Los mascarones custodios adornan los tubos del magnífico órgano de Tlacochahuaya, cada vez que el órgano suena ellos nos cuentan una historia, un secreto, los misterios de los glifos entre los muros del templo.
Siguiendo la ruta Dominicana, en los valles centrales de Oaxaca, nos acercamos al templo y ex-convento de San Jerónimo Tlacochahuaya, con uno de los interiores y frescos más hermosos de esta ruta así como su órgano que imponente cobra vida, desde sus tubos que parecen observarnos con una mirada más allá del tiempo y el misterio de su esencia.
Montserrat Franco frente al templo y ex-convento de Tlacochahuaya Observa fijamente este muro del campanario del templo de Tlacochahuaya, dos glifos se encuentran allí como fiel testimonio de presencia Zapoteca a través de los siglos.Debido a su compleja serie de frescos y retablos, el templo de Tlacochahuaya ha sido nombrado como la “Capilla Sixtina Zapoteca” Fachada de la entrada principal del templo de San Jerónimo Tlacochahuaya Baptisterio con frescos restaurados en 1999, escena de San Juan El Bautista y el Rey Sol. Se atribuye a los artistas Zapotecos bajo la guía de los frailes Dominicos.Entrada al templo con su nave principal, los frescos muy particulares del arte en las cortes renacentistas Europeas El patrón de flores y jarrones, se destaca el color rojo carmesí el cual proviene de la grana cochinilla y el azul añil, tintes naturales utilizados en Oaxaca desde antes de la llegada Europea. Al observar detenidamente los muros del templo encontramos verdaderos testimonios de glifos Zapotecas. Detalle de un maguey en uno de los muros a la entrada principal que conduce al templo El Templo y Ex-Convento de San Jerónimo Tlacochahuaya. Ruta Dominica de los Valles Centrales de Oaxaca.
Orígenes
Tlacochahuaya se considera tradicionalmente fundada por un guerrero zapoteca llamado Cochicahuala, cuyo nombre significa “el que lucha de noche”.
Tras la llegada de los españoles, las tierras fueron otorgadas a Don Gaspar Calderón y la región fue evangelizada por la Orden Dominicana.
En 1558 se establecieron la iglesia y el convento de San Jerónimo, como un lugar de contemplación y sosiego para los frailes, fue allí donde Fray Juan de Córdova escribió posteriormente importantes obras sobre la lengua zapoteca, entre ellas una gramática y un vocabulario que siguen siendo fuentes fundamentales para el estudio de la cultura y el idioma zapotecos.
Retablo de la Virgen de Guadalupe que está sentada, en la aparición a Juan Bernardino, tío de Juan Diego. El retablo fué pintado por Joseph Nabarro, en el año de 1689, en el templo de San Jerónimo Tlacochahuaya. Retablos de Tlacochahuaya, con obras de manos indígenas y mulatos que el mismo Fray Francisco de Burgoa comparó con la de los grandes artistas Europeos. Fray Juan de Córdova (1503–1595) fue un fraile dominico español que desempeñó un papel fundamental en el estudio y la preservación de la lengua zapoteca durante el siglo XVI. Es considerado uno de los primeros lingüistas de la Nueva España.
Fray Juan de Córdova es reconocido por sus trabajos pioneros, especialmente el Arte en lengua zapoteca y el Vocabulario en lengua zapoteca, publicados en 1578.
El Templo y su magnífico órgano
Una característica que distingue particularmente a los órganos históricos de Oaxaca son las protuberancias redondeadas en los laterales de la caja inferior, se conocen como “caderas”.
Construido en 1558, es uno de los más hermosos y también uno de las más enigmáticos en el arte y la historia de la música barroca de Oaxaca, con su magnífico órgano construido alrededor de 1735, el cual sigue siendo ejecutado bajo la tutela de la organista: Dra Soledad Hernández, hija de Tlacochahuaya.
Las protuberancias redondeadas en los laterales de la caja inferior del órgano se conocen como “caderas”, esta es una característica particular de los órganos históricos de Oaxaca.
Foto cortesía de la Dra Soledad Hernández, orgullosamente nacida en Tlacochahuaya, custodia del órgano y cofundadora del Festival Oaxaca Barroca. Los mascarones custodios adornan los tubos del magnífico órgano de Tlacochahuaya, cada vez que el órgano suena ellos nos cuentan una historia, un secreto.Un ángel músico forma parte de la serie de óleos originales en el órgano de Tlacochahuaya, es también la imagen del Festival Oaxaca Barroca.Con los Maestros Tonatihu y Maricarmen González, ambos docentes del Cecam y fundadores junto a la Dra Soledad Hernández, del Festival Oaxaca Barroca.
En 1999 los trabajos de restauración fueron apoyados por la Fundación Alfredo Harp Helú, con la cual se ha logrado restaurar 7 retablos, 81 pinturas, 7 esculturas, las fachadas principal y lateral, la iluminación del templo y el atrio.
Experiencias Gastronómicas y Textiles
Cuando visites Tlacochahuaya, no dudes en agendar con tiempo una experiencia familiar y gastronómica en la cocina Bel Cuan de Jess Guzmán, a solo pasos de la Iglesia, Jess y su madre nos preparan en su cocina de humo: memelitas, tlayudas, quesadillas de flor de calabaza y otros antojitos Oaxaqueños deliciosos, chocolate caliente con panecillos de yema y no puede faltar un Mezcal Tobala para terminar un día maravilloso.
Jess también promueve los textiles Oaxaqueños desde su proyecto Rilarte y puedes adquirir con ella piezas únicas como huipiles en telar de cintura de San Juan Colorado y los famosos vestidos Sirena de San Juan del Río, los cuales tienen una historia muy interesante:
Cuando llegan los españoles al valle de Tlacolula, los nativos Zapotecas se fijaron en las camisas holgadas que estos llevaban, con mangas abultadas y cuellos que se podían cerrar con dos lazos o dejar abiertos. Ellos recrearon estas blusas y con el tiempo las hicieron propias, tejiendo vestidos que luego fueron popularmente llamados “Sirena” una de sus artesanas más reconocidas es la Maestra Vicky Martínez, quien a través de su colectivo de artesanas continúa creando para diseñadoras locales e internacionales.
Los vestidos Sirena, se caracterizan por la unión de crochet entre las mangas, cuello y pliegues.
Jess y su madre preparan tlayudas en su cocina familiar Bel Cuan.Tlayudas recién hechas en Bel Cuan, acompañadas de salsitas y mezcal En la cocina de humo de Bel Cuan, todos los ingredientes se preparan al momento, las tortillas se amasan y se ponen al comal.Montserrat Franco con vestido Sirena de San Juan del Río, la Dra Soledad y Jess Guzmán con un huipil de la colección Rilarte.
