Shipwreks Third Edition (August - September 2018) by holatulummagazine

Ta t t o o s i n t h e c o l o n y | D i v e r s e Tu l u m | S t o p ! N o m o r e p l a s t i c

SHIPWREKS AND PIRACY IN QUINTANA ROO

HOLA TULUM MAGAZINE

DIRECTORY Hola Tulum Magazine Third edition On the front page A gold object from XVIII century from the shipwreck Ancla Macuca [photography] (2017). Campeche, Museum of Subaquatic Archeology Editorial board Darwin Carabeo, Juan Canul, Miguel Cobarrubias, Enrique Terrones. Publisher Darwin Carabeo Editor in Chief Nicolás Gerardi Design Jimmy Salazar José Antonio Mendoza Multimedia Jimmy Salazar Administration Karina Zavala Sales Lucía Dao Amayrani Carabeo Photography Celeste Lagos Carlos Medina Sánchez Translation: Victoria Bozo Editing: Teena Clipston Victoria Bozo Nicolás Gerardi

ACKNOWLEDGMENTS Every new edition is a unique opportunity to expand our understanding of Quintana Roo and all the Mexican Caribe. We want to thanks all the people that made this third edition possible. We know about our mistakes, but we also admire the love and effort that made every edition happens. Remember Hola Tulum is striving to create an educational platform for future generations. HOLA TULUM MAGAZINE CONTRIBUTORS Archaeologist Adriana Velázquez Morlet Archaeologist Laura Carrillo Márquez Archaeologist Helena Barbas Meinecke Chronicler Velio Vivas Valdés Chronicler Fidel Villanueva Biologist Melina Soto Biologist Gabriela Nava Biologist Perla García Dr. Anastazia Banaszak Dr. José Antonio González Dr. María del Carmen Archevala Resercher Lily Espinoza Illustrator Yahari Colli IIlustrator Luis Trujillo Archaeologist Enrique Terrones Speleologist Jerónimo Avilés LGBT activist Irving González Cultural promoter Alejandro Silveira

HOLA TULUM magazine; a cultural magazine for a global society. It is published in Tulum Quintana Roo by Grupo Editorial-Tulum. Registered with the National Institute of Rights of Author IN PROCESS. Content Licensing Certificate IN PROCESS. Title Licensing License granted by the Certificate Commission of Publications and Magazines from the SEGOB IN TRAMITE. A bimonthly publication distributed in the Rivera Maya with a circulation of six thousand exemplars. The ideas and other expressions expressed in the articles, reports, and interviews are the responsibility of the person signing them, as well as the veracity and legitimacy of figures and other data included in the same content. The offers, promotions, and incentives offered in advertisements It is from those who offer them, the publishing company expressly disclaims breach of such offers. Avenida Tulum Oriente, between Av. Satélite Sur and Géminis Sur, Colonia Centro, c.p. 77760, Tulum, Q. Roo, Mexico. Phone: (984) 802 6152 Email: info@holatulum.com.mx | holatulumpublicidad@ gmail.com Web: www.holatulummagazine.com Facebook: @HolaTulumPublicidad, Twitter: @holatulumpub Instagram: HolaTulumPub

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Editor’s note

SHIPWRECK By Nicolás Gerardi

“Can we state that, under identical circumstances, future phenomenological successions will be identical to present ones?”

an it be demonstrated that physical laws will continue to be what they are today in the future? Is there a principle of uniformity in nature? In short, what mysterious operation keeps things as they are if everything is in constant transfor-

The agonizing Mesoamerican Barrier Reef System has been the scene of hundreds of marine casualties. Since the Conquest, and to this day, sailing near Tulum, Cozumel or Campeche, has been a futile endeavour, revealing the unpredictable dangers of life at sea.

Contingency is the quality that allows one thing to be, and not to be, at the same time. This latent and

The third issue of Hola Tulum seeks to weave narrative threads capable of deepening our understanding of the reef system and the stories hidden in its depths, as well as to pay tribute to characters and initiatives that embody a diverse and cosmopolitan Mexico.

mation?

unexplored diverse capacity of entities is our starting point to address shipwrecks in the Mexican Caribbean. When rescued from the bottom of the sea, everyday objects, found by chance, open gateways to the past; In this instance, these objects are indeed defined as historic artifacts, but they are also something else.

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Ultimately, our purpose with the third issue, on Shipwrecks in the region, is to highlight the contingency of the world and rescue objects from wreckless oblivion, tales and stories that can add new meaning to the constant flow of our reality.

CONTENT ARCHAEOLOGY 6

Banco Chinchorro By: Adriana Velazquez Morlet

El Angel By: Laura Carrillo

Ancla Macuca By: Helena Barba Meineck, Abiud Pizá

Preserving memory

El Matancero sank! By: Velio Vivas

Piracy in Quintana Roo By: Fidel Villanueva

ECOLOGY AND SUSTAINABILITY 25

The agony of a reef By: Melina Soto, Gabriela Nava, Anastazia Banaszak

Ways of being present

Stop, no more plastic! By: Biohogar

Sea turtle infograph By: Perla García

ART & CULTURE 36

Frida’s mole By: Lily Espinoza

Album

Tattooing in the New Spain By: José Antonio Gonzales Gomez

Pirates and haute couture By: María del Carmen de Arechavala Torrescano.

Something unthinkable is not impossible

From folklore to tradition By: María L. Rosado Castro

TOURISM 52

Diverse Tulum By: Irving Gonzáles

Mexico within reach By: Alejandro Silveira

¡Qué chula!

GASTRONOMY 62 63 64

Chamicos Hashtag Poké Archaeological sites map

44 Hola Tulum Magazine

Archaeology

Shipwreks & Archaeology in the Mexican

Caribbean

The quest for sunken ships has always been a subject of public interest. It is usually associated with fantastic adventures and extraordinary treasures. There are many films and novels about the turbulent lives of adventurers who sought to enrich themselves from the exploitation of the remains of a shipwreck, or who tell the story of pirates and corsairs sinking Spanish or English ships.

By: Adriana Velazquez Morlet

In the Caribbean Sea there are a significant number of sunken ship wrecks. During the viceroyalty period, the Caribbean was part of the communication route between Spain and the American continent. Brigantines

and galleons carried and brought arable plants, animals, fabrics, glass beads, jewelry, processed products such as olive oil and wine. They also carried other things like personal letters and official documents, arms, ammunition and everything that had to do with the economic, political and social life of the Spanish crown and its colonies. In the early 1960s, amateur divers recovered objects and artillery pieces from colonial shipwrecks, from boats like La Nicolasa —a 16th century ship that was part of Francisco Montejo’s fleet, or El Matancero, (also called Nuestra Señora de los Milagros), a shipwreck that occurred on the reef of what is now called Punta Matancero. These

two (La Nicolasa and El Matancero) are perhaps the oldest antecedents of a recovery in Mexican waters. The explorations

were carried out without the Mexican government’s authorization and without the proper methodology. Nevertheless, thousands of objects were recovered: small brass crucifixes, silver spoons, glass beads and cultural everyday objects.

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Admiralty type anchor [Photography]. Hola Tulum Magazine AvilĂŠs, JerĂłnimo.

Archaeology

Since 2008 the archaeologist, Helena Barba, conducted extensive research on the coasts of Quintana Roo, from Holbox to the Espíritu Santo bay. She has since located 69 underwater remains - boats from different historic periods, anchors, and isolated elements that collectively tell us a lot about the type of goods being transported then. It also reveals the routes that were commonly followed by the boats of that time. The atoll or reef bank of Banco Chinchorro, located 30 kilometers west of the town of Mahahual, in the south of Quintana Roo, deserves a special mention.

During the colonial era, Banco Chinchorro was known as Triángulo or Quitasueños, due to the danger that the reef represented for the boats that sailed its waters. According to

the research of the archaeologist, Laura Carrillo, for a long time it was a refuge for sailors that sought protection from storms, a geographical reference for seafarers, and the final destination of multiple ships that were injured while trying to take refuge in the reef’s central lagoon.

Aerial view of Banco Chinchorro [Photography].

To this day, 68 places have been registered that correspond to complete or fragmented ships, as well as anchors, ballast, rudders and other remains from different periods, ranging from the 16th to the 20th centuries. One of the most important

shipwrecks of Banco Chinchorro is known as Forty Cannons. It is an 18th century war frigate, possibly English, which, to this day, still has 36 iron cannons, large quantities of ballast, bullets, ammunition and various artifacts - many of which were unfortunately lost when it was dynamited by looters looking for valuable objects in the 1970s.

Another of Chinchorro’s wrecks, the so-called El Ángel, is a cargo ship from the late 19th century, in which Laura Carrillo and her team have identified much of the ship’s structure, including rigging (fragments of the masts and sails), metal boxes, ballast Detail, shipwreck of flotsam 40 cannons [Photography]. INAH.

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and an anchor, among other artifacts. Still another important shipwreck is the Caldera, a steamship — possibly a 20th century English ship— that crashed into the reef. The main element that remains of the disaster is a large boat boiler that, over time, has proven to be a suitable home to various organisms, particularly beautiful brain corals that form a spectacular view of the place. The archaeological landscape of Chinchorro is complemented by other wrecks from different periods, such as the Ginger Scout (19th century), the Far Star (20th century), the Cassel (20th century), and many others that contain short stories about the time when they were in operation, the life (and perhaps the death) of their crew, and the circumstances in which they were wrecked.

