-planned tours to the towns and villages surrounding the state capital.
Alvin Starkman has a Masters in Anthropology and a law degree from Osgoode Hall Law School. Alvin began traveling to Oaxaca in 1991, taking up permanent residence in 2004. He has written over 90 articles about life and culture in Oaxaca for several Mexico travel publications. Alvin consuls to documentary film production companies working in the region, and leads personalized tours for couples and families to the craft villages, market towns, ruins and more off-the-beaten-track locations rarely visited by tourists. He and his wife Arlene operate Casa Machaya Oaxaca Bed & Breakfast (http://www.oaxacadream.com), a bed and breakfast experience combining comfort of a downtown Oaxaca hotel, with the personal touch of country inn accommodations.
10/11/2009
Am I paying my staff too much? (Improving profits and peace of mind: a case study from Oaxaca)
Improving profits and peace of mind: a case study from Oaxaca, Mexico
Am I paying my staff too much?
Alvin Starkman, M.A., LL.B.
It’s now two months before Day of The Dead in Oaxaca, and Juanita’s hotel still has rooms available for one of the busiest times of the year. The City of Oaxaca, a UNESCO World Heritage Site in Southern Mexico, relies on tourism for its very existence. Juanita is trying to figure out where she went wrong, realizing that Día de Los Muertos should top up her bank balance, just like the Christmas season, the summertime festival weeks known as Guelaguetza, and Easter.
Time and again Juanita asks herself, “Am I paying my staff too much?” Merely asking the question reveals why her bottom line is so low.
Oaxacan business owners with non-unionized staff who either think they’re overpaying, or provide a level of remuneration only because they believe they can’t get away with paying any less, will never maximize their profit potential. Attitude towards employees, and failing to recognize the importance and potential value of each and every staff position, affects how business fares.
Here in Oaxaca it’s a well-known fact that non-Mexicans (extranjeros) pay their help more (i.e. “too much”) money relative to Oaxacan employers. Until recently I had assumed that the reason was simply that Americans and Europeans resident in Oaxaca come from wealthy societies in which entrepreneurs can afford to pay large salaries, and although now living and working here in Oaxaca they still think and operate in American Dollars --- not understanding or accepting Oaxacan economics. But now, armed with data concerning the salaries customarily paid to employees in diverse positions of trust, authority and responsibility, and having conducted a rudimentary analysis of comparative levels of success between foreign and domestically owned businesses, it’s clear that the differences are rather simple, and relate to three fundamentals: 1) business acumen; 2) attitudes towards leisure time and piece of mind, and; 3) willingness to acknowledge that “you get what you pay for.” Each is integrally related to the other.
Juanita (names have been changed) pays her receptionists 115 pesos (roughly $9 USD) per day, and her chambermaids 100. Mary, an American who owns a bed and breakfast, never pays staff less than 150 pesos per day. The American travels outside of the country to promote and conduct business, and to vacation, on a regular basis. The Oaxacan rarely leaves the city or takes a vacation of longer than three days, and does so only when there are virtually no guests in the hotel. The Amercan says that she knows she pays her staff too much relative to Oaxacan salaries, but when she stops to think about what “overpaying” enables her to do, and how her business fares, acknowledges that perhaps she is not being unreasonably generous with her staff.
Why is Mary’s B & B one of the top-ranked tourist accommodations on a major international travel website, while Juanita’s is in the doldrums? Juanita says she’s paying her staff double minimum wage, and could pay even less if she really wanted to. Mary has had the same staff for several years, and even acknowledges their birthdays. Juanita has high employee turnover.
Juanita’s financial outlay is significant. She spends an inordinate amount of effort making her hotel look pretty, and money promoting it. Her hotel is in a high rent district in the downtown sector of the city. It should be packed day in and day out given its location and the expenditure to maintain it. Yet two months prior to Day of The Dead, she is one of only two lodgings in her association with rooms still available for the high season. Funds are earmarked for the wrong places; prioritization is skewed.
Juanita’s retort strikes a familiar chord, and at first instance might seem rational: “It wouldn’t matter if I paid my receptionist 30, 40, or even 50% more,” she laments. “She wouldn’t work any harder or be more dedicated, because more money doesn’t motivate them; that’s just the way they are. And besides, I can’t afford any more, with all my other expenses, and business generally down.”
Juanita’s response can be summarized as twofold: paying more won’t yield results, and; she can’t afford it anyway. Dealing with the first, Juanita has to step out of the box, out of the colonial way of thinking. She sees “the culture of poverty,” insofar as it relates to native workers from small towns and villages, not allowing employees to break from a fatalistic pre-determined mold, because that’s just the way they are. More money won’t make a difference to their lot in life and therefore won’t motivate.
It does not behoove me to tell Juanita she’s wrong, and it is beyond the scope of this essay to even try to illustrate that she is, which may or may not be the case. But there’s another solution to Juanita’s dilemma which does not threaten or test her ingrained beliefs. She can seek out prospective employees whose expectations are higher to begin with; those who have perhaps had a taste of higher earnings and what they can provide, or have achieved advanced education, if only a high school diploma which has lead them to a career path (una carrera). Juanita then begins with the knowledge or at least an expectation that the change in hiring will bear fruit. But that might entail going as far as paying her receptionists 200 pesos a day.
Can Juanita afford to pay her daytime and evening receptionists, Alma and Rosita, almost double? And why would she? After all, reception is a non-management position. This leads us to the second prong of the equation, that is, affordability and making a difference. We must look at the question in terms of higher profit potential, and peace of mind and its natural consequences. What then would be the implications for Juanita’s after-tax income, and more generally the quality of her life?
Juanita has eight rooms in her hotel. She would be increasing the pay of only two of three receptionists, on the basis that the all-night position might not yield results with a higher level of pay. It would therefore cost an additional 170 pesos per day to raise each of the two shifts to 200 pesos, plus other sundry expenses, so call it 200 pesos more per day. Juanita could make it up by raising room costs by 25 pesos, or roughly 4%. Or she could absorb the extra cost and see if it makes a difference. Let’s assume, although I’m not certain we should, that vacationing couples would resist paying 625 instead of 600 pesos per night, or 12.5 pesos more per person.
How would Alma react to having a 200 peso per day job, rather than working for 115? Her sense of self-worth would receive a shot in the arm; her name would be on her uniform; she would be more likely to stay at work after her shift has ended, without resentment, if for example Rosita arrived late on occasion; she would less likely be constantly looking for a job paying 10 pesos more a day; and she would feel that her education has paid off. Juanita might even give her the responsibility of making bank deposits if she proved completely trustworthy and loyal. Without a doubt she would be more likely to provide hotel patrons with “value-added service” … and with a smile, literally.
Alma and Rosita would remember patrons returning the next year, and the guests would surely recall them, because of their friendly faces and the service they provided. There’s nothing like returning to a hotel and seeing familiar faces. It breeds comfort … more so than a soft duvet. Both Mexican nationals and foreigners tend to be family oriented. They would perceive the hotel and its staff as a family, again leading to familiarity and comfort. They will be more likely than not return to the same establishment next year, and recommend it to friends.
Over time the nature of and expenditure for advertising can be adjusted, from paying out higher costs every year for the same and new promotional techniques, to the more economical promotion of emailing those on the client list from time to time to keep the hotel’s name in their minds. The hotel will be able to use the written testimonials of its guests, which will undoubtedly be received, instead of pay its marketing specialist to come up with catchy slogans of questionable value (at least that’s the Oaxacan norm).
Staff staying with Juanita for longer stretches of time means Juanita spends less time interviewing and hiring and firing, and less money advertising for positions. Juanita can spend more time with her family, or find more productive ways to keep business growing, instead of constantly being on the defensive by having to staff, yet again. She will no longer have to constantly be looking over the shoulders of Alma and Rosita, since she’ll know that they’re doing their jobs, because they’re happy to be doing them; Alma and Rosita will have begun to appreciate the monetary and non-monetary rewards resulting from meeting and exceeding expectations of management. It takes time and energy to always be watching over the work that staff is doing to ensure that it’s being done competently. If paying higher wages relieves Juanita of that responsibility, she will then have more opportunities to perform other tasks more directly relating to marketing and making money.
Once the level of trust has been established, Juanita can take the odd day off, knowing that Rosita will be able to resolve small problems on her own such as calling the plumber, the electrician, the water delivery man and the municipality. She’ll have the confidence and the sense to call Juanita when she cannot resolve problems, not feeling as though she’s been a failure for not dealing with issues on her own. Juanita won’t be constantly calling the hotel to make sure everything is running well.
Rosita will sense her value to Juanita, and anticipate regular raises, which will keep her content. And Juanita will hopefully have the sense to not wait until Rosita takes the bold step of asking.
Juanita will be able to take off not only the odd day, but actual vacations.
Reception is the most important staff position a hotel can have. It provides the first impression that a prospective patron will receive about Juanita’s hotel, whether the inquiry is by phone, or in person. Unless Juanita wants to be the one answering the phone and selling her hotel to off-the-street tourists, she’d better begin paying Alma and Rosita the value of their positions … or they’ll be gone, and Juanita will in fact be working 24/7.
Once her staff is patterned to provide value-added service, Juanita can raise her prices. No one will begrudge that extra 25, or better yet 125 pesos per night. After all, Alma and Rosita will be doing the selling for her.
Next adjustment? Think of the level of responsibility entrusted to chambermaids, and how much they are being paid. They ensure patrons’ valuables do not disappear, and the cleanliness of surroundings and level of comfort for a full one-third of the time travelers are on vacation!
Alvin Starkman has a Masters in Social Anthropology from Toronto’s York University, and a law degree from Osgoode Hall Law School. Alvin ceased practicing law in 2004, when he and his wife Arlene began living permanently in Oaxaca. Since that time, Alvin has written over 90 articles about life and cultural traditions in and around Oaxaca and its central valleys, for newspapers, magazines, and websites promoting tourism in Mexico and abroad. Alvin and Arlene operate Casa Machaya Oaxaca Bed & Breakfast (http://www.oaxacadream.com).
Am I paying my staff too much?
Alvin Starkman, M.A., LL.B.
It’s now two months before Day of The Dead in Oaxaca, and Juanita’s hotel still has rooms available for one of the busiest times of the year. The City of Oaxaca, a UNESCO World Heritage Site in Southern Mexico, relies on tourism for its very existence. Juanita is trying to figure out where she went wrong, realizing that Día de Los Muertos should top up her bank balance, just like the Christmas season, the summertime festival weeks known as Guelaguetza, and Easter.
Time and again Juanita asks herself, “Am I paying my staff too much?” Merely asking the question reveals why her bottom line is so low.
Oaxacan business owners with non-unionized staff who either think they’re overpaying, or provide a level of remuneration only because they believe they can’t get away with paying any less, will never maximize their profit potential. Attitude towards employees, and failing to recognize the importance and potential value of each and every staff position, affects how business fares.
Here in Oaxaca it’s a well-known fact that non-Mexicans (extranjeros) pay their help more (i.e. “too much”) money relative to Oaxacan employers. Until recently I had assumed that the reason was simply that Americans and Europeans resident in Oaxaca come from wealthy societies in which entrepreneurs can afford to pay large salaries, and although now living and working here in Oaxaca they still think and operate in American Dollars --- not understanding or accepting Oaxacan economics. But now, armed with data concerning the salaries customarily paid to employees in diverse positions of trust, authority and responsibility, and having conducted a rudimentary analysis of comparative levels of success between foreign and domestically owned businesses, it’s clear that the differences are rather simple, and relate to three fundamentals: 1) business acumen; 2) attitudes towards leisure time and piece of mind, and; 3) willingness to acknowledge that “you get what you pay for.” Each is integrally related to the other.
Juanita (names have been changed) pays her receptionists 115 pesos (roughly $9 USD) per day, and her chambermaids 100. Mary, an American who owns a bed and breakfast, never pays staff less than 150 pesos per day. The American travels outside of the country to promote and conduct business, and to vacation, on a regular basis. The Oaxacan rarely leaves the city or takes a vacation of longer than three days, and does so only when there are virtually no guests in the hotel. The Amercan says that she knows she pays her staff too much relative to Oaxacan salaries, but when she stops to think about what “overpaying” enables her to do, and how her business fares, acknowledges that perhaps she is not being unreasonably generous with her staff.
Why is Mary’s B & B one of the top-ranked tourist accommodations on a major international travel website, while Juanita’s is in the doldrums? Juanita says she’s paying her staff double minimum wage, and could pay even less if she really wanted to. Mary has had the same staff for several years, and even acknowledges their birthdays. Juanita has high employee turnover.
Juanita’s financial outlay is significant. She spends an inordinate amount of effort making her hotel look pretty, and money promoting it. Her hotel is in a high rent district in the downtown sector of the city. It should be packed day in and day out given its location and the expenditure to maintain it. Yet two months prior to Day of The Dead, she is one of only two lodgings in her association with rooms still available for the high season. Funds are earmarked for the wrong places; prioritization is skewed.
Juanita’s retort strikes a familiar chord, and at first instance might seem rational: “It wouldn’t matter if I paid my receptionist 30, 40, or even 50% more,” she laments. “She wouldn’t work any harder or be more dedicated, because more money doesn’t motivate them; that’s just the way they are. And besides, I can’t afford any more, with all my other expenses, and business generally down.”
Juanita’s response can be summarized as twofold: paying more won’t yield results, and; she can’t afford it anyway. Dealing with the first, Juanita has to step out of the box, out of the colonial way of thinking. She sees “the culture of poverty,” insofar as it relates to native workers from small towns and villages, not allowing employees to break from a fatalistic pre-determined mold, because that’s just the way they are. More money won’t make a difference to their lot in life and therefore won’t motivate.
It does not behoove me to tell Juanita she’s wrong, and it is beyond the scope of this essay to even try to illustrate that she is, which may or may not be the case. But there’s another solution to Juanita’s dilemma which does not threaten or test her ingrained beliefs. She can seek out prospective employees whose expectations are higher to begin with; those who have perhaps had a taste of higher earnings and what they can provide, or have achieved advanced education, if only a high school diploma which has lead them to a career path (una carrera). Juanita then begins with the knowledge or at least an expectation that the change in hiring will bear fruit. But that might entail going as far as paying her receptionists 200 pesos a day.
Can Juanita afford to pay her daytime and evening receptionists, Alma and Rosita, almost double? And why would she? After all, reception is a non-management position. This leads us to the second prong of the equation, that is, affordability and making a difference. We must look at the question in terms of higher profit potential, and peace of mind and its natural consequences. What then would be the implications for Juanita’s after-tax income, and more generally the quality of her life?
Juanita has eight rooms in her hotel. She would be increasing the pay of only two of three receptionists, on the basis that the all-night position might not yield results with a higher level of pay. It would therefore cost an additional 170 pesos per day to raise each of the two shifts to 200 pesos, plus other sundry expenses, so call it 200 pesos more per day. Juanita could make it up by raising room costs by 25 pesos, or roughly 4%. Or she could absorb the extra cost and see if it makes a difference. Let’s assume, although I’m not certain we should, that vacationing couples would resist paying 625 instead of 600 pesos per night, or 12.5 pesos more per person.
How would Alma react to having a 200 peso per day job, rather than working for 115? Her sense of self-worth would receive a shot in the arm; her name would be on her uniform; she would be more likely to stay at work after her shift has ended, without resentment, if for example Rosita arrived late on occasion; she would less likely be constantly looking for a job paying 10 pesos more a day; and she would feel that her education has paid off. Juanita might even give her the responsibility of making bank deposits if she proved completely trustworthy and loyal. Without a doubt she would be more likely to provide hotel patrons with “value-added service” … and with a smile, literally.
Alma and Rosita would remember patrons returning the next year, and the guests would surely recall them, because of their friendly faces and the service they provided. There’s nothing like returning to a hotel and seeing familiar faces. It breeds comfort … more so than a soft duvet. Both Mexican nationals and foreigners tend to be family oriented. They would perceive the hotel and its staff as a family, again leading to familiarity and comfort. They will be more likely than not return to the same establishment next year, and recommend it to friends.
Over time the nature of and expenditure for advertising can be adjusted, from paying out higher costs every year for the same and new promotional techniques, to the more economical promotion of emailing those on the client list from time to time to keep the hotel’s name in their minds. The hotel will be able to use the written testimonials of its guests, which will undoubtedly be received, instead of pay its marketing specialist to come up with catchy slogans of questionable value (at least that’s the Oaxacan norm).