Puedes ver el video completo de “Adorote Devote” de Santo Tomás de Aquino con la composición musical de mi padre José N. Franco Alderete, interpretado por su servidora, Montserrat Franco filmado en San Jerónimo Tlacochahuaya por mi gran amigo Manuel Torres Vargas, miembro fundador de la Unión de Periodistas Oaxaqueños (Stir Televisión) y Jesús David Franco Riquelme aqui
Agradecimientos especiales al pueblo de Tlacochahuaya, a los sacristanes y custodios del templo, a la Dra Soledad Hernández, organista y co-fundadora de Oaxaca Barroca, por estos años de amistad y sueños, mi admiración siempre por todo lo que representa esta historia, la resiliencia de su pueblo y sus antepasados, su legado y su preservación.
Bibliografía:
Flowers and Floral Imagery in New Spain’s Visual Production and Religious Spaces. James Cordova. Presented at The 84th Annual Meeting of the Society for American Archaeology, Albuquerque, NM. 2019 ( tDAR id: 450456)
Miller, Arthur. 1995. The Painted Tombs of Oaxaca, Mexico: Living with the Dead. Cambridge University Press, Cambridge.
Montiel Ángeles, Alma Zaraí, López, Víctor Manuel Zapien, and Winter, Marcus. 2014. La arqueología del istmo oaxaqueño: Patrones de asentamiento, comunidades y residencias. En Panorama Arqueológico: Dos Oaxaca, editado por Winter, Marcus y Santiago, Gonzalo Sánchez, pp. 197–244. Instituto Nacional de Antropología e Historia, CONACULTA, Oaxaca de Juárez, México.
Un viaje al país de las nubes, entre bandas filarmónicas, compositores, fiestas y mezcal
Adentrarse en la sierra Norte de Oaxaca es vivir una experiencia cultural única, más aún si es posible visitar sus pueblos mancomunados y villas, durante sus festividades religiosas, muy arraigadas a la vida comunitaria, así como el desfile de sus bandas filarmónicas, en audiciones que nada tienen que envidiar en nivel compositivo e interpretativo a las mejores orquestas Europeas.
En la cosmovisión Zapoteca de la Sierra “Bene Xhon” se reconoce su fuerte sentido de comunidad, su riqueza lingüística, su tradición musical y su profunda conexión con las montañas de la Sierra Norte de Oaxaca.
Y así entre profundos bosques de pino y encino, y sinuosos caminos llegando alrededor de 3,200 metros sobre el nivel del mar, empezamos la ruta desde las Cuajimoloyas.
San Antonio Cuajimoloyas:
Según la tradición local, el nombre Cuajimoloyas significa “mole cuajado en ollas”. Los primeros pobladores prepararon mole para las festividades de Día de Muertos, pero el intenso frío de la montaña hizo que se cuajara, dando origen al nombre del pueblo.
Entre sus atractivos principales, se encuentra el complejo turístico comunitario yEl mirador Yaa-Cuetzicuyo nombre en zapoteco suele interpretarse como “cerro de observación” o “lugar para mirar a lo lejos”.
El puente colgante tiene aproximadamente 137 metros de longitud y está suspendido sobre una cañada rodeada de bosques de pino y encino.
Cabe destacar también la inmensa riqueza micológica de los Cuajimoloyas, la cual está ligada al cuidado del bosque. Para sus habitantes, los hongos son esenciales para la salud de los ecosistemas, ya que ayudan a descomponer materia orgánica y mantienen el equilibrio natural. Por ello, la recolección suele realizarse de manera responsable para proteger la biodiversidad.
Con más de un centenar de especies, estos hongos pueden tener usos gastronómicos y medicinales, muchas especies aún por clasificar.
Parada en Rally Cafe, Llano Grande para degustar un café serrano de altura Cuajimoloyas: Puente colgante Yaa-Cuetzi Cabañas en Llano Grande, Sierra Norte, Oaxaca A más de 3,200 metros de altitud sobre el nivel del mar, Cuajimoloyas es uno de los puntos más altos accesibles para el ecoturismo en Oaxaca. El puente colgante y mirador Yaa-Cuetzi, permite contemplar por las mañanas vistas panorámicas espectaculares, mientras que por la tarde la neblina convierte el lugar en un paisaje casi mágico entre las nubes.
San Pedro Cajonos
Uno de los atractivos imperdibles en San Pedro Cajonos es El Santuario del Gusano de Seda, uno de los proyectos culturales y artesanales más singulares de Oaxaca. Fue creado para preservar la antigua tradición de la “sericultura”; la crianza del gusano de seda y la producción artesanal de hilo y textiles.
La “Seda de Cajonos”
La importancia cultural de esta tradición es tan grande que en 2022 el gobierno Mexicano reconoció oficialmente la Indicación Geográfica “Seda de Cajonos”, similar a una denominación de origen.
Esta tradición se remonta al siglo XVI cuando los Dominicos introducen el gusano de seda “Bombyx mori”, los árboles de morera (su alimento), y técnicas Europeas de producción de seda.
Con el tiempo, los pueblos zapotecos de la Sierra Norte adaptaron esas técnicas a sus propias tradiciones textiles y desarrollaron una forma única de trabajar la seda.
El proyecto estuvo a cargo del despacho oaxaqueño LAMZ Arquitectura.
Montserrat Franco en el Santuario del Gusano de Seda, San Pedro Cajonos Capullos de seda criolla en el Santuario del Gusano de Seda, San Pedro Cajonos En el Santuario del Gusano de Seda puedes encontrar piezas únicas en venta, tejidas en telar de cintura y teñidas con tintes naturales Telar de pedal en los talleres del santuario del gusano de sedaCriadero y protección de la seda de Cajonos, este complejo comunitario congrega a los artesanos de Cajonos que perpetúan esta tradición por generacionesTelar de cintura en los talleres del santuario del gusano de seda
San Francisco Cajonos
La comunidad tiene raíces prehispánicas muy antiguas. En el cerro llamado “La Mesa” se han encontrado vestigios arqueológicos y piezas antiguas que muestran que el área ya estaba habitada desde tiempos precolombinos. Parte de esos hallazgos hoy se resguardan en el museo comunitario del pueblo presidido por el Mtro Adrian, quien gentilmente brinda visitas guiadas del acervo histórico.
El nombre del pueblo honra a San Francisco de Asís. El término “Cajonos” tiene varias interpretaciones históricas; una de las más conocidas lo relaciona con los acontecimientos ocurridos alrededor de 1700, cuando sucedió el martirio de dos fiscales indígenas cristianos en la región, quienes fueron beatificados por el Papa Juan Pablo II.
