Yucatán Magazine / Issue 10 / The Culture Issue

A CULTURAL RENAISSANCE IN THE MAKING Peeling Back Layers with ALFREDO ROMERO Stirring Things Up with JEREMIAH TOWER Vibing with Arts Center CASA CASCABEL Recreating Artifacts with PATRICIA MARTIN Tango Dancing with LEONARDO ARAUJO Rapping in Mayan with PAT BOY Digging New Art with ANGEL CHEN Getting Animated with JAAR

Alfredo Romero, who gives iconic street graphics a second life, in his studio.

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No. 10

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departments 4

Editorial

6 Seen DIRECTOR Lee Steele lee@roofcatmedia.com EDITOR Carlos Rosado van der Gracht carlosrosado@roofcatmedia.com ART DIRECTOR Trey Speegle trey@treyspeegle.com

12 Just Asking 16

Interview: Jeremiah Tower

18

Books

20

Wellbeing

MARKETING Yesica Benitez yesicabenitez@roofcatmedia.com EDITORIAL CONSULTANT Pablo Arroyo Díaz CREATIVE CONSULTANT Eduardo Vázquez CIRCULATION Alejandro Pinto Tolosa ADDITIONAL CONTRIBUTORS Yesica Benitez Steve Garzo Luis Campos Sosa Laurel Emery Peter Karavais Brian D. Mahan Juanita Stein Neil Youngson Clare Winfield SUBSCRIPTIONS subscriptions.yucatanmagazine.com ADVERTISING, REPRINTS & GENERAL INFORMATION hola@yucatanmagazine.com

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Yucatán Magazine

AÑO 3, NÚMERO 10 Todos los derechos reservados por Roof Cat Media S de RL de CV, Calle 84, 278 x 59C y 59D Fraccionamiento Las Américas, Mérida, Yucatán, CP 97302. Prohibida la reproducción total o parcial del contenido sin autorización previa y por escrito de los editores. La revista asume que el material aquí presentado es original y no infringe derechos reservados de ley. Reserva de derechos de uso exclusivo del título. Yucatán Magazine no se hace responsable por el contenido de sus anunciantes.

Chef Jeremiah Tower, with Lola at his side, talks about his life in Mérida. See Page 20.

Photo: Nestor Herrera

PRINTED IN YUCATÁN, MEXICO

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ISSUE 10 | YUCATÁN MAGAZINE

índice

Revelers mingle at Casa Cascabel.

See Page 38.

Photo: Steve R. Garzo

T H E C U LT U R E I S S U E 22 Alfredo Romero’s Vestiges 28 Tango Yucatán

34 Art, In Fact, From Patricia Martín

30

38

Casa Cascabel, Cultural Hub

42

Mayan Rappper Pat Boy

CASA YUCATÁN

44

Angel Chen’s Hole Earth Movement

50 Compound Chic

Ex-Votos Explained

52 YUCATÁN MAGAZINE | ISSUE 10

Yes Sir, Casa Sur 3

Editorial

Hi, Culture!

T

PHOTOS: MARJORIE SKOURAS, CARLOS ROSADO VAN DER GRACHT

EN YEARS AGO, the New York Times’ T Magazine documented “a clutch of creative insiders (that) has transformed the faded colonial town into a sophisticated escapist retreat.” The feature went on the track some artistic “early adopters” who found potential here.

A cultural renaissance was underway in Yucatán’s capital city.

This was a break from the typical reports from Mérida. Usually, travel stories described the city as “sleepy” and where the best food is served in private homes. The city of a million people was positioned as a stopover before reaching someplace better.

That’s changed.

Art and music have always been Mérida’s strong points, but now the food scene was beginning to evolve. High-quality fashion shows were no longer astonishing to see. Active, respected artists were moving in from multiple countries to be part of a burgeoning community. Even in the middle of the Centro Histórico, abandoned colonial homes appeared to lend themselves to artistic and culinary pursuits.