It is also very interesting to note that much of Chinchorro’s current natural wealth —especially the coral colonies— was able to thrive because the sunken ships became the ideal substrate for its growth. The coasts of Quintana Roo, as a whole, constitute an enormously rich cultural and natural complex that must be preserved so that, through new technologies and better recording methodologies, as well as historical research in archives and documentary collections, they can continue to share with us and with future generations the secrets they have kept hidden under the sea until now.

Vestige of sunken ship [Photography]. INAH.

About the author

Adriana Velazquez Morlet Archaeologist Delegate of the INAH Center Quintana Roo Banco Chinchorro reef [Photography]

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El Angel

Iron reinforcing [Illustration]

In Banco Chinchorro

The INAH is currently recording and evaluating 69 marine casualty scenarios in the Banco Chinchorro area. By: Laura Carillo Márquez

anco Chinchorro is part of the Mesoamerican Barrier Reef System, which is located east of the eastern coast of the Yucatan Peninsula, comprising the coasts of Honduras, Guatemala, Belize and Mexico. It is also one of the five core areas of the recently declared Mexican Caribbean Biosphere Reserve. To access Banco Chinchorro it is necessary to navigate just over 30 km east of the town of Mahahual, belonging to the municipality of Othón P. Blanco, on the southern coast of Quintana Roo state.

Historical Importance of Banco Chinchorro

View of the bow section of El Ángel wreck, unearthed during the 2017 fieldwork to be registered and analyzed. It’s possible to see the admiralty anchor, planking of the inner and outer sheaths, some frames and part of the campeche logwood.[Photography] (2017). Del río, Octavio. INAH

Due to Christopher Columbus’ journeys and discoveries, the Caribbean Sea became a strategic area for the exploration and subsequent conquest of new territories, and, subsequently, a key point for the communication and transfer of people and goods between Europe, Africa, and America. In Banco Chinchorro, flotsam from these wreckages left a sample of the naval technological development and evidence of trade relationships between several nations spread over the course of five centuries.

Archaeology

The Discovery of El Ángel As with most shipwreck areas in Mexico, the wreckage was discovered by fishermen. Manuel Polanco, then a fisherman from Chinchorro, reported that while working as a tour guide, between this bank and Belize, in the mid-1980s, his clients were swimming near Cayo Lobos when the captain, Ángel, showed him some scraps of iron that he found on a nearby reef. Don Manuel knew there was a shipwreck somewhere in the area, so he searched until he identified a silhouette at the bottom of the sea, a few meters north of the reef (Manuel Polanco, personal communication, 2013). Unfortunately, Don Manuel brought sports divers to the area who, in their eagerness to discover wealth and gain fame, plundered the wreck with the help of dredges, thus irreversibly altering its physical integrity and significantly affecting any hope of future study and interpretation. In mid-2006, this wreck was rediscovered by Octavio del Río, a contributor to the Sub-directorate of Maritime Archaeology, and staff member of the National Commission of Protected Natural Areas. Following its rediscovery, inspection visits were carried out to assess its state of preservation. By the end of 2013, del Río began intensive investigation into the history of this wrecked and plundered ship.

events surrounding the shipwreck that took place in Chinchorro during the period in question, with the case of the ship, Jean, as a potential reference to be followed up. The Jean was a small, two-deck, brig-type vessel with a sheathed hull, built at the Irvine shipyard, in Scotland, in 1819 (Pérez, 2015). In January 1837, the Jean disappeared in Northern Triangles, the name by which Chinchorro was known in the United Kingdom, while on a trip from British Honduras to Mobile, Alabama. Based on this data, searches are being carried out to obtain more information on this vessel and references that allow the hypothesis on the identification of El Ángel are to be demonstrated or rejected.

The Wreck El Ángel rests in the reef lagoon, at a depth of 12 m, on a sandy bottom, at the southern end of the Bank. It measures nine meters in breadth and at least 35.5 m in length, and its remains to provide support for the reproduction of various reef species. Its silhouette is characterized by an iron reinforcement toward the stern and the edges of the Muntz sheathing that protrude from the bottom. Despite the plundering, El Ángel still has several metallic artifacts, including a 2.60 m long admiralty anchor, chain remains that are 1 m diameter circular elements that could have formed part of a winch, chain sprockets, structural reinforcements and two containers. Toward the stern are two ballast mounds (boulders), the arrangement of which indicates their deliberate placement during the previous interventions. The investigation of this wreck is still underway. Up until now, there was a general sketch of the framework, and a detailed plan of the first 10 metres from bow to stern, on the starboard side, which is the section that corresponds to the bilge or lower part of the hold.

Capstan [illustration]

So far, what is known about El Angel? El Ángel was a sailboat built mostly in wood, and its structure was reinforced with iron pieces; its bottom was covered with Muntz blades (Fig. 6) and, at the time of the accident it was carrying a cargo of Campeche logwood, which was stowed in the hold. Its construction characteristics, the type of anchor - with metal stock and studded chain - as well as the use of Muntz sheathing, made it possible to establish the date of El Ángel, approximately, the second quarter of the 19th century. On the other hand, the historical investigation delivered information about

Admiralty type anchor [illustration]

About the author

Arq. Laura Carillo Márquez Project Manager “Inventory and Diagnosis of Archaeological Heritage Submerged in the Banco Chinchorro Biosphere”

Yahari Colli Illustrator

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ArqueologĂa

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Los inicios de la arquologĂa en los cenotes

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Archaeology

Ancla Macuca By: Helena Barba Meineck

Background

he Alacranes reef, located in Yucatรกn, in the Gulf of Mexico, is a place feared by sailors from the time of its first references in chronicles and cartography. In this area, more than 40 maritime accidents have been identified and registered by the Sub-directorate of Maritime Archaeology, for the Yucatan Peninsula, INAH, Mexico; among them, the Ancla Macuca wreck is noteworthy. In this specific case, diagnostic archaeological materials place the wreck between the end of the 17th century and beginning of the 18th century.

The finding occurred during the second field campaign, in 2014, when the remnants of a 19th century vessel were being investigated. In this wreck, Dr. Roberto Junco was commissioned to carry out a systematic tour of the area with a portable magnetometer. By using the magnetometer, the researcher detected a fragmented anchor that seemed much older than the 19th century ship they had discovered there. A total of 30 hammered silver coins, and a gold bead from a rosary were found. This discovery led to the site being excavated extensively during subsequent field seasons, until 2016.

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Ancla Macuca

Gold objects from XVIII century from the shipwreck Ancla Macuca [Photography] (2017). Campeche, Museum of Subaquatic Archeology

Research The context for this discovery was confirmed by the scattered remnants of a shipwreck found on the eastern barrier of the reef. These included six cannons of different calibers, 44 musket bullets, an anchor, and elements of the ship’s structure: 77 pieces of hand-forged nail; seven bronze bolts; three fragments of lead plates, as well as a lead line an essential tool used to determine the speed of navigation, the type of bottom and its depth.

Also found at this location were 242 pieces of jewelry, 3 loose emeralds, 46 hammered silver coins, an iron buckle, 2 weights, a stone ax, a gold leaf, two green glass cabochons, and 4 batches of glass fragments – all were recovered and identified. Historical documentation efforts are being carried out on two fronts - the first is based out of Mexico, in the Provincial and Parish Archives, located in the states of Campeche and Yucatan, as well as in the General Archive of the Nation, under the direction of the Historian, Abiud Pizá and the second one is based in Spain, at the General Archives of the Indies. The work is registered in other archives by archaeologist, Helena Barba Meinecke.

Today, we understand that this was a Spanish ship, dating from around the late 17th to the early 18th centuries, with a cargo of precious metals from the West Indies that was destined for the European elite. One of the hypotheses derived from the presence of an ax (made with gold foil cut marks and rings, produced without soldering or polishing, and is highlighted with precious stone beads), is that it may be that a practicing goldsmith, was on board during the voyage. This premise is being analysed both in historical documentation and through archaeometric studies. At the Museum of Underwater Archaeology, at the Fort of San José el Alto, Campeche, 211 objects are displayed. In its entirety, this important collection, is comprised of period rings, pendants, cufflinks, buttons, toothpicks, chains, appliqués, medals, rosaries, reliquaries and crosses made with 24 carat gold, emeralds from Colombia, an amethyst stone and two diamonds. Ultimately, it is highly likely that these elements could have been aboard a ship belonging to the fleet of Tierra Firme, which sailed from Cartagena de Indias, Colombia, heading for the island of Cuba. On its way to Cuba it may have been caught in a storm that forced the ship to alter its course toward the Gulf of Mexico, forcing one of its ships to run aground on the Alacranes reef.

A piece of a rosary made white gold [Photography] (2017). Campeche, Museum of Subaquatic Archeology

About the authors

Arq. Helena Barba Meineck Specialist of the Underwater Archeology direction, INAH

Ancla Macuca

Abiud Pizá Historian

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Archaeology

PRESERVING MEMORY Casa Colonial & El Patio How can we challenge the inevitable oblivion we face, and encourage the seductive gesture of remembering? Ultimately, what can we do to delay the imminent demise of our world? Perhaps one of the most subversive actions, nowadays, is to â&#x20AC;&#x153;rememberâ&#x20AC;?; to tell a story intimately, that is true to history; to discover, through what objects remain as definitive proof of our history, and the greatness that precedes and reflects us. Casa Colonial Vintage Hotel, was created with these intentions in mind: an alternative lodging that awakens visitors to the voluptuous exercise of memory. Tulum is a destination recognized for recreating agendas; spontaneity, romantic spirit and bohemianism are at the core of its essence, which Casa Colonial and El Patio Restaurant aim to preserve.

