MEXICAN KALEIDOSCOPE: AN INTERVIEW WITH AUTHOR TONY BURTON

I recently had a chat with geographer and author Tony Burton about his latest book Mexican Kaleidoscope: myths, mysteries, and mystique (Sombrero Books, 2016, 165 pages), a wide-ranging collection of  informative and often surprising vignettes gathered from Mexico's rich history and culture. Tony's unique book brings to light many little-known facts about this fascinating country and its people. A copy belongs on the bookshelf of every serious Mexicophile. 




JM: You have been writing about Mexico for many years, what first got you interested in the country?

Tony: Necessity! I was teaching geography in the Caribbean and the examination syllabus required a study of Mexico. The Mexican chapters in Robert West and John P. Augelli's wonderful book Middle America: Its Lands and Peoples were familiar friends by the time I spent the summer of 1977 touring the southern half of Mexico. Two years later, I returned to teach geography in Mexico City. The complexity of Mexico's geography kept me hooked, which is why I jumped at the opportunity a few years ago to collaborate with Dr. Richard Rhoda to write Geo-Mexico, the Geography and Dynamics of Modern Mexico. Amazingly, that book (published to coincide with Mexico's bicentenary celebrations in 2010) turned out to be the first ever English-language, college-level book devoted to Mexico's geography. (For more details, see geo-mexico.com)

JM: What prompted you to write Mexican Kaleidoscope?

Tony: I'd been planning to write a book along these lines for a number of years but only got sufficiently organized to carry through on the plan last year! One of my main motivations was that (to the best of my knowledge) no similar book for the general reader had been published in the past forty years. An incredible amount of interesting academic research has been done on Mexico over that time, leading to reevaluations and reinterpretations of many former ideas and beliefs. I wanted to make readers aware of some of these extraordinary developments, which continually refuel my passionate interest in Mexico.

JM: How did you come up with the title?

Tony: The title Mexican Kaleidoscope is a nod to a British writer, Norman Pelham Wright, whose own collection of essays, with the same title, was published in 1948. That book was an eye-opener for me when I first began to get intimately acquainted with Mexico more than forty years ago. The subtitle Myths, Mysteries and Mystique came from a suggestion by one of my regular golfing partners (who had read an early draft of the book) as we played the 11^th hole at Cottonwood Golf Course.

JM: A lot of research must have gone into this book. How long did it take you to write it? What were some of the challenges?

Tony: The research was done sporadically over more than twenty years, in conjunction with other writing projects. The main challenge was that because Mexico is such a fascinating country it was hard to decide what to include and what to omit!

JM: Mexican Kaleidoscope has 30 chapters. Which ones are your favorites? Why?

Tony: That's a great question, but actually I prefer not to answer since I hope readers will find and enjoy their own favorites. What I can say is that each and every chapter has come to mean far more to me than is expressed by mere words on a page. I really hope some of my enthusiasm comes through to readers.

JM: The book is illustrated by Mexican artist Enrique Velázquez. What do you think his drawings add to the text?

Tony: I've known Enrique and his family for many, many years. He has a keen interest in the subject matter and an uncanny ability to portray ideas in just a few lines. I originally envisioned using small, inline drawings to break up the text, much in the manner of old-time illustrators, but his final drawings were far too good for that, so we changed track and gave them the prominence and space they merit.

JM: What do you hope readers will take away from Mexican Kaleidoscope?

Tony: That's a tough question since I think it depends on what readers bring to the process. At the very least I'd like the book to cause readers to stop and think, to be occasionally surprised, and perhaps question things that they may have previously thought or heard about Mexico. As I've written elsewhere, Mexico is not always an easy country to understand but any effort to do so always seems to bring rich reward!

JM: Do you have any other books about Mexico in the works?

Tony: Yes. I'm hoping to complete a companion volume to Mexican Kaleidoscope by the second half of this year. Whereas Mexican Kaleidoscope focuses primarily on history and culture, the next book (title still under wraps) focuses on Mexico’s astonishingly varied natural history (flora and fauna) and its cultural connections. I'm also actively researching material for books about the twentieth century history of the Lake Chapala region, and about the development of that area's literary and artistic community. For that last project, I've begun publishing short profiles of some of the key players at sombrerobooks.com.

JM: How can Mexico Premiere fans order a copy of Mexican Kaleidoscope?