Design blogs regularly feature innovative feats of stylish, modern architecture that are cool spaces (in more ways than one) suited for this hot climate. It’s no longer unusual for news sites and magazines to recommend Yucatán to curious travelers.

I’m not sure we’re even considered “off the beaten path” anymore.

The overall atmosphere isn’t quite as languid and low-key as it used to be, but anyone who came here to live in a cultural capital got what they asked for and then some.

Issue 10 of Yucatán Magazine is dedicated to some of the people who can testify

to this renaissance. We go for a stroll with famed chef Jeremiah Tower, who has been in the Centro for 19 years (page 16), and to a vibrant artist-in-residence program (page 38). An artist from Palm Springs arrived in Mérida to dig up a large-scale experimental project (see page 44). The Peninsula’s ancient heritage is honored by with folk art (page 34) and a Maya rapper from Quintana Roo brings his ancestor’s language to the Black Panther franchise (page 42).

The condescending tone travel writers used to take is gone when they’re writing about Mérida. You can thank the cultural renaissance.

PS: In this issue, we welcome our new art director, Trey Speegle, who has designed the pages of many magazines, such as Vogue, Vanity Fair and Us Weekly. Trey is also a pop artist with an independent gallery in the Catskills region of New York and in Mérida. He now divides his time between Upstate and Mérida, where he recently completed Casa Cisterna, which will be among the homes featured in Issue 11. We are certain you will agree that Trey has immediately given YM a new energy and fresh perspective. A

Lee Steele Publisher, Yucatán Magazine lee@roofcatmedia.com

What do the tango, newly reproduced “artifacts” and a Mexican music history museum all have in common? They are all in our Culture Issue.

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ISSUE 10 | YUCATÁN MAGAZINE

Life is S Better on a Bike

ince 2012, an urban cycling organization called Cicloturixes has played a vital role in getting government mobility programs off the ground, including the city’s nearly 50 miles of bike lanes and improved infrastructure for pedestrians.

“The main reason people in Mérida are resistant to cycling is because they feel it’s not safe. There are many reasons for this, but drivers’ attitudes often really don’t help at all,” said Everardo Flores, Cicloturixes’ president.

A large part of Cicloturixes’ philosophy has to do with social justice and doing away with stigmas, as cycling in Yucatán has, for many, been associated with poverty and danger. This is to say nothing of the ever-increasing traffic and carbon emissions experienced by the city daily. Everardo notes that even in smaller communities that used to be much more cyclist-friendly, many motorcycles and moto-taxis have made the streets much more dangerous. Furthermore, while changing hearts and minds is essential, establishing clear rules and regulations and infrastructure is essential, not only in Mérida but everywhere, to avoid accidents and deaths.

— Carlos Rosado van der Gracht

Aside from their agenda of making streets safe for cyclists, the Cicloturixes also share a strong sense of community as well as fun.

Photo: Bénédicte Desrus

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ISSUE 10 | YUCATÁN MAGAZINE

Ask a Yucatecan Yesica Benitez

Q

Culturally Appropriate Should I be concerned about appropriating your culture?

A: This is a question I

get a lot. Cultural appropriation has become a sensitive topic for folks in the last decade.

So you may be wondering how people in Mexico/Yucatán feel about foreigners using elements of traditional culture.

In all honestly, people here in Yucatán tend to be pretty relaxed about this sort of thing. For example, when Looney Tunes said they would phase out the Speedy González character for being stereotypically offensive to Mexicans, people all over the country cried out “¡Amamos a Speedy!” and the company decided to backtrack. A similar thing also happened with a relatively recent Mario Bros game, where Mario was given a poncho and set in a desert-like world full of structures resembling Aztec temples. Folks here loved it while in the US and Canada, many saw it as being in poor taste.

As Mexicans, we celebrate that elements of our culture get representation abroad, even by non Mexicans. This of course is only the case as long as it is done in a tasteful and respectful way. One sensitive topic is when foreigners embrace elements of narco culture, which most Mexicans agree is despicable. It also often rubs people the wrong way when gringos are adamant about giving their opinions on sensitive topics they don’t really understand or with which they have

no lived experience.