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While respecting the original structure of Wearry Travel, the first hostel in the town of Tulum, Casa Colonial restructured its space by emphasizing constructive and formal elements that take us back to pre-Hispanic America and the motley colonial period. The red evokes Mayan mural painting that is similar to the ancient dyes made from cinnabar e.g., as used in the tomb of Calakmul. The inner courtyard is another usual element in colonial architecture that is capable of triggering the deep primeval imagination and inspiring us to marry the past with the present. There are also vessels from the pre-Hispanic period that decorate the courtyard and the swimming pool area; the restored doors of the Valladolid, and the furniture made of revitalized wood, from the period of La Malinche which adorns each room.

Preserving memory

In the heart of the Casa Colonial, stands El Patio, a place where the Mediterranean and the Caribbean meet. Tropical fruit, the catch of the day, fresh seafood and the refreshing perfume of olives, are combined with elements such as cassava (flatbread made with yucca flour), tortillas, and arepas, in an ode to the sea, using textures, flavors, and strength. For an idea of what El Patio proposes from the gastronomic aspect, and the Casa Colonial, for hospitality, consider the book, Encuentro de dos Fogones, by Paco Ignacio Taibo, another option in remembering the colonial and experiencing its cultural flavour. Complementing this revival of colonial memory, we find La Campanella CrĂŠmerie, an ice cream parlor that unveils the fresh and creamy side of the Caribbean.

What would ice cream be without Latin American ingredients? There would be no chocolate or vanilla, no peanuts or pitaya; itâ&#x20AC;&#x2122;s collective result, leaving an unforgivable void upon mankindâ&#x20AC;&#x2122;s palate. Re-cordis is the etymological origin of recordar (Spanish for remembering), and it means to pass once again through the heart.

The recent memories of Tulum drive Casa Colonial to encourage the subversive practice of collective remembering, with intention to protect the simple, natural and organic spirit that defines the style of Tulum.

Preserving memory

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Preserving memory

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Archaeology

El Matancero Sank!

Frigate from 18th century [Ilustration] (2018). Luis Trujillo.

By the 18th century, the commercial shipping routes from New Spain to its metropolis, and vice versa, had almost completely neglected the coasts of what is now called the Mexican Caribbean. Therefore, the coastal and island populations were languishing and disappearing little by little, partly because the Captaincy General of Yucatán, whose jurisdiction they were under, had abandoned them. This was due, in large part, because of the frequent and undesirable visits of pirates and corsairs, who, from their bases in Tortugas, Jamaica and Belize were terrorizing the area.

By: Velio Vivas Valdéz

hus, the ships that departed from Spain used to sail to Havana and from there, were escorted by warships and headed for Veracruz, through the Gulf of Mexico. They returned along the same route. Merchants seldom sailed alone, and when they did, they tried to move as far away as possible from areas that presented a high risk from pirate and privateer shelters that existed in the area. This took them far off the usual routes. It seems this is just what the owner and the captain of the ship “Nuestra Señora de los Milagros” (Our Lady of Miracles) did. The ship was better known as “El Matancero” (“The Slaughterer”), an artillery frigate that, on November 30, 1740, set anchor in the bay of Cadiz in the Iberian Peninsula, with a large and assorted cargo which. According to a manifesto, housed in the Archives of the Indies, her cargo consisted iron and steel, barrels and bottles of wine, window panes, oil, saffron, tools and even 240 blades of sword: with an official

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record of 270 gross tons it was formally fully loaded.

The Matancero had sunk It was shortly before dawn, while most of the crew slept below deck, when the watchman of the “Nuestra Señora de los Milagros” managed to spot the breakers that awaited the ship at the bow. It was February 22nd, 1741 and they

had been sailing on a merchant voyage for 94 days since their departure from Cadiz, with dispatch route to the port of Vera Cruz in New Spain. The 73-foot long, 20-foot wide and 10-foot draught vessel had reportedly been built in the Cuban port of Matanzas (“Killings”), from where it got its nickname. It was owned by a rich merchant from Cadiz - Don Francisco Sánchez, Marquis of Casa Madrid, and was under the command of Captain Juan Bacaro, who commanded a motley crew of almost

El Matancero Sank!

Lead seals whit la fleurs-de-lis [Ilustration] (2018). Luis Trujillo.

seventy men on the fateful voyage. The embarkation of a José Sánchez, possibly brother of the ship-owner and merchant, was also recorded. By the time of the aforementioned events, Spain was involved in one of the frequent wars it waged for centuries, with other European powers, especially England. That year, the so-called Spanish treasure fleet, did not leave Spain to collect the annual shipment of gold and silver from the mines of the New World. However, “El Matancero” or “Nuestra

Needles of Aachen 18th century [Ilustration] (2018). Luis Trujillo.

Señora de los Milagros” undertook the journey alone, with the confidence of being able to reach its destination in New Spain and make a great trade of When the inventory of the rescued items reached Cammerchandise tat itcarried in its “crammed” holds. peche and Veracruz, and was compared with what was This, it desperately desired in “The Colony”. authorized to leave Spain, goods not included in the cargo manifest were found. Among them were bundles of The Akumal reefs, where the ship crashed, are not far from English textiles, which represented not only smuggling the beach, but the breaking waves on the eastern strip, but also treason, since both nations were at war. which is exposed to the open sea, are strong and steady. The ship, in the rush of the helmsman to avoid the impact, had begun to turn starboard, but the maneuverability of the ship was slow. Ultimately, the ship was partly swept away by the waves, as it failed to complete the required manoeuvre and crashed into the reef, fully colliding on the port flank.

Some survivors made it to the nearby beach, and by dawn, among those who managed to save themselves was the alleged brother of the ship-owner. When faced with the inventory of recovered goods, this man was involved in a legal problem that took on scandalous proportions.

So far, the sinking of the “Matancero” is but one among dozens (hundreds?) of wrecks that, for centuries, have taken place in the Caribbean. Yet, what makes it special is that in the mid-1900s, divers from the Club de Exploraciones y Deportes Acuáticos de México (Mexico’s Aquatic Exploration and Sports Club), CEDAM, organized and executed the salvage of what, for two centuries, had been impossible to retrieve from the bottom of the sea. It was thus ascertained that, in addition to what was stated when leaving Cadiz, and to the customs offices of Campeche and Vera Cruz, “El Matancero” carried German sewing needles, English pewter plates, French lead seals and bottles, glass from Venice and the aforementioned English textiles, which thoroughly demonstrated the smuggling.

Even today, many of us from Cozumel wear a medal, or crucifix from that shipwreck around our necks . Although the material worth is insignificant (they are made of copper or bronze) they have an immeasurable historic value: rescued from the bottom of the sea, as they were, after more than two centuries, they constitute a link that bonds us with the past.

About the author

English pewter pitchers and dinnerware 18th century [Ilustration] (2018). Luis Trujillo.

Velio Vivas Chronicler for life of Cozumel

El Matancero Sank!

Luis Trujillo Illustrator

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Archaeology

Piracy

in QuintanaFriends Roo of God... Enemies of the World By: Fidel Villanueva

Piracy is a form of delinquency as old as seafaring. In the case of America, the activity began with the discovery of the continent, and was financed by Protestant governments, such as those of France and England, which used the misallocation of the New World as a pretext. In order to undermine Spain’s growing power, these countries granted letters of marque to their seafarers. The first one to receive the document was John Hawkins, who was later followed by Walther Raleigh, Francis Drake, and Henry Morgan, all of whom were elevated to high nobility ranks as a prize for their plundering of Spain.

Pirates in Quintana Roo I must point out that, from Chiquilá to Chetumal, there were no major towns between 1517 and 1821, which is why we cannot speak of relevant pirate attacks. The coastal towns of that period were: Ekab, Polé, and Xelhá, but the last two disappeared at the end of the 16th century. This was also the case of San Miguel and Santa María de Cozumel. Lying inland was Bacalar, founded in 1528. From 1550 onwards,

these villages were periodically attacked by pirates, until some of them disappeared temporarily and others became permanently extinct.

By 1570, pirate raids had become misfortunes that came by surprise. Ekab’s turn came in 1571. French privateers, Pierre Sanfroy, and Pierre Cultot, along with 35 of their henchmen, stormed the village and besieged it during Easter that year.

The events in Ekab were a demonstration of the Spanish government’s abandonment of the east coast during the colonial

period. Instead of fostering populations, it repressed them by undertaking expeditions to capture those found on the islands and along the coast.

led by Alonso Huidrobo, who reported that Bacalar was deserted. In March 1686, the French pirate, Laurens Graff, aka Lorencillo, disembarked with 500 men in Ascension Bay, in order to loot Tihosuco and Tixcacalcupul.

In 1592, Antonio de Vozmediano, governor of Yucatan, commanded the conqueror Juan de Contreras to conduct an expedition along the coast and the islands, where he captured Mayans and black Guinean people whom he gave to Juan Chan, chieftain of Chancenote. Later, in 1597, Contreras made another similar expedition to the islands.

In 1713 a group of filibusters took possession of Cozumel. As usual, it took longer to remove them than it did for them to return. By 1717 Ekab reappeared as a settlement under the name of Hon Hom, but Englishmen who had been expelled from the island of Tris by Alonso de Andrade destroyed it in retaliation.

In 1599, according to Diego López de Cogolludo, English pirates settled in Cozumel but were later expelled. He also recorded that, in February 1602, a ship that set sail from Rio Lagartos was gunned down and taken by Englishmen near Cape Catoche. In 1642 Dutch corsairs went into the jungle and took over the village of Cehac.