Tony: Both print and Kindle editions of Mexican Kaleidoscope are available via all Amazon sites - amazon.com, amazon.ca, etc. There are also ebook versions for Kobo and other ereaders via iTunes, Barnes & Noble and Smashwords. Readers in the Lake Chapala area can find the book in local stores such as La Nueva Posada, Diane Pearl Collections, Mi México and in Enrique Velázquez's art gallery. I also have a limited number of copies that can be signed and personally dedicated for Mexico Premiere fans if they contact me via sales@sombrerobooks.com

PREVIOUS BOOKS BY TONY BURTON
Western Mexico,  A Traveler's Treasury (4th edition)
Chapala Through the Ages;  an anthology of travellers' tales (2008)
Co-author of Geo-Mexico, the geography and dynamics of modern Mexico

Merida 2014 Calendar

Earlier this year, I revisited the city of Mérida in the Mexican state of Yucátan. A lot has changed since I was first in Mérida back in 1987. What was once a relatively quiet provincial capital is now a cosmopolitan city of some one million souls. Still, Mérida turned our to be much as I remember it, especially the historical center, which has an eclectic mix of architecture, including handsome Spanish colonial buildings dating back to the 16th century. 

I was also pleased to discover that Mérida remains a colorful and inspiring place for photography. Fortunately, modernization (such as free public Wi-Fi in the lively main plaza) has not lessened the city's considerable charm. I've put together a 2014 Calender with a dozen favorite images from my Mérida trip. To get the most out of the calendar preview below, please click on the full screen icon at the bottom right of the screen.

Hacienda Yaxcopoil: Taking a Day Trip to the Past

 

Anyone interested in the history of the Yucatán should consider taking a day trip from the city of Mérida to nearby Hacienda Yaxcopoil (YASH-coh-poh-EEL). This former henequén (sisal) hacienda, which dates back to the 17th century, offers rare glimpses of life among the Yucatán's wealthy hacendados during Spanish colonial days and the henequén boom of the late 1900's that made Yucatán one of the richest states in Mexico.



What is truly special about Yaxcopoil is that unlike most other Yucatecan haciendas, it has been preserved in its original state. Ghosts of the past still haunt the main building's dimly lit rooms filled with worn but elegant European-style furniture, kerosene lamps, and other fixtures from days gone by. High wooden doors bearing the marks of time open into a traditional Spanish courtyard flanked by sweeping stone arches and brimming with greenery.



Hacienda Yaxcopoil gets its name from a Maya archaeological site located on the plantation's extensive land holdings, which once encompassed some 22,000 acres. Fittingly, a room off the hacienda's inner courtyard has been turned into a small museum housing artifacts from the Yaxcopoil ruins. Ceramic plates and pots adorn the walls, and ancient limestone carvings stand silently in corners illuminated by natural light streaming through open windows with weathered green and white shutters. 



In the hacienda's factory area or planta desfribradora languishes machinery once used to shred the henequén fiber. Mysterious contraptions with rusty iron cogs and wheels that haven't turned for decades stand next to an impressive-looking diesel engine that was used to power them with belts and pulleys. This huge motor was built in Germany in 1913 and is still in working order. 

Behind the machine room stretch warehouses and packing houses that, with their handsome neoclassical facades and columns, look more like stately colonial mansions than plantation buildings. The hacienda also boasts extensive gardens and an orchard where water tanks and functioning pumps installed during the early 20th century promise to keep Yaxcopoil blooming for years -- perhaps even centuries -- to come.  



Hacienda Yaxcopoil is situated 33 km (20 miles) southwest of Mérida and can be reached by rental car, public bus, or on organized tours offered by companies in Mérida. The hacienda is open Monday to Saturday from 8 a.m. to 6 p.m. and from 9 a.m. to 1:00 p.m. on Sunday. Admission is 75 Mexican pesos (about $6.00 US).

Mouse over the slideshow below to view captions. Click on individual images for information about ordering prints or leasing for editorial use.

Hacienda Yaxcopoil, Yucatan, Mexico - Images by John Mitchell

Cancún's New Maya Museum

With its lavish five-star hotels, American-style shopping malls, and raucous nightclubs, Cancún is about the last place you might expect to find a world class archaeology museum. However, that is exactly what has been built in this popular resort city on Mexico's Yucatán Peninsula. 

The Museo Maya de Cancún, which was inaugurated in November 2012, is considered to be the most important project undertaken by Mexico's National Institute of Archaeology and History (INAH) since the construction of Mexico City's Templo Mayor Museum in 1987. The state-of-the-art museum was designed by Mexican architect Alberto Garcia Lascurain, and its construction reportedly cost 15 million dollars. Built to survive Cancún's capricious climate, the 4,400-square-foot structure features innovations such as steel-reinforced windows to resist hurricane winds, latticed concrete walls to ensure air circulation, and elevated exhibition halls to prevent flood damage to the museum's precious collections.