Staff staying with Juanita for longer stretches of time means Juanita spends less time interviewing and hiring and firing, and less money advertising for positions. Juanita can spend more time with her family, or find more productive ways to keep business growing, instead of constantly being on the defensive by having to staff, yet again. She will no longer have to constantly be looking over the shoulders of Alma and Rosita, since she’ll know that they’re doing their jobs, because they’re happy to be doing them; Alma and Rosita will have begun to appreciate the monetary and non-monetary rewards resulting from meeting and exceeding expectations of management. It takes time and energy to always be watching over the work that staff is doing to ensure that it’s being done competently. If paying higher wages relieves Juanita of that responsibility, she will then have more opportunities to perform other tasks more directly relating to marketing and making money.
Once the level of trust has been established, Juanita can take the odd day off, knowing that Rosita will be able to resolve small problems on her own such as calling the plumber, the electrician, the water delivery man and the municipality. She’ll have the confidence and the sense to call Juanita when she cannot resolve problems, not feeling as though she’s been a failure for not dealing with issues on her own. Juanita won’t be constantly calling the hotel to make sure everything is running well.
Rosita will sense her value to Juanita, and anticipate regular raises, which will keep her content. And Juanita will hopefully have the sense to not wait until Rosita takes the bold step of asking.
Juanita will be able to take off not only the odd day, but actual vacations.
Reception is the most important staff position a hotel can have. It provides the first impression that a prospective patron will receive about Juanita’s hotel, whether the inquiry is by phone, or in person. Unless Juanita wants to be the one answering the phone and selling her hotel to off-the-street tourists, she’d better begin paying Alma and Rosita the value of their positions … or they’ll be gone, and Juanita will in fact be working 24/7.
Once her staff is patterned to provide value-added service, Juanita can raise her prices. No one will begrudge that extra 25, or better yet 125 pesos per night. After all, Alma and Rosita will be doing the selling for her.
Next adjustment? Think of the level of responsibility entrusted to chambermaids, and how much they are being paid. They ensure patrons’ valuables do not disappear, and the cleanliness of surroundings and level of comfort for a full one-third of the time travelers are on vacation!
Alvin Starkman has a Masters in Social Anthropology from Toronto’s York University, and a law degree from Osgoode Hall Law School. Alvin ceased practicing law in 2004, when he and his wife Arlene began living permanently in Oaxaca. Since that time, Alvin has written over 90 articles about life and cultural traditions in and around Oaxaca and its central valleys, for newspapers, magazines, and websites promoting tourism in Mexico and abroad. Alvin and Arlene operate Casa Machaya Oaxaca Bed & Breakfast (http://www.oaxacadream.com).
10/05/2009
Oaxacan chef inadvertently sets Toronto ablaze, steals limelight from Clinton, Clooney
Steals limelight from Clinton, Clooney …
Oaxacan chef inadvertently sets City of Toronto ablaze
Alvin Starkman, M.A., LL.B.
All Pilar Cabrera really wanted was to do a little promotion for Oaxaca, and make a few Canadian dollars during one of the slowest months of the year for tourism. But by the end of Chef Pilar’s four-week September visit to Toronto, she had set both local and national media on fire – so much so that coverage of her trip resulted in every restaurant in which she was scheduled to cook being sold out; she had to turn down last minute requests to work her culinary magic at additional private dinner parties and cooking schools.
The stellar reviews throughout the trip kept chatter alive; Sheryl Kirby of Women’s Culinary Network described her cena at Frida, a highly praised Mexican restaurant, as “one of the best meals of my life,” then continued to note “the sheer brilliance of Cabrera’s 30-ingredient authentic Oaxacan mole.”
Like many Oaxacan women, Pilar learned to cook from her mother and grandmother. But when the time came to think in earnest of her future, her path diverged from that of others. While living in Mexico City she earned a degree in food sciences and nutrition, and thereafter worked in research and development for food giant Herdez, McCormick. She then returned to Oaxaca to open Restaurante La Olla, and Casa de los Sabores Cooking School.
Pilar has been featured in publications such as Bon Appetit and The New York Times, and lauded by the likes of acclaimed restauranteur Rick Bayless who regularly brings his staff to Oaxaca where they take her classes. Over the years she had been offered and then rejected opportunities to teach and cook outside of Mexico. It was not until Spring, 2009, at the encouragement of this writer, and with the invaluable media and culinary industry contacts of Toronto food researcher and writer Mary Luz Mejia of Sizzling Communications, that the Toronto tour became a reality.
A planned two week tour rapidly turned into three, as eateries and a prominent cooking school expressed immediate interest. The trip was extended to four weeks when the Mexican Consulate to Canada learned of Pilar’s trip and asked her to represent Mexico at the Toronto Harbourfront Centre International Hot & Spicy Food Festival – Pilar was a judge at the Emerging Chefs competition, and was pitted against Louisiana in the Iron Chef main event.
Throughout September, the diversity of plates Pilar prepared was matched only by the broad range of restaurants and teaching venues in which she plied her trade – as honored guest chef, and as instructor. At the high end was Frank, the 120-seat dining room of the Art Gallery of Ontario, with a menu which included tiger shrimp al mezcal skewered with mango, fresh Ontario sweet corn bisque garnished with pomegranate, and chicken breast stuffed with mushrooms and poblano chile atop a bed of tomatillo salsa. Pilar’s opportunity to showcase Oaxacan botanas came near the end of the trip at Torito Tapas Bar where a packed house munched on tostaditas with habanera-marinated red snapper and with octopus a la hierba santa, red mole tacos, mushroom and epazote quesadillas, bacon and cheese memelitas, with pastel de tres leches at the finish.
Pilar spent two days at Nella Cucina Culinary School. Managing Director Joanne Lusted lauded Pilar and Ms. Mejia for somehow managing to sell out sessions totaling 80 students, where prominent Canadian chefs had failed to attract such numbers. And at The Chef’s House, the restaurant and hands-on teaching facility of George Brown College School of Culinary Arts, Pilar taught both chefs and students, ultimately providing totally enthralled foodies with the likes of potato and chorizo molotitos, sopa Tehuana, pescado Istmeño, flan de vainilla with seasonal berry coulis, and café de olla.
Media activity began prior to Pilar’s arrival, with The Toronto Sun, in an upcoming events column noting Pilar’s tour ahead of President Bill Clinton’s much-touted talk to Torontonians. The day after her arrival she was live on National TV, showcasing five dishes she had prepared that morning, as well as Herencia del Mezcalero mezcal. September 11th she was in the test kitchen of The Toronto Star preparing moles – verde and amarillo.
“I was nervous about being able to source the ingredients I would need, in Toronto, especially for dishes like verde,” Pilar admits. “I knew the newspaper would not publish a recipe unless all ingredients could be purchased locally. I was amazed at how many of our herbs, chiles and other foodstuffs are found in Kensington Market.” And so was The Star; on the 16th it ran almost a full page about Pilar in its Entertainment & Living section. While the photograph of George Clooney promoting the Toronto International Film Festival was a bit larger than that of Pilar, Jennifer Bain, The Star’s food editor, was allotted much more space to write about our own Oaxacan star.
Other media coverage included several food blog entries, articles in magazines such as City Bites, and a wonderful little piece about Pilar’s take on huitlacoche, aired nationwide on Canadian Broadcasting Corporation’s Here and Now.
All told, Pilar judged, competed, cooked and instructed 11 full days and evenings, in addition to at least an equal number preparing – sourcing ingredients and meeting with administrators and chefs.
The epic journey did allow a few days for visits to several museums; Niagara Falls, Niagara-on-the-Lake and tastings at wineries; a cottage on Lake Simcoe for relaxation; and even Casino Rama (“not for me, but it was interesting to see Las Vegas – style gambling”). And there was an opportunity to sample ethnic eateries including Thai, Sechwan, Ethiopian, Indian, Jewish and Greek; as well as indulge at restaurants ranging from the finest of French (Auberge du Pommier) to neighborhood jazz and wings bistros.
“The warmth with which I was welcomed into the kitchens of other chefs to ask and learn, and the appreciation shown for the little I was able to impart to Torontonians about Oaxaca, was truly remarkable. There is so much the people of Toronto and Oaxaca can learn from each other, relating to gastronomy and other aspects of culture and tourism.”
Indeed. The tour has ignited interest in future tours by Pilar as well as other Oaxacans. With the continued support of the Consulado General de México, and the willingness of the Mexico and Toronto Tourism boards to jump on the bandwagon, perhaps the State of Oaxaca will see the benefit in providing more support and encouragement for its own to travel abroad, for the benefit of all Oaxacans.
Alvin Starkman has a Masters in Social Anthropology from Toronto’s York University, and a law degree from Osgoode Hall Law School. Alvin ceased practicing law in 2004, when he and his wife Arlene began living permanently in Oaxaca. Since that time, Alvin has written over 90 articles about life and cultural traditions in and around Oaxaca and its central valleys, for newspapers, magazines, and websites promoting tourism in Mexico and abroad. Alvin and Arlene operate Casa Machaya Oaxaca Bed & Breakfast (http://www.oaxacadream.com).
Oaxacan chef inadvertently sets City of Toronto ablaze
Alvin Starkman, M.A., LL.B.
All Pilar Cabrera really wanted was to do a little promotion for Oaxaca, and make a few Canadian dollars during one of the slowest months of the year for tourism. But by the end of Chef Pilar’s four-week September visit to Toronto, she had set both local and national media on fire – so much so that coverage of her trip resulted in every restaurant in which she was scheduled to cook being sold out; she had to turn down last minute requests to work her culinary magic at additional private dinner parties and cooking schools.
The stellar reviews throughout the trip kept chatter alive; Sheryl Kirby of Women’s Culinary Network described her cena at Frida, a highly praised Mexican restaurant, as “one of the best meals of my life,” then continued to note “the sheer brilliance of Cabrera’s 30-ingredient authentic Oaxacan mole.”
Like many Oaxacan women, Pilar learned to cook from her mother and grandmother. But when the time came to think in earnest of her future, her path diverged from that of others. While living in Mexico City she earned a degree in food sciences and nutrition, and thereafter worked in research and development for food giant Herdez, McCormick. She then returned to Oaxaca to open Restaurante La Olla, and Casa de los Sabores Cooking School.
Pilar has been featured in publications such as Bon Appetit and The New York Times, and lauded by the likes of acclaimed restauranteur Rick Bayless who regularly brings his staff to Oaxaca where they take her classes. Over the years she had been offered and then rejected opportunities to teach and cook outside of Mexico. It was not until Spring, 2009, at the encouragement of this writer, and with the invaluable media and culinary industry contacts of Toronto food researcher and writer Mary Luz Mejia of Sizzling Communications, that the Toronto tour became a reality.
A planned two week tour rapidly turned into three, as eateries and a prominent cooking school expressed immediate interest. The trip was extended to four weeks when the Mexican Consulate to Canada learned of Pilar’s trip and asked her to represent Mexico at the Toronto Harbourfront Centre International Hot & Spicy Food Festival – Pilar was a judge at the Emerging Chefs competition, and was pitted against Louisiana in the Iron Chef main event.
Throughout September, the diversity of plates Pilar prepared was matched only by the broad range of restaurants and teaching venues in which she plied her trade – as honored guest chef, and as instructor. At the high end was Frank, the 120-seat dining room of the Art Gallery of Ontario, with a menu which included tiger shrimp al mezcal skewered with mango, fresh Ontario sweet corn bisque garnished with pomegranate, and chicken breast stuffed with mushrooms and poblano chile atop a bed of tomatillo salsa. Pilar’s opportunity to showcase Oaxacan botanas came near the end of the trip at Torito Tapas Bar where a packed house munched on tostaditas with habanera-marinated red snapper and with octopus a la hierba santa, red mole tacos, mushroom and epazote quesadillas, bacon and cheese memelitas, with pastel de tres leches at the finish.
Pilar spent two days at Nella Cucina Culinary School. Managing Director Joanne Lusted lauded Pilar and Ms. Mejia for somehow managing to sell out sessions totaling 80 students, where prominent Canadian chefs had failed to attract such numbers. And at The Chef’s House, the restaurant and hands-on teaching facility of George Brown College School of Culinary Arts, Pilar taught both chefs and students, ultimately providing totally enthralled foodies with the likes of potato and chorizo molotitos, sopa Tehuana, pescado Istmeño, flan de vainilla with seasonal berry coulis, and café de olla.
Media activity began prior to Pilar’s arrival, with The Toronto Sun, in an upcoming events column noting Pilar’s tour ahead of President Bill Clinton’s much-touted talk to Torontonians. The day after her arrival she was live on National TV, showcasing five dishes she had prepared that morning, as well as Herencia del Mezcalero mezcal. September 11th she was in the test kitchen of The Toronto Star preparing moles – verde and amarillo.
“I was nervous about being able to source the ingredients I would need, in Toronto, especially for dishes like verde,” Pilar admits. “I knew the newspaper would not publish a recipe unless all ingredients could be purchased locally. I was amazed at how many of our herbs, chiles and other foodstuffs are found in Kensington Market.” And so was The Star; on the 16th it ran almost a full page about Pilar in its Entertainment & Living section. While the photograph of George Clooney promoting the Toronto International Film Festival was a bit larger than that of Pilar, Jennifer Bain, The Star’s food editor, was allotted much more space to write about our own Oaxacan star.
Other media coverage included several food blog entries, articles in magazines such as City Bites, and a wonderful little piece about Pilar’s take on huitlacoche, aired nationwide on Canadian Broadcasting Corporation’s Here and Now.
All told, Pilar judged, competed, cooked and instructed 11 full days and evenings, in addition to at least an equal number preparing – sourcing ingredients and meeting with administrators and chefs.
The epic journey did allow a few days for visits to several museums; Niagara Falls, Niagara-on-the-Lake and tastings at wineries; a cottage on Lake Simcoe for relaxation; and even Casino Rama (“not for me, but it was interesting to see Las Vegas – style gambling”). And there was an opportunity to sample ethnic eateries including Thai, Sechwan, Ethiopian, Indian, Jewish and Greek; as well as indulge at restaurants ranging from the finest of French (Auberge du Pommier) to neighborhood jazz and wings bistros.
“The warmth with which I was welcomed into the kitchens of other chefs to ask and learn, and the appreciation shown for the little I was able to impart to Torontonians about Oaxaca, was truly remarkable. There is so much the people of Toronto and Oaxaca can learn from each other, relating to gastronomy and other aspects of culture and tourism.”
Indeed. The tour has ignited interest in future tours by Pilar as well as other Oaxacans. With the continued support of the Consulado General de México, and the willingness of the Mexico and Toronto Tourism boards to jump on the bandwagon, perhaps the State of Oaxaca will see the benefit in providing more support and encouragement for its own to travel abroad, for the benefit of all Oaxacans.
Alvin Starkman has a Masters in Social Anthropology from Toronto’s York University, and a law degree from Osgoode Hall Law School. Alvin ceased practicing law in 2004, when he and his wife Arlene began living permanently in Oaxaca. Since that time, Alvin has written over 90 articles about life and cultural traditions in and around Oaxaca and its central valleys, for newspapers, magazines, and websites promoting tourism in Mexico and abroad. Alvin and Arlene operate Casa Machaya Oaxaca Bed & Breakfast (http://www.oaxacadream.com).
9/20/2009
Toronto Culinary Tour of Chef Pilar Cabrera under way
The month-long culinary tour by Chef Pilar Cabrera in Toronto, showcasing Oaxacan cuisine, is well under way. After both judging and competing in the Toronto Harbourfront Centre International Hot & Spicy Food Festival, Chef Pilar has now begun working her magic at select venues. Tonight marks her second evening working at private dinner parties in the Toronto area. And she has already appeared at Frida Restaurant, at an evening entitled A Taste of Oaxaca, featuring Chef Pilar as well as Chef Jose Hadad, with Master Sommelier John Szabo. It was an artistic celebration of the Mexican Independence Day, on September 16:
Course 1 - Chef Pilar:
Crema de Chile Poblano, with fresh Ontario corn, zuchini and woodland mushrooms, paired with NV Cava Cordonui, Seleccion Raventos Reserva, Spain
Course 2 - Chef Jose:
Ensalada de Nopalitos; fresh nopal cactus, feta cheese, Ontario roma tomatoes and onions, with arbol chile vinaigrette, paired with 2007 Off Dry Reserve Riesling Henry of Pelham VQA Niagara, Ontario
Course 3 - Chef Pilar:
Brochetitas de Camaron, with a mango and chile salsa, paired with 2008 Gruner Veltliner Kies Vineyard, Kurt Angerer, Kamptal, Austria, or Mini Margarita de Mango
Course 4 - Chef Jose:
Tamal de Barbacoa de Cordero; steamed lamb tamal with Ontario spinach, tomato-morita sauce, Ontario Asparagus, paired with 2004 Tempramillo Crianza "Puerta de Alcala" Vinos Jeromin, Madrid, Spain
Course 5 - Chef Pilar:
Medallon de Pavo Relleno; stuffed turkey medallion with plantain, served with Mole Negro and Mexican rice, paired with 2006 Petite Sirah, L.A. Cetto, Baja, Mexico, or Cerveza Negra Modelo.