On June 20, 1723, it was known by letter that Esteban de la Barca, a privateer working for the King of Spain, stopped a frigate loaded with Campeche logwood in the Váliz River, as well as a pirate sloop near Isla Mujeres. In 1723 the Governor of Yucatan, Antonio de Figueroa y Silva, reclaimed Bacalar and seized the town of Belize.

Bacalar, the town most affected by pirates, was assaulted in November 1642 by Diego El Mulato, who stole church decorations and belongings from the rich. In May 1652, Abraham, the pirate, looted Bacalar and murdered Captain Bartolomé Palomino.

Finally, in October 1821, French pirates Juan and Pedro Lafitte were expelled from Isla Mujeres, ending the Classical Piracy period.

In 1662, according to letters sent to Spain by the Governor of Yucatan, English Campeche logwood cutter pirates had established themselves in Ekab, as well as: “In the Laguna de Términos, and on the islands of Cozumel and Mujeres.” In 1670, the Yucatecan government expelled pirates from Cozumel and Isla Mujeres. In 1673, by order of Viceroy Mancera, another expedition was carried out

The above text is a brief record of the many stories of pirates in Quintana Roo. Hola Tulum proposes here its rescue as an intrinsic part of our cultural heritage.

About the Author Fidel Villanueva Chronicler for life of Isla Mujeres

Gold coins whit Spanish Crow, 18th Century [Photography] (2015).

Hola Tulum Magazine

Piracy in Quintana Roo

Stronghold San Felipe Bacalar [Fotografía] (2014).

¿Quién Escribe? Fidel Villanueva Espeleólogo subacuático investigador Director Instituto de la Prehistoria de América A.C.

Hola Tulum Magazine

Biodiversidad en cenotes

Ecology & Sustainability

The agony of a

REEF

n 1997 a major international event took place in Tulum. To celebrate World Environment Day, on June 5, then President of México, Ernesto Zedillo, and his counterparts Manuel Esquivel from Belize, Álvaro Arzú from Guatemala, and Carlos Roberto Reyna from Honduras, all signed the Tulum Agreement. Thus, they decided to promote the conservation of the Mesoamerican Barrier Reef System (MBRS) via sustainable development, and by establishing an efficient work axis between collaborative authorities. This agreement was ratified eight years later, as the Agreement to renew commitments on the Mesoamerican Barrier Reef System, within the framework of the Tulum Declaration, established in Panama, on July 11, 2006. Thanks to this agreement, several important advances have been achieved in the last two decades. Today, there are some 47 marine protected areas, which is equivalent to almost 60% of the territorial sea of the four countries.

Its impressive biodiversity (fish, corals, turtles, pink snails, and other beings that inhabit its warm waters) has been the basis for the development of the region’s coastal communities Today, more than 2 million people live on the coasts of Quintana Roo, Belize, Guatemala and Honduras, and are part of diverse cultures, which include the Maya, the Garifuna, the Miskitos or the Kekchis. Many of these populations continue to face significant challenges of poverty and inequality. Their main source of income depends on tourism and small-scale fishing, both of which are closely linked to the reef.

The reef faces worldwide threats, such as climate change, which directly affect the region and ultimately presents consequences that are evident, such as coral bleaching, increased frequency and intensity of storms, and increasing sea levels. Although of these are global threats, and their solutions depend upon strong international action. Other exclusively local threats also seriously affect this fragile ecosystem.

It is important to remember that the MBRS is a barrier reef that extends for more than 1000 kilometers in Mesoamerica from the northeastern tip of the Yucatan Peninsula in Mexico to the Bay Islands in Honduras.

Restoration of the coral reef through the live coral colonies transplant method [Illustration]. Oceanus.

A reef in pain

Hola Tulum Magazine

Ecology & Sustainability

In this regard, the unplanned development of hotel and urban infrastructure on the coasts of Quintana Roo has fueled the deforestation of thousands of hectares of mangroves (which are important for protecting the coast and filtering the waters) and the destruction of its dunes. Similarly, population growth has not been accompanied by adequate programs for the management and treatment of waste water and solid materials, thereby aggravating the pollution of aquifers and the sea. Thus, Arrecifes Saludables para Gente Saludable (literally Healthy Reefs for Healthy People) is a collaborative monitoring initiative involving more than 70 organizations that assess the health of the reef and develop evidence-based management recommendations. In the latest study they report that most of the examined reefs are in a poor or regular state of health. The main concern is the proliferation of macroalgae that overgrow corals due to inadequate water quality: improving our local and regional wastewater treatment is becoming increasingly urgent. Wastewater quality standards are not adapted to such a fragile karstic aquifer or the crystal clear waters of the reef lagoon. The Cartagena Convention protocol sets limits for waste water for Caribbean countries; Honduras and Belize have already ratified it. Mexico has not yet done so. In Quintana Roo, it is necessary to improve the waste water treatment infrastructure and its scope, as well as the comprehensive management of coastal areas and watersheds. In this respect, the tourism sector can become a great ally, and even a promoter of initiatives to achieve these goals. It can help safeguard the natural resources of this magnificent ecosystem in order to rescue the peopleâ&#x20AC;&#x2122;s heritage and ensure the sectorâ&#x20AC;&#x2122;s future activity.

Restoration of the coral reef through the method of transplanting live coral colonies [Photography]. Oceanus.

Oceanus Restoration by transplanting living coral colonies Oceanus, is a civil organization of marine biologists that, for more than five years, has been developing a Reef Restoration Program. This organization has been rehabilitating areas throughout the Gulf of Mexico and the Caribbean Sea by transplanting living coral colonies, cultivated in stabilization nurseries. This program has focused on Elkhorn coral (Acropora palmata, NOM-059) as a key species in the reconstruction and conservation of the reef ridge, mainly in fishing shelters and protected natural areas. It also counts on the participation of local groups to assist its efforts. To date, it has more than 45,000 live, healthy and genetically diverse colonies transplanted and disseminated in 18 places throughout the Gulf of Mexico and the Mexican Caribbean.

The restoration techniques that were developed by Oceanus, A.C., are practical and accessible, and have been groundbreaking in Mexico. The program was one of the first reef restoration projects in the country to serve as an example for new initiatives.

Coral reef bleaching [Photography]. Unknown author.

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These activities have been carried out in different parts of the Gulf of Mexico (Veracruz Coral Reef System National Park ) and the Mexican Caribbean (Xcalak Coral Reef National Park, Puerto Morelos and Cozumel, as well as in the reef areas of Playa del Carmen-MayakobĂĄ, Tulum).

A reef in pain

Assisted restoration based on sexual recruits and cryopreservation [Photography]. Puerto Morelos, UNAM.

Currently, the Program aims to transplant 10,000 colonies in 10 different locations each year. As part of the program, Oceanus trains and certifies local groups (coastal communities, service providers, hotel staff, and fishing cooperatives) that can support restoration efforts, while obtaining a short-term benefit.

Corals are being cultivated based on sexual recruits, and cryopreservation techniques are being developed. The aim is to develop skills to restore the structure and function of large areas of coral reef at low and sustainable costs.

UNAM Assisted restoration based on sexual recruits. Given the situation, assisted restoration emerged as an attempt to halt or reverse the decline of reef ecosystems. Initially, restoration practices were designed to repair specific damage caused by strandings or hurricanes using fragments of coral called fragments of opportunity. However, these fragments are genetically undifferentiated and potentially susceptible to various environmental interactions like diseases. For this reason, new strategies have been incorporated such as sexual propagation, with the objective of maintaining or improving genetic diversity, proper gene flow and the interaction between populations. Research is being conducted at the UNAM (National Autonomous University of Mexico) to improve the practices of assisted coral restoration in the Mexican Caribbean.

A reef in pain

About the authors Biologist Melina Soto: Healthy Reef Coordinator Biologist Gabriela Nava: Oceanus Coordinator Dr. Anastazia Banaszak: UNAM

Hola Tulum Magazine

A reef in pain

Ways

of being

present

ow can the very essence of a place be preserved and, yet, be adaptable to change at the same time? What personal decisions have to be made in order to be consistent in this regard? Most importantly: how may these questions be answered with a sense of humor? Backpackers, experimentalists, troubadours, artists, connoisseurs of magic spells, divers, dinosaurs and exiled gods arrived in Tulum to indulge in the vigor of the beach. They sought to discover the unseen green of the jungle and the gentle Caribbean warmth, which is authentically human. For all of them, there is still a place by the sea. The BambĂş Gran Palace keeps the energy of the bohemian Tulum, for people used to traveling light. A hostel built from recycled materials: tetrapack block ceilings, bamboo, sapote, coconut and lime walls... Not a single tree was cut down for its construction. There are areas reserved exclusively for couples; air-conditioning that only operates by means of solar panels [they only light up during the day]; 14 double beds and 28 single beds; and glasses, plates and straws all made from recycled materials. It is the ideal place for experienced travelers, who enjoy sharing and meeting other intrepid globetrotters.

“We build as nature allows”

n order to promote a spontaneous and relaxed kind of tourism, Bambú Gran Palas offers two key areas for leisure and shameless fun: I Scream Bar and Clandestino.

I Scream Bar is a cool breeze under the blazing tropical sun. Latin music - the traditional party cry; missile beer (1l), seafood, Poc Chuc or vegetarian tacos, mezcal margaritas, and a cheerful atmosphere, to encourage the necessary interaction between beings from this planet and those from other worlds. Its name is a tribute to the vegan ice cream laboratory that is focused on experimenting with local and popular Latin American ingredients such as cocoa, vanilla, passion fruit. Some of these vegan ice creams contain maca, an energizing and endocrine regulating superfood from the Andes.