Cabe destacar la arquitectura y construcción en cantera rosa del templo y palacio municipal de San Francisco Cajonos, dando la bienvenida al visitante y brillando imponente al ocaso.
El templo reestructurado de San Francisco Cajonos, brilla en su fachada de cantera rosa Texturas de cantera rosa en la fachada del palacio municipal y el museo comunitario de San Francisco Cajonos Pectoral de oro hallado en 1998 en la tumba 2 del Cerro de La Mesa, probablemente fue del gobernante de San Francisco Cajonos circa 1550 DCColgantes y accesorios de ofrendas halladas en las tumbas del cerro de la Mesa hoy expuestas en San Francisco Cajonos Hallazgos en el cerro de La Mesa, hoy conservados en el museo comunitario de San Francisco Cajonos Montserrat Franco y el maestro Adrián en el Museo Comunitario de San Francisco Cajonos
Santiago Zoochila
Un elemento que ha mantenido unidos a estos pueblos mancomunados, son las bandas filarmónicas. Durante generaciones, músicos de Zoochila, Cajonos, Yatzachi y otras comunidades viajaban para tocar en fiestas patronales y celebraciones. A través de la música surgieron amistades, compadrazgos y matrimonios entre familias de distintos pueblos.
Las montañas de la Sierra Norte y los Valles Centrales estuvieron conectados durante siglos por caminos, comercio, música, matrimonios y fiestas religiosas, esto hizo también que el intercambio y las tradiciones tales como el “Padiux” (en zapoteco es dar posada, alimento o cobijo al viajero o quien necesite sin esperar nada a cambio) fuera un símbolo de fraternidad entre los pueblos serranos.
La Música y la reciprocidad como ethos en Zoochila
Esto también se ve reflejado en la tradición de la “Gozona” que en zapoteco es devolver recíprocamente la visita de una banda filarmónica del pueblo huésped al pueblo visitante y viceversa, durante las fiestas patronales.
A diferencia de los demás pueblos, la banda filarmónica de Zoochila no pide Gozona, demostrando así un acto de generosidad absoluto, del mismo modo se reserva en sus presentaciones solo a 4 festividades anuales.
La identidad cultural de Santiago Zoochila está profundamente ligada a las tradiciones zapotecas de la Sierra Norte.
La música comunitaria tiene un papel importantísimo; la formación musical forma parte de la vida social del pueblo y de la transmisión cultural entre generaciones. Entre sus compositores destacados se encuentran Fernando Sandoval Luna, autor de obras extensamente difundidas entre las bandas filarmónicas de México y en plataformas digitales, y Francisco Javier Vargas Luna, primer Mexicano en especializarse en dirección de vientos y percusión en la prestigiosa Academia de Música Rainier III del Principado de Mónaco y el Conservatorio de Estrasburgo, Francia.
Como en otros pueblos de la sierra norte, las bandas de viento, las mayordomías y el tequio son pilares de la vida colectiva.
La Banda Filarmónica Nueva Generación De Santiago Zoochila dirigida por el compositor y director Francisco Javier Vargas Luna
El mezcal como legado comunitario
Zoochila, un poblado de alrededor de 423 habitantes, de los cuales más de un centenar son músicos y alrededor de 20 mezcaleros de profesión.
Los primeros registros parroquiales de familias De Santiago Zoochila datan desde 1688.
La producción de mezcal en Zoochila se ha mantenido como una gema del pueblo, para consumo comunitario, mayordomías y festividades, entre sus destacados maestros se encuentran los hermanos Víctor y Alfredo Cruz, Pastor Luna y Oscar Sandoval Luna.
Centro comunitario en Santiago Zoochila, donde ensaya la Banda Filarmónica Nueva Generación de Zoochila Montserrat Franco y el compositor Zoochileño Fernando Sandoval Luna Los Maestros mezcaleros y productores Zoochileños Víctor y Alfredo Cruz, Alberto LC junto al Maestro y compositor Eduardo Díaz Méndez El compositor Eduardo Díaz Méndez, Maestro Óscar Sandoval Luna y Montserrat Franco en Zoochila Palenque comunitario en Santiago Zoochila Uno de los magníficos retablos dedicados a la Virgen de La Soledad en el templo de Zoochila El retablo mayor en el templo De Santiago Zoochila
Estas fiestas que por lo general duran 5 días tienen un gran simbolismo religioso muy arraigado a la comunidad donde el intercambio de las bandas filarmónicas huéspedes (Banda Filarmonica Municipal de Otatitlan de Morelos) y visitantes; en este año estuvieron presentes: la Banda Filarmónica Nueva Generación de Zoochila, la Banda Filarmónica Aires de Primavera, la Banda Filarmonica de Totontepec Villa de Morelos Mixe donan su tiempo como un servicio comunitario y social.
Las actividades de estas fiestas patronales se desarrollan desde el momento de las donaciones del novillo a cargo de las familias anfitrionas o mayordomos, en esta oportunidad: la familia Martínez Zavala y como mis anfitriones a quienes agradezco infinitamente su generosidad: Wilver Aquino y Mary Ramírez.
La donación va acompañada de la banda municipal anfitriona la cual ameniza la tarde entera, se ofrece una comida de agasajo a todos los presentes y posteriormente se dirigen al templo a entregar las ofrendas al Señor de La Santa Cruz, el cual se adorna con flores naturales y palmas.
Al día siguiente, se da la bienvenida a las bandas visitantes, el representante de la comunidad preside junto a la banda anfitriona, mientras una fanfarria contesta de cada lado, tal y cual lo hubieran hecho en Europa, en tiempos medievales las visitas protocolares de aldeas vecinas durante el palio o festividades principales.
Al ritmo de marchas, y con un repertorio que dominan de memoria, se dirigen los músicos visitantes y huéspedes hasta el templo a entregar sus ofrendas mientras que la comunidad canta con salmos responsoriales.
De allí proceden a un salón comunitario junto con chirimías que también les dan la bienvenida y donde cada banda visitante interpreta obras selectas de su repertorio, hasta que la siguiente banda se hace presente y así sucesivamente continúa la tarde entre sones, jarabes, fandangos, chotis, pasacalles, danzones y otros géneros musicales todos de compositores locales.
Los músicos de cada banda reciben refrigerio, alimentos y alojamiento durante este maratón musical de 5 días, cada banda ameniza el día completo por turnos, desde el amanecer en procesiones solemnes (calendas) hasta las horas de las comidas diarias, misas, y en la tarde y noche audiciones y bailes.
En la víspera de la fiesta del Señor de La Santa Cruz es la quema del castillo (fuegos pirotécnicos espectaculares) frente a la Iglesia, en la plaza principal, donde llueve o truene cada banda debe continuar por turnos amenizando el baile, sones tras sones.