Course 6 - Dessert Duo with Chefs Pilar and Jose:
Pay de Requeson con Salsa de Chocolate Oaxaqueno and Churros de la Esquina with fresh Ontario berries and warm goat's milk cajeta, paired with 2007 Late Harvest Riesling, Chateau des Charmes, VQA Niagara-on-the-Lake, Canada.
All remaining venues except one, are completely sold out for the month, and in fact Frank Resaurant at the Art Gallery of Ontario, overbooked by 20, in part due to the pairing of Chef Pilar's event with renowned Oaxacan artist Gabriela Campos.
There are a limited number of seats still available at Veritas Local Fare, on King Street East in Toronto, for September 23.
Alvin Starkman - Casa Machaya Oaxaca Bed & Breakfast
Course 1 - Chef Pilar:
Crema de Chile Poblano, with fresh Ontario corn, zuchini and woodland mushrooms, paired with NV Cava Cordonui, Seleccion Raventos Reserva, Spain
Course 2 - Chef Jose:
Ensalada de Nopalitos; fresh nopal cactus, feta cheese, Ontario roma tomatoes and onions, with arbol chile vinaigrette, paired with 2007 Off Dry Reserve Riesling Henry of Pelham VQA Niagara, Ontario
Course 3 - Chef Pilar:
Brochetitas de Camaron, with a mango and chile salsa, paired with 2008 Gruner Veltliner Kies Vineyard, Kurt Angerer, Kamptal, Austria, or Mini Margarita de Mango
Course 4 - Chef Jose:
Tamal de Barbacoa de Cordero; steamed lamb tamal with Ontario spinach, tomato-morita sauce, Ontario Asparagus, paired with 2004 Tempramillo Crianza "Puerta de Alcala" Vinos Jeromin, Madrid, Spain
Course 5 - Chef Pilar:
Medallon de Pavo Relleno; stuffed turkey medallion with plantain, served with Mole Negro and Mexican rice, paired with 2006 Petite Sirah, L.A. Cetto, Baja, Mexico, or Cerveza Negra Modelo.
Course 6 - Dessert Duo with Chefs Pilar and Jose:
Pay de Requeson con Salsa de Chocolate Oaxaqueno and Churros de la Esquina with fresh Ontario berries and warm goat's milk cajeta, paired with 2007 Late Harvest Riesling, Chateau des Charmes, VQA Niagara-on-the-Lake, Canada.
All remaining venues except one, are completely sold out for the month, and in fact Frank Resaurant at the Art Gallery of Ontario, overbooked by 20, in part due to the pairing of Chef Pilar's event with renowned Oaxacan artist Gabriela Campos.
There are a limited number of seats still available at Veritas Local Fare, on King Street East in Toronto, for September 23.
Alvin Starkman - Casa Machaya Oaxaca Bed & Breakfast
8/24/2009
Oaxacan invited to Iron Chef Canada competition
The Government of Mexico has partnered with Toronto's Harbourfront Centre Hot & Spicy Food Festival, to invite Oaxacan chef Pilar Cabrera to compete in its Iron Chef competition. The festival, which runs from September 4th through the 7th, will feature Chef Cabrera competing against a chef from Louisiana, USA, in a semi-final scheduled for Sunday September 6 at 4:30 pm. The winner of this and the other semi-final will compete for the Iron Chef title the following day. This appearance for Chef Cabrera adds to the earlier noted dates of her Toronto culinary tour. The full calendar of events, with websites in most cases indicating chef Cabrera's attendance, now reads as follows (not including private dinner party engagements:
Harbourfront Centre Hot & Spicy Food Festival, Iron Chef Competition, Sept 6
http://www.harbourfrontcentre.com/worldroutes/festivals.cfm?id=1284
Frida Restaurant, Sept 16
http://fridarestaurant.ca/events.html
Frank Restaurant, Art Gallery of Ontario, Sept 21
http://www.ago.net/latin-inspirations
Nella Cucina Cooking School, Sept 22 & 24
http://www.nellacucina.ca/cucina/event.html?Year=2009&Month=9
Veritas Local Fare, Sept 23
http://localfare.ca/
Torito Tapas Bar, Sept 28
http://www.toritorestaurant.com/index.php (not yet noted on website)
The Chef’s House, Sept 29
http://www.thechefshouse.com (not yet noted on website)
Alvin Starkman, Casa Machaya Oaxaca Bed & Breakfast
Harbourfront Centre Hot & Spicy Food Festival, Iron Chef Competition, Sept 6
http://www.harbourfrontcentre.com/worldroutes/festivals.cfm?id=1284
Frida Restaurant, Sept 16
http://fridarestaurant.ca/events.html
Frank Restaurant, Art Gallery of Ontario, Sept 21
http://www.ago.net/latin-inspirations
Nella Cucina Cooking School, Sept 22 & 24
http://www.nellacucina.ca/cucina/event.html?Year=2009&Month=9
Veritas Local Fare, Sept 23
http://localfare.ca/
Torito Tapas Bar, Sept 28
http://www.toritorestaurant.com/index.php (not yet noted on website)
The Chef’s House, Sept 29
http://www.thechefshouse.com (not yet noted on website)
Alvin Starkman, Casa Machaya Oaxaca Bed & Breakfast
8/15/2009
Canadian artist Fiona Dunnett: Images of self and death in Oaxaca are muted with comic style and collage
Alvin Starkman, M.A., LL.B.
Comic strips, a young Canadian’s self portraits, and photographs of violent deaths in a Mexican daily newspaper, make strange bedfellows. But they constitute a major part of the driving force for the creative energies of Fiona Dunnett.
Ottawa-born Dunnett has been living in Oaxaca since 2005. As in the case of so many artists who now reside in this city in southern Mexico, her arrival has been rather circuitous. And like so many others, her artistic talent has been influenced at virtually every stop along the way. At age five she left Canada for Bangladesh with her Canadian diplomat mother and the rest of her family. After three years it was back to Ottawa, and then a further three years in Zimbabwe.
“When I left Zimbabwe I felt close to South Africa. I took a course in stone sculpture while there, so yes, I suppose living in Zimbabwe has had somewhat of an influence on what I do today,” she surmises. But it was her upper level academic training, first at the Canterbury School of Arts, followed by British Columbia’s University of Victoria from which she graduated with an Hons. B.A. in Fine Arts, which exposed her to the personages who have impacted her creativity the most.
“I’ve had a strong interest in the work of Gustav Klimt [1862 – 1918],” Dunnett reveals. The Austrian symbolist painter was one of the most prominent members of the Vienna Art Nouveau movement, yet a controversial figure in his time, criticized for his works being too sensual and erotic. She continues: “But it’s Lichtenstein whose art I’ve actually made more of a conscious effort to respect and carry forward, imprinting it with a bit of my own personality and life experiences.”
Roy Fox Lichtenstein [1923 – 1997] was a prominent American pop artist, whose work was heavily influenced by both popular advertising and the comic book style. The latter clearly shines through in Dunnett’s more recent works, and in an earlier piece which graces a wall in her home in Oaxaca’s Xochimilco neighborhood which she shares with her boyfriend and three others: “That one’s based on a dream I had, certainly with overt comic book imagery; in the particular dream there was a calenda (parade), with bodies being dragged through the streets. I once did a series based on my dreams. I dyed the red sky forming part of the background of this canvas with cochineal [the minute insect with naturally produces carminic acid, and was an important export industry for Oaxaca during colonial times].”
Dunnett is much too modest. Since moving to Oaxaca there’s no doubt that she’s put her own mark on the comic style, with her un-daunting desire to learn, and innovate. The geographical, cultural and political environment in which she lives provides her with diverse opportunities for artistic inspiration. She attended a workshop to learn about the use of natural dyes such as flowers, plants and of course cochineal, at the educational and research facility known as Centro de Difusión de la Grana Cochinilla Tlapanochestli. “For quite some time I’d been thinking about using natural dyes in my work, but it wasn’t until a couple of years ago that I realized that here in Oaxaca [actually a few kilometers out of the city, in Santa María Coyotepec] I had the opportunity to learn about their use from an expert, Manuel Loera Fernández, the chemist at Tlapanochestli. There’s just so much artistic stimulation in Oaxaca that it’s hard to resist taking advantage of everything available.”
Dunnett has also participated in more traditional hands-on seminars, at the well-known Graphic Arts Institute of Oaxaca (IAGO) and at a couple of other institutes in the city. Towards the other end of the spectrum, she credits two local graffiti stencil art groups with providing her with additional inspiration, which becomes apparent after an examination of her work.
“I began moving out of realism and into stylized, surreal works towards the end of my Canadian academic training. It was about the same time that I began working with mixed media, my strong preference at this stage of my development.” Coming to Oaxaca was perhaps the catalyst she required in order to begin more experimental work, within the context of an extremely encouraging environment.
Aside from a leaning towards the use of natural colors for backgrounds on her canvasses, one of the major identifying features of Dunnett’s work is her use of collage --- cut-outs from newspapers, magazines and comic books. Another is using photographs of her own head and face to provide the stimulus for her portrayal of expressions and poses she seeks to capture for each subject. Almost every head in every work is based on a self-photographic portrait:
“I started doing self-portraits when I began doing photography several years ago. Then when I moved into painting, I had this corpus of self-photos, so I was able to draw from them for my art. Although I wanted to shoot other people, I never felt at ease doing so. And though my boyfriend and I have been together for close to four years, I still don’t feel comfortable photographing even him. So it’s all me, perhaps because of being shy when it comes to shooting others. But that red one over there, textured with corn husks from tamales, it’s an experiment, using a face that’s not my own --- I think it’s best if I stick to my own face.”
Each face evokes different emotions, and images of self. “The faces make eye contact; viewers’ eyes move around each work and then return to the eyes and face,” she explains. It’s undeniable that Dunnett’s own pleasing facial features, and her comport, once transferred to canvas, play a significant role in directing the viewer. She has masterfully photographed her head and upper body at every angle and with a plethora of facial expressions for use in her work.
But there’s another reason we return to the images of Dunnett’s facial expressions: The torso and limbs of each primary subject portrayed is far too troubling --- each is a digitalized version of a photograph of a person who has died a violent death, usually in a traffic collision or as a consequence of domestic conflict, captured by Dunnett from both print and online versions of a Oaxacan daily, Noticias Voz e Imagen de Oaxaca. But in the artist herself, there is a sense of calm.
“I started using those photographs because they just began to jump out at me. You never see anything like it in Canada. In Oaxaca, it’s on the street corners and in the newsstands. Death here seems to be an everyday thing, and attitudes towards death are so different than from where you and I come from, not so hidden away.”
Dunnett stresses that her intention is not to invoke feelings of horror, nor reveal the gruesome. The facial expressions she initially captures with a lens, then transposes onto canvas with brush, lead us away. In the case of her work with a collaged iguana, it’s curiosity in her face, rather than demonic imagery of death, which draws one in.
The juxtaposition of death against the aesthetics of comic imagery is striking, almost as much as the multiplicity of presentations of Dunnett’s own self. It’s that combination which maintains the viewer’s awe of and transfixation upon her work. Perhaps Fiona Dunnett never should break out of her reticence about photographing the faces of others.
Alvin Starkman has a Masters in Social Anthropology from Toronto’s York University, and a law degree from Osgoode Hall Law School. Alvin ceased practicing law in 2004, when he and his wife Arlene began living permanently in Oaxaca. Since that time, Alvin has written over 90 articles about life and cultural traditions in and around Oaxaca and its central valleys, for newspapers, magazines, and websites promoting tourism in Mexico and abroad. Alvin and Arlene operate Casa Machaya Oaxaca Bed & Breakfast (http://www.oaxacadream.com).
Comic strips, a young Canadian’s self portraits, and photographs of violent deaths in a Mexican daily newspaper, make strange bedfellows. But they constitute a major part of the driving force for the creative energies of Fiona Dunnett.
Ottawa-born Dunnett has been living in Oaxaca since 2005. As in the case of so many artists who now reside in this city in southern Mexico, her arrival has been rather circuitous. And like so many others, her artistic talent has been influenced at virtually every stop along the way. At age five she left Canada for Bangladesh with her Canadian diplomat mother and the rest of her family. After three years it was back to Ottawa, and then a further three years in Zimbabwe.
“When I left Zimbabwe I felt close to South Africa. I took a course in stone sculpture while there, so yes, I suppose living in Zimbabwe has had somewhat of an influence on what I do today,” she surmises. But it was her upper level academic training, first at the Canterbury School of Arts, followed by British Columbia’s University of Victoria from which she graduated with an Hons. B.A. in Fine Arts, which exposed her to the personages who have impacted her creativity the most.
“I’ve had a strong interest in the work of Gustav Klimt [1862 – 1918],” Dunnett reveals. The Austrian symbolist painter was one of the most prominent members of the Vienna Art Nouveau movement, yet a controversial figure in his time, criticized for his works being too sensual and erotic. She continues: “But it’s Lichtenstein whose art I’ve actually made more of a conscious effort to respect and carry forward, imprinting it with a bit of my own personality and life experiences.”
Roy Fox Lichtenstein [1923 – 1997] was a prominent American pop artist, whose work was heavily influenced by both popular advertising and the comic book style. The latter clearly shines through in Dunnett’s more recent works, and in an earlier piece which graces a wall in her home in Oaxaca’s Xochimilco neighborhood which she shares with her boyfriend and three others: “That one’s based on a dream I had, certainly with overt comic book imagery; in the particular dream there was a calenda (parade), with bodies being dragged through the streets. I once did a series based on my dreams. I dyed the red sky forming part of the background of this canvas with cochineal [the minute insect with naturally produces carminic acid, and was an important export industry for Oaxaca during colonial times].”
Dunnett is much too modest. Since moving to Oaxaca there’s no doubt that she’s put her own mark on the comic style, with her un-daunting desire to learn, and innovate. The geographical, cultural and political environment in which she lives provides her with diverse opportunities for artistic inspiration. She attended a workshop to learn about the use of natural dyes such as flowers, plants and of course cochineal, at the educational and research facility known as Centro de Difusión de la Grana Cochinilla Tlapanochestli. “For quite some time I’d been thinking about using natural dyes in my work, but it wasn’t until a couple of years ago that I realized that here in Oaxaca [actually a few kilometers out of the city, in Santa María Coyotepec] I had the opportunity to learn about their use from an expert, Manuel Loera Fernández, the chemist at Tlapanochestli. There’s just so much artistic stimulation in Oaxaca that it’s hard to resist taking advantage of everything available.”
Dunnett has also participated in more traditional hands-on seminars, at the well-known Graphic Arts Institute of Oaxaca (IAGO) and at a couple of other institutes in the city. Towards the other end of the spectrum, she credits two local graffiti stencil art groups with providing her with additional inspiration, which becomes apparent after an examination of her work.
“I began moving out of realism and into stylized, surreal works towards the end of my Canadian academic training. It was about the same time that I began working with mixed media, my strong preference at this stage of my development.” Coming to Oaxaca was perhaps the catalyst she required in order to begin more experimental work, within the context of an extremely encouraging environment.