Hundreds of archaeological treasures from throughout the Maya region are on display in three spacious exhibition halls or salas, two permanent ones and another with temporary exhibits on loan from other museums in the area. The first hall that visitors encounter houses artifacts from the state of Quintana Roo (in which Cancún is located), including the 10,000-year-old remains of a woman found in a submerged limestone cave or cenote. The Sala Maya highlights broader aspects of the Mayan world with displays related to subjects such as daily life, architecture, art, and the natural environment. Floor-to-ceiling windows and an external walkway offer panoramic views of surrounding lush vegetation and of Laguna Nichupté, the sprawling tropical lagoon that borders Cancún's luxurious Hotel Zone.



Adjacent to the museum, and reached by a path winding through the forest, is the recently opened San Miguelito archaeological site that dates back some 800 years. Nestled among towering trees are the remains of residential complexes, ceremonial platforms, and altars, as well as a 26-foot-high pyramid. Exploring both the new museum and these ancient Mayan ruins hidden for so long in the jungle promises to be an eye-opening experience for many of the estimated 12 million tourists who arrive every year to enjoy modern Cancún's white sand beaches and hedonistic pleasures.

The Museo de Cancún is located at Km 16 on Kukulkán Boulevard in the Hotel Zone or Zona Hotelera. It is easily reached by public bus or taxi from downtown Cancún. Admission to the museum and archaeological site is 57 Mexican pesos (about $5.00 US). The museum is open Tuesday to Sunday from 10 a.m. to 7 p.m. (10 p.m. on Thursday). Get there early enough if you want to see the San Miguilito archaeological site as it closes at 5 p.m.

Mouse over the slideshow below to view captions. Click on individual images for information about ordering prints or leasing for editorial use.


Cancun Mayan Museum and San Miguelito Archaeological Site, Cancun - Images by John Mitchell

Tlacotalpan - The Pride of Papaloapan

Tlacotalpan has a lot more going for it than its tongue-twisting name. This beautifully restored Spanish colonial settlement on the Rio Papaloapan (River of Butterflies) in the state of Veracruz is not only one of the most attractive towns in Mexico, but it is also a UNESCO World Heritage Site and a thriving cultural center.

Tlacotalpan has been inhabited since pre-Columbian times, and its name means something like "between the waters" or "divided earth" in Nahuatl, the language of the ancient Aztecs. Not surprisingly, Spanish conquistadors vanquished this area during the l6th century and established a river port at strategically located Tlacotalpan.



The community grew into an important trading center for cotton, tobacco, sugarcane, and other exotic tropical products. By the mid 1800's, Tlacotalpan boasted an opera house, a municipal palace, and a number of other substantial buildings. However, the arrival of the railway to Veracruz in the late 19th century spelled the beginning of the end for Tlacotalpan's prosperity as goods from the interior could now be more easily shipped to the coast by rail than by water.

Tlacotalpan settled in for a long siesta during the early part of the 20th century and didn't really awaken until 1998 when it was added to UNESCO's World Heritage List. Funds were subsequently made available for restoration, and the locals literally went to town fixing up decaying houses and churches. Today, it seems as if every building in Tlacotalpan sports a brightly painted facade and neoclassical style colonnades and porticos.



This region has a lot going on culturally as well. It is the home of Son Jarocho, a spicy blend of Spanish, indigenous, and African rhythms that has become the traditional music of Veracruz. During the annual Candelaria or Candlemas celebrations  in early February, Jaranero musicians and visitors from all over Mexico converge on Tlacotalpan for a three-day festival of music, religious processions, and other events marking the advent of spring.



Tlacotalpan is also the birthplace of Agustín Lara (1897-1970), one of Mexico's most beloved singers and composers. Lara's house has been turned into a museum commemorating his life and work. In addition, the town's cultural center, which hosts exhibits along with dance and music rehearsals, has been named after Tlacotalpan's most illustrious native son.

The town of Tlacotalpan lies about 90 minutes (110 km) south by car or bus from the city of Veracruz. The best hotels in town are the comfortable Hotel Reforma near the main plaza and the more upscale and atmospheric Posada Doña Lala, also situated in the historical center of town.

Move the cursor over the screen below to view captions. Click on individual images to see larger views and for information on ordering prints or downloading photos for personal or editorial use.