Lo que para estas comunidades representa algo cotidiano, visto y oído desde la perspectiva externa, es simplemente loable y un verdadero deleite para los sentidos al tener el privilegio de despertar por las mañanas con sones interpretados por las bandas filarmónicas en vivo mientras se dirigen al desayuno en la casa comunitaria. Además de esto, el mismo entorno, el paisaje de montañas y niebla, sumados a los sonidos de la naturaleza, contribuyen a que la experiencia sea aún más surrealista.
Para mí que como artista de origen, me crié en medio de músicos de todos géneros desde tradicionales hasta clásicos, no puedo dejar de admirar el sistema musical de la Sierra Norte y seguiré siendo una fiel difusora de su música y tradiciones.
La Banda Filarmónica de Totontepec frente al templo de Otatitlan de Morelos Vista de la parte lateral del templo de Otatitlan de Morelos Autoridades y músicos de la Banda Filarmónica de Otatitlan El templo de Otatitlan al anochecer con los novillos ofrendados en su plaza principal Recibimiento de Otatitlan a las bandas visitantes Procesión de la Banda Filarmónica de Totontepec hasta la Iglesia Sones serranos acompañados acompañados en vivo por las bandas filarmónicasUn típico desayuno serrano, café de la Sierra, panecillos y tamales Audición magna de la bandas filarmónicas presentando obras de concierto de autores contemporáneos con solistas
La música como modus vivendi y hegemonía en las comunidades de la sierra norte
El “ser músico” en las comunidades de “usos y costumbres” de la Sierra Norte y formar parte de la banda filarmónica representa así una forma de servir o “tequio” el cual para otros habitantes del pueblo que no cuenten con la vocación musical deberá ser reemplazado por otro tipo de servicio como “topil” (en zapoteco los topiles se encargan de servir anualmente en las actividades comunitarias haciendo labores que pueden ir desde el orden público a la limpieza de calles).
En estas comunidades, el ser músico es todo un honor, así como en las cortes Europeas, el músico fue una figura esencial para el deleite de sus miembros. Para las comunidades de la Sierra Norte, las bandas filarmónicas constituyen el pilar de la identidad cultural, en estos pueblos es común que los niños aprendan a leer música mucho antes que a leer y escribir.
Dotados de una disciplina para el estudio, los músicos de la sierra norte perfeccionan su ejecución, afinación, destreza e interpretación y reviven movimientos estilísticos que aunque se hubieran originado en Europa y por herencia dejaron su huella hace 5 siglos, a través de la evangelización en estas tierras, han trascendido a un nivel de asimilación e identidad propia desde sus grandes compositores locales como Otilio Contreras, Lico Carrillo, hasta los contemporáneos tales como Eduardo Díaz Méndez, Guzz Ojeda, Fernando Sandoval Luna, Francisco Javier Vargas Luna, Honorio Cano, Víctor Reyes, Cirilo Díaz, Silvestre Vázquez, Gil Ventura, solo por mencionar algunos de estos testimonios vivos del acervo musical de la Sierra de Oaxaca, con más de un centenar de obras por compositor.
Cabe destacar que en algunas comunidades Mixe de la Sierra Norte tales como Totontepec Villa de Morelos, son tantos compositores nacidos en Totontepec, que sus bandas sólo interpretan a compositores de Totontepec.
Al igual que en Santa María Tlahuitoltepec, sede del CECAM (Centro de Capacitación Musical y Desarrollo de la Cultura Mixe) y con quienes he tenido el honor de participar en audiciones de estreno mundial tales como Paz en el Alma y Magnificat en lengua Mazateca, el CECAM no nació como una escuela gubernamental, sino como un proyecto comunitario impulsado por los propios pueblos Mixes para garantizar la continuidad de su herencia musical.
Las Bandas Filarmónicas Tradicionales son patrimonio intangible del Estado de Oaxaca.
Mitchell, J. (2021). Community and Idolatry: San Francisco Cajonos, Yalalag, and Betaza through the Criminal Court of Villa Alta, 1700-1704
Marruffo Betancourt, I., Juárez López, I. I., & Pereyra Martínez, A. (2025). Conocimientos y prácticas tradicionales en la gastronomía de los hongos silvestres de mujeres cocineras de San Antonio Cuajimoloyas, Oaxaca. Enfoques Transdisciplinarios: Ciencia Y Sociedad, 3(1), 133-153.
Aquino, A. (2013a), “La comunalidad como epistemología del sur. Apuntes y retos”
Cuadernos del sur. Revista de ciencias sociales, Oaxaca, CIESAS-Pacífico Sur, UABJO, INAH, año 18, núm. 34, enero-junio, pp. 7-18.
Agradecimientos especiales al maestro Eduardo Díaz Méndez por el privilegio de este viaje musical al país de las nubes, sus conocimientos e introducción a los amigos y a los grandes maestros de la sierra y a todos los pueblos que visite y seguiré visitando mientras la vida me de fuerzas.
Santo Domingo Yanhuitlán in the Mixtec region, one of the destinations on the Dominican Route of Oaxaca, holds special significance this year as we commemorate the 500th anniversary of the order of preachers in Mexico.
Montserrat Franco at the Santo Domingo Yanhuitlan temple and ex-convent Ex-convent of Santo Domingo Yanhuitlan
The enormous Plateresque church is roofed with lofty Gothic star vaults and lined with gilded altarpieces, including the huge main retablo by the noted XVI century Sevillian artist Andrés de la Concha.
Santo Domingo Yanhuitlan, retablo mayor The main retablo is one of the great masterpieces of Mexican artDe Concha painted in the Mannerist style of the Andalusian school, noted for its subtly mellow colors. Some of the 13 altarpieces across de temple are still in restoration process The paintings at Yanhuitlan are considered the earliest, the most complete, and the finest of De Concha’s Mexican art.The retablo of La Soledad The principal paintings have been identified as the work of Andrés de Concha, the celebrated painter, sculptor and designer from Seville who traveled to Mexico in 1568, under commission by the encomendero Gonzalo de Las CasasThe mix of colonial styles from Plateresque to Churrigueresque. A retablo still under restoration at the Santo Domingo Yanhuitlan temple
Painted stucco and stone reliefs decorate many sections of the church, whose broad underchoir is spanned by an intricately carved Moorish wooden ceiling.
Angeles Pasionarios
Among these treasures is a collection of painted wooden angels known as “Angeles Pasionarios,” belonging to the various colonial barrios of Yanhuitlan. As a tradition that has endured for centuries, the mayordomos (chiefs) of each cofradia take great honor and pride in dressing and displaying the angels during the procession.
Angeles Pasionarios de Santo Domingo Yanhuitlan Passionate angels are exhibit at the Temple’s museum during the year, dressed and carried in procession during lent.