Aside from a leaning towards the use of natural colors for backgrounds on her canvasses, one of the major identifying features of Dunnett’s work is her use of collage --- cut-outs from newspapers, magazines and comic books. Another is using photographs of her own head and face to provide the stimulus for her portrayal of expressions and poses she seeks to capture for each subject. Almost every head in every work is based on a self-photographic portrait:
“I started doing self-portraits when I began doing photography several years ago. Then when I moved into painting, I had this corpus of self-photos, so I was able to draw from them for my art. Although I wanted to shoot other people, I never felt at ease doing so. And though my boyfriend and I have been together for close to four years, I still don’t feel comfortable photographing even him. So it’s all me, perhaps because of being shy when it comes to shooting others. But that red one over there, textured with corn husks from tamales, it’s an experiment, using a face that’s not my own --- I think it’s best if I stick to my own face.”
Each face evokes different emotions, and images of self. “The faces make eye contact; viewers’ eyes move around each work and then return to the eyes and face,” she explains. It’s undeniable that Dunnett’s own pleasing facial features, and her comport, once transferred to canvas, play a significant role in directing the viewer. She has masterfully photographed her head and upper body at every angle and with a plethora of facial expressions for use in her work.
But there’s another reason we return to the images of Dunnett’s facial expressions: The torso and limbs of each primary subject portrayed is far too troubling --- each is a digitalized version of a photograph of a person who has died a violent death, usually in a traffic collision or as a consequence of domestic conflict, captured by Dunnett from both print and online versions of a Oaxacan daily, Noticias Voz e Imagen de Oaxaca. But in the artist herself, there is a sense of calm.
“I started using those photographs because they just began to jump out at me. You never see anything like it in Canada. In Oaxaca, it’s on the street corners and in the newsstands. Death here seems to be an everyday thing, and attitudes towards death are so different than from where you and I come from, not so hidden away.”
Dunnett stresses that her intention is not to invoke feelings of horror, nor reveal the gruesome. The facial expressions she initially captures with a lens, then transposes onto canvas with brush, lead us away. In the case of her work with a collaged iguana, it’s curiosity in her face, rather than demonic imagery of death, which draws one in.
The juxtaposition of death against the aesthetics of comic imagery is striking, almost as much as the multiplicity of presentations of Dunnett’s own self. It’s that combination which maintains the viewer’s awe of and transfixation upon her work. Perhaps Fiona Dunnett never should break out of her reticence about photographing the faces of others.
Alvin Starkman has a Masters in Social Anthropology from Toronto’s York University, and a law degree from Osgoode Hall Law School. Alvin ceased practicing law in 2004, when he and his wife Arlene began living permanently in Oaxaca. Since that time, Alvin has written over 90 articles about life and cultural traditions in and around Oaxaca and its central valleys, for newspapers, magazines, and websites promoting tourism in Mexico and abroad. Alvin and Arlene operate Casa Machaya Oaxaca Bed & Breakfast (http://www.oaxacadream.com).
8/13/2009
September final itinerary for Oaxaca culinary month in Toronto
For those who reside in Southern Ontario or will be visiting Toronto, September offers a rare opportunity to indulge in authentic, Oaxacan food, prepared by one if the best in the business, native Oaxacan chef Pilar Cabrera.
Pilar Cabrera, owner of Casa de los Sabores Cooking School and Restaurante La Olla, will be in Toronto from September 10th through the 29th, as honoured guest chef at several Toronto restaurants; and teaching the art of Oaxacan gastronomy at a popular cooking school. And for a limited number of dates, Pilar will also be available for private dinner parties for those wishing to showcase the rich tradition of Oaxacan cuisine to friends and family in their own home. (Scroll down for details of an up-to-date schedule of dates and events).
Those who attend one of Pilar’s events will be able to participate in a raffle for a complimentary week’s accommodations in Oaxaca, to be awarded to two lucky couples.
For Americans and Canadians who have not had an opportunity to learn about Oaxaca’s rich culinary heritage by taking one of Pilar’s classes or dining at her restaurant, a brief biographical sketch is in order.
Pilar grew up in Oaxaca, enveloped by the state’s history of culinary diversity and unique ingredient and flavour combinations. She learned the basics and the cuisine’s subtleties from her mother and grandmother. After completing a food engineering and nutrition degree in Mexico City, she worked in research and development for the food giant Herdez-McCormick before returning to her true passion – cooking.
Pilar has found a growing fan base of intrigued foodies through her “House of Flavours” cooking school. As well, she has taught both novice and renowned chefs from around the globe. Well known American chef and owner of Chicago’s Frontera Grill, Rick Bayless, regularly brings his own staff as well as private groups of food aficionados to Oaxaca, where they dine at Pilar’s restaurant, and attend her classes – at his insistence. Chef Bayless recently had this to say about Pilar:
I would strongly urge anyone with an interest in Mexican food to take advantage of any opportunity to learn from and experience the Oaxacan cuisine of Pilar Cabrera. She is one of the greats!
And if that praise isn’t enough, both New York Times and Bon Appetit have echoed similar sentiments.
Pilar’s schedule of September attendances in Toronto, thus far, is as follows:
· Wednesday, September 16th at Frida (http://www.fridarestaurant.ca/index.html ) - arguably Toronto's best Mexican restaurant where Pilar will be cooking with the chef/owner of Frida- Jose Haddad. That will likely be a six-course dinner event- half the menu prepared by Pilar, half by Chef Jose;
· Sunday the 20th, Private Dinner Party;
· On the 21st of Sept., Pilar will be at the Art Gallery of Ontario’s Frank Restaurant, preparing a Prix Fixe Menu with the talented Chef Anne Yarymowich and her team. That evening will also feature Latin American/Mexican art for diners to enjoy. http://www.ago.net/frank-restaurant-contemporary-comfort-cuisine-toronto
(we’re hoping to get Mexican artist Gabriela Campos to participate);
· On the 22nd of September (Tuesday), Nella Cucina's Cooking School under culinary Director Joanne Lusted's guidance, is hosting Pilar for a cooking class. To order your spots on-line- go to: http://www.nellacucina.ca/cucina/event.html?Year=2009&Month=9 or feel free to call the school if you'd prefer. It will be an, interactive demo class where you'll learn how to make Oaxacan classics from Pilar herself and take home the recipes too;
· On the 23rd of September, Chef Pilar joins the Food Network Canada's Brad Long at VERITAS located on King Street East for a special multi-course, prix fixe meal. http://www.dine.to/profile_features.php?feature=website&id=3710 - the focus here will be on using as many local, seasonal and sustainable products from Ontario as possible, in keeping with Chef Long's philosophy;
· Nella Cucina’s Cooking School has reserved this date for members of the Women’s Culinary Network;
· The 28th of September- Pilar will prepare a Botanas-based menu for Torito Tapas Bar & Restaurant in Kensington Market. She'll join Torito´s talented team to bring Torontonians Mexico's version of tapas which are sure to please: http://www.toritotapasbar.com/ ;
· On the 29th, the culinary students and professional chefs of George Brown College's "The Chef's House" will host Pilar for her last guest cooking spot in Toronto. She'll craft a special menu prepared by her and the students for her farewell dinner to Toronto. http://www.thechefshouse.com/ .
Feel free to contact whichever venue interests you to ascertain hours of operation and further details. Alternatively you can contact Toronto food researcher, writer and TV producer, Mary Luz Mejia, who has been instrumental in orchestrating Pilar’s visit, at 416 -763-3455; or email, mluzy@hotmail.com.
This culinary tour is the first of hopefully several forays by Oaxacans who are at the pinnacle of their careers, into Canada. All proceeds from this series of events will go directly to Pilar. Proceeds of future tours, by others, will follow suit.
Alvin Starkman - Casa Machaya Oaxaca Bed & Breakfast
Pilar Cabrera, owner of Casa de los Sabores Cooking School and Restaurante La Olla, will be in Toronto from September 10th through the 29th, as honoured guest chef at several Toronto restaurants; and teaching the art of Oaxacan gastronomy at a popular cooking school. And for a limited number of dates, Pilar will also be available for private dinner parties for those wishing to showcase the rich tradition of Oaxacan cuisine to friends and family in their own home. (Scroll down for details of an up-to-date schedule of dates and events).
Those who attend one of Pilar’s events will be able to participate in a raffle for a complimentary week’s accommodations in Oaxaca, to be awarded to two lucky couples.
For Americans and Canadians who have not had an opportunity to learn about Oaxaca’s rich culinary heritage by taking one of Pilar’s classes or dining at her restaurant, a brief biographical sketch is in order.
Pilar grew up in Oaxaca, enveloped by the state’s history of culinary diversity and unique ingredient and flavour combinations. She learned the basics and the cuisine’s subtleties from her mother and grandmother. After completing a food engineering and nutrition degree in Mexico City, she worked in research and development for the food giant Herdez-McCormick before returning to her true passion – cooking.
Pilar has found a growing fan base of intrigued foodies through her “House of Flavours” cooking school. As well, she has taught both novice and renowned chefs from around the globe. Well known American chef and owner of Chicago’s Frontera Grill, Rick Bayless, regularly brings his own staff as well as private groups of food aficionados to Oaxaca, where they dine at Pilar’s restaurant, and attend her classes – at his insistence. Chef Bayless recently had this to say about Pilar:
I would strongly urge anyone with an interest in Mexican food to take advantage of any opportunity to learn from and experience the Oaxacan cuisine of Pilar Cabrera. She is one of the greats!
And if that praise isn’t enough, both New York Times and Bon Appetit have echoed similar sentiments.
Pilar’s schedule of September attendances in Toronto, thus far, is as follows:
· Wednesday, September 16th at Frida (http://www.fridarestaurant.ca/index.html ) - arguably Toronto's best Mexican restaurant where Pilar will be cooking with the chef/owner of Frida- Jose Haddad. That will likely be a six-course dinner event- half the menu prepared by Pilar, half by Chef Jose;
· Sunday the 20th, Private Dinner Party;
· On the 21st of Sept., Pilar will be at the Art Gallery of Ontario’s Frank Restaurant, preparing a Prix Fixe Menu with the talented Chef Anne Yarymowich and her team. That evening will also feature Latin American/Mexican art for diners to enjoy. http://www.ago.net/frank-restaurant-contemporary-comfort-cuisine-toronto
(we’re hoping to get Mexican artist Gabriela Campos to participate);
· On the 22nd of September (Tuesday), Nella Cucina's Cooking School under culinary Director Joanne Lusted's guidance, is hosting Pilar for a cooking class. To order your spots on-line- go to: http://www.nellacucina.ca/cucina/event.html?Year=2009&Month=9 or feel free to call the school if you'd prefer. It will be an, interactive demo class where you'll learn how to make Oaxacan classics from Pilar herself and take home the recipes too;
· On the 23rd of September, Chef Pilar joins the Food Network Canada's Brad Long at VERITAS located on King Street East for a special multi-course, prix fixe meal. http://www.dine.to/profile_features.php?feature=website&id=3710 - the focus here will be on using as many local, seasonal and sustainable products from Ontario as possible, in keeping with Chef Long's philosophy;
· Nella Cucina’s Cooking School has reserved this date for members of the Women’s Culinary Network;
· The 28th of September- Pilar will prepare a Botanas-based menu for Torito Tapas Bar & Restaurant in Kensington Market. She'll join Torito´s talented team to bring Torontonians Mexico's version of tapas which are sure to please: http://www.toritotapasbar.com/ ;
· On the 29th, the culinary students and professional chefs of George Brown College's "The Chef's House" will host Pilar for her last guest cooking spot in Toronto. She'll craft a special menu prepared by her and the students for her farewell dinner to Toronto. http://www.thechefshouse.com/ .
Feel free to contact whichever venue interests you to ascertain hours of operation and further details. Alternatively you can contact Toronto food researcher, writer and TV producer, Mary Luz Mejia, who has been instrumental in orchestrating Pilar’s visit, at 416 -763-3455; or email, mluzy@hotmail.com.
This culinary tour is the first of hopefully several forays by Oaxacans who are at the pinnacle of their careers, into Canada. All proceeds from this series of events will go directly to Pilar. Proceeds of future tours, by others, will follow suit.
Alvin Starkman - Casa Machaya Oaxaca Bed & Breakfast
7/30/2009
Retire in Oaxaca, on international radio July 29 / 09
Go to this page, quickly download, and you'll find a 3 minute or so piece on retiring in Mexico, Oaxaca being the featured destination. Published by The World. Short and sweet:
http://www.theworld.org/2009/07/29/retire-in-mexico/
http://www.theworld.org/2009/07/29/retire-in-mexico/
7/28/2009
SWINE FLU (NOT) IN OAXACA ... COMMITMENT OF THE MEMBERS OF THE OAXACA BED AND BREAKFAST ASSOCIATION
Swine flu cases in the state of Oaxaca are rare, and in fact reported cases are no more prevalent per capital in Mexico than in the US, and much less prevalent than in Canada. However, in an effort to provide prospective visitors to our establishments with all reasonable assurances as to their safety, each member of the Oaxaca Bed and Breakfast Association commits to do the following for every guest at our member B & Bs in Oaxaca and its central valleys, until every prospective traveler to Oaxaca has had an opportunity to be vaccinated against the H1N1 virus:
1) gratuitously deliver any guest with signs and / or symptons of flu or cold to their choice of a private medical clinic in the city of Oaxaca, a public hospital in the city of Oaxaca, or an English speaking doctor in the city of Oaxaca;
2) gratuitously deliver any guest to a pharmacy in the city of Oaxaca for the purpose of buying cold / flu medications;
3) gratuitously assist any guest in translating an reasonable medical forms regarding diagnosis and treatment of cold or flu symptoms, from Spanish to English, for the purpose of facilitating reimbursement of medical / medication costs from an American or Canadian insurer.
1) gratuitously deliver any guest with signs and / or symptons of flu or cold to their choice of a private medical clinic in the city of Oaxaca, a public hospital in the city of Oaxaca, or an English speaking doctor in the city of Oaxaca;
2) gratuitously deliver any guest to a pharmacy in the city of Oaxaca for the purpose of buying cold / flu medications;
3) gratuitously assist any guest in translating an reasonable medical forms regarding diagnosis and treatment of cold or flu symptoms, from Spanish to English, for the purpose of facilitating reimbursement of medical / medication costs from an American or Canadian insurer.
7/19/2009
It's time for Mexico's Calderón to act against Canada
Alvin Starkman, M.A., LL.B. (July, 2009)
As much as president Felipe Calderón is doing to combat drug trafficking in Mexico, he’s doing little if anything to combat Canadian anti-Mexico sentiment. And the result has been taking an enormous toll on tourism to previously popular Mexican tourist destinations. Now is the most opportune time for Calderón to strike back.
It’s fine for the Canadian government to warn against travel to Mexico. In 2006 travel advisories were rampant against travel to the southern state of Oaxaca as a result of civil unrest there, despite the fact that no Canadian (or American) tourist was harmed or even threatened – videographer Bradley Will was not a tourist but rather a wannabe journalist electing to embed himself, video camera in hand, with the far left in the midst of conflict with government troops.
Just two short months ago Canada did it again, telling its citizens to not venture to Mexico because of the swine flu.
Mexico just sits back, while its economy continues to take hits to the head.
Just last month The Toronto Star’s Linda Diebel scared the heck out of Canadians through her series of articles about the Mexican drug trade. She began by tracing the problem to conflict and violence in British Columbia. So where was Calderón? Should he not have been issuing warnings to his people against venturing to war-ravaged British Coloumia?
And where has he been more recently, with new statistics regarding reported cases of swine flu indicating 20 per 100,000 Canadian residents, yet only about 7 per 100,000 of his own countrymen? Should he not be warning against travel to Canada? “Stay on the American side of Niagara Falls, folks, where reported swine flu cases are no more than they are here in Mexico.”
The most recent example of the Mexican government’s lackadaisical approach to tourism and Canada is how it has sat back and let the new visa requirements pass, without significant protest. At least the Czech Republic had the cajones to make a statement, through its actions.
Isn’t it time for Mexico to strike back against Canada, for all that the Canadian government and its journalists have done to adversely affect travel to Mexico? A plea to President Calderón: teach a lesson to Canadians who rely on tourism from Mexico for their livelihood. You’ve got the swine flu, the visa requirements, B.C.’s drug violence – and just take a look at the Greater Toronto Area pages of The Toronto Star newspaper, every day, if you want to see how dangerous it is in Toronto; teen killings, children disappearing, and the continual violence in the northwest corridor of Toronto known as Jane-Finch. Just one strong travel advisory should teach Canada a lesson, and convince its weak and impressionable Prime Minister Harper to think, independent of the U.S., before he acts.