Clandestino is the place to either get the night started, or to finish it off. It’s perfect for having breakfast, lunch, or a

midday snack, such as a hamburger, wings or hot dogs. It’s also great to take a refreshing cenote bath or to just sing karaoke on Tuesdays and enjoy a night out with friends in Tulum, accompanied by the mezcal of the house, which isbrought straight from Oaxaca. The aim that connects these three establishments, and the legendary taqueria Eufemia, is to promote a simple, playful and easygoing form of tourism that is compatible with the primary essence of Tulum; Bohemians, backpackers, families and friends all focused on enjoying life through their experiences, while respecting the environment, and exploring Tulum’s secret hideaways. How to preserve the essence of a place while making it adaptable to change? With a sense of humour, with joy and with free improvisation, building castles with wood cut from development, encouraging interaction through fun, promoting life as a journey where the most important thing is to share.

Maneras de estar presente

Hola Tulum Magazine

Ecology & Sustainability

STOP! NO MORE PLASTIC

hat we call “plastic”, are polymers with a high molecular weight, derived from petroleum. They are considered the cancer of the planet, and we humans are the main cause of this disease.

In addition to polluting the landscape, obstructing riverbeds and becoming massively integrated into the animal food chain, it has been shown that, over time, this polymer degrades and releases microplastics, or toxins contaminating particles such as Ethanol, Bisphenol A, Polystyrene, and others, that are capable of negatively affecting all life around it. According to James Cook University, the likelihood of coral formations to contract a disease increases from 4% to 89% when microplastic fragments are present in its environment. About eight million tons of garbage are dumped into the sea each year. There are approximately 51 trillion microplastic particles (500 times more than the stars in the galaxy) fouling our seas. By 2050, the oceans will

contain more plastic than fish; approximately 99% of all seabirds will have ingested this insidious polutant. Mexico is the world’s largest consumer of bottled water and the second largest consumer of PET (polyethylene terephthalate) for soft drinks in the world. It is estimated that Mexico uses and disposes of about 20 million plastic bottles daily. Only 20% of this amount of packaging is recycled. In 2012, the NGO, Biohogar was founded in Guadalajara, Jalisco, as a result of the growing awareness of the global threat caused by plastic and the most serious impact, that directly affects the health of our planetary ecosystems. The Biohogar collective conducted several unprecedented expeditions to collect, document and record information on the subject. The findings contribute to the body of global evidence and ultimately contribute to the development of regional, national and international regulatory bodies to mitigate long-term effects. . Biohogar aims to raise international awareness – especially among toursits and the Mexican population through self-management and transformational practices, in efforts to stem these deleterious effects upon the oceans, marine life and entire ecosystems, due to the irresponsi-

Hola Tulum Magazine

ble management and/or consumption of plastic waste to date. Its vision is clear: to create a globally recognized institution that, in conjunction with private initiatives, civil society organizations and different government bodies, will achieve in Mexico the 17 Sustainable Development Goals promoted by the UN1 through vigorous participation.

“We can’t, in the short term, change the way corporations sell their products, but we can change the way in which we consume products by becoming more and more responsible for our plastic waste.” During the first stage of the initiative, Biohogar developed 14 expeditions to the beaches and coasts of the Mexican Republic to investigate and flag environmental issues, in locations that include: Tulum, Sian Ka’an, Rivera Maya, Los Cabos, Puerto Vallarta, Sayulita, Cabo Corrientes, Colima and Michoacán,. The second stage of this project involves the implementation of a pilot program, in Tulum. Tulum, offers a peculiar panorama. On the one hand, it is a widely known and consolidated tourist center, on the other, it is threatened by accelerated tourist and demographic expansion which have exceeded the capacity of public services. Add to this, the fact that Tulum, the jewel in the crown of the Mayan Riviera, hides a dark side: serious pollution due to waste generated on a daily basis. As a company, Biohogar is optimistic that the damage is still reversible. It only takes a few effective transformations to begin to correct the damage, and meet the Tulum and the Sian Ka’an Reserve benchmarks: these arecities in transition to become globally sustainable. The following actions are proposed for this purpose:

Boost domestic recycling culture; promote environmental education and participate in the plastic collection journeys. In Tulum, there is a need for a municipal regulation of waste management, more information, officers and infrastructure. A comprehensive plan is urgently needed. Find out more about Biohogar’s projects and join the global fight against plastic through its social networks: @biohogarmx & www.biohogar.org

Stop! no more plastic.

Plastic Surf [Photography]. Weston Fuller (2017), California. Hola Tulum Magazine

EcologĂa y Sustenibilidad

Bio. Perla GarcĂa Coordinator of Campamentos Tortugueros

Hola Tulum Magazine

La aventura salvaje de amar a Tulum

Art & Culture

Frida’s Mole

Frida Kahlo is an icon of Mexico. All aspects of her life tell us something about ourselves, since her main artistic practice was to live and assume herself as a woman through the art of painting. However, we sometimes forget the traditional aspects that make Frida a Mexican flagship. By: Lily Espinoza

Frida Kahlo & Diego Rivera [Photography] (1941). Packard, Lou.

Ingredients: 1 1/2 kilo of pork loin 1 medium sized onion cut in quarters 2 cloves of garlic 2 bay leaves Salt

SALSA INGREDIENTS

The house was filled with aromas of Aztec marigold, tuberose, spices, roasted chilies, unrefined cane sugar… On the altar in Casa Azul there was pan de muerto (bread of the dead), yellow mole, red mole, chicken inpipián sauce, amarillito tamales, tamales in banana leaves, pumpkin in tacha (confection) y atole.

BODOQUE INGREDIENTS

This, accompanied by seasonal fruits and, of course, mezcal and tequila, were Frida’s favorites. We share here the recipe of the red mole prepared by Frida, one of the 7 traditional Oaxacan moles, along with a selection of photographs with the intention of recreating the intimate world of Mexico through images and flavors.

In a pot, put the loin with the onion, bay leaf, salt to taste and add enough

ne of the Mexican traditions that Frida loved was the Day of the Dead. Her mother, Doña Matilde, was originally from Oaxaca, and so her altar was decorated according to the tradition of that state. One of the elements Frida paid special attention to was the food that would be served at the altar. Her cooking teacher was Diego Rivera’s first wife, Lupe Marín, an outstanding cook. On the last day of October, Casa Azul (Blue House), went into the effervescence that precedes important celebrations.

3 roasted and peeled tomatoes 8 allspice peppercorns 5 cloves 1 cinnamon stick 90g of toasted sesame seeds 1 plantain, peeled and chopped into large pieces 1 medium sized onion, chopped into medium sized pieces 5 tbsp of lard 3 leaves of Mexican pepperleaf chopped into small pieces 8 medium sized potatoes, peeled and diced

1/4 dough. 125 of butter. Sal.

Preparation: water to cover. Cook until soft, for about 1 hour. Separate the broth and keep it aside. When it has cooled down a little, slice the meat. To prepare the sauce, roast the chilies for about 10-15 seconds, remove the seeds and soak for 20 minutes in very hot water. Grind and strain the chilies and set aside. Grind and strain the tomatoes, the allspice peppercorns, the cloves, the cinnamon, two-thirds of the sesame seeds and the plantain, and set aside. In a large saucepan, fry the onion in lard until

About the author Lily Espinoza

Gastronomic researcher, Founder of Rivera Kitchen Tulum

Hola Tulum Magazine

translucent, add the ground tomato mixture and cook for 5 minutes. Then, add the ground chilies, salt to taste and cook for 5 more minutes. Add the potato, the Mexican pepperleaf and enough meat broth to make a fairly thick sauce. Cook for 20 minutes, or until the potatoes are well cooked, add the sliced meat and the bodoquitos. Cook for 10 more minutes. To make the bodoquitos, knead the dough with the butter and salt. Make small, ping-pong-sized balls and press in the middle of each with one finger to make a sort of small casserole dish. To serve, add the rest of the sesame seeds.

Frida's mole

Frida Kahlo “Pintando un violín” and unidentified person [photography] (1945). Unknown author. Photo archive Banco de México.

Frida Kahlo [Photography] (1943). Unknown author. Photo archive Banco de México.

Art & Culture

Tattoos In the

Colony

Photograph of penitentiary in puebla XIX century. Tatuages. Estudio Psicológico y Medico-Legal [Fotografía]. Martínez Baca, Francisco.

The practice of tattooing was so foreign to the colonial and Christian order that, for centuries, there was no specific word in secular or religious criminal law to describe this practice, which was initially referred to as “carving the body or face” By: José Antonio Gonzales Gómez

hen reviewing the history of tattooing in Mexico on the Internet, it is usual to find extensive and fanciful nationalistic explanations of the aesthetic art, especially where it concerns ethnic tattoo associated with the pre-Hispanic period, and tattooing during the 19th and 20th centuries. But what about

this practice in New Spain? Was it a continuation of the pre-Hispanic tattoo? 40

Frida Kahlo Rivera [Photography] (1931). Cunnigham, Imagen.

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The word tattoo encompasses an ethnic and socio-cultural practice of body decoration that is performed by inserting natural dyes under the epidermis, through stings and perforations, to create permanent and indelible designs.