One of the things that Mexicans and Yucatecos are most proud of when it comes to traditional culture is cuisine. So when someone talks about the “authentic panuchos” they had in Toronto we can help but roll our eyes. But on the other hand, we are guilty of loving cream cheese and jalapeños on our sushi, so maybe we should not be so quick to judge. There is nothing wrong with foreign takes on our favorite dishes, just don’t call them authentic, unless they really are. For example, I once had an amazing frijol con puerco in Montreal, and believe me, I chowed it down like there was no tomorrow. Just for heaven’s sake don’t put mayonnaise on cochinita pibil.

Also, if you walk through the streets of Mérida with a poncho or a giant sombrero because you think this will make you blend in, we will relentlessly make fun of you rather than take real offense.

So feel free to try your hand at making tamales, get that tattoo of a Maya balam or hire Mariachi. We love it. Just make sure that when representing our culture you are doing it in a respectful way that embraces and honors our traditions. The more you do this the more likely it is that you will be embraced by locals and given the opportunity to participate with us in the celebration of our culture.

Kanasín native Yesica Benitez explains the realities of local culture to bewildered expats. Email her at yesicabenitez@roofcatmedia.com

Staff photos

La Plancha Park Update

A

S SUMMER TURNS to fall, La Plancha park will be in full bloom. An artificial lake, amphitheater, and concrete walking paths are just the beginning of a massive park that replaces the abandoned rail yard behind Mérida’s former train station on Calle 55 between 46 and 48.

Residents for years had asked that the Centro’s largest undeveloped land parcel be spared development. They got what they wanted, to a point. There will be some buildings and lots of pavement, but the city will also have a new place to exercise, stretch, hear music, and otherwise enjoy outdoor activities. The fake lake will have water features and its own malecón, and nearby an amphitheater will accommodate 10,000 people. One architectural rendering went so far as to suggest a Ferris wheel on the grounds.

A “museum of light” — spun off from an attraction in Mexico City — also looks promising. But more buzz is surrounding the reworked railway museum, which looks astonishingly welcoming.

There’s a ripple effect. The park connects to the Calle 60 hotels and restaurants via the new Calle 47 foodie corridor, which has been pedestrianized. Properties along the way are being converted into restaurants, retail stores, and nightclubs.

— Lee Steele

This image, created

by AI with a prompt

by Douglas Clarke, distilled cliché Mexican culture with just a few clicks.

YUCATÁN MAGAZINE | ISSUE 10

7

Seen

Graffiti Shadows New York native Laurel Emery shot this collection of images in her Mérida neighborhood. The former Madison Avenue art director likes to compose her images in a grid using color, form, shadow and light to graphic effect.

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ISSUE 10 | YUCATÁN MAGAZINE

Music to Their Young Ears Kookix Music School’s students are special guests of Mérida’s Palacio de la Música

T

he students at Kookix Music School, pioneered by California native Marjorie Skouras, took the opportunity to a visit to the world-class Palacio de la Música’s Interactive Museum of Mexican Music in Mérida. They were the special guests of the Secretary of Culture and the Arts of Yucatán, Loreto Villanueva Trujillo.

“It is such a wonderful museum, beautifully done and loads of fun,” Skouras said.

El Palacio de la Música is a state-ofthe-art homage to popular and traditional Mexican music, with a concert hall, an academic program, and an interactive museum to delight visitors of all ages.

The museum is on Calle 58 and Calle 59 in heart of the Centro Histórico.

The Kookix Music School students gather in the courtyard and inside the Palacio’s interactive museum of Mexican music.

Photos: Marjorie Skouros

kookixmusicschool.com

ALFREDO ROMERO

CALLE 60 410 • MÉRIDA • 999 289 3582 • LASALAART.COM

YUCATÁN MAGAZINE | ISSUE 10

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Burlesque performer Manzanita works the pole at Miru Kim’s Cabaretthemed event at a one-night-only secret location.