Former Toronto resident Alvin Starkman now resides in Oaxaca, where he operates Casa Machaya Oaxaca Bed & Breakfast (http://www.oaxacadream.com), boasting all the attributes of downtown Oaxaca hotels, with the quaintness and personal touch of country inn style accommodations. Alvin is also a writer and tour guide, taking couples and families to the ruins, craft villages and market towns in Oaxaca’s central valleys.
As much as president Felipe Calderón is doing to combat drug trafficking in Mexico, he’s doing little if anything to combat Canadian anti-Mexico sentiment. And the result has been taking an enormous toll on tourism to previously popular Mexican tourist destinations. Now is the most opportune time for Calderón to strike back.
It’s fine for the Canadian government to warn against travel to Mexico. In 2006 travel advisories were rampant against travel to the southern state of Oaxaca as a result of civil unrest there, despite the fact that no Canadian (or American) tourist was harmed or even threatened – videographer Bradley Will was not a tourist but rather a wannabe journalist electing to embed himself, video camera in hand, with the far left in the midst of conflict with government troops.
Just two short months ago Canada did it again, telling its citizens to not venture to Mexico because of the swine flu.
Mexico just sits back, while its economy continues to take hits to the head.
Just last month The Toronto Star’s Linda Diebel scared the heck out of Canadians through her series of articles about the Mexican drug trade. She began by tracing the problem to conflict and violence in British Columbia. So where was Calderón? Should he not have been issuing warnings to his people against venturing to war-ravaged British Coloumia?
And where has he been more recently, with new statistics regarding reported cases of swine flu indicating 20 per 100,000 Canadian residents, yet only about 7 per 100,000 of his own countrymen? Should he not be warning against travel to Canada? “Stay on the American side of Niagara Falls, folks, where reported swine flu cases are no more than they are here in Mexico.”
The most recent example of the Mexican government’s lackadaisical approach to tourism and Canada is how it has sat back and let the new visa requirements pass, without significant protest. At least the Czech Republic had the cajones to make a statement, through its actions.
Isn’t it time for Mexico to strike back against Canada, for all that the Canadian government and its journalists have done to adversely affect travel to Mexico? A plea to President Calderón: teach a lesson to Canadians who rely on tourism from Mexico for their livelihood. You’ve got the swine flu, the visa requirements, B.C.’s drug violence – and just take a look at the Greater Toronto Area pages of The Toronto Star newspaper, every day, if you want to see how dangerous it is in Toronto; teen killings, children disappearing, and the continual violence in the northwest corridor of Toronto known as Jane-Finch. Just one strong travel advisory should teach Canada a lesson, and convince its weak and impressionable Prime Minister Harper to think, independent of the U.S., before he acts.
Former Toronto resident Alvin Starkman now resides in Oaxaca, where he operates Casa Machaya Oaxaca Bed & Breakfast (http://www.oaxacadream.com), boasting all the attributes of downtown Oaxaca hotels, with the quaintness and personal touch of country inn style accommodations. Alvin is also a writer and tour guide, taking couples and families to the ruins, craft villages and market towns in Oaxaca’s central valleys.
7/12/2009
Principles of universal design and cohousing, as well as economic necessity, spur green housing project in Oaxaca, Mexico, for aging North Americans
Alvin Starkman M.A., LL.B.
At first blush David Hornick appears to be the most unlikely candidate to be spear-heading a housing development in the state of Oaxaca, one of the southernmost and poorest states in Mexico; his Spanish is sparse to be generous, until earlier this year he had never ventured to this part of the country, he’s never designed or built a home, and he’s lived virtually all his life in Schenectady, New York, leading a more or less typical, middle-class Jewish existence.
But Hornick had a vision, born of other life experiences which made him more qualified than most to proceed with the project. “One thing about me,” he explained on his first trip to Oaxaca, “is that once I decide to do something, you know it’s already been thoroughly considered – and then there’s no stopping me.”
For more than three decades Hornick has been a family physician, diagnosing and treating exclusively aging Americans … through home visits. He and wife Roberta, his partner in the medical practice, have learned that where and how we traditionally live is rarely conducive to graceful and easy aging from a position of economic security.
The answer, as I’ve come to conclude over the past several months of tutelage from Hornick, at least for creating a blueprint for the solution, is to import some of the characteristics of collaborative housing (cohousing) and as many key elements as practicable of universal design, into a region of the world where the concerns can best be addressed – Oaxaca … for starters. And that’s exactly what Hornick’s done.
Collaborative housing
Cohousing communities are usually designed as a series of attached or single-family homes along one or more pedestrian walkways or clustered around a courtyard. While the concept originated in Denmark, since the early 1980s it has been promoted in the U.S., and since then similar communities using the basic concept have developed throughout other countries in the Western World such as Canada, France, Germany and New Zealand.
Each community includes a larger building facility, a “common house,” constituting the social center of the complex where neighbors can meet, dine, attend to activities which traditionally are not required on a daily basis (i.e. laundry), and even host guests in small apartments. The latter two points have implications in terms of minimizing overall cost for each resident, since space not normally occupied on a daily basis is omitted from individual homes.
While in the purest of models residents actively participate in the design of their own neighborhood, in this case prospective members are spared that effort – Hornick has devoted his entire adult life assessing the needs of Americans as their stages in life change. Accordingly, substantial progress for the Oaxaca project has already been advanced, and in fact there is a website in place, addressing those interested in pursing a lifestyle change in the foreseeable future. It currently includes photographs of the two proposed tracts of land, site plans and architectural drawings of the two models of home (http://www.mexicommunity.com).
Hornick prefers to avoid commonly used terms such as intentional or collaborative housing, as well as cohousing, in favor of simply “neighborhoods” and “communities.” The former import the idea of consensus decision-making, which he does not believe is workable. He does envision, however, a “resident council” (perhaps similar to a condominium’s board of directors) to assist with suggestions relating to the neighborhood. This indicates that his approach is realistic and his model is feasible. The project does require, he stresses, participants’ acceptance of, and working together to promote, certain basic goals: energy efficiency; respect for the environment; the utilization of locally produced “green” materials (in construction and otherwise); affordability; and universal design which enables people of all ages to grow and mature well.
Universal design
Universal design (UD) can be defined as the creation of products (including communication systems) and environments (including landscapes) which are usable by all people, to the greatest extent possible, without the need for adaptation or specialized design. It has often been associated with exclusively addressing the elderly and infirmed. And in fact there should be no doubt that within the context of the Oaxaca project the concept will be extremely attractive to those in their fifties and older, many winding down their careers and embarking upon a new phase of life, “retirement.” But the project’s use of universal design addresses more – compatibility with a natural progression of functional changes throughout the lifespan, according to Hornick.
So how does UD address all ages and levels of capability, and thereby make the project attractive to families at every life stage? Hornick explains:
“We’re all born helpless and short. We can’t reach most light switches until we are about four years old, long after we can stand and walk. Functional capability improves (normally) up to our mid- to late-teenage years, then begins to decline.
“Light switches can be lowered to three feet to be reachable by children as well as people in wheelchairs with limited shoulder mobility. Round door knobs can be replaced by lever handles that accommodate arthritic hands, but also permit people encumbered with arms full of groceries to open a door with a free elbow. Steps can be replaced by ramps, even at the entrance to a home. Lighting intensity can be adjustable to accommodate vision as it dims with age. Shower stalls can be built without that little step-up-and-over. And there are literally a hundred or more other alternate designs and products available in the marketplace which can be considered, which do not detract from either ‘normal’ functionality or aesthetics of the home.”
Hornick has been consulted on seniors’ apartment retrofitting projects involving production of state-of-the-art adaptive design prototypes. The Oaxaca project enables his wealth of knowledge and experience to be put into action using a slightly different orientation.
We’re in an era when an increasing number of individuals and couples in North America are becoming disillusioned with the work-until-you-drop mentality, the less-than-optimum environments in which they’ve felt compelled to live and raise their families, increasing inaccessibility to basic goods and services including healthcare, and much more recently both insecurity in the workplace and shrinking nest eggs.
The Oaxaca blueprint
Based upon Hornick’s due diligence, Oaxaca proved to be a potentially attractive location to develop a prototype for what he initially labeled, when he first contacted me for advice in November, 2008, a “retirement community.” That initial characterization was probably meant to pique my initial interest without having me ask too many hard-to-answer questions. I fell for it, and have been enthralled ever since, hosting David at our home, introducing him to a number of professionals he could potentially tap to advance the project, and advising him regarding prospective plots of land.
Latin American locations have distinct advantages over Canadian and American prospective project sites. While remaining north of the Rio Grande may initially appear attractive because of language, ease of access for friends and family as well as for return visits, and cultural familiarity, Oaxaca was selected because of its own unique set of pluses:
1) Access via ground transportation is consistently being improved and upgraded through Mexico’s system of toll roads, already extending from various locations along the the U.S. border, directly to the City of Oaxaca; and via more convenient flight paths (such as being able to avoid Mexico City by using Continental’s non-stop service from Houston, and Mexicana’s from Los Angeles);
2) Its highly agreeable climate, 12 months a year, attractive both on an individual personal level and for providing solar energy;
3) Proximity to Pacific Coast beach destinations such as Puerto Escondido and Huatulco;
4) A modest cost of living (i.e. labor, public transportation, entertainment, food and taxes) relative to the U.S. or Canada, and even to the northern half of the country;
5) Availability of reasonably priced tracts of land, fertile enough and with sufficient rain and ground water to support partial self-sufficiency in terms of agricultural production;
6) A number of prospective development locations from which to choose, no more than a half hour’s drive from downtown Oaxaca, assuring proximity to restaurants and cafés, galleries, museums and other cultural institutions, as well as health care professionals and hospital facilities;
7) Its burgeoning expat community (including programs facilitated through the English language Oaxaca Lending Library) together with support from the Canadian and American consulates;
8) Local populations which welcome non-Mexicans, motivated by both a recognition that Canadian and American immigration translates into more work and higher wages for a relatively depressed economy, and an innate desire to embrace foreigners with open arms;
9) An understanding on the part of many of its professionals, trades and business people, and government, of what the project hopes to achieve, and the potential for the growth of more of the same in other parts of the state.
Each of the two “eco village” sites identified on Hornick’s website is equally attractive, meets all criteria, and easily facilitates advancing the set of common goals. The San Juan del Estado development consists of 25 acres and is about 30 minutes from downtown Oaxaca, and San Lorenzo Cacaotepec sits on 75 acres and is only 15 minutes from the city. Each is about 10 minutes from the town of Etla, known for its bustling Wednesday marketplace and production of dairy products, in particular the well-known Oaxacan cheeses (queso, and the more popular “string cheese,” known as quesillo).
Each of the two developments will contain 30 detached homes of about 1,000 square feet, the common house, sheltered walkways, green and garden areas, and its own sources of water and energy as well as waste-disposal facility, thereby providing for independence from the vagaries of municipal, state and federal government utilities.
Hornick emphasizes that with more than 300 sunny days per year, the communities will be able to generate and store electricity using photovoltaic technology. Hot water will be produced using solar water heaters. Interior temperatures will be kept comfortable all year round using passive solar heating and cooling techniques – such as constructing walls of locally mined stone (known as “cantera”), clay brick or adobe, depending on relative direction of the sun and prevailing winds.
But self-sufficiency has its limits, and to some extent dependence on the broader Oaxacan community will be a key element. Hornick plans to develop relationships with residents of nearby towns and villages who are interested in employment as housekeepers, gardeners and personal care aides. In addition, there’s a well entrenched practice in the state of Oaxaca whereby expats engage locals in an intercambio language arrangement, whereby a couple of hours a week informal meetings are held to help Oaxacans with their English and expats with their Spanish.
Hornick assures: “…both [locations] will have access to health care services via home care professionals who will live onsite and also via internet video teleconferencing with professionals at recognized centers of excellence.” For several years he has been advancing his own medical practice along such lines. Naturally, in today’s technological world he does not see distance, political boundaries, or differences in language and other aspects of culture, as impediments. “Of course there are challenges, but with perseverance they are readily overcome,” he continues. “Look at where I was just a few months ago, with merely an idea and my index finger pointed to a strange location on a globe – and look at where we now are.” Indeed, Hornick with his team of professionals (including Prometeo Sánchez Islas, Dean of the School of Architecture at a Oaxacan university) continue to work diligently on the project.
While visiting Oaxaca Hornick paid particular attention to indicia of cost of living, to the point of photographing sale prices in a supermarket (which attracted the attention of store management). He is currently attempting to pin down other costs such as transportation; medical insurance and other expenses; housekeeping, maintenance, landscaping and gardening (although he believes that it’s important for residents to participate in such activities for exercise and to maintain a sense of function and purpose). “I’m trying to come up with a ‘soft’ figure to enable interested parties to determine if they can survive on social security alone.” he reassures. But one thing is for certain – cost of living should be less than 50% of what most live on in the U.S. or Canada.
The horizon
Hornick plans to begin pre-selling houses at summer’s end or perhaps into autumn, at a small discount for those electing to participate early on in the project, as a kind of kick-start to the development. For him, and for most on his team, the motivation is pure altruism, having identified a sense of urgency on the part of many American, Canadians, and even Mexicans, and being in the enviable position of being able to address it in this fashion, without profit motive.
In a sense he’s a pioneer, having started with a dream for a better, more respectful, easier and self-fulfilling life for others in a new environment, virgin land to continue with the metaphor. He plans to lay down roots in Oaxaca, and carry on a medical practice, encouraging others of similar means to follow suit.
It was clearly different for those who had the fortitude and the instinct to find something better hundreds of years ago in opening up the American frontiers. Today there’s more of a necessity, yet with virtually no gamble involved. After all, investing between $100,000 and $150,000 to have a quality constructed new home, in a safe, secure southern climate, while at the same time substantially cutting expenses through supporting a sustainable living environment, shouldn’t be too difficult a lifestyle decision to make – especially for those who have already been contemplating change.
Alvin Starkman received his Masters in Social Anthropology in 1978. After teaching for a few years he attended Osgoode Hall Law School, thereafter embarking upon a career as a litigator until 2004. Alvin resides in Oaxaca, where he writes, leads personalized tours to the villages, markets, ruins and other sights, is a film consultant, and operates Casa Machaya Oaxaca Bed & Breakfast ( http://www.oaxacadream.com ), combining the comfort and service of a Oaxaca hotel with the lodging style of a quaint country inn .
At first blush David Hornick appears to be the most unlikely candidate to be spear-heading a housing development in the state of Oaxaca, one of the southernmost and poorest states in Mexico; his Spanish is sparse to be generous, until earlier this year he had never ventured to this part of the country, he’s never designed or built a home, and he’s lived virtually all his life in Schenectady, New York, leading a more or less typical, middle-class Jewish existence.
But Hornick had a vision, born of other life experiences which made him more qualified than most to proceed with the project. “One thing about me,” he explained on his first trip to Oaxaca, “is that once I decide to do something, you know it’s already been thoroughly considered – and then there’s no stopping me.”
For more than three decades Hornick has been a family physician, diagnosing and treating exclusively aging Americans … through home visits. He and wife Roberta, his partner in the medical practice, have learned that where and how we traditionally live is rarely conducive to graceful and easy aging from a position of economic security.
The answer, as I’ve come to conclude over the past several months of tutelage from Hornick, at least for creating a blueprint for the solution, is to import some of the characteristics of collaborative housing (cohousing) and as many key elements as practicable of universal design, into a region of the world where the concerns can best be addressed – Oaxaca … for starters. And that’s exactly what Hornick’s done.
Collaborative housing
Cohousing communities are usually designed as a series of attached or single-family homes along one or more pedestrian walkways or clustered around a courtyard. While the concept originated in Denmark, since the early 1980s it has been promoted in the U.S., and since then similar communities using the basic concept have developed throughout other countries in the Western World such as Canada, France, Germany and New Zealand.
Each community includes a larger building facility, a “common house,” constituting the social center of the complex where neighbors can meet, dine, attend to activities which traditionally are not required on a daily basis (i.e. laundry), and even host guests in small apartments. The latter two points have implications in terms of minimizing overall cost for each resident, since space not normally occupied on a daily basis is omitted from individual homes.