On Good Friday these figures, adorned with wings and crowns and carrying the Instruments of the Passion, are borne in procession around the town.
Each archangel has a name of Mixtec origin, representing each of the eight neighborhoods:
Daná / Dequedaná (crazy head)
Attributes: Staff and title
Yuxacóyotl (edge of the marsh)
Attributes: Hammer
Yuyusa (riverbank)
Attributes: Spear
Xayujo / Xayuco (at the foot of the mountain)
Attributes: Crown
Ticoó (marshland)
Attributes: Cross, cincture, and radiance
Tindeé (land of thorns)
Attributes: Ladder
Ayuxi (revered flower)
Attributes: Lily
Yuxayó (reed river)
Attributes: Nails
The garments of these sculptures are safeguarded by eight Yanhuitlán families. These stewardships are passed down from generation to generation, with some records showing that they have preserved these religious objects for over 150 years.
The Pipe Organ
The magnificent pipe organ built around 1705 and is currently in use.
Built by an unknown maker, likely between1705–1725. Restored in 1996-1998 by Pascal Quoirin, overseen by the Academia Mexicana de Música Antigua para Órgano (AMMAO). It is an 8’ stationary organ, featuring a 47-note keyboard (added in 1886).
The Codex Yanhuitlán
The codex was written by its inhabitants dated 1550 to 1570, to celebrate the agreement between chiefs, religious and encomendero, the document also intended to take stock of what had in taxes and tequitl work or the community to their new rulers. The original is currently in the special collections of the José María Lafragua Historical Library of the Autonomous University of Puebla.
The Yanhuitlán Codex was made in the 16th Century in a different format: instead of using a typical folding document, it was made like an European Codex.The codex serves as a record of dynastic succession and political relationships among indigenous rulers and Spanish authorities.Codex Yanhuitlan: it is interesting how the Saints or Spanish figures appear always bigger in comparison to the natives of the land.
If you go:
Check the official INAH site for hours of operations and costs.
References:
Codice Yanhuitlan, estudio preliminar de María Teresa Sepúlveda y Herrera
Frassani, Alessia. 2013. “The Convento of Yanhuitlan and its Altarpiece: Patronage and the Making of a Colonial Iconography in 16th-century Mixteca Alta.” Colonial Latin American Review 22 (1): 67-97.
Terraciano, Kevin, 2001. The Mixtecs of Colonial Oaxaca, Nudzahui History, 16th-18th Centuries.Stanford: Stanford University Press.
An original work by Jose Luis Guzman Wolffer filmed at the Santo Domingo Temple, UNESCO world heritage site, Oaxaca
The commemoration of five hundred years of the presence of the Order of Preachers in Mexican lands represents a moment of special significance, especially in Oaxaca.
The jubilee invites us to look back at the historical origin of the Dominican presence in the region.
The first mission to head to New Spain departed from Sanlúcar de Barrameda in February 1526, arriving in Mexico City on the eve of the feast of the Apostle Saint James. With their arrival, a period of intense evangelizing activity began, culminating in the official founding of the Province of Saint James of Mexico in 1532, with its formal installation taking place on August 24, 1535. From then on, the preaching friars established communities in strategic locations such as Santo Domingo de México, Tepetlaoxtoc, Chimalhuacán Chalco, Cuernavaca, Oaxaca, and Yanhuitlán, promoting extensive missionary work, especially in the Mixtec and Zapotec regions.
Montserrat Franco and the Cecam Philharmonic at the Santo Domingo Church, Oaxaca. Photo: Mauricio Velazquez Torres Brass ensemble at the cloisters of Santo Domingo. Photo credit: Mauricio Velazquez Torres Soloists Diana Itzel Ramirez, María Reyna, Yobanca Matamoros and Montserrat Franco Montserrat Franco and María Reyna, the Mixe SopranoThe Cecam Philarmonic, the Poliphonic Choir of Oaxaca, the brass ensemble, soloists and conductors Montserrat Franco during the film of Oaxaca Sacro at the Santo Domingo temple
Oaxaca Sacro is a musical and documentary proposal that rescues the main indigenous languages of Oaxaca by incorporating their linguistic elements into an original sacred music composition, while also celebrating in 2026 the 500-year presence of the Order of Preachers (Dominicans) in Mexico through their history, legacy, and religious services in Oaxaca.
Composed by José Luis Guzmán Wolffer in seven movements that have been translated from the original Latin to different languages of Oaxaca by native speakers.
Hacienda Guegorene. San Pedro Taviche, District of Ocotlan de Morelos
The Hacienda Guegorene is a historic Estate located in San Pedro Taviche, in the Ocotlán district of Oaxaca, within the Central Valleys, a region deeply tied to the Zapotec culture.
Historical background
Hacienda Guegorene dates back roughly to the late 17th or early 18th century, making it part of the colonial hacienda system that shaped much of rural Oaxaca’s agricultural economy.
The name Guegorene is believed to come from Zapotec linguistic roots, while interpretations vary locally, historians and linguists generally connect the word to Zapotec terms associated with “place of abundance” fertile agricultural land or a place where life grows, or “river of blood” because of the red color of the copal trees that surrounds the land.
The architecture reflects classic colonial hacienda design, with a central fountain and gardens, large corridors with arches, an estate chapel, surrounding agricultural lands.
Mining in the Taviche, Ocotlan areas
Mining in the Taviche area dates back to the 19th century. By the late 1800s and early 1900s, many deposits of silver and gold were already being exploited in the Taviche mining district, including areas around San Pedro and San Jerónimo Taviche.
Mines were originally operated on a small scale by local haciendas like Guegorene. Later, foreign and national companies became involved in extracting the metals. The area became known as a precious-metal district with multiple underground mines.
Mining slowed down during the Mexican Revolution (around 1910) but resumed again in the 1920s and later decades.
Montserrat Franco at the Chappel in honor to the Lady of Juquila. Hacienda Guegorene The agave fields across Hacienda Guegorene The spring water pool Breakfast at Hacienda Guegorene Four generations of Skidmore rest at the Hacienda’s chappel The kitchen with some ancient artifacts The kitchen The Chappel The arched corridors of the hacienda Several chambers are located across the hacienda complex
The chapel on the property reportedly contains a Virgin of Juquila image from 1827, showing how the estate also became integrated into the local religious and social life of the community.
The Union of Texan miners and Zapotec women
María Saturnina Jiménez García, of Zapotec descent, was the matriarch who led the operations of the hacienda alongside her Texan husband and son of Frank, the founder: Charles Henry Skidmore.
Dolores Skidmore Jiménez and Carlos Skidmore Jiménez preserved the estate and its agricultural vocation. They had eleven kids.