Photos: Trey Speegle

Seen

Life is a Cabaret...

Miru Kim’s ‘outlaw’ parties showcase hidden talents

K

OREAN ARTIST MIRU KIM hosted an exclusive pop-up event in Mérida last spring, and it attracted around 100 guests, most of them in costume. Kim’s events are invitation-only and considered “outlaw parties.”

The venue was kept a secret and revealed just days before.

A nondescript Centro bar led to a flight of stairs with a stage area — featuring a stripper pole — with band, small café tables, a bar and up another half flight of stairs, dance floor and DJ. With the theme of a 1920s Weimar-style underground cabaret, the outlaw party featured performances by Manzanita (@ manzanitsss), Maya Queer (@maya_queer), Amber Afrodita (@amberislov3), Místika (@mistikaa), Kimmy Bomba (@kimmybomba), all of them young local performers.

The live jazz band was newly formed for this event by Rene Flores, now called Ar_ticular (@ar_ticular on Instagram). featuring vocals by Daniela Romero with projections by Escarabajo Estudio Visual (@escarabajo_ev) and two DJs, Teksun, and a special guest, Rodman, from Mexico City.

I was so transfixed I had to keep reminding myself that the vocals and band were live. By the end of the night, I found myself hauled onstage by Amber during the finale.

The first event Miru organized in Mérida was a costume party at her own property, inspired by her Berlin experience and her time in the underground scene in Brooklyn, New York. The entire ruin and garden were converted into theater sets and art installations, with works by local artists and performers and musicians. This now legendary event inspired many young creatives in Mérida to do their own party in the style of creative happenings rather than just entertainment.

There was one more La Bestia event, and then — a pandemic halt.

10

After that long-ish pause, Miru organized and funded a young art festival project called Incidencias en Yucatán. It lasted the entire month of December 2021 in an abandoned three-story mansion on Calle 60 with more than 30 young artists, including interactive media art installations. The festival also hosted many young performance artists, who make more radical action art and have very few venues to show their work in Mérida.

Mérida’s city hall officially hosts many cultural events but they can be quite conservative and the underground subcultures and nightlife energy that promote young contemporary art are nearly invisible.

The future of La Bestia is unknown, but Kim says she’ll continue to innovate creative ways to contribute to the culture of Mérida, the city she now considers home.

— Trey Speegle

Drag artist Amber Afrodita was covered in pink balloons until slowly and seductively she popped each one.

ISSUE 10 | YUCATÁN MAGAZINE

PHOTOS: WORLD OF WONDER

Cancún’s Tiaga Brava was crowned Queen of the Universe.

Right, the cast of Drag Race Mexico

Mexican Drag is Intergalactic

R

The ‘Queen of the Universe’ hails from the Yucatán

uPaul was not joking when he sang, “Drag is all over the world. It’s a phenomenon.”

Yes it is. And among many others, there’s now Drag Race Mexico, (above right) hosted

by Season 9’s Miss Congeniality, Valentina alongside Lolita Banana, who also competed on Drag Race France.

Every iteration of Drag Race has its own flavor and Mexico’s is decidedly spicy, as are the names of the queens: Cristian Peralta, Gala Varo, Lady Kero, Matraka, Regina Voce, Margaret Y Ya, Argennis, Serena Morena, Pixie Pixie, Vermelha Noir, and Miss Vallarta.

Valentina told the L.A. Times, “I wanted the girls to leave with an experience that made them grow. I really hope that the postshow life and experience comes with many blessings for them, They come from many different socioeconomic [statuses], from small towns to major cities.”

As this issue goes to press, the show is nearing its finale, when a new queen will be crowed and take home a cash prize of 550,000 pesos.

And drag’s global domination continues with Season 2 of the Paramount+ show Queen of the Universe.