While in the purest of models residents actively participate in the design of their own neighborhood, in this case prospective members are spared that effort – Hornick has devoted his entire adult life assessing the needs of Americans as their stages in life change. Accordingly, substantial progress for the Oaxaca project has already been advanced, and in fact there is a website in place, addressing those interested in pursing a lifestyle change in the foreseeable future. It currently includes photographs of the two proposed tracts of land, site plans and architectural drawings of the two models of home (http://www.mexicommunity.com).
Hornick prefers to avoid commonly used terms such as intentional or collaborative housing, as well as cohousing, in favor of simply “neighborhoods” and “communities.” The former import the idea of consensus decision-making, which he does not believe is workable. He does envision, however, a “resident council” (perhaps similar to a condominium’s board of directors) to assist with suggestions relating to the neighborhood. This indicates that his approach is realistic and his model is feasible. The project does require, he stresses, participants’ acceptance of, and working together to promote, certain basic goals: energy efficiency; respect for the environment; the utilization of locally produced “green” materials (in construction and otherwise); affordability; and universal design which enables people of all ages to grow and mature well.
Universal design
Universal design (UD) can be defined as the creation of products (including communication systems) and environments (including landscapes) which are usable by all people, to the greatest extent possible, without the need for adaptation or specialized design. It has often been associated with exclusively addressing the elderly and infirmed. And in fact there should be no doubt that within the context of the Oaxaca project the concept will be extremely attractive to those in their fifties and older, many winding down their careers and embarking upon a new phase of life, “retirement.” But the project’s use of universal design addresses more – compatibility with a natural progression of functional changes throughout the lifespan, according to Hornick.
So how does UD address all ages and levels of capability, and thereby make the project attractive to families at every life stage? Hornick explains:
“We’re all born helpless and short. We can’t reach most light switches until we are about four years old, long after we can stand and walk. Functional capability improves (normally) up to our mid- to late-teenage years, then begins to decline.
“Light switches can be lowered to three feet to be reachable by children as well as people in wheelchairs with limited shoulder mobility. Round door knobs can be replaced by lever handles that accommodate arthritic hands, but also permit people encumbered with arms full of groceries to open a door with a free elbow. Steps can be replaced by ramps, even at the entrance to a home. Lighting intensity can be adjustable to accommodate vision as it dims with age. Shower stalls can be built without that little step-up-and-over. And there are literally a hundred or more other alternate designs and products available in the marketplace which can be considered, which do not detract from either ‘normal’ functionality or aesthetics of the home.”
Hornick has been consulted on seniors’ apartment retrofitting projects involving production of state-of-the-art adaptive design prototypes. The Oaxaca project enables his wealth of knowledge and experience to be put into action using a slightly different orientation.
We’re in an era when an increasing number of individuals and couples in North America are becoming disillusioned with the work-until-you-drop mentality, the less-than-optimum environments in which they’ve felt compelled to live and raise their families, increasing inaccessibility to basic goods and services including healthcare, and much more recently both insecurity in the workplace and shrinking nest eggs.
The Oaxaca blueprint
Based upon Hornick’s due diligence, Oaxaca proved to be a potentially attractive location to develop a prototype for what he initially labeled, when he first contacted me for advice in November, 2008, a “retirement community.” That initial characterization was probably meant to pique my initial interest without having me ask too many hard-to-answer questions. I fell for it, and have been enthralled ever since, hosting David at our home, introducing him to a number of professionals he could potentially tap to advance the project, and advising him regarding prospective plots of land.
Latin American locations have distinct advantages over Canadian and American prospective project sites. While remaining north of the Rio Grande may initially appear attractive because of language, ease of access for friends and family as well as for return visits, and cultural familiarity, Oaxaca was selected because of its own unique set of pluses:
1) Access via ground transportation is consistently being improved and upgraded through Mexico’s system of toll roads, already extending from various locations along the the U.S. border, directly to the City of Oaxaca; and via more convenient flight paths (such as being able to avoid Mexico City by using Continental’s non-stop service from Houston, and Mexicana’s from Los Angeles);
2) Its highly agreeable climate, 12 months a year, attractive both on an individual personal level and for providing solar energy;
3) Proximity to Pacific Coast beach destinations such as Puerto Escondido and Huatulco;
4) A modest cost of living (i.e. labor, public transportation, entertainment, food and taxes) relative to the U.S. or Canada, and even to the northern half of the country;
5) Availability of reasonably priced tracts of land, fertile enough and with sufficient rain and ground water to support partial self-sufficiency in terms of agricultural production;
6) A number of prospective development locations from which to choose, no more than a half hour’s drive from downtown Oaxaca, assuring proximity to restaurants and cafés, galleries, museums and other cultural institutions, as well as health care professionals and hospital facilities;
7) Its burgeoning expat community (including programs facilitated through the English language Oaxaca Lending Library) together with support from the Canadian and American consulates;
8) Local populations which welcome non-Mexicans, motivated by both a recognition that Canadian and American immigration translates into more work and higher wages for a relatively depressed economy, and an innate desire to embrace foreigners with open arms;
9) An understanding on the part of many of its professionals, trades and business people, and government, of what the project hopes to achieve, and the potential for the growth of more of the same in other parts of the state.
Each of the two “eco village” sites identified on Hornick’s website is equally attractive, meets all criteria, and easily facilitates advancing the set of common goals. The San Juan del Estado development consists of 25 acres and is about 30 minutes from downtown Oaxaca, and San Lorenzo Cacaotepec sits on 75 acres and is only 15 minutes from the city. Each is about 10 minutes from the town of Etla, known for its bustling Wednesday marketplace and production of dairy products, in particular the well-known Oaxacan cheeses (queso, and the more popular “string cheese,” known as quesillo).
Each of the two developments will contain 30 detached homes of about 1,000 square feet, the common house, sheltered walkways, green and garden areas, and its own sources of water and energy as well as waste-disposal facility, thereby providing for independence from the vagaries of municipal, state and federal government utilities.
Hornick emphasizes that with more than 300 sunny days per year, the communities will be able to generate and store electricity using photovoltaic technology. Hot water will be produced using solar water heaters. Interior temperatures will be kept comfortable all year round using passive solar heating and cooling techniques – such as constructing walls of locally mined stone (known as “cantera”), clay brick or adobe, depending on relative direction of the sun and prevailing winds.
But self-sufficiency has its limits, and to some extent dependence on the broader Oaxacan community will be a key element. Hornick plans to develop relationships with residents of nearby towns and villages who are interested in employment as housekeepers, gardeners and personal care aides. In addition, there’s a well entrenched practice in the state of Oaxaca whereby expats engage locals in an intercambio language arrangement, whereby a couple of hours a week informal meetings are held to help Oaxacans with their English and expats with their Spanish.
Hornick assures: “…both [locations] will have access to health care services via home care professionals who will live onsite and also via internet video teleconferencing with professionals at recognized centers of excellence.” For several years he has been advancing his own medical practice along such lines. Naturally, in today’s technological world he does not see distance, political boundaries, or differences in language and other aspects of culture, as impediments. “Of course there are challenges, but with perseverance they are readily overcome,” he continues. “Look at where I was just a few months ago, with merely an idea and my index finger pointed to a strange location on a globe – and look at where we now are.” Indeed, Hornick with his team of professionals (including Prometeo Sánchez Islas, Dean of the School of Architecture at a Oaxacan university) continue to work diligently on the project.
While visiting Oaxaca Hornick paid particular attention to indicia of cost of living, to the point of photographing sale prices in a supermarket (which attracted the attention of store management). He is currently attempting to pin down other costs such as transportation; medical insurance and other expenses; housekeeping, maintenance, landscaping and gardening (although he believes that it’s important for residents to participate in such activities for exercise and to maintain a sense of function and purpose). “I’m trying to come up with a ‘soft’ figure to enable interested parties to determine if they can survive on social security alone.” he reassures. But one thing is for certain – cost of living should be less than 50% of what most live on in the U.S. or Canada.
The horizon
Hornick plans to begin pre-selling houses at summer’s end or perhaps into autumn, at a small discount for those electing to participate early on in the project, as a kind of kick-start to the development. For him, and for most on his team, the motivation is pure altruism, having identified a sense of urgency on the part of many American, Canadians, and even Mexicans, and being in the enviable position of being able to address it in this fashion, without profit motive.
In a sense he’s a pioneer, having started with a dream for a better, more respectful, easier and self-fulfilling life for others in a new environment, virgin land to continue with the metaphor. He plans to lay down roots in Oaxaca, and carry on a medical practice, encouraging others of similar means to follow suit.
It was clearly different for those who had the fortitude and the instinct to find something better hundreds of years ago in opening up the American frontiers. Today there’s more of a necessity, yet with virtually no gamble involved. After all, investing between $100,000 and $150,000 to have a quality constructed new home, in a safe, secure southern climate, while at the same time substantially cutting expenses through supporting a sustainable living environment, shouldn’t be too difficult a lifestyle decision to make – especially for those who have already been contemplating change.
Alvin Starkman received his Masters in Social Anthropology in 1978. After teaching for a few years he attended Osgoode Hall Law School, thereafter embarking upon a career as a litigator until 2004. Alvin resides in Oaxaca, where he writes, leads personalized tours to the villages, markets, ruins and other sights, is a film consultant, and operates Casa Machaya Oaxaca Bed & Breakfast ( http://www.oaxacadream.com ), combining the comfort and service of a Oaxaca hotel with the lodging style of a quaint country inn .
6/28/2009
Guelaguetza in Oaxaca, Mexico
Guelaguetza (from the zapotec word “guendalizaa”) means “Shared Offering”. This word represents the maximum celebration of art and culture in Oaxaca. The Guelaguetza is celebrated this year in July 20th and 27th. Communities from within the state of Oaxaca gather in the city to present their regional culture in the form of costumes, dances, music and food in front of thousands of curious spectators. The Guelaguetza is the spirit of Oaxaca throughout the year. It is the most famous celebration of its kind in Mexico.
Every thing you want to know about Guelaguetza from PLANETA.COM
Aurora Cabrera is a native oaxacan artist who operates Casa de las Bugambilias Bed and Breakfast. Under her guidance Casa de las Bugambilias is taking on a fresh new face. Her interest in art and culture as well as her commitment to earth consciousness shows in every detail at the B & B.
Casa de las Bugambilias B&B tu casa en Oaxaca
Photo by Manuel Jimenez
6/13/2009
Casa de los Sabores Cooking School in Oaxaca expands options for food enthusiasts
Alvin Starkman M.A., LL.B.
Oaxaca, Mexico, June 10, 2009
Internationally acclaimed Oaxacan chef Pilar Cabrera (NY Times, Bon Appetit) has expanded the roster at her well-known downtown Oaxaca cooking school, Casa de los Sabores (House of Flavors). Effective immediately, indigenous Zapotec chef Reyna Mendoza joins Pilar’s team, offering a new dimension to the already stellar selection of options available to intrigued foodies, those with a keen interest in Mexican cuisine, as well as chefs from around the globe seeking to add to their existing menus.
A native of Teotitlán del Valle, Reyna brings her knowledge, skill and experience to Casa de los Sabores. She specializes in the preparation of Zapotec dishes.
Reyna has worked with the likes of chefs Rick Bayless and Ricardo Muñoz. Accordingly, her pedigree is beyond reproach, combining technical aspects of the culinary sciences, with lifelong experience in the modest kitchens of her mother and her family’s other matriarchs of gastronome. And today, members of the Oaxaca Bed & Breakfast Association (http://www.oaxacabedandbreakfast.org) had an opportunity to learn for themselves.
Pilar invited colleagues from the association to attend her cooking school, so that owners and managers of small hotels and bed & breakfast guest houses in Oaxaca, would be able to experience for themselves what Reyna can add to the vacation of any visitor to the city and its central valleys. And for four hours, we grilled, chopped and filled, and finally indulged in the fruits of our labor, at this hands-on demonstration.
While we prepared a complete comida, we focused on the preparation of three distinctly different types of Zapotec-style tamales. The complete menu consisted of:
1) Tamales of mole amarillo with chicken, wrapped in large corn stalk leaf;
2) Tamales of mole negro with chicken, in banana leaf;
3) Tamales of mole negro with quesillo, in banana leaf;
4) Tamales of black bean, flavored with avocado leaf, wrapped in corn husk;
5) Salsa of tomatillo and dried Oaxacan chile
6) Salad of organic lettuce, locally grown tomato, avocado and scallion, with cilantro and chile poblano dressing;
7) Mango sherbet served with pecan cookie.
And of course, upon completing the preparation of the foregoing dishes, and throughout the comida, there were rounds of the requisite “salud,” while imbibing … Corona beer and village mezcal.
More than providing an opportunity for us to learn about Reyna and her ability to teach, and to experience for ourselves the exquisite flavor and ingredient combinations of Zapotec cuisine, it was one of those rare opportunities for members of the Oaxaca Bed & Breakfast Association to tell stories, laugh, and enjoy a day away from the office.
Classes for both traditional Oaxacan recipes with Pilar, and Zapotec cooking with Reyna, can be booked by contacting Pilar through her website, http://www.casadelossabores.com.
Alvin Starkman has a masters in social anthropology and law degree from Osgoode Hall Law School. Now a resident of Oaxaca, Alvin writes, takes tours to the sights, and owns Casa Machaya Oaxaca Bed & Breakfast ( http://www.oaxacadream.com ), a unique Oaxaca bed and breakfast experience, providing Oaxaca accommodations which combine the comfort and service of downtown Oaxaca hotels with the personal touch of quaint country inn style lodging.
Oaxaca, Mexico, June 10, 2009
Internationally acclaimed Oaxacan chef Pilar Cabrera (NY Times, Bon Appetit) has expanded the roster at her well-known downtown Oaxaca cooking school, Casa de los Sabores (House of Flavors). Effective immediately, indigenous Zapotec chef Reyna Mendoza joins Pilar’s team, offering a new dimension to the already stellar selection of options available to intrigued foodies, those with a keen interest in Mexican cuisine, as well as chefs from around the globe seeking to add to their existing menus.
A native of Teotitlán del Valle, Reyna brings her knowledge, skill and experience to Casa de los Sabores. She specializes in the preparation of Zapotec dishes.
Reyna has worked with the likes of chefs Rick Bayless and Ricardo Muñoz. Accordingly, her pedigree is beyond reproach, combining technical aspects of the culinary sciences, with lifelong experience in the modest kitchens of her mother and her family’s other matriarchs of gastronome. And today, members of the Oaxaca Bed & Breakfast Association (http://www.oaxacabedandbreakfast.org) had an opportunity to learn for themselves.
Pilar invited colleagues from the association to attend her cooking school, so that owners and managers of small hotels and bed & breakfast guest houses in Oaxaca, would be able to experience for themselves what Reyna can add to the vacation of any visitor to the city and its central valleys. And for four hours, we grilled, chopped and filled, and finally indulged in the fruits of our labor, at this hands-on demonstration.
While we prepared a complete comida, we focused on the preparation of three distinctly different types of Zapotec-style tamales. The complete menu consisted of:
1) Tamales of mole amarillo with chicken, wrapped in large corn stalk leaf;
2) Tamales of mole negro with chicken, in banana leaf;
3) Tamales of mole negro with quesillo, in banana leaf;
4) Tamales of black bean, flavored with avocado leaf, wrapped in corn husk;
5) Salsa of tomatillo and dried Oaxacan chile
6) Salad of organic lettuce, locally grown tomato, avocado and scallion, with cilantro and chile poblano dressing;
7) Mango sherbet served with pecan cookie.
And of course, upon completing the preparation of the foregoing dishes, and throughout the comida, there were rounds of the requisite “salud,” while imbibing … Corona beer and village mezcal.
More than providing an opportunity for us to learn about Reyna and her ability to teach, and to experience for ourselves the exquisite flavor and ingredient combinations of Zapotec cuisine, it was one of those rare opportunities for members of the Oaxaca Bed & Breakfast Association to tell stories, laugh, and enjoy a day away from the office.
Classes for both traditional Oaxacan recipes with Pilar, and Zapotec cooking with Reyna, can be booked by contacting Pilar through her website, http://www.casadelossabores.com.
Alvin Starkman has a masters in social anthropology and law degree from Osgoode Hall Law School. Now a resident of Oaxaca, Alvin writes, takes tours to the sights, and owns Casa Machaya Oaxaca Bed & Breakfast ( http://www.oaxacadream.com ), a unique Oaxaca bed and breakfast experience, providing Oaxaca accommodations which combine the comfort and service of downtown Oaxaca hotels with the personal touch of quaint country inn style lodging.