The current term for this practice comes from a Polynesian voice, from the island of Tahiti, tátau, where ta is “drawing” and tau, “skin”, thus meaning drawing or printing on the skin. Likewise, the Tahitian voice, tatawo, refers to the practice of drawing on the skin. The existence of tattooing, as an ethnic and socio-cultural practice, is generally found in pre-Hispanic times, both among the Mesoamerican populations (particularly the Mayan area), and among the Chichimeca population of northern Mexico. With the Spanish conquest and colonization, the practice of tattooing among the indigenous population was gradually lost, but reappeared towards the end of the 18th and beginning of the 19th centuries. During independence, the growth of international sea traffic allowed sailors and adventurers to transit through Mexican ports, to spread this practice among marginalized sectors of the population, such as prostitutes, criminals, and the military. The practice of tattooing was so foreign to the colonial and Christian order that, for centuries, there was no specific word in secular or religious criminal law to describe this practice, which was initially referred to as “carving the body or face”, and then, specifically in the documents of inquisitorial processes, as “painting the body”.

Tattoo art as it was practiced in New Spain, consisted of some sort of talisman: magic formulas, prayers, images or symbolic drawings were permanently written on the skin. The first reference to tattoos and magical practices we discovered was found in an inquisitorial process, of 1598. In that year, the mestizo cowboy Juan Luis, who lived in Xochimilco, (today Ciudad de México), was prosecuted for pretending to be a sorcerer, who manipulated the weather and drove storm and hail away magically and at will. Not only did he frighten the population with his rituals, but he also charged his services to landowners and ranchers who were anxious to protect their crops.

During his trial in Mexico City, the inquisitorial judges discovered that Juan Luis had the Devil painted on his arm. During the inspection, it was found that both arms on the biceps had images of hearts pierced with arrows. Likewise, he had the figure of a Jesus on the right forearm, while on his left forearm there was a wound the size of a palm, where the image of the Devil as Tlacatecolotl (In Nahuatl, Human Owl, Malignant Necromancer) should have been.

Our second reference was found in 1621 within the period of denunciations, self-denouncements and repentance for faults against faith and Catholic orthodoxy in ancient New Spain. We found one more reference to tattoos that was associated with sexual magic. In the city of Zacatecas, a woman named Luisa boasted about her attractiveness and told her friends and potential lovers that she had, in her lower abdomen, on her pubis, a figure that bewitched every man with whom she had sex. It also made it impossible for them to leave her, or think of anyone else but her. The document states that “painted on her belly, she had a figure with which any man who sexually met her could not leave her”. The witness claimed never to have seen that figure. It appears that the complaint was not considered and no other allegations were made. The last reference to be discussed in this essay dates back to 1794, when a woman, who was held in the royal prison of Zacatecas, after being accused of stealing cloth of indianilla and other goods, from a store in the city of Zacatecas. It was found that she had an image of the crucified Christ on her thigh. The woman alleged having it for her protection, as she was devotee of Christ. When reviewing colonial records, it’s possible to consider that tattooing did exist among Spanish, indigenous, mestizo and black groups in New Spain, from the 17th, 18th and 19th centuries. Reasons for this practice ranged from religiosity, to magical rituals; they were

also used to visually demonstrate values (strength, sexuality and courage). We can also ascertain that tattooing in New Spain was not of direct Mesoamerican descent, because its practice was persecuted and condemned by the Church and the viceregal state to the point of extinction. This is why there was no visible or documented continuity of the possible praxis of scarification, skin carving or tattooing in ancient times between the Maya, Nahua and other Mesoamerican cultures, and the tattooing done by the rural and urban populations of the centre and north of New Spain.

About the author José Antonio González Gómez Investigator

Recreation of tattoos of the Psychological and Medico-Legal Study. Martínez Baca, Francisco.

Tattoos in the Colony

Hola Tulum Magazine

Art & Culture

PIRATES and haute couture 44

Hola Tulum Magazine

Pirates and haute couture

Costume with gold embroidery (approx 1760) [Photography]. Met Museum

Cutlass XVII century [Photography].

OF PIRATES, BUCCANEERS AND CORSAIRS… DE LA RIQUÍSIMA MODA… ¡A CADA QUIEN LO QUE LE ACOMODA! Speaking about corsairs or buccaneers becomes an adventure, in which, by moments, we travel to the coasts of the Gulf of Mexico, and the Caribbean, in the centuries of the viceroyalty. By: María del Carmen de Arechavala Torrescano.

peaking about corsairs or buccaneers becomes an adventure, in which, by moments, we travel to the coasts of the Gulf of Mexico, and the Caribbean, in the centuries of the viceroyalty. To recall these scoundrels makes us think of certain Hollywood characters, sporting dreadlocks, eyeliner, and poor - even ragged clothes; uneducated men, without the slightest hint of refinement. However, the scrutiny of their biographies reveals them as lovers of luxury and elegant garments. Pirates were dressed in the latest fashions of the 17th and 18th centuries, possessed a certain amount of education, which was the case with Lorencillo. Many of these men wound up their earthly days with high government posts, taking the case of Sir Henry Morgan, or stowing rich treasures that have since not been found. On the subject of the male pirates, the following lines will be devoted to learning a little more about four of them: Lorencillo, Sir Henry Morgan and the Lafitte brothers, who were among the many who sailed the seas of the Gulf of Mexico and the Caribbean. They attacked ports, looted the homes of villagers, and local government headquarters and churches, as well as kidnapped wealthy personalities and townspeople for whom they demanded substantial ransoms.

Pirates and haute couture

Hola Tulum Magazine

Arte y Cultura

Lorencillo was born in what is now known as the Netherlands, and was named Laurens Cornelius Boudewijn de Graaf. Later, he was given the nicknames “Lorencillo” and “El Griffe”. As a child, he was captured by Spaniards, and taken to the Canary Islands, where he escaped his captors to engage in piracy. Upon his arrival in the New

World, he was sadly recognized for his masterful attacks on the port cities of Campeche and Veracruz, as well as for his ability to seize precious Spanish galleons. The story relates that even Sir Herny Morgan himself failed in his attempts to capture Lorencillo. Despite these bumpy beginnings, he is known as a well-educated man, and he was well acquainted with William Shakespeare’s literature, spoke at least two languages (Spanish and Dutch), and played several instruments: “He always carries violins and trumpets aboard, with which he entertains himself and amuses others, who equally indulge in this activity”. He was also distinguished among the filibusters “for his courtesy and good taste”.

Thus, when looking at Lorencillo’s portrait, we can see a man dressed in an intense blue garment, possibly made of silk - with a shade that reveals its high cost - crowned by the ruffles of very fine linen, or cotton shirt, embellished with lace in the Van Dyck style. Overhanging his chest is a thick silver chain from which hangs a heavy medallion. He wears a heavy black overcoat made of velvet and silk, which boasts “chuchilladas” in the fashion of the 17th century, all of which allows us to judge him as a man who knew how to attire himself. To complement his garment, his head is crowned with a wide-brimmed hat, to which an enormous ostrich feather in bone color is attached.

Laurens Cornelius Boudewijn de Graaf [oil on canvas].

lates that he disjointed their arms, hung them by their testicles and cut off their ears and noses to later kill them. When he was arrested for these atrocities, Morgan alluded to having been slandered by Oexmelin, and was subsequently released without being charged. King Charles II of England bestowed upon him the title of “Sir”, and when England and Spain came to peace, he was sent as governor to Jamaica, where he resided until his death.

As for Sir Henry Morgan, he was Welsh by birth, and one of the world’s most feared pirates. He became famous for torturing those he captured, so they would show him the places where they had hidden their wealth. Oexmelin re-

Henry Morgan (1665) [engraving]. British Museum.

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Dresses of the eighteenth century [photography]. Unknown author.

Pirates and haute couture

One would never think, upon seeing his woodcut portrait that the person in this illustration was such a feared pirate, for he shows long, well-groomed hair, a mustache, and a small chin framing an almost kind face, with large, light-colored eyes. He is dressed in a grandiloquent fashion, as the coat shows large “Cuchilladas” from which a very white shirt can be seen. The white shirt contrasts with the fabric of the coat, and was possibly made of velvet, embroidered with gold and silver threads layed in floral motifs. Under the neck, the tie makes a bow with small, richly embroidered ends, and a brocade band across his chest, that was flanked by fringe strips made of threads that could have been made of gold or silver. Finally, it was at the end of the 18th century that the brothers Pierre and Jean Laffite left the city of New Orleans to become pirates of the Caribbean. Although both became sinisterly famous, it was Jean who accumulated the merits. According to authors who have written about them, it is said that Jean once even served as a spy for the Spanish crown, at the time of the Independence of New Spain. This duo lived when piracy was already being pursued, and fashion, having abandoned the excesses of absolutism, declared itself in favor of long trousers and short jackets. Laffite’s illustration portrays a dandy, that is to say, a personage who spent a considerable part of his day grooming himself and dressing up in the latest fashion, to enchant the ladies, who might cross his charming, but unfortunate path. In this illustration, he is wearing a short double-breasted jacket with wide lapels that seems, at one time, to have been adorned with blue velvet. Peeking out of the collar is a beautiful shirt decorated with what was known as a cravat - a long strip of fine light coloured silk cloth, wrapped in multiple turns around the neck, which impeded the natural movements of the head. The tips of the cravat were tied in multiple types of knots; sometimes fistoles were added that sported colorful gemstones that stood out against the light background.

Lafitte the Pirate (1945) [watercolor]. Ashbrook, Paul. Historic New Orleans Collection.