That TV show is the first all-singing competition, hosted by Graham Norton with Drag Race stars Trixie Mattel and Michelle Visage, the Spice Girls’ Mel B, and actress Vanessa Williams serving as judges.

Spoiler Alert: Taiga Brava, (above left) hailing from Cancún, became the second Latin performer to win. Taiga shared her feelings about winning tweeting in all caps, “THERE IS A CROWN FOR MEXICO! I CAN’T BELIEVE IT. VIVA MÉXICO.” But drag is not just on TV. Local drag stars Amber Afrodita and Kimmy Bomba also appear on the opposite page and all over Mérida. —Trey Speegle Stream Drag Race Mexico and Queen of the Universe on Wow Presents Plus.

A Writer’s Bar The cat appeared one day, and since then, it has always been there...

I

T WAS THE YEAR 1967 when Juan García Ponce (Mérida 1932 ­- Mexico City 2003) wrote “El Gato,” a short story that would be the starting point for the novel of the same name that he would publish years later. In the story, a young couple builds their romantic and sexual relationship through the symbolic mirage of a cat that one day appears in the apartment building where they live.

García Ponce was one of the most influential Mexican writers of the mid-20th century. In his prose, he ignored the limits between the real and the fantastic through topics unexplored by Mexican literature until then, such as eroticism, which he approached from a very poetic and intellectual point of view.

García Ponce was not only a writer of short stories, novels and essays but also an avid critic and art lover. He was a fundamental part of “La Ruptura,” a group of young artists who wanted to move away from the nationalist aesthetics that the YUCATÁN MAGAZINE | ISSUE 10

muralists — Rivera, Orozco, and Siqueiros — represented. Their abstract art was inserted into the global artistic language of their time.

In a corner of the El Remate restaurant’s roof deck, La Terraza, El Gato’s bar is itself a tribute to the life and work of Juan García Ponce. In not only architectural and decorative terms, but also in essence and atmosphere, El Gato reimagines the studio of the Yucatecan writer in the 1960s and ’70s.

Magazines, books, photographs, works of art and correspondence, as well as work tools and personal items, dress the space, filling every corner with memories of that time.

El Gato itself is a conversation piece about art, literature, and history through a sort of permanent exhibition in which, along with music, and cocktails, intimate events activate and stimulate dialogue.

El Gato’s décor includes a file cabinetfronted bar, top, a manual typewriter. and Juan García Ponce memorabilia.

Photos: Diego Berruecos

El Gato, second floor of El Remate, Paseo Montejo 486A at Calle 57, Mérida. Facebook: elrematedemontejo 11

Just Asking “Living in the Yuca tán has taught us to take things in stride.

Waiting for things gives us time to realize how happy we are.”

“The colors, the people, nature, the breeze, blue skies, the food, slower pace has awakened a creative side of me that I never knew existed.”

“I have the most amazing tribe of entrepreneurs that have become close friends. We meet regularly to lift and inspire each other...

¡Me encanta Yucatán!”

12

“I got out of Florida alive.”

“Giving new life to an abandoned 18th-century sisal hacienda converting it into an award-winning luxury boutique hotel.”

“Being a life-changer to one local family. Giving of ourselves and recognizing that it’s just life, take it easy.”

We asked readers to share their proudest accomplishment since moving to Yucatán.

These are our favorite replies.

“To slow down, retire early, enjoy my friends,

appreciate every day, give back, and embrace the magic that is Mérida.”

“Getting my Yucatán driver’s license!”

“Finding a path to home ownership, a dream I had given up on.”

ISSUE 10 | YUCATÁN MAGAZINE

PHOTOS: @JOSEMRA

Soco’s best-selling item is their delicious croissant.

A dozen bakers, under the guidance of owner Andrés Preve, right and below, turn out hundreds of baked goods daily.

Have Dough, Will Travel A Yucatecan baker’s journey from Europe to Asia, to running Soco

A

T THE AGE OF 27, after spending many years abroad, Andrés Preve Carriles returned to his native Yucatán with a new passion: artisanal baking.