Tlacotalpan, Veracruz - Images by John Mitchell

Happy Birthday Diego Rivera

If the Mexican artist Diego Rivera were still alive, he would be turning 125 years young today. Born on December 8, 1886, in the Spanish colonial city of Guanajuato, Diego Rivera rose from relatively ordinary beginnings to become the most famous Mexican painter of the 20th century.

Rivera studied art first in Mexico City and then in Europe, where he was influenced by the likes of Picasso and Cézanne. However, his heart remained with the indigenous cultures, history, and landscapes of his homeland, to which he returned in 1921 and where he spent most of his working life.

Diego Rivera was a large man — standing over six feet tall and reportedly weighing in at more than 300 pounds — and his artistic and political visions matched his stature. In his art, Rivera never failed to champion the rights of the exploited and the oppressed peoples of his native Mexico. He is best known for the vast, often politically inspired murals featuring casts of thousands that cover the walls of public buildings in Mexico City and in other locales throughout the country. He also left his mark on edifices in New York City, Detroit and San Francisco.

Politically, Diego Rivera flirted with Communist ideology, and both he and his artist wife Frida Kahlo joined the Mexican Communist Party. Rivera's relationship with fellow Mexican Communists was a stormy one. Nonetheless, he was instrumental in helping the exiled Russian revolutionary Leon Trotsky gain political asylum in Mexico in 1936.

I discovered Diego Rivera's remarkable murals over 25 years ago during my first visit to Mexico City. They made such a deep impression on me that I continue to seek them out whenever I return to the Mexican capital. While Rivera has been criticized for his left-wing political views and idealism — which some claim were naive — his works endure as testaments to his boundless humanity and undeniable artistic genius. He was truly one of a kind.

Move the cursor over the screen of the slideshow below to view captions and locations (Mexico City, Cuernavaca, and Acapulco). Click on individual images to see larger versions and for information about ordering prints or downloading images for personal or editorial use.


Diego Rivera Murals - Images by John Mitchell

El Quelite Offers Glimpses of Rural Mexico

Although the small town of El Quelite (population 2800) lies only about 20 miles north of the bustling Mexican resort city of Mazatlán, it might as well be in another world. Humble, brightly painted houses with red-tiled roofs replace glitzy highrise hotels, and horses and burros rather than speeding taxis are still the preferred forms of  transportation.

There isn't a great deal to do in El Quelite, which is of course part of its charm. Most visitors just wander through the town's tranquil streets soaking up the bucolic ambience. Stopping by the local bakery or panadería to sample freshly baked treats is a must, as is checking out the pretty 19th-century village church. El Quelite's well-kept cemetery, with its colorful mausoleums adorned with flowers, is also well worth exploring.



For shoppers, there are outdoor stands and boutiques selling local handicrafts and foodstuffs scattered about town. One of El Quelite's more unusual sights is a hillside farm that is home to hundreds of roosters being raised for cockfighting, which is legal in Mexico. The roosters are tethered to individual triangle-shaped shelters that look a bit like tiny Swiss chalets.

Perhaps El Quelite's biggest claim to fame is that it is one of the few places in the state of Sinaloa where the pre-Hispanic game of Ulama is still played. Participants in this grueling contest must get a seven-pound rubber ball through a hoop without using their hands. Ulama matches are normally held on weekends and last about two hours, though they can go on for much longer.



No trip to El Quelite would be complete without stopping for lunch at the El Mesón de Los Laureanos, which was named after a gang of bandits who used to rob stagecoaches in the early 1800's. This attractive courtyard restaurant in the center of town is run by Dr. Marcos Osuna, a physician who has been instrumental in promoting rural tourism in his hometown. Dr. Osuna is a gregarious man who possesses a wealth of knowledge about El Quelite's traditions and history. His restaurant serves a variety local dishes made from fresh ingredients produced in this primarily agricultural region.

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El Quelite, Sinaloa, Mexico - Images by John Mitchell

The easiest way to visit El Quelite is on one of the day trips offered by tour operators in Mazatlán. Two other atmospheric towns worth exploring in the foothills of the Sierra Madre are Concordia and Copala, former silver mining communities that date back to Spanish colonial days.

Mazatlan's Angela Peralta Theater

The Mexican resort of Mazatlán is best known for its sunshine, sandy beaches, and raucous nightlife fueled by locally brewed Pacifico beer. However, this vibrant city of some 500,000 souls also has a sophisticated cultural life, much of which centers around the beautifully restored 19th-century Teatro Angela Peralta.