On his face, he wears an attractive moustache that is raised at the tips, which confers to him a seducing air, along with his short, curly hair. He wears a Texan hat with a ribbed brim and is woven with precious metals. These characteristics, plus a cane held by gloved hands, depict a wealthy lord with a hidden past and a bright future. In such a way, he was accredited by legend as being the possessor of a large treasure, hidden in the beaches of Yucatan or Quintana Roo, which has apparently been buried for more than two centuries and is waiting to see the light of day. And so, kind reader, we conclude this little story in which we have tried to show that the pirates, although fearsome and cruel, had a taste for fine clothing, elegance and politeness; that frail women demonstrated their aptitude for such a venture, and that, despite everyone’s capacity for plunder and moral decomposition, life rewarded them with titles and money, adventures and love affairs, elegant and expensive clothes of great finesse, and even, in some cases, with the title of governor.

De Graff [Illustration]. Unknown author. Historic New Orleans Collection.

¿Quién Escribe? María del Carmen de Arechavala Torrescano. Doctora en historia.

Pirates and haute couture

Hola Tulum Magazine

SOMETHING

unthinkable IS NOT

IMPOSIBLE

nder constraints presented by the rational system, itself, heir to the cogito ergo sum (I think, therefore I am), we have collectively struggled to perpetuate the idea that without thought there is no existence; that our own limits provide the foundation of our being and our reality. The most dogmatic rationalist will say, how can one think of a non-thought, itâ&#x20AC;&#x2122;s an absurdity. Since the very beginning of time, things existed whether we think about them or not. A rocky bluff, or a tree â&#x20AC;&#x201C; both exist due to geologic and biological processes, and do so completely unhindered as to whether we think about them or not; a giant sloth bone at the bottom of a cenote or a fossil dating from 10,000 B.C., exists whether I think it does or whether I opt to deny its reality. It is not my rational capacity that makes it an entity, it has been an entity itself since well before the almighty human capacity toward reasoning verified and validated it or not. In his legendary book, After Finitude, Quentin Meillassoux, establishes the principles of this approach. For him, the uniform greyness of modernity and its hermeneutic realism are simply not enough. The poles are melting, plastic is destroying the oceans, and regardless of the denial strategy we adopt, things will continue to exist and to have their effects, whether we humans are on the planet or not. Sustainability is an accomplice of this spirit. With discipline, it seeks to preserve all the entities that precede us and that will outlive us. This seems unthinkable, but it does not make it impossible. This form of sustainability is evident at Central Park de Los Amigos, in Tulum, where technology and ecology are the keys to success on the path to immanence. Every detail and amenity of this residential complex prompts us to explore the indivisible essence of things.

Hola Tulum Magazine

“Sustainability is an accomplice of this spirit. With discipline, it seeks to preserve all the entities that precede us and that will outlive us”.

Leaf Luxury Spa is a sober space that exudes and transmits tranquility and purity. Black volcanic stone covers the walls of this enclosure and cuts off the flow of thought; this is where the ritual of the now begins, with lavender and mint. Surrounded by ancient darkness, both steam and fragrance take us on a journey through Mexico. Then, clarity can be discovered during the mist shower, jacuzzi and massages. The experience culminates with an immersion in the recreational pool, featuring a bubble bed and a full-body whirlpool bath. Furthermore, since maintaining the balance between luxury and ecology is complex, Central Park has a water treatment plant that can purify between 60,000 and 70,000 liters of water a day, ensuring a healthy environment. Sugarfree snacks are among the amenities that make mystery flourish at the heart of reason: an avant-garde food picnic in the jungle, where the rules of tradition are adjusted to offer options, such as chaya and spirulina, cappuccino, pumpkin flower crème, passion fruit lunar core and edible gold foils, mojitos that are spherified with sodium alginate and calcium chloride, Pib chicken (Pib is a typical Mayan preparation), duck confitted in coconut oil, or the Mexican caviar, huitlacoche. Enhancing the senses, to overcome the solipsism of reason, involves training the body. In this regard, Los Amigos Gym & Climbing venue is a dynamic space with world class equipment, where each floor is organized around a different area of the body. The axis of the gymnasium is a roofed climbing wall with three levels of difficulty. This makes it ideal for an allround workout. The fact that this entire building is powered

by solar energy, is unthinkable, yet not impossible, thereby guaranteeing both luxury and sustainable comfort. Last, but not least, the new bet of Los Amigos is Zine Food & Film, a place for surprise and thrill. It offers five exclusive lounges: Z-01 is a VIP lounge where you can watch movies in groups of up to twelve people, with a 7.1 surround sound system of the highest quality. Z-02 is a more exclusive lounge, with capacity for four people, and that sports leather seats and a projector with dynamic contrast for greater detail. The Z-03 / 04 / 05 rooms have eight-people sofas, 5.1 surround sound and professional 4k projectors. Each of these outfitted rooms presents a private bathroom and comfortable furniture to allow maximum enjoyment of the delicacies offered at Zine Food & Film. In order to make use of these lounges, it is only necessary to buy one restaurant package per person. Options are available for one, or two-course menus, such as pata negra ham bruschettas with melon, NY style chicken fricassee, chipotle shrimps or arrachera (hanger steak) pizza. Theatres are open from 14:00h to 22:00h, and feature a collection of trendy contemporary Hollywood films and some American cinema classics. Reservations can be made through Facebook and Los Amigos’ website. It’s all about living a film-like afternoon and discovering that there is more to life than just thinking and its limits.

Los Amigos Tulum

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Art & Culture

From folklore to tradition; and from tradition to the folklore phenomenon By: María L. Rosado Castro

Lorena Fernández [Photography]. Miguel Angel Fernández de la Riva (2018)

n August 22, 1960, the United Nations Educational, Scientific and Cultural Organization (UNESCO), established the World Day of Folklore, (folk - people and lore - knowledge or science) in memory of the English archaeologist, William G. Thorns, who on that day, in 1846, contextualized the term in a letter published in a London magazine. Since then, it has been used to define the “most authentic” expressions of the people, while incorporating knowledge and intellectual production such as a worldview, language, oral traditions, social practices, rituals, festivals, knowledge of nature and the universe - as well as the artistic creation of the peoples and nations that are represented, recognized and celebrated as symbols of each other’s identity. This valuable tradition

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encourages feelings of entrenchment, belonging and ethnic pride. However, the mosaic of goods that Thorns sought to coin as “popular antiquities”, was left behind. This allows us to reflect on the author’s purpose in wondering whether traditions should be seen as manifestations of the past, or conceived and respected as dynamic living cultures. The convention includes 193 countries, with more than 600 living language groups, spoken by 5,000 ethnic groups, most of them in Latin America and Africa. Perhaps this great cultural diversity had an influence on the United Nations Organization’s decision, in 1994, to celebrate the International Day of the World’s Indigenous People, on August 9, to contribute to the dialogue among

From folklore to tradition

nations and lead to recognition, solidarity and mutual cooperation. These are efforts that the most disadvantaged native populations have sought throughout their history: to be respected, supported, protected, and to ensure that the goods that emanate from them continue to provide what’s necessary to make them worthwhile. Amid the social complexity of today’s world, where human rights are not respected, preservation of culture, in its broad context, gives hope back to those who take on the challenge of knowing and understanding it. A critical look at the phenomenon of folklorization of the generationally inherited manifestations as intangible cultural heritage established by UNESCO, gives us the opportunity to identify them. It allows us to value, in their rightful dimension, those simple practices of daily and festive life - practices whereby communities (indigenous, rural and urban) declare themselves in resistance of the degradation of their lifestyle and for the protection of their territories. Cultural industries guarantee spaces for the exhibition and commercialization of cultural elements, such as sounds, shapes, figures, textures, images, aromas and flavors; also involved in the same context are the bearers and promoters of traditions, that serve to safeguard that which belongs to them in terms of identity. The paradox lies in the acknowledgement by international bodies of both folklore, and intangible cultural heritage concepts. In this regard, we ask ourselves, How could those who carry and transport the knowledge of their peoples be protected?, since the former disguises the latter, thus subjecting it to the risk of homogenizing its content, in order to reach global competitive standards, even if this entails the erosion of collective memory.

How do communities face and rebel against these challenges? The Tulum Ceremonial Center is an example of this, where the music, dance, clothing, rites, gastronomy and worldview of the Masewal Maya, who were descendants of the fighters for regional autonomy in the so-called Caste War of Yucatán (1847-1902), are displayed. In this scenario, the tradition of ancient roots is expressed in a context of ritual identity for the locals; however, these traditional rituals are seen by others as tourist attractions. Photography: Look of Charity: See in the eyes of the people the child they once were and try to imagine life from their eyes.

About the authors María L. Rosado Castro Investigator

Carlos Medina Sánchez

Photographer, Visual Artist @ charlie4mcqueen

Tourism

DIVERSE TULUM

Agustin Carri (Photographer and Communicator) Erik Bertaina @ erikbertaina.ph (Photographer) Ivanna Fredes @ ivanna.fredes (Bodypainting) Couples portrayed: Fiamma Villa and Gatalia Gigena Kevin Kette and Salvador Campos

“Same-sex marriage in Tulum has been legal since late 2012, due to a specification flaw, a loophole in which the state’s Civil Code does not require that marriage be only between one man and one woman. It was not drafted in the traditional definition of marriage”.

By: Irving Gonzáles

or many years Tulum has been one of the preferred tourist destinations for the international, and mainly North American LGBTI community. This has not gone unnoticed by the State of Quintana Roo and the Secretariat of Tourism who are committed to developing this market in a way that benefits us with their progressive stance in the defense of human rights. The most important motive for inviting the LGBTI community to visit us, in addition to natural beauties, is that same-sex union has been legal in our state before it was recognized in the rest of the country.