Andrés’ journey into the world of baking began after he moved to Spain for four years after completing a degree in finance. In Spain, Andrés discovered an approach t o bread entirely different from that of his childhood, later taking an interest in pizza dough while in Italy.

But his passion for baking did not really take off until an extended trip to Asia. While in Thailand, Andres purchased a motorcycle to travel the length of the country, eventually making his way to Cambodia and Vietnam.

While in Cambodia, Andres encountered an English baker who introduced him to the world of bagels.

“It was in Cambodia where I first truly embraced the culture of baking and knew almost right away that this is something which would be a part of my life from then onwards,” says Andrés.

Later in Vietnam, Andrés would take on the challenge of an apprenticeship with a Polish baker specializing in sourdough, which is called masa madre in Spanish.

YUCATÁN MAGAZINE | ISSUE 10

As anyone who has had experience with baking in Yucatán can attest, the style and ingredients found in the region are quite different from those found elsewhere in the world.

“One of the main challenges I was confronted with when returning home was the lack of additive-free grains, to say nothing of the climate, which makes baking sourdough all the more tricky,” says Andrés.

Once back in his home Peninsula, Andrés decides to start his very own bakery specializing in high-quality goods made from the best ingredients, with a Yucatecan twist.

“Don’t get me wrong, I love Mexican bread and pastry and enjoy implementing local ways of doing things with what I learned during my time abroad,” Andrés says with a smile.

One of the most unexpected aspects of Andrés’ journey was to return home and discover his parents’ “foodie side,” to which he had apparently been fairly oblivious before-

hand. For instance, as it turns out, his father has quite the gift for cuisine, along with experience in business, which would be an invaluable asset to his new project.

His mother, “Soco,” after whom his bakery is named, has also been extremely supportive, Neither parent ever imagined their son becoming a baker.

“The support I have received to pursue this passion has been such a gift, as it’s wonderful to have the opportunity to share this new facet of myself with my family.”

Soco’s specialty is its sourdough bread, though its best seller is their fresh specialty croissant.

Soco now has two locations, in Colonia México and Santa Lucía, and produces between 500 and 600 baked goods every day, with the help of their staff of twelve bakers. Both locations also offer full breakfasts and delicious coffee to accompany their delicious bread.

Andrés is also preparing to offer a sourdough baking course starting in September so that more people in Yucatán can learn about this fascinating and delicious process.

Both Soco locations are open daily, from 8 a.m. to 3 p.m. Online: socomerida.com Instagram: @socomerida

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CULINARY REVERIES

A Tale of Tacos & Tortas From the zesty Salsa Verde that invigorates a Taco al Pastor to the lively Pico de Gallo that dances upon a Torta de Carnitas, each condiment is a testament to the passion and creativity of Mexican cuisine.

TEXT AND PHOTOS RICK VAN DE DOOD

TEXT AND PHOTOS LEE STEELE

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ISSUE 10 | YUCATÁN MAGAZINE

PICO DE GALLO A Fresh Melody of Taste

I

N THE VIBRANT streets of Mexico, tacos and tortas are gateways to a world of culinary exploration.

As the sun sinks beneath the horizon, the air is filled with the aromas of sizzling meats, freshly grilled tortillas, and the cacophony of hungry voices. I am standing in front of the humble street taco stand, a colorful pillar of Mexican cuisine where the taquero shouts and asks for my order, and I surrender to the allure of a simple taco. Then, the instinct of the heart guides my hand toward the Salsa Verde.

Picture the crispness of the bread, the succulent fillings, and the vibrant notes of Pico de Gallo weaving together in a tapestry of perfect harmony.

The bright acidity of the lime juice, the gentle sting of the onions, and the herbaceous freshness of cilantro melded together as a palette of intricate compositions unfolded the flavors like an impressionist’s brushstrokes swirling in the air. Each bite brings a burst of tanginess and a touch of heat, enticing you to savor every moment, just as a master conductor leads an orchestra to symphonic perfection.