This Neoclassical style opera house started life in 1874 as the Teatro Rubio. It was renamed the Teatro Angela Peralta after the world-renowned Mexican opera singer Angela Peralta and most of her troupe died of yellow fever during a visit to Mazatlán in 1883. Tragically, Angela Peralta never got to perform in the theater that is now dedicated to her memory. She was only 38 years old when she passed away.



The Teatro Angela Peralta thrived until 1964, staging operas, plays, and even boxing matches. The theater then fell into disuse and was all but abandoned. Adding insult to injury, it was eventually flooded by a hurricane in 1975 and was later used as a parking garage. Not until 1987 did the city decide to start restoring the Teatro Angelo Peralta as part of an ambitious plan to rejuvenate Mazatlan's extensive historical center, which includes 180 city blocks of handsome 19th-century and early 20th-century architecture.



Restoration of the dilapidated structure took five years, and it reopened in 1992. A gallery on the theater's second floor displays black and white photographs chronicling the reconstruction. One memorable image shows a roofless ruin with a large tree growing where the theater's main stage now stands. Today, the Teatro Angela Peralta has become the primary symbol of Old Mazatlan's revitalization. The theater attracts international talent and once again hosts concerts and theatrical presentations. It is also home to an acclaimed dance company and school.

The Teatro Angela Peralta is located on Avenida Carnaval just off Plazuela Machado, Old Mazatlan's lively main plaza. For 12 pesos (about $1.00), visitors can explore the theater's sumptuous interior and archival photo gallery. Opening hours are 8am until 3pm daily.

National Interventions Museum in Coyoacán, Mexico City

A Museum for Mexican History Buffs

Mexico has a long history of foreign interventions, especially on the part of the United States, France, and Spain. So it's only fitting that there should be a museum chronicling the meddling of these foreign powers in Mexican affairs. The Museo Nacional de las Intervenciones or National Interventions Museum located in the pretty colonial suburb of Coyoacán is just such a place.

Housed in the 17th-century Ex-Convento de Churubusco, this little-visited museum is devoted to conflicts that occurred on Mexican soil between 1825 and 1916. On display are maps, documents, weapons, military uniforms, paintings and other historical artifacts related to events such as the French occupation of Mexico during the 1860's, Spain's attempt to regain its former colony in 1829, and the Mexican-American War of 1846-1848 that resulted in Mexico losing almost half of its territory to the United States.



The Ex-Convento de Churubusco (Monastery of Churubusco) is itself no stranger to foreign intervention. On August 20, 1847, at the peak of the Mexican-American War, U.S. forces attacked the monastery, where some 1300 retreating Mexican soldiers had taken refuge. The Mexican battalions holed up inside reportedly surrendered only after they had run completely out of ammunition and had to resort to hand-to-hand combat.

Today, all is peaceful at the Churubusco Monastery. The only reminders of the Battle of Churubusco (as the conflict came to be known) are bullet holes scarring the building's walls, memorial plaques, and rusty cannon still guarding the monastry's entrance. Visitors can now explore the museum and the monastery, parts of which have been restored to their original condition, and then wander through tranquil gardens shaded by towering trees.



The Museo Nacional de las Intervenciones and the Ex-Convento de Churubusco are located on Calle 20 de Agosto at General Anaya, northeast of the Plaza Hidalgo in Coyoacán. The museum is open Tuesday through Sunday (closed Mondays) from 9am until 6pm. Admission is about US$4.00.

Check out my post on the Leon Trotsky Museum, which is also in Coyoacán.

Yucatan Regional Museum of Anthropology and History in Mérida

Whenever I visit the Spanish colonial city of Mérida on Mexico's Yucatán Peninsula, I always make sure to spend some time poking around the Regional Museum of Anthropology and History. This interesting museum is located in the Palacio Cantón, an imposing mansion that dates back to the early years of the 20th-century when Merida was home to wealthy families involved in the manufacture of henequén (sisal). The palace faces the broad Paseo de Montejo, a tree-lined boulevard said to have been modeled after the Champs Elysée in Paris.

Palacio Cantón was designed by the Italian architect Enrico Deserti and is named after its last resident General Francisco Cantón, a prominent figure in the Yucatan who died in 1917. Built in the Mannerist and Baroque styles, the building's facade sports ornate balustrades, elegant balconies, and neoclassical columns. Many of the materials used in its construction were imported from Europe, such as the marble used to fashion its gleaming floors.