Today, Eduardo Muñozcano Skidmore, great-grandson of Frank, leads the comprehensive restoration of the historic center and creates the brand Quiéreme Mucho, bringing tradition into the 21st century with a sustainable vision and international outlook.
“Oaxaca remains an intact gem that will continue to remind us of our past, our ancestors, our true origins that shall never be forgotten.”
You might recognize it if you’ve seen the movie Nacho Libre, or if you’ve tasted the famous quesillo (also known as Queso Oaxaca) or its renowned “muerteadas” that the Etla Valley is famous for, which are celebrated on the eighth day after Day of the Dead.
On this post, I’ll provide you with all the information you need about the Etla Valley. It might seem confusing because there are multiple Etlas, but the entire valley holds significant historical importance. It was one of the oldest Zapotec settlements, even predating Monte Alban. In fact, the early hieroglyphic Zapotec writings were discovered at the site of San Jose El Mogote (600 BCE)
San Jose El Mogote
And we should probably start the tour here: San José Mogote was the largest and most important settlement in the Valley of Oaxaca during the Early and Middle Formative periods (ca. 1500-500 BCE) of Mesoamerican cultural development.
San José Mogote is considered to be the oldest permanent agricultural village in the Oaxaca Valley and probably the first settlement in the area to use pottery.
Some of the artifacts from the San José Mogote archaeological site may be viewed in the town of San José Mogote’s Community Museum, which is located in the El Cacique Ex-Hacienda.
Ex-Hacienda El Cacique founded in 1686, today the Museum El Diablo Enchilado, incense holder from the phase Monte Alban II Jade figure found at the site of Dan Jose El Mogote from the Monte Alban II (200 BCE) Urns representing the Lord Bat with the Cosijo deity. Montserrat Franco on top of the San Jose El Mogote pyramid Monument 3 at San Jose Mogote. The two shaded glyphs between his legs are likely his name, Earthquake 1.
Reyes Etla
You might recall that charming church and its adjacent courtyard from the Nacho Libre film. If you take a few steps behind the church, you’ll find an unexcavated ceremonial site.
A site that dates from the Monte Alban I (250-500 BC) inhabitants from Etla and pilgrims from other villages would still come to this date to venerate, make petitions and sacrifices to the sacred serpent carved stone as they ancestors did.
It was strategically located to face the four cardinal directions; a ball game and a whole village was also built around the ceremonial site; today only a few stones remains of these ancient city.
This is a true example of syncretism that colonialism couldn’t erase from the collective memory of the true owners of these lands. A church and convent was built, a different name and figure was given for worship; they would still come to make petitions to the ancient stone for a better harvest, for the health of a family member, for that family member that’s overseas.
“The Lord of las Peñitas” is celebrated on fifth Friday of lent, the people, who intuitively follow faithful atavistic way the tradition of venerating this huge rock that has life and who listens to who makes “a petition”. Legend says that the day of the creation God imprinted his footstep on the rock.
This permanence of spirituality in our time of materialism, globalization and neo-liberalism is a true human treasure; Oaxaca remains an intact gem that will continue to remind us of our past, our ancestors, our true origins that shall never be forgotten.
While visiting Reyes Etla, don’t miss the opportunity to buy and savor quesillo, the village where this delicious cheese was accidentally invented. You can find it at any local stall or the market.
Quesillo stall at the Quesillo Festival in Reyes Etla Quesillo makers during the annual Quesillo Festival Reyes Etla A view of the Etla valley and Villa of Reyes Etla Sanctuary of The Lord of the Rocks (Las Peñitas) and film location of Nacho Libre The sacred serpent stone A rock formation at the base of the hill contains a fossilized footprint, attributed in legend to God or Jesus resting there
The Village of Etla
This is center of all Etlas, known for its historic ex-convent, vibrant Wednesday market with local cheeses and tamales.
It serves as the local government for several other communities and offers a blend of Oaxacan culture, history, and natural beauty, with many nearby accommodations in the surrounding Etla valley.
Founded in the 15th century, centered around the church and former monastery of San Pedro y San Pablo.
The name means “town of the land of beans” mixing Spanish and Nahuatl. “Villa” is from Spanish and means “town”
The famous steps at the Etla market, scene where Nacho Libre walked.An herbs vendor at the Wednesday market in the Etla village Local fruits and veggies at the Etla market Produce booth at the Etla market Cafe Revolucion it is one of the staple coffee shops at the village of Etla Gourmet coffee by Cafe Revolucion located at the main plaza in the Etla village
Asuncion Etla
Muerteadas are celebrations during and after Day of the Dead in the Valleys of Etla.
Muerteadas are traditional celebrations during the “Octava” or the 8th day after Day of the Dead such as the popular one in Asunción Etla and many other villages of the Etla valley.
This muerteada is the most anticipated festivity by the entire village called Muerteada La Lallanera proudly organized by a dedicated team of “mayordomos” or community leaders.
On this night, residents dress in costumes adorned with small mirrors and bells. The mirrors are used to scare away the witches and the bells help guide the spirits in the night. The costumes are complete with masks that represent important muerteada figures such as the devil, the dead, the old, the priests and more characters.
Accompanied by various brass bands, they meander through the neighborhood, going from house to house, welcoming the spirits to come out. The festivity turns into an all-night parade that ends around sunrise.
It’s remarkable how many brass bands there are in the entire valley. As Oaxaca is indeed a land of accomplished musicians, certain areas like the Etla Valley are so prolific that they turn these festivities into a truly “battle of the bands.” You have to experience it yourself: the vibrant musicians of a 25-piece band playing together, five to six different bands facing each other, no scripts, no director, just the talent.
Oaxaca is renowned for its unique natural dyes, such as cochineal, which was once considered currency and used by cardinals in their capes and the monarchy. Another notable dye is añil, the famous indigo blue used by Levi’s. These pigments were integral to the textile industry. However, when small textile operations and natural dye production were replaced by massive operations in the East, all these factories were forced to close.
The Fabrica de Hilados y Tejidos La Soledad, established in 1883 in the quaint community of San Agustín Etla, was abandoned less than a century after its inception because of the arrival of chemical produced dyes and mass produced textiles.
Center for the Art (CaSa) San Agustin Etla todayThe old factory was transformed into a n art center by visionary artist Francisco ToledoThe Church of San Agustin, San Agustin Etla Fabrica de Hilados y Tejidos La Soledad, today San Agustin Arts Center (CaSa) One of the temporary exhibitions at CaSa showcasing clay pottery artisan Macrina of Mujeres del Barro Rojo San Agustin Arts Center (CaSa) They house spaces for interpretative visual art installations and learning.
In 2000, Francisco Toledo, one of the most resilient and prolific Oaxaca visual artists originally from Juchitan, Isthmus of Tehuantepec, initiated a project to transform the dilapidated building into an ecological arts center. This endeavor culminated in the opening of the San Agustin Arts Center (CaSA) in 2006. Today, the complex is adorned with water features, gardens, and remnants of abandoned industrial machinery.