6/07/2009
Oaxacan chef to visit Toronto, Canada
Renowned Oaxacan chef Pilar Cabrera is taking the bull by the horns. With tourism predicted to be a little weak for the remainder of the year as a result of the adverse publicity generated by the Swine Flu, her way of dealing with an economic downturn which will likely impact the entire country, is to not only seek ways to bring tourism to Oaxaca, but to take a little bit of Oaxaca on the road ... and out of the country; at least for a couple of weeks.
September is traditionally a slow time for tourism, so Pilar is seizing an opportunity by flying up to Toronto, and with the assistance of a well-known food researcher, writer and television and documentary film producer, is offering her services to Ontario restaurants and cooking schools:
The press release features a couple of photos, with the following text:
A Taste of Oaxaca, Mexico in Toronto, Canada with Chef Pilar Cabrera Arroyo
The sun-drenched valley city of Oaxaca, in the Mexican state of the same name, is considered by many to be the country’s culinary capital. Apart from being the land of seven moles (pron. moh-leh), Oaxaca also boasts an impressive gastronomic repertoire long admired by the rest of Mexico and gastronomes the world over. Working within the state’s rich and proud culinary heritage is one of Oaxaca City’s brightest lights in the food world, Pilar Cabrera Arroyo (in photo holding one of her luscious flans).
This September, 2009, Pilar will be visiting Toronto, ON to share those well-preserved traditions with food enthusiasts throughout the GTA.
Pilar grew up in Oaxaca City surrounded by the state’s vast food history and ingredients- including chile dusted fried grasshoppers (chapulines) and pre-Hispanic dishes that tell the tales of ancient, native peoples. After completing a food engineering and nutrition degree, she worked in research and development for the food giant Herdez-McMormick before returning to her true passion- cooking. In 1994, she opened her own restaurant, the award-winning “La Olla” (or the Pot), featuring the produce of regional (when possible, organic) farmers who help make her Oaxacan cuisine a living work of art.
Pilar has also found a growing fan-base of intrigued foodies around the globe through her “Casa de los Sabores” (House of Flavours) cooking school where banana leaf wrapped tamales, rose petal sorbet and Oaxacan yellow mole have become oft-requested recipes. Oaxacan cuisine is a labour of love that requires attention, a deft hand, fine-tuned taste buds and old-world knowledge. Pilar learned the basics and the cuisine’s subtleties from her mother and grandmother. She’s an excellent teacher and speaks English fluently.
Some of Pilar’s Oaxacan Menu Options Include:
• Sopa Azteca (Tortilla soup seasoned with avocado leaves)
• Tamales de Calabaza con Chocolate (Squash and chocolate tamales)
• Taquitos sauves de nopalitos (Tender cactus paddles in soft corn tortillas)
• Mole Negro con pollo o guajolote (Black mole with chicken or turkey – see photo inset)
• Memelitas (Small corn tortillas stuffed with cheese)
• Gelatina de rompope (Eggnog gelatin)
• Flores de calabaza rellenas de requesón (Squash blossoms filled with requesón cheese)
For Pilar, sharing the food of Oaxaca with Torontonians is akin to giving them a glimpse into the region and the dishes that satisfy both body and soul. And for the first time in the chef’s illustrious career, she’ll finally have the opportunity to do just that this September.
To inquire about restaurants and cooking schools in Ontario where Pilar will be working her magic, or for further information regarding opportunities for your own restaurant or cooking school, please contact:
Mary Luz Mejia - Sizzling Communications (in Toronto)
E: mluzy@hotmail.com ; Cel: 416 -992-2644 ; Office: 416-763-3455
Alvin Starkman - Casa Machaya Oaxaca Bed & Breakfast
September is traditionally a slow time for tourism, so Pilar is seizing an opportunity by flying up to Toronto, and with the assistance of a well-known food researcher, writer and television and documentary film producer, is offering her services to Ontario restaurants and cooking schools:
The press release features a couple of photos, with the following text:
A Taste of Oaxaca, Mexico in Toronto, Canada with Chef Pilar Cabrera Arroyo
The sun-drenched valley city of Oaxaca, in the Mexican state of the same name, is considered by many to be the country’s culinary capital. Apart from being the land of seven moles (pron. moh-leh), Oaxaca also boasts an impressive gastronomic repertoire long admired by the rest of Mexico and gastronomes the world over. Working within the state’s rich and proud culinary heritage is one of Oaxaca City’s brightest lights in the food world, Pilar Cabrera Arroyo (in photo holding one of her luscious flans).
This September, 2009, Pilar will be visiting Toronto, ON to share those well-preserved traditions with food enthusiasts throughout the GTA.
Pilar grew up in Oaxaca City surrounded by the state’s vast food history and ingredients- including chile dusted fried grasshoppers (chapulines) and pre-Hispanic dishes that tell the tales of ancient, native peoples. After completing a food engineering and nutrition degree, she worked in research and development for the food giant Herdez-McMormick before returning to her true passion- cooking. In 1994, she opened her own restaurant, the award-winning “La Olla” (or the Pot), featuring the produce of regional (when possible, organic) farmers who help make her Oaxacan cuisine a living work of art.
Pilar has also found a growing fan-base of intrigued foodies around the globe through her “Casa de los Sabores” (House of Flavours) cooking school where banana leaf wrapped tamales, rose petal sorbet and Oaxacan yellow mole have become oft-requested recipes. Oaxacan cuisine is a labour of love that requires attention, a deft hand, fine-tuned taste buds and old-world knowledge. Pilar learned the basics and the cuisine’s subtleties from her mother and grandmother. She’s an excellent teacher and speaks English fluently.
Some of Pilar’s Oaxacan Menu Options Include:
• Sopa Azteca (Tortilla soup seasoned with avocado leaves)
• Tamales de Calabaza con Chocolate (Squash and chocolate tamales)
• Taquitos sauves de nopalitos (Tender cactus paddles in soft corn tortillas)
• Mole Negro con pollo o guajolote (Black mole with chicken or turkey – see photo inset)
• Memelitas (Small corn tortillas stuffed with cheese)
• Gelatina de rompope (Eggnog gelatin)
• Flores de calabaza rellenas de requesón (Squash blossoms filled with requesón cheese)
For Pilar, sharing the food of Oaxaca with Torontonians is akin to giving them a glimpse into the region and the dishes that satisfy both body and soul. And for the first time in the chef’s illustrious career, she’ll finally have the opportunity to do just that this September.
To inquire about restaurants and cooking schools in Ontario where Pilar will be working her magic, or for further information regarding opportunities for your own restaurant or cooking school, please contact:
Mary Luz Mejia - Sizzling Communications (in Toronto)
E: mluzy@hotmail.com ; Cel: 416 -992-2644 ; Office: 416-763-3455
Alvin Starkman - Casa Machaya Oaxaca Bed & Breakfast
5/25/2009
Casa de los Sabores Cooking School
Many people who come to Oaxaca want to know more about the wonderful unique food from this region especially the variety of "mole" sauces, the banana leaf-wrapped tamales and the vast array of soups, all using typical Oaxacan ingredients.Experienced chef and owner of La Olla, Pilar Cabrera, offers you the opportunity to learn, hands-on, the complex cuisine of Oaxaca. Pilar´s cooking classes, held in La Casa de Los Sabores (House of Flavors), are set in her spacious, newly remodeled traditionally styled Oaxacan kitchen located on Libres # 205. In a warm and inviting atmosphere, you will learn to create the traditional Oaxacan dishes of your choice, made famous throughout Mexico and spreading worldwide.
After your class, you will enjoy the 5-course meal you yourself have prepared. Pilar will teach you her family´s generations-old cooking secrets so you can learn and enjoy a Oaxacan culinary legacy.
Joining the cooks team, Reyna Mendoza with her zapotec roots and flavors. We are looking forward to taste her delicious meals!
Reyna's Bio:
Reyna Mendoza was born in the Zapotec town of Teotitlan del Valle in the Oaxacan Valley. From an early age, Reyna began to learn how to grind on a "metate", make tortillas and toast chilis as most women from her town learn.
In 2001, Reyna became and integral part in the project "Que Tamal" created and sponsored by "La Mano Magica" whose purpose was to share with others the different kinds of tamales from Teotitlan del Valle. Shortly thereafter she began to work in the Bed and Breakfast, "La Casa Sagrada", as their head chef and reknowned cooking class teacher.
But it was in 2002 that Reyna took part in some of the most important culinary events such as "Culinary Adventures" and colaborated with other well-known chefs including Rick Bayles, owner of Frontera Grill and Topolobampo in Chicago. She also attended the highly sort after cooking classes of Chef Ricardo Muñoz in his restaurant Azul Café y Oro. In 2005 she travelled to Canada to broaden her culinary horizons, give private cooking classes and to learn English.
Casa de los Sabores Cooking School
Visit our new website: Restaurante La Olla
5/21/2009
Oaxaca Update
We are all well and happy! After the FLU scare, I believe the Mexican government and people did a brilliant job of keeping this outbreak very much under control. ¡Bravo Mexico!
We are still living the aftershock with some flights canceled. But day by day, we see an increase in reservation requests as the flight restrictions have gone away. May is one of our slowest months and is the time when some B&Bs are doing mayor repair jobs to take advantage of the slow period.
We hope that people won't stay away for long.
The rainy season is here, we start with cool morning and up to mid 80´s for few hours in the afternoon. The best time in the year.
Best regards,
Aurora Cabrera
Casa de las Bugambilias B&B
www.lasbugambilias.com
5/10/2009
Mexican Folk Art From Oaxacan Artist Families: Book Review
Book Review: Mexican Folk Art From Oaxacan Artist Families
by Arden Aibel Rothstein & Anya Leah Rothstein
Alvin Starkman M.A., LL.B.
Aficionados of folk art of the state of Oaxaca in southern Mexico are already familiar with Arden Aibel Rothstein and Anya Leah Rothstein’s Mexican Folk Art From Oaxacan Artist Families (Atglen, PA: Schiffer Publishing Ltd, 2007). It was surprising to learn, however, that some people with an interest in the crafts of Oaxaca’s central valleys, are not even aware of this seminal work – particularly since it was first published back in 2002.
The 2007 edition of Mexican Folk Art is a comprehensive compilation and detailed examination of each major type of contemporary Oaxacan folk art, set out in a refreshingly user friendly format. The book is divided into ten chapters, each devoted to a different medium: Ceramics, Textiles, Woodcarving, Metal (including tin work, cutlery and knives), Miniatures and Toys, Jewelry, Candles, Basketry and Dried Flower Crafts, with the final chapter devoted to Day of the Dead.
Generally, each chapter begins with a broad description of an art form, including significant variations within. In the Ceramics chapter, for example, the divisions are Terra Cotta, Green Glazed, Multi-Color Glazed, Black (barro negro) and Painted Red. Often a village in Oaxaca’s central valleys is known for the production of a specific type of folk art. Accordingly, in some cases a chapter then proceeds to describe a particular pueblo, giving the reader additional context. We find descriptions of, amongst others, the ceramics towns of Atzompa, San Bartolo Coyotepec and Ocotlán.
Where a family is noted for a special innovation or its adeptness at creating a certain craft, a family history follows. The individual craftspeople are then highlighted. For the black pottery of San Bartolo Coyotepec, we find descriptions of the De Nieto Castillo family, of which the famed Doña Rosa was a member, along with biographies of her son Don Valente Nieto Real and members of his clan; and of the Pedro Martínez family with biographies of acclaimed Carlomagno Pedro Martínez and his relatives.
All told, Mexican Folk Art showcases the works of 100 artists from 50 families living in Oaxaca or one of 13 nearby towns and villages. In most cases we’re enlightened regarding the personality, worldview and motivation of each individual carver, weaver or potter, as well as provided with a biographical sketch, enhanced with the inclusion of a direct quote. In this way the reader gains insight into the inspiration of each craftsperson. In many instances the authors also include a section on the techniques used by the artist, which variously includes the sourcing of raw materials such as wool from the Mixteca region of the state for making rugs and wall hangings, or clays from other regions of the state for changing tone and texture of sculptures; and processing methods including the extracting of natural dyes from fruits, plants, soils and the cochineal insect.
With its glossy front cover and approximately 700 photographs, Mexican Folk Art can rightfully be termed a coffee table book. But it’s much more. The photos in and of themselves bring the book, and the artists, to life: Apolinar Aguilar of Ocotlán, forging a red hot piece of recycled metal into an artistic hunting knife; a display of provocatively painted clay ladies of the night made by his cousin Julian, son of celebrated Guillermina Aguilar; Jacobo Ángeles of San Martín Tilcajete carving a figure from the wood of the copal tree, or standing alongside wife María and their family, each proudly displaying an exquisitely painted alebrije; Teotitlán del Valle weaver Isaac Vásquez, working at his loom creating a tapete, the pattern inspired by a pre-Hispanic pictograph; and fine examples of multi-colored highly detailed hand embroidery from San Antonino, such as the yoke and sleeve of a wedding dress.
This gem should easily entice any reader with an interest or background in anthropology, history or geography. The importance and influence of indigenous Zapotec ancestry and its present-day cultural manifestations shines through many of the ethnographic accounts. The genealogies (referred to as Family Trees) comprising one of the appendices are in-depth, and date as far back as the 19th century. They assist the reader in better understanding the historical and generational context of Oaxacan craft development.
To help those with an interest in exploring the craft villages and visiting the artists on their own, without the assistance of a Oaxaca tour guide, throughout the body of the book the address and all available additional contact information for each artist is provided, such as phone number and email. A second appendix consists of a series of easy-to-read pueblo maps, detailing the precise location of each featured artist, further facilitating contact.
Authors Arden and Anya Rothstein correctly caution that their presentation of artists constitutes “a sampler” of what’s available to those interested in exploring Oaxaca’s hinterland. They in fact encourage getting out and exploring on your own, finding that next folk artist who might rise to international stature. They are careful to qualify that their inclusions are based on which craftspeople are the most innovative, or produce work which is of especially high caliber according to certain criteria. The Rothsteins recognize that the work of any innovator of an entire class of folk art, and of those producing quality a cut above that of the rest, is often out of the financial reach of many. Therefore, they feature additional artists whose works are more affordable, yet also of exceptional quality.
Collectors of folk art often need a reminder that buying the work of a recognized name does not necessarily mean that the product is the best, in terms of coloration or patina, form, design, or the imagery it provokes, and that what strikes the fancy of most, or of the so-called experts, might not be your particular cup of tea. Along this vein, “honorable mention” is provided for makers of certain crafts whose works are not featured (under the heading of, for example, “Additional woodcarvers in Arrazola”). The clear suggestion is that readers should get out there and explore, and make their own determinations and choices based upon personal preferences.
Is it worth purchasing the 2nd edition if you already have the 1st? Certainly give it some consideration if you have not already enmeshed yourself in the appreciation and collecting of Oaxacan folk art by having explored the central valleys. Where the 2002 volume boasts 500 photos and features 87 artists within 44 families, the most recent publication, as noted earlier, has been expanded to 700, 100 and 50, respectively. Some of the craftspeople merely mentioned in the earlier volume under the “Additional” heading, have been elevated to “featured artist,” with their works and stories duly chronicled. And in some cases where families have grown and pueblo demographics have been altered, the authors have appropriately noted changes. Wisely, at least in this critic’s opinion, the U.S. dollar “Price Guide” has been omitted from this new volume, since more than anything else it likely lead to confusion for the buying public, with the potential of putting up barriers between artists and prospective customers. As between Mexican and American economies, there are so many variables and market conditions at play, best to allow vendor/creator and purchaser do their own assessment respecting value for workmanship.
Mexican Folk Art is a well-researched exhaustive study of all major types of contemporary Oaxacan folk art and their makers, past and present. Don’t let its appearance as “just another fancy coffee table book” deceive you. It accomplishes what it sets out to do, and then some. It should be viewed as a guide, rather than a bible. If we’re ever blessed with a 3rd edition, perhaps the publisher will deem it advisable to place duplicates of the pueblo maps in a separate pocket … it would be a pity for such a wonderful work to become unduly worn by toting it from village to village.