Exhibits trace the history of the Yucatán Peninsula from the age of mastodons through Spanish Colonial times to Mexican Independence. There are plenty of Spanish colonial artifacts including religious paintings, coins, weaponry and the like. However, my favorite exhibits are the ones featuring Mayan artifacts from sites such as Chichén Itzá, Uxmal, Mayapán, and Ek Balam. Among the items on display are haunting stone sculptures, exquisite jade jewelry and ceramics, plus intricately carved stone censors or incensarios.



There are also plans and photographs of major archaeological sites, as well as a bookstore with numerous books on archaeology and history. All in all, a visit to the museum provides an excellent introduction for travelers planning to head out and explore the Yucatán Peninsula's historical towns, haciendas, and remarkable ancient Mayan cities.

The Museo Regional de Antropologia e Historía located on Paseo Montejo at Calle 43. The museum is open from Tuesday to Saturday from 8am to 8pm; Sunday from 8am to 2pm. Admission is about US$4.00.

Here is a short video about Palacio Cantón and the museum produced by Mexico's National Institute of Anthropology and History (INAH). It's worth watching even if you don't speak Spanish.

Ten Places to Visit in the Mundo Maya Before December 2012

On December 21, 2012, the remarkable timekeeping machine that is the Maya Long Count calendar will reset itself to zero, thus marking the end of the current era that began in 3114 BC and heralding the start of a new creation cycle. This auspicious event will no doubt spark interest in all things Maya next year. It should also bring a lot of travelers to the Mundo Maya (Maya World), which encompasses the Mexican state of Chiapas, the Yucatán Peninsula, Guatemala, Belize, and parts of Honduras and El Salvador.

There are so many rewarding places to visit in the Mundo Maya that it's difficult to know where to begin. However, here is a list of ten destinations that I can definitely recommend seeing before the dawning of the new age (or the end of the world as some doomsayers predict).

Please click on the photos to view captions and larger versions.

Palenque, Chiapas, Mexico

Sequestered in the jungle of southern Mexico, Palenque is considered by many to be the most beautiful of the ancient Maya cities.



Chichén Itzá, Yucatán, Mexico

Chichén Itzá, the grandest archaeological site on the Yucatán Peninsula, has been named one of the New Seven Wonders of the World.



Mérida, Yucatán, Mexico

The handsome Spanish colonial city of Mérida, capital of the state of Yucatán, remains one of the most intriguing and culturally rich cities in the Mundo Maya.



Cobá, Quintana Roo, Mexico

Weathered monuments and a jungle setting make Cobá one of the most atmospheric archaelogical sites in the Mundo Maya.



Tikal, Guatemala

The grandeur of Tikal's towering temples is unmatched in the Mundo Maya.



Chichicastenango, Guatemala

The misty mountain town of Chichicastenango is home to the largest indigenous market in the Mundo Maya.




Antigua, Guatemala

With its backdrop of towering volcanoes and handsome Spanish colonial architecture, Antigua is arguably the most alluring town in the Mundo Maya.



Lake Atitlán, Guatemala

Mesmerizing Lago de Atitlán is said to be the deepest lake in Central America. British writer Aldous Huxley called Atitlán "the most beautiful lake in the world."



Copán, Honduras

The ancient Maya city of Copán in Western Honduras has been dubbed the "Athens of the New World" because of its magnificent sculptures.



Lamanai, Belize

A boat trip up the New River in Northern Belize to the isolated Maya ruins of Lamanai is a true jungle adventure.



Also check out my review of the new MOON MAYA 2012: A Guide to Celebrations in Mexico, Guatemala, Belize & Honduras

On Mexico’s Riviera Maya, all roads lead to Cobá

Some days, it seems as if every tourist on Mexico's popular Riviera Maya is at the ancient Mayan ruins of Tulum. This really isn’t surprising given Tulum's spectacular location atop steep cliffs overlooking white-sand beaches and the blue Caribbean Sea. For my money, though, the most intriguing archaeological site in this region is Cobá, which lies about 42 kilometers (26 miles) northwest of Tulum.

Apart from its relative lack of crowds, Coba’s main appeal for me is its jungle setting. Coba’s temples and pyramids are shrouded by tall trees, which not only provide welcome shade but also lend the crumbling city a “lost world” atmosphere (think Indiana Jones). I also like the network of white limestone roads known as sacbés or sacbeob that crisscrosses the sprawling archaeological site, making it ideal for exploring by bicycle.