It’s important to acknowledge Francisco Toledo’s legacy and contributions to the preservation of handmade art. He established the recycled paper factory in San Agustin Etla, where artistic paper is crafted from recycled agave byproducts, flowers, plants, maize, beans, and natural dyes. This unique process results in one-of-a-kind artworks including labels for Mezcal brands that want to put the sustainable mark.
References:
Evans, Susan T. (2004). Ancient Mexico and Central America: Archaeology and Culture History. London: Thames and Hudson. ISBN0-500-28440-7
Tras los pasos de los dominicos [Following the footsteps of the Dominicans]. Reforma (in Spanish). Mexico City. December 17, 2006.
Oaxaca’s carnivals are among the most picturesque and diverse in Mesoamerica, celebrated between February and March before Lent.
They feature colorful parades, music, and unique characters like the “cachudos” of Santa María Coyotepec, the “diablos pintos” of Santa Catarina Minas, and the devils of Santiago Juxtlahuaca.
Santa Catarina Minas carnivals
Some of the most iconic carnivals include:
Putleco Carnival (Putla Villa de Guerrero): Famous for its “tiliches”, characters covered in colorful rags dancing nonstop.
San Martín Tilcajete: Features oiled-up “diablitos” roaming the streets with bells.
Villa de Zaachila: Devils and decorated eggs filled with flour are thrown at young women as a courtship gesture. The tradition of devils and love eggs in Zaachila is a vibrant expression of Zapotec culture. On Fat Tuesday, groups dress up as devils with papier-mâché masks, ringing bells to signal the last day for “carnal” or bad deeds before Lent. The Devils and Love Eggs Devils carry decorated eggshells filled with baby powder or flour and confetti, breaking them on single ladies’ heads as a sign of interest. These “love eggs” are displayed on embroidered handkerchiefs with love declarations, adding a romantic touch. Zaachila, the last Zapotec Empire capital, preserves traditions like mask-making, feather art, and embroidery.
Santa Catarina Minas: The story goes that in ancient times, they celebrated “Carnestolendas” on the Tuesday before Ash Wednesday, as a way to “cast out their demons” and give death to carnal desires. It was also the last day to eat meat before Ash Wednesday, when they’d go to receive ashes and observe Lent. What are the “diablos pintos” The “pintos” were people who painted their bodies and faces with natural pigments like tizate, apasle, palm, cuernamentas, and animal hides. They’d go out to scare the landowners and rebel, revealing their anger and indignation without being recognized, as their faces were covered or painted. The tradition They’d go to the hills to gather these natural pigments and then descend to frighten the authorities, expressing their inner “demons” and purifying themselves before Lent. This ancient tradition was a form of catharsis, releasing tensions and negative emotions before the reflective period of Lent. It’s fascinating to see how these ancient traditions influence today’s Carnival celebrations in Oaxaca and beyond.
Montserrat Franco and a female Tiliche in Ocotlan de Morelos carnival The Santa Catarina Minas Carnival The Devil of Juxtlahuaca The Devil of Juxtlahuaca Zaachila’s zancudos Montserrat Franco and Cachudos of Santa Maria Coyotepec
Others include San Bartolo Coyotepec, San Juan Bautista la Raya, Ocotlan de Morelos, Magdalena Teitipac, and San Bartolomé Quialana.
Montserrat Franco in Juquila’s traditional outfit with the Devil of Santiago Juxtlahuaca. Photo credit: Mayin López Decorated eggs filled with flour at Zaachila’s carnivals Zancudos of Zaachila Montserrat Franco with “pintos” dot painting in Santa Catarina Mina’s carnival. Photo credit: Sinuhé Gerardo Montserrat Franco wearing a paper mache mask from Zaachila A devil in Zaachila A family during Zaachila’s carnival
A Land of diversity, Cultural Heritage declared by Unesco, a destination like no other
Montserrat Franco
Oaxaca is not like any other part of Mexico; Oaxaca is a country of its own and that is reflected in the pride of 16 different linguistic groups and 26 sub-linguistic groups in their distinctive 8 regions.
The diversity in the culinary and mezcal is impressive counting the different terroirs, soils and elevations as well as the historic taste of each community: Cañada or Sugar cane fields (home of interesting Agricole rums and Oaxacan whiskey), Coast (excellent fish and sea food), Isthmus (most of the representative Tehuana and Muxe cultures, the famous Iguana soup and other delicacies), Mixteca(famous for their corn), Papaloapan (border with Veracruz, famous for their coffee and cacao), Northern Highlands, Southern Highlands, Central Valleys (where you will be mostly touring and will have all the diversity of agaves for the mezcal production).
Some recommendations:
· Most places, especially markets, taxis, stores, artisan shops, only accept cash in Oaxaca, credit cards only at fine dining restaurants and mixology bars. Always have Mexican pesos and if you need to, check with your bank which bank partners have no foreign commissions on transactions. Remember that US dollars are very low now and change is at around 16.28. You can exchange at the airport upon arrival and at the historic center at the exchange shops, just check the rates first.
· There’s no Uber in Oaxaca but there’s an app call Didi that you can download and place your credit card, it connects to yellow taxis and the rates are lower than negotiating with taxis on the street, I recommend to set the app to “Pay with cash” because when the driver sees that you are paying with CC on file, he can just cancel your trip because it takes longer for them to get paid.
· Always take a yellow cab; if you see a red or blue cab, those are called independent or “foraneos taxis” and connect closest cities but they are not allowed to enter inside the city center of Oaxaca, you may end up your trip far from your hotel if you take one of those taxis, paying the same rate.
· Getting around with taxis in Oaxaca can be a pain because they can technically charge you anything; always ask first how much the ride will be from your place to a place you go and agree to it.
· Tips are voluntary and servers always ask if you want to leave tips. US nationals are always the most generous but servers are not used to more than 10 or 15% gratuity.
· Always wear comfortable shoes, you walk a lot in Oaxaca
· Always wear sunscreen, hats, sunglasses, sun is pretty strong
· Keep yourself hydrated, never drink water from the faucet, not even to brush your teeth, use bottled water.
· Have some repellent, there are mosquitoes in the villages and there’s dengue going on right now.
· Oaxaca is pretty safe but avoid walking on dark streets during late hours (midnight and up) at the historic center. If you exit from a Mezcaleria try to always go on main streets; you will see the lively scene but always keep an eye on your back and surroundings.