But one thing must be made clear: Quintana Roo became a progressive state in matters of human rights as a result of a mistake. Same-sex marriage has been legal since late 2012 due to a specification flaw, a loophole in which the state’s Civil Code does not require that marriage be only between one man and a woman. It was no drafted with in the definition of marriage.

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Diverso Tulum

About the authors Irving Gonzáles LGBT Activist @irvingdiptera

Agustín Carri

Photographer and Communicator @acarriph

In August 2014, the first same-sex wedding took place in Tulum. It was the first case to be won through an injunction of legal protection resolved by a Collegiate Court. The year following, another Twenty-five same-sex couples married... RECOGNITION TULUM After years of living in Tulum, and because of my need as a non-heterosexual person, I launched the first Queer party to be held in town, with the support of other non-heterosexual friends. Fruity Friday became the night and place to showcase our identities and celebrate our diversity. It was a safe place to meet more people with different preferences and open-mindedness without the risk of being judged or mistreated. The party became a hit: diversity was celebrated in a small paradisiacal town in the Caribbean. Acceptance by the community at large was noticeable; on Saturdays, you could see half of

Tulum’s population with glitter in their hair or beard. However, the more people we attract, the greater the responsibility. IS A PLACE TO DANCE AND DRINK, WHAT MY COMMUNITY NEEDS MOST?

RECOGNITION, the first inclusive cultural festival of sexual diversity in Tulum. This independent celebration was held with the support of Círculo Social Igualitario (Social Egalitarian Circle), a non-profit organization for the defense of human rights, for people with a sexual orientation other than heterosexual; and for transgender people living within or crossing the state. Here, there is free HIV and STD testing; talks about gender and gender-based violence, health issues, marketing, culture, and tourism are discussed and promoted. A queer film series and a cross-dressing party were held in honor of those who have been hurt or killed for being true to their beliefs, and for being themselves.

RECOGNITION aims at providing insight and starting conversations. It’s an event that seeks human growth and personal and cultural evolution. This celebration is for people who do not want to be treated differently, but equally; because we are here and we are beings full of love. This is something that truly deserves to be celebrated. The festival celebrates three years of work and now calls for more than recognition: it calls for improvements in the availability of information and access to culture, which requires a greater commitment to ongoing health and safety issues. Gender-based violence and hate crimes have not decreased, but if the LGBTI community is considered to have beneficial impacts on the region’s economy, it would be wise to take care of it.

Commitment is growing, and, with it, gender-based violence and hate crimes are also on the rise. . In the summer of 2016, we founded

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Gonzalo Guerrero

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Tourism

Alejandro Silveira Mena Film critic, director of ÁRBOL ROJO, university coordinator RMFF @alexsilver03

MEXICO WITHIN REACH MEXICAN CINEMA ON DIGITAL PLATFORMS

By: Alejandro Silveira Great controversy is being created by the dilemma posed about whether to project a film premiere in the “regular” way — in a complex known as a commercial cinema, or to use a digital platform, such as Netflix. This conflict appeared for the first time at the Cannes Film Festival in 2017, when the film, Okja, was a part of the official selection. Nevertheless, it had its premiere on Netflix. In 2018, Mexican filmmaker Alfonso Cuarón broached the subject again, when he distributed his film, Roma, through the same platform in October. On the other hand, platforms such as Netflix, or Fiminlatino, allow us to have a catalogue of Mexican films within our reach, which often do not achieve a wide national distribution. These are some of the films I recommend:

I Promise You Anarchy, is a story that addresses the issue of illegal blood donation. This is a tale of friendship, which explores many personal relationships, along with sexualities and oppressive work environments. It’s Julio Hernández Cordon’s fifth film, and has been presented at festivals like “e” Locarno, in Switzerland.

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Hilda, is the film that presented us with the best performance of Veronica Laner, in her part as a disturbed housekeeper. Andrés Clariond’s opera prima offers a touch of black comedy, and even verges on thriller.

Mexico within reach

Elvira, I Would Give You My Life but I’m Using It, by Manolo Caro, a visual journey, with Cecilia Suárez. Luis Gerardo Méndez is the head of this comedy that deals with women’s strength and paranoia.

David Pablos triumphed in Cannes when he screened Las Escogidas, his story about human trafficking, prostitution and kidnapping in Mexico, with a narrative that does not fall into the standard clichés of the genre.

Rezeta, an Albanian model, in Mexico City, discovers fame, passion for working, and love. It’s a colorful story, pitched in a big city where her story doesn’t remain small.

Isaac Ezban’s The Similarities, a film that goes from science fiction to horror, is set in 1968. It tells the story of eight people who are locked up in a bus station and waiting to travel to Mexico City, while they encounted a strange phenomenon.

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Mexico within reach

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ยกQUร CHULA! 60

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Mexico within reach

Tourism

The oldest record of the word, chula, dates back to 1609, and appears in the text, Romance de Germanía de varios avtores con su Bocabulario: “Lo que en esto ay que este chulo quedo en Percha con la Flores”.

his small lexicographical finding sparks endless bickering about the true meaning and etymological origin of the word. In its first three editions, the R.A.E. (Royal Spanish Academy) traces its origin to the Mozarabic voice, Sulo, which, in turn, comes from the Latin sciolus: “know-itall”, “smart-aleck”. According to Corominas, chulo, is a funny and indecent character, whose name came from the etymological development of the Italian ciullo. Nowadays the word Chulo, Chula (Chulx, Chule in inclusive Spanish) possesses an overwhelming versatility and, at the same time, a subtle nuance. Its meanings range from a vestido chulo (nice dress), to the friend who never buys a six-pack and is considered a chulo (pimp). Poets, television commentators, publicists, theorists and footballers have had to give in to the power of this unfathomable word and discover the flame hiding in something chulo (cool).

“Sea with a smoky hint” Perhaps this is the reason that makes La Chula the best choice to have a noche chula (great night) in Tulum. As chef, Najla Vargas, describes it, La Chula opened its doors a year and a half ago, on Coba Sur Avenue, and provided a definition that will be the norm for all the oyster bars in the area. It was born out of the need to create a restaurant with fresh shells; a casual, modern and clean atmosphere, with a personalized service, in Tulum. Designer Ricardo Sandoval, one of Mexico’s best mixologists, was incorporated, as well as a menu of fresh Pacific seafood, a wood-fired oven, special caves for oysters, a children’s playground. It’s an establishment for the whole family to enjoy. Prehaps, best of all – they aim to please locals patronage! It is worth noting that every detail of La Chula has a purpose: the presentation of every dish, the work philosophy, the idea, the service and the ingredients make it a unique and essential offer. As versatile as its name suggests, La Chula is the ideal place to explore the vast territory of the meaning of the term itself, and to enjoy something fun, cute, extravagant, naughty, classic, refined, sincere, honest; in short, a very chulo oyster bar. ¡Qué Chula!

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rom the entrance of Soliman Bay, when turning onto the road to Playa del Carmen, a spectacular view of the mangroves of Tulum unfolded and we could feel that Chamicos was going to be a magical place. Luckily, we weren’t wrong.

We conducted a Facebook survey to find out where to have a ‘catch of the day’, in Tulum and its surroundings. The public gave their opinion and voted, bestowing the undisputed victory on Chamicos. We decided to visit them and find out the secret of this restaurant’s tremendous success. Specialites here include, Chamicos ceviche (grouper with lobster), and fried fish. Both dishes are spectacular. The ceviche, neither sweet nor sour, is a well-kept secret; wood-fired fried fish, deliciously cold drinks, and attentive and friendly beachfront service are a fundamental part of Chamicos’ success. It’s a dream come true. What makes Chamicos such a popular place? We identified three elements: 1) The seasoning of Don Diego Tzec Canul (November 11, 1962) or Chamicos, as his friends and frequent customers call him. 2) The careful attention and organization of the place, where a friendly and hospitable atmosphere is felt, due in large part to Lulu - Chamicos’ daughter, who, together with her husband, puts all her heart and enthusiasm into the place. 3) The breathtaking Caribbean Sea that lingers only a few meters from the tables. Talking to Chamicos, and we found his story, similar to a movie script: orphaned by both his parents and set out to discover the world by himself, at only age 10. He has always made his way through life with patience and perseverance, which has brought him to owning this beautiful world-renowned restaurant. Visited by locals and celebrities, such as Saúl Hernandez, or Diego Luna. It’s an essential place for vacationers in Tulum and a well kept secret by the inhabitants of this magical town. Chamicos is located 15 minutes from downtown Tulum, in Punta Solimán. More information on the menu and opening hours can be found on Facebook and Instagram.

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Chamicos

Tulum is a cosmopolitan municipality, where diverse cultures converge and contribute to the gastronomic richness of the region. “Poké (rice, raw fish, and other toppings in a bowl)”, is a culinary trend shared on social networks that began in the United States and has now spread around the world. Poke, a Hawaiian dish is a light and healthy preparation that consists of raw fish, marinated in soy sauce, or sesame seed oil, and is served in a bowl, with all kinds of fresh ingredients. It’s often served with white rice. Located at km 8.2 of Tulum’s coastal zone, we discovered #HashtagPoké, a food truck dedicated to Poké. We were pleasantly surprised by the specialty of the house. The extraordinary taste, the freshness of the ingredients, and the generous portions make it a very attractive offer in Tulum’s hotel zone. If you’re searching for a delicious, healthy and casual place to eat, this is the place!

About the author Lily Espinoza

Gastronomic researcher, Founder of Rivera Kitchen Tulum

Archaeological Sites Maps

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