Cobá -- whose name apparently means “abundant water," "ruffled waters" or "turbid waters" (no one seems sure which) -- was built around five picturesque small lakes. This is rare on the Yucatan Peninsula, where most sources of fresh water are underground rivers. The largest of these lakes, Lago Cobá, is home to a colony of crocodiles, members of which can often be spotted lurking in the reeds that rim the lake shore. Locals seem to keep the crocodrilos well fed, possibly so that they won't develop a taste for tourists.

The city of Cobá reached its peak during the Late Classic Period (AD 600-900). It became the most powerful Mayan center in the northwestern Yucatan with an estimated population of 40,000 to 60,000 people. Coba’s extensive system of causeways, perhaps the longest in the Mayan world, connected it with numerous satellite towns that had fallen under its sway. One sacbé led to Yaxuná, some 100 kilometers (over 60 miles) to the west.

Most visitors to Cobá immediately set out on rented bicycles or in pedicabs to the massive Nohoch Mul pyramid, the second tallest Mayan structure on the Yucatan Peninsula. It’s a long, dizzying scramble to the top of this mound-like pyramid, but the inspiring view of the ruins and surrounding greenery from the summit make the huffing and puffing worthwhile.

As dramatic as Nohoch Mul pyramid is, I prefer some of the less-visited groups of buildings that lie scattered about the site. The Grupo de las Pinturas (Paintings Group) gets its name from the remains of blue and red murals found on top of its main temple. Unfortunately, the temple is now closed to the public, but this tranquil grove dotted with lopsided columns and platforms is ideal for contemplating the encroaching jungle and pondering the inevitable collapse of civilizations.

Farther along the same road lies the Macanxoc group, which harbors eight weathered stelae, stone monoliths covered in faded glyphs and ghostly outlines of human and animal forms. Stela 1 is one of the most famous carvings in the Mayan region because it reportedly bears a glyph marking 3114 BC, the beginning of the current Maya era that will expire on December 21, 2012. According to self-proclaimed profits and doomsayers, the arrival of this portentous date will either awaken a new enlightened consciousness in mankind or trigger cataclysmic events signaling the possible end of the world. 

NOTE: Although Cobá is less crowded than Tulum, it does get a lot of visitors, especially when the tour buses start arriving. Consequently, it is best to visit the ruins in the early morning or late afternoon. Renting a bicycle (US$3.00) is recommended as the archaeological site is very large. Pedicabs are also available for about US$10.00 if you prefer to let someone else do the peddling.

Below is a slideshow of some of my photos shot on a recent visit to Cobá. Move the cursor over the screen to view captions. Click on individual images to see larger versions and for information on ordering prints or downloading photos.


Coba, Quitana Roo, Mexico - Images by John Mitchell


 

Back from the Riviera Maya and Sacred Mayan Journey

As mentioned in my last post, I was invited to attend the annual Sacred Mayan Journey event (May 19-21, 2011) on the Riviera Maya in the Mexican state of Quintana Roo. This event brings back to life an ancient Mayan religious pilgrimage to the island of Cutzamil (modern-day Cozumel) back to life. It involves about 300 men and women volunteers from the Riviera Maya communities of Xcaret, Cozumel and Playa del Carmen who train for months in order to make the grueling 100-kilometer (60-mile) round trip to Cozumel in up to 30 traditional Mayan dugout canoes. The crossing takes at least five hours each way on the rough waters of the Cozumel channel.

This year, the Riviera Maya marked the fifth anniversary of the Sacred Mayan Journey event. The event began at Xcaret with the re-creation of an ancient Mayan market or Kii’wik. Before entering the market, our small group of travel journalists were told to put our pesos and dollars away. Each of us was then given a bag of cacao beans (most other visitors had to pay for theirs), which were used as currency by the Maya in pre-Hispanic times. Once inside the bustling outdoor marketplace, we were immersed in a world of exotic sights, sounds, and smells.

The pungent odor of copal incense wafted through the air, and the local Mayan dialect replaced Spanish as vendors dressed in traditional costumes hawked their wares. Offered for sale in a maze of wooden stalls were honey, seashell jewelry, herbs and spices, fresh produce, plus a host of other earthy delights. Craftspeople were hard at work making baskets and wooden carvings, while others cooked tortillas and roasted cacao beans in huge ceramic bowls. The market was obviously theater. Nonetheless, the atmosphere was upbeat and proceeds from sales went to help local Maya communities.



Leaving the market, we joined the throng heading towards the seaside village of Polé to watch the opening ceremonies. En route, we were purified by clouds of copal incense pouring from chalices held high by dancers clad in white gowns. The path wound through lush forest past a voluptuous effigy of Ixchel surrounded by offerings of flowers, ears of corn, and squash. Soon we arrived at the beach where there was a palpable air of anticipation as the spectators awaited the arrival of warriors with Guerrero Gonzalez, a shipwrecked Spanish sailor who had been captured and enslaved by the Maya.