Alvin Starkman received his Masters in Social Anthropology in 1978. After teaching for a few years he attended Osgoode Hall Law School, thereafter embarking upon a career as a litigator until 2004. Alvin resides in Oaxaca, where he writes, leads personalized tours to the villages, markets, ruins and other sights, is a film consultant, and operates Casa Machaya Oaxaca Bed & Breakfast ( http://www.oaxacadream.com ), combining the comfort and service of a downtown Oaxaca hotel with the lodging style of a quaint country inn .
by Arden Aibel Rothstein & Anya Leah Rothstein
Alvin Starkman M.A., LL.B.
Aficionados of folk art of the state of Oaxaca in southern Mexico are already familiar with Arden Aibel Rothstein and Anya Leah Rothstein’s Mexican Folk Art From Oaxacan Artist Families (Atglen, PA: Schiffer Publishing Ltd, 2007). It was surprising to learn, however, that some people with an interest in the crafts of Oaxaca’s central valleys, are not even aware of this seminal work – particularly since it was first published back in 2002.
The 2007 edition of Mexican Folk Art is a comprehensive compilation and detailed examination of each major type of contemporary Oaxacan folk art, set out in a refreshingly user friendly format. The book is divided into ten chapters, each devoted to a different medium: Ceramics, Textiles, Woodcarving, Metal (including tin work, cutlery and knives), Miniatures and Toys, Jewelry, Candles, Basketry and Dried Flower Crafts, with the final chapter devoted to Day of the Dead.
Generally, each chapter begins with a broad description of an art form, including significant variations within. In the Ceramics chapter, for example, the divisions are Terra Cotta, Green Glazed, Multi-Color Glazed, Black (barro negro) and Painted Red. Often a village in Oaxaca’s central valleys is known for the production of a specific type of folk art. Accordingly, in some cases a chapter then proceeds to describe a particular pueblo, giving the reader additional context. We find descriptions of, amongst others, the ceramics towns of Atzompa, San Bartolo Coyotepec and Ocotlán.
Where a family is noted for a special innovation or its adeptness at creating a certain craft, a family history follows. The individual craftspeople are then highlighted. For the black pottery of San Bartolo Coyotepec, we find descriptions of the De Nieto Castillo family, of which the famed Doña Rosa was a member, along with biographies of her son Don Valente Nieto Real and members of his clan; and of the Pedro Martínez family with biographies of acclaimed Carlomagno Pedro Martínez and his relatives.
All told, Mexican Folk Art showcases the works of 100 artists from 50 families living in Oaxaca or one of 13 nearby towns and villages. In most cases we’re enlightened regarding the personality, worldview and motivation of each individual carver, weaver or potter, as well as provided with a biographical sketch, enhanced with the inclusion of a direct quote. In this way the reader gains insight into the inspiration of each craftsperson. In many instances the authors also include a section on the techniques used by the artist, which variously includes the sourcing of raw materials such as wool from the Mixteca region of the state for making rugs and wall hangings, or clays from other regions of the state for changing tone and texture of sculptures; and processing methods including the extracting of natural dyes from fruits, plants, soils and the cochineal insect.
With its glossy front cover and approximately 700 photographs, Mexican Folk Art can rightfully be termed a coffee table book. But it’s much more. The photos in and of themselves bring the book, and the artists, to life: Apolinar Aguilar of Ocotlán, forging a red hot piece of recycled metal into an artistic hunting knife; a display of provocatively painted clay ladies of the night made by his cousin Julian, son of celebrated Guillermina Aguilar; Jacobo Ángeles of San Martín Tilcajete carving a figure from the wood of the copal tree, or standing alongside wife María and their family, each proudly displaying an exquisitely painted alebrije; Teotitlán del Valle weaver Isaac Vásquez, working at his loom creating a tapete, the pattern inspired by a pre-Hispanic pictograph; and fine examples of multi-colored highly detailed hand embroidery from San Antonino, such as the yoke and sleeve of a wedding dress.
This gem should easily entice any reader with an interest or background in anthropology, history or geography. The importance and influence of indigenous Zapotec ancestry and its present-day cultural manifestations shines through many of the ethnographic accounts. The genealogies (referred to as Family Trees) comprising one of the appendices are in-depth, and date as far back as the 19th century. They assist the reader in better understanding the historical and generational context of Oaxacan craft development.
To help those with an interest in exploring the craft villages and visiting the artists on their own, without the assistance of a Oaxaca tour guide, throughout the body of the book the address and all available additional contact information for each artist is provided, such as phone number and email. A second appendix consists of a series of easy-to-read pueblo maps, detailing the precise location of each featured artist, further facilitating contact.
Authors Arden and Anya Rothstein correctly caution that their presentation of artists constitutes “a sampler” of what’s available to those interested in exploring Oaxaca’s hinterland. They in fact encourage getting out and exploring on your own, finding that next folk artist who might rise to international stature. They are careful to qualify that their inclusions are based on which craftspeople are the most innovative, or produce work which is of especially high caliber according to certain criteria. The Rothsteins recognize that the work of any innovator of an entire class of folk art, and of those producing quality a cut above that of the rest, is often out of the financial reach of many. Therefore, they feature additional artists whose works are more affordable, yet also of exceptional quality.
Collectors of folk art often need a reminder that buying the work of a recognized name does not necessarily mean that the product is the best, in terms of coloration or patina, form, design, or the imagery it provokes, and that what strikes the fancy of most, or of the so-called experts, might not be your particular cup of tea. Along this vein, “honorable mention” is provided for makers of certain crafts whose works are not featured (under the heading of, for example, “Additional woodcarvers in Arrazola”). The clear suggestion is that readers should get out there and explore, and make their own determinations and choices based upon personal preferences.
Is it worth purchasing the 2nd edition if you already have the 1st? Certainly give it some consideration if you have not already enmeshed yourself in the appreciation and collecting of Oaxacan folk art by having explored the central valleys. Where the 2002 volume boasts 500 photos and features 87 artists within 44 families, the most recent publication, as noted earlier, has been expanded to 700, 100 and 50, respectively. Some of the craftspeople merely mentioned in the earlier volume under the “Additional” heading, have been elevated to “featured artist,” with their works and stories duly chronicled. And in some cases where families have grown and pueblo demographics have been altered, the authors have appropriately noted changes. Wisely, at least in this critic’s opinion, the U.S. dollar “Price Guide” has been omitted from this new volume, since more than anything else it likely lead to confusion for the buying public, with the potential of putting up barriers between artists and prospective customers. As between Mexican and American economies, there are so many variables and market conditions at play, best to allow vendor/creator and purchaser do their own assessment respecting value for workmanship.
Mexican Folk Art is a well-researched exhaustive study of all major types of contemporary Oaxacan folk art and their makers, past and present. Don’t let its appearance as “just another fancy coffee table book” deceive you. It accomplishes what it sets out to do, and then some. It should be viewed as a guide, rather than a bible. If we’re ever blessed with a 3rd edition, perhaps the publisher will deem it advisable to place duplicates of the pueblo maps in a separate pocket … it would be a pity for such a wonderful work to become unduly worn by toting it from village to village.
Alvin Starkman received his Masters in Social Anthropology in 1978. After teaching for a few years he attended Osgoode Hall Law School, thereafter embarking upon a career as a litigator until 2004. Alvin resides in Oaxaca, where he writes, leads personalized tours to the villages, markets, ruins and other sights, is a film consultant, and operates Casa Machaya Oaxaca Bed & Breakfast ( http://www.oaxacadream.com ), combining the comfort and service of a downtown Oaxaca hotel with the lodging style of a quaint country inn .
5/02/2009
La Catrina de Alcalá - Oaxaca restaurant review
La Catrina de Alcalá: Oaxaca restaurant review
Alvin Starkman M.A., LL.B.
La Catrina de Alcalá ranks amongst the city’s finest restaurants, rather unsual since most other restaurants within two blocks of the Oaxaca’s zócalo manage to get by with cafeteria-style atmosphere, mariachis and marimbas, and mediocre food. But owner / artist Rolando Rojas took the plunge, and the gamble has paid off: both quality Oaxacan, and unique continental fare in a tasteful courtyard setting, in the heart of the Centro Histórico.
The establishment is actually three businesses combined in a two-story piece of prime real estate, along Oaxaca’s famed pedestrian walkway, Macedonia Alcalá: an upper level boutique style hotel; an art gallery featuring the works of Rojas and several other respected local artists; and the adjoining eatery, managed by chef Juan Carlos Guzmán Toledo.
The experience begins with an attractive young woman clad in regional dress, smiling and welcoming at the restaurant’s entranceway, ushering you to your table. The focal point is a large, cantera stone fountain. Otherwise the décor is minimalist, white walls adorned with sparsely placed art and a series of gilt stars. Yet the ambiance somehow exudes comfort and warmth, perhaps facilitated by the lone strumming troubadour, half hidden behind a strategically placed cluster of plants.
Waiters are eager to show off their English proficiency, whether needed or not, as bowls of salsa, one smoky tomato-based, and the other with a hint of shrimp are placed alongside totopos (crispy, toasted corn-flour crackers).
The restaurant prides itself in its use of seasonal, locally produced ingredients, and boasts that when you patronize La Catrina you’re helping local economies. Vegetarian dishes, “slow food,” and plates from the Isthmus region of the state are noted. However, occasionally the odd import sneaks in as a special, such as kobe beef.
The menu otherwise covers all the bases: soups, salads and appetizers; meat, poultry and pasta; fish and seafood, and regional specialties such as a selection of three Oaxacan moles. But even those dishes in the continental genre are often presented with local flare.
Particularly noteworthy as starters are the poblano pepper soup with mushrooms, squash blossom and bacon, and hierba santa leaves stuffed with Oaxacan string and goat cheeses in a green tomato and mecco chili sauce. The salads range from the traditional to the unique (jícama, sunflower seeds, toasted almonds, wheat quenelle, fried hibiscus flowers and fresh cheese with hibiscus dressing). The staff is extremely accommodating in terms of sensitivity to those with dietary restrictions or a purist palate. For example, at our most recent evening out, chef Juan Carlos was happy to comply with my wife’s request for a simple small green salad.
.
The seared tuna with mango and habanero sauce, alongside white beans in coconut milk is prepared to perfection, with the flavor of each ingredient easily discernable. The sliced duck and fresh fig is served on a bed of julienne of zucchini “spaghetti,” smothered with a dark purée of honey-fig. And beef lovers are able to experiment with the non-traditional, be it a rib eye served with guacamole and creamy garlic-stuffed chili, or go for something more Oaxacan, steak marinated with mezcal, pineapple and apple, served with garlic purée stuffed chilito.
All of the after-dinner non-alcoholic hot beverages are available high-test, or decaffeinated, so extend your evening without concern, perhaps concluding with a martini glass brimming with a selection of three tropical fruit sorbets.
Also noteworthy: La Catrina has developed a dedicated breakfast and lunch crowd, often comprised of predominantly local residents. Coffee or tea is suggested upon arrival, with warm, freshly baked breads and an assortment of sweet rolls for the asking. Dishes include an assortment of eggs and omelets, traditional Oaxacan breakfast fare such as enchiladas, tamales, chilaquiles and typical Oaxacan grilled meats with garnishes, both unique and traditional salads, and sandwiches featuring spinach, goat cheese, pecan, apple, basil, mushroom and squash blossom.
La Catrina de Alcalá (www.casacatrina.com.mx). M. Alcalá 102, a couple of blocks north of the zócalo. Oaxacan cuisine with an international flare. Locals and tourists.
Alvin Starkman has a Masters in Social Anthropology from Toronto’s York University, and a law degree from Osgoode Hall Law School. Alvin ceased practicing law in 2004, when he and his wife began living permanently in Oaxaca. Since that time, Alvin has written well over 80 articles about life and cultural traditions in and around Oaxaca and its central valleys, including numerous restaurant reviews, for newspapers, magazines, and websites. The Starkmans run Casa Machaya Oaxaca Bed & Breakfast (http://www.oaxacadream.com), a unique bed and breakfast experience combining the comfort and service of a downtown Oaxaca hotel, with the personal touch of country inn style lodging in a quaint semi-rural setting.
Alvin Starkman M.A., LL.B.
La Catrina de Alcalá ranks amongst the city’s finest restaurants, rather unsual since most other restaurants within two blocks of the Oaxaca’s zócalo manage to get by with cafeteria-style atmosphere, mariachis and marimbas, and mediocre food. But owner / artist Rolando Rojas took the plunge, and the gamble has paid off: both quality Oaxacan, and unique continental fare in a tasteful courtyard setting, in the heart of the Centro Histórico.
The establishment is actually three businesses combined in a two-story piece of prime real estate, along Oaxaca’s famed pedestrian walkway, Macedonia Alcalá: an upper level boutique style hotel; an art gallery featuring the works of Rojas and several other respected local artists; and the adjoining eatery, managed by chef Juan Carlos Guzmán Toledo.
The experience begins with an attractive young woman clad in regional dress, smiling and welcoming at the restaurant’s entranceway, ushering you to your table. The focal point is a large, cantera stone fountain. Otherwise the décor is minimalist, white walls adorned with sparsely placed art and a series of gilt stars. Yet the ambiance somehow exudes comfort and warmth, perhaps facilitated by the lone strumming troubadour, half hidden behind a strategically placed cluster of plants.
Waiters are eager to show off their English proficiency, whether needed or not, as bowls of salsa, one smoky tomato-based, and the other with a hint of shrimp are placed alongside totopos (crispy, toasted corn-flour crackers).
The restaurant prides itself in its use of seasonal, locally produced ingredients, and boasts that when you patronize La Catrina you’re helping local economies. Vegetarian dishes, “slow food,” and plates from the Isthmus region of the state are noted. However, occasionally the odd import sneaks in as a special, such as kobe beef.
The menu otherwise covers all the bases: soups, salads and appetizers; meat, poultry and pasta; fish and seafood, and regional specialties such as a selection of three Oaxacan moles. But even those dishes in the continental genre are often presented with local flare.
Particularly noteworthy as starters are the poblano pepper soup with mushrooms, squash blossom and bacon, and hierba santa leaves stuffed with Oaxacan string and goat cheeses in a green tomato and mecco chili sauce. The salads range from the traditional to the unique (jícama, sunflower seeds, toasted almonds, wheat quenelle, fried hibiscus flowers and fresh cheese with hibiscus dressing). The staff is extremely accommodating in terms of sensitivity to those with dietary restrictions or a purist palate. For example, at our most recent evening out, chef Juan Carlos was happy to comply with my wife’s request for a simple small green salad.
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The seared tuna with mango and habanero sauce, alongside white beans in coconut milk is prepared to perfection, with the flavor of each ingredient easily discernable. The sliced duck and fresh fig is served on a bed of julienne of zucchini “spaghetti,” smothered with a dark purée of honey-fig. And beef lovers are able to experiment with the non-traditional, be it a rib eye served with guacamole and creamy garlic-stuffed chili, or go for something more Oaxacan, steak marinated with mezcal, pineapple and apple, served with garlic purée stuffed chilito.
All of the after-dinner non-alcoholic hot beverages are available high-test, or decaffeinated, so extend your evening without concern, perhaps concluding with a martini glass brimming with a selection of three tropical fruit sorbets.
Also noteworthy: La Catrina has developed a dedicated breakfast and lunch crowd, often comprised of predominantly local residents. Coffee or tea is suggested upon arrival, with warm, freshly baked breads and an assortment of sweet rolls for the asking. Dishes include an assortment of eggs and omelets, traditional Oaxacan breakfast fare such as enchiladas, tamales, chilaquiles and typical Oaxacan grilled meats with garnishes, both unique and traditional salads, and sandwiches featuring spinach, goat cheese, pecan, apple, basil, mushroom and squash blossom.
La Catrina de Alcalá (www.casacatrina.com.mx). M. Alcalá 102, a couple of blocks north of the zócalo. Oaxacan cuisine with an international flare. Locals and tourists.
Alvin Starkman has a Masters in Social Anthropology from Toronto’s York University, and a law degree from Osgoode Hall Law School. Alvin ceased practicing law in 2004, when he and his wife began living permanently in Oaxaca. Since that time, Alvin has written well over 80 articles about life and cultural traditions in and around Oaxaca and its central valleys, including numerous restaurant reviews, for newspapers, magazines, and websites. The Starkmans run Casa Machaya Oaxaca Bed & Breakfast (http://www.oaxacadream.com), a unique bed and breakfast experience combining the comfort and service of a downtown Oaxaca hotel, with the personal touch of country inn style lodging in a quaint semi-rural setting.
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