· In any situation enjoy everything that Oaxaca has to offer: the gastronomy, the mezcal, the craft and the lively scenery because every day in Oaxaca is a celebration; you will see most of these “calendas” or processions with dancers, giant props “monos”, globes “marmotas”, live marching bands and all of that is just part of their daily lives and is free for the public to see it and enjoy around the main streets of the Santo Domingo Temple. If you just walk around there or have a coffee or drink at a rooftop nearby Santo Domingo at around 5 to 7 pm each afternoon; you will experience it, most-likely is wedding or a Quinceanera (Sweet 15 celebrated in Oaxaca) depending of the date it is also a celebration of a Saint Patron (they have so many all year long)
The Santo Domingo Temple is the center of the everything that happens around the city of OaxacaMezcal service and cocktail offering at Casa Oaxaca
Culinary etiquette and must tries in Oaxaca:
Memelas: Handmade white corn patties made of “masa” they are always made to order in the comal (kind of like a hot clay grill) once cooked, the memelas (thicker than regular tortillas) are brushed with “asiento” (pork lard) placed again in the comal, they add “frijoles” (beans puree) “quesillo” cheese (often called “Oaxaca Cheese” but the correct name is “Quesillo”) those are the basic ingredients but you can add toppers such as: meats “tasajo” (a thin slice of beef) “Cecina” (a thin slice of marinated in chiles beef). Memelas are usually taken for breakfast with “café de olla” (if you are an espresso person, you may not like it as it is diluted with water; coffee cooked on a clay pot with spices such as cinnamon, cloves and it is already sweeten with “piloncillo” (unrefined cane sugar paste)
Memelas and salsitas service at Ancestral restaurant in Xochimilco
Tlayudas: These are white or blue corn patties made by hand and then pressed to make them very thin; cooked at the comal and then left to dry. They can remain edible for a long time in airtight containers. Some foodies describe them as the Oaxacan pizza, the tlayudas are something so traditional of Oaxaca that you can’t leave without trying them. Once the thin patties are ready and crispy, they are placed at the comal and “asiento” is added (if you are vegan or for religious reasons you could ask them to make it without asiento or with a vegan base asiento (most established restaurants can accommodate), then the frijoles, then quesillo (the main ingredient in the tlayuda) avocado slices, you have a choice of Cecina or tasajo and is accompanied with roasted green onions and radish.
Salsa verde and salsa roja: These salsitas are always present to accompany any dish, the green sometimes can be very spicy as it is made with habanero, the red can be a mix of mild chiles, some restaurants make these salsas in front of you and you can choose the salts you want and level of spiciness.
A traditional Oaxacan platter with meat, grilled cheese, guacamole, chiles, pork, sausage, bean, salsa roja and totopos (corn chips)
Chapulines: the roasted and seasoned crickets are the signature topping for any dish in Oaxaca. They contain more protein than a slice of beef. You can find them in all sizes and can eat them as a snack, on top of guacamole they taste fantastic, with salty peanuts and nuts. They are also grinded and made into salts.
A vendor stand at the Merced market with an assortment of chapulines salt and other favor “botanas” (appetisers)
Sal de Gusano: the worm that is around the maguey (agave) is soaking the agave SAP and is rich in flavor; it is collected and let to dry, then roasted and ground with spices to be converted into salt. It is served along with orange slices, green apples or jicama after a sip of mezcal but is preferred to have just the mezcal without any of that and use the gusano salt mostly as a rim for cocktails.
Mole: there are 7 different types of Mole in Oaxaca as opposed to Puebla where there is only 1. The competition has always been there as to who makes the best mole, but the reality is that each family in each region of Oaxaca has a signature recipe and their traditional mole for each occasion. On my recommendations there are some moles to taste in restaurants but you can also taste some at the mercados or towns nearby and see the difference.
Chocolate: in Oaxaca they will offer you for breakfast even before coffee a Chocolate de agua (basically a non dairy hot chocolate) and a Chocolate con leche (a hot chocolate on hot milk) the beverage is very rich in flavor and already has lots of added sugar, vanilla and roasted almonds. The basic chocolate paste is made on the metate (an ancient stone grinder). On my recommendations you can also visit a traditional Chocolate factory at one of the mercados where you can see the process, now made in metal grinders, is still very old fashioned. The most important thing about the chocolate they serve you is that they will use a green or red clay jar and a molinillo (some kind of a wooden wisp) to make the bubbles right in front of you. If it doesn’t make bubbles, the hot chocolate is not perfectly served.
The famous Oaxacan Chocolate served in a clay jarrito at La Merced Market
Tejate: an ancient drink that had ceremonial purposes in the past. It is very refreshing and you will see it in the streets served from giant clay containers on “jicaras” hand painted gourd vessels, you can also ask for a plastic container to go.
Pan de Yema or Pan Dulce: an egg, water, flour and pulque (fermented agave SAP) yeast, some bread makers now use baker’s yeast. They will always serve you this bread (that is the original recipe for the Pan de Muertos) with a chocolate beverage or coffee. The Pan dulce will have some variations on shape and the crusty top (also called “conchas” in other parts of Mexico).
Pan de yema and pan dulce served with chocolate and orange juice at La Merced market
Barbacoa: best barbacoas you will find at the village’s markets; the most popular barbacoas are the ones of the village of Zaachila which was the last capital of the Zapotec empire and about 40 minutes from the center of Oaxaca or in the Tlacolula market (about 40 minutes from Oaxaca’s city center) Barbacoa can be of sheep, goat or cow but most popular and rich in flavor are the first two. Beef is first marinated with spices and then cooked in an underground oven, a mezcal bottle is placed next to it as a blessing. You can also experience and see the “destapada” when they open the oven and serve you a copita (tiny glass) of warm mezcal to open the appetite before having the barbacoa for breakfast or lunch. Usually it is the meal/brunch on Sundays. At markets it is served with a generous dish of soup from the barbacoa itself and large tortillas with all the toppings to make your own barbacoa tacos.
Aguas Frescas: at any restaurants or markets the aguas frescas are always available and since this is pure fruit juice, you have all the variety that the tropical and sub-tropical region has to offer.
Nieves: These are Oaxacan sorbets, made with real fruit, water or milk in the old fashioned way (wooden tanks) . They have great flavor. Some of the best nieves are at La OaxaqueñaPlaza de la Danza, on the same plaza of La Soledad Church, this is great area to have a seat and enjoy the sunset or after a meal, have some nieves and listen to the marimba (steel drum) players that are always there.
Mezcal: the pride and joy of Oaxaca is Mezcal, I have recommendations on the next posts of some of my favorite mezcal routes and mezcalerias as each region has a signature mezcal making and agave diversity as well as each region’s microclimate, water and terroir will influence on the final product. What used to be a drink of the community made in small batches for that special occasion is today a fashionable spirit praised by bartenders around the world and loved by millennials. Today is the fastest growing spirit category.