What followed was a program of traditional music, colorful purification rituals and dances that stretched into the night. Our small group eventually headed back to our comfy hotel, the Hacienda Tres Rios, for a few hours of shuteye before returning to Polé to witness the departure of the boats. At the first light of dawn, we were back at the cove with some 3000 people watching the hardy paddlers climb into their canoes and sail off into the choppy water under a pink-tinged sky. Shamans, along with baritone blasts from conch-shell horns and cheers from the crowd, bid the seafarers farewell. Once at Cutzamil, the oarsmen would present the slave Guerrero Gonzalez and other offerings to Ixchel and then ask the goddess for her blessings, which they would take back to the mainland.

On the following afternoon, we gathered on the beach at Xamanhá, now the resort city of Playa del Carmen, to await the pilgrims’ return. The crowd eagerly scanned the horizon for signs of the canoes. Suddenly they appeared from around a rocky point, accompanied by two Mexican naval vessels. Bravos rang out as the first canoes hit the sandy shore, and a wave of people ran to greet and hug the paddlers.

A closing ceremony ensued with more music, dancing and theater, this time featuring a reborn Guerrero Gonzalez, who had been granted his freedom while on Cutzamil and was about to elope with an alluring Mayan princess. Most moving of all, though, was the presentation of awards to the paddlers, who looked tired and sunburned but were obviously in high spirits. The glowing looks on the participants' faces as they received medals and certificates spoke of their sense of accomplishment and camaraderie that will no doubt ensure the continuation of this demanding journey in years to come.

Here is a slideshow of some of my photos taken at this year's Sacred Mayan Journey event. Move the cursor over the screen to view captions. Click on individual images to see larger versions and for information on ordering prints or downloading photos.


Sacred Mayan Journey 2011 - Images by John Mitchell

Off on a Sacred Mayan Journey

Next week, I will be heading off to the Riviera Maya to attend the Sacred Mayan Journey event (May 19-21). This annual ceremony is the recreation of an ancient Mayan pilgrimage in seagoing canoes to the Island of Cozumel, where the Maya used to worship the moon goddess Ixchel. I shall also be visiting the archaeological sites of Tulum and Cobá. After my return, I will be posting reports of this trip (including lots of photos). So please check back later...

Spanish Colonial Forts

When I was a child, I was always building forts -- snow forts, sand forts, tree forts, cardboard-box forts, you name it. I don’ know what this obsession stemmed from. Perhaps it had something to do with wanting to feel safe. Or maybe I had just seen too many pirate movies and Westerns. Whatever the reason, my love of forts followed me into adulthood, and it persists to this day. 

Not surprisingly, during my travels in Latin America, I have sought out and photographed forts of all kinds. The Spanish built dozens of them along the coasts of Mexico and Central America, as well as in the Caribbean. These imposing structures helped protect Spain’s colonies in the New World from foreign navies and raids by the likes of English and Dutch pirates. 

Below is a slide-show of forts in Latin America that I have explored. Each has a distinct personality. Some like the San Juan de Ulua fortress in Veracruz, Mexico, are forbidding and dungeon-like. Others are airy and even inviting like Acapulco’s Fuerte San Diego, whose sunlit interior has been painted bright yellow. However, all of these historical buildings have something in common: behind their high stone walls surmounted by rusty cannon lie stories begging to be told.

Move the cursor over the screen to read captions. Click on individual images to read captions. Click on individual images to see enlargements and for information on ordering prints or leasing photos for personal or editorial use,


Spanish Colonial Forts - Images by John Mitchell

Mexico City's Museums

When it comes to Mexico City's museums, most people have probably heard of the world-famous National Museum of Anthropology in Chapultepec Park and the Frida Kahlo Museum in Coyoacan. But how many know about the likes of the Antique Toy Museum, the Watercolor Museum, or the National Museum of Interventions?

The fact is that Mexico City claims to have more museums than any other city in the world -- at least 150 according to some sources -- and exploring them all could easily become a lifelong project. Over the years, I've visited as many of Mexico City's museums as time has allowed, but I still have an awfully long way to go. Here is a slide-show of some of the museums that I've managed to poke my camera into so far.

Move the cursor over the screen to view captions. Click on individual images for information on ordering prints or on downloading files for personal or editorial use.


Mexico City Museums - Images by John Mitchell