The mesmerizing flavors I found ignited my passion for the enchanting culinary world of Mexican street food culture, where tacos and tortas reign supreme. With every bite, Mexico’s vibrant spirit unfurls, leaving an everlasting impression on my taste buds and in my heart. Let us celebrate these sensory adventures, embracing the richness of flavors that connect us across cultures and ignite a passion for the artistry of food.

My love for the captivating culinary realm of Mexican street food culture, where tacos and tortas rule supreme, were ignited by the intriguing diversity of flavors I discovered.

Mexico’s colorful character unfolds with each bite, leaving an enduring impression on the senses and emotions that bridge cultures and stoke our passion for spark a passion for the artistry of food.  YUCATÁN MAGAZINE | ISSUE 10

This composition of finely chopped tomatoes, onions, cilantro, jalapeños, lime juice, and a hint of salt harmonizes gracefully with the torta, a classic Mexican sandwich. I added a generous portion and the explosion of colors and textures awakened a kaleidoscope of sensations.

Above, Sofi takes a torta break at Tacos de Cabeza Playa in Playa del Carmen.

Below, David savors the flavors at Tacos y Tortas El Tío 2, Tulum.

SALSA VERDE The Quintessential Maestro of Street Tacos Ah, Salsa Verde, the maestro that reigns supreme in the realm of street tacos. With its verdant shades and vibrant aroma, it captivates the senses and beckons the adventurous soul. It’s made of ripe green tomatillos, white onions and garlic, and subtle notes of cilantro are added to the sauce, but this salsa also possesses a mysterious allure in the form of jalapeños. When dressed on street tacos, Salsa Verde adds a tangy flavor to your dish, but be careful. In an authentic Mexican restaurant, the salsa verde could be on the flaming hot side.

15

Interview

Jeremiah Tower and husband Curtis Cox shop at the Santiago market and, below, break for a cold cerveza with their dog, Lola.

Photos: Nestor Herrera

Still Magnificent Lee Steele sits down with restaurant legend Jeremiah Tower to find out where he eats and shops and how he fell in love with Mérida

J

eremiah Tower is a restaurant legend, one of the originators of California Cuisine and among the first in a line of what we now call “celebrity chefs.” His fascination with cuisine began as a child, as documented in “The Last Magnificent” (2016), and continued into adulthood in kitchens at Chez Panisse in the 1970s, followed by landmark restaurants Stars and Tavern on the Green. Tower now resides in Mérida with his husband Curtis Cox. I sat down with Tower for a talk.

First, I want to know about your attraction to Mérida or, even before that, your attraction to life outside of the States.

Well, I mean, I was living in New York, and it was the 9/11 attack, and I was living fairly close to the site. And so I thought I’ll just move to New Orleans. So I did it right away. When I was in New Orleans, I thought, before I unpack and get settled, I’ll just go to Cozumel and learn how to dive with sharks because that was the only thing that made me nervous at the time, after earthquakes and terror. So I was in Cozumel, and Katrina occurred. So I was homeless, possessionless, everything gone. And I thought, well, if you’re going to be homeless, we’ll be on a tropical island, so I 16

stayed. And then Wilma hit Cozumel. And I went to Mérida and found it completely magical. There was something very woo-woo about Mérida. I thought, no, that’s ridiculous. But I kept thinking about it. So I came back here, and I felt that magic again. So I moved to Mérida.

So your exit from the States with nothing to do with politics or culture. It was really more about ...

Well, it is now. Well, in part of it was I was walking around Sixth Avenue in New York just before 9/11. And I just looked at all the millions of people and skyscrapers and everything.

And I thought, What is this about? I don’t want it. Everyone says New York is so fabulous. Well, of course, it is in many ways. But I thought, is it worth the effort it takes to live here?

Yeah, I think I remember at the time, New Orleans was a favorite place to sort of go

and escape, you know, but then Katrina.

It’s recovered nicely. Not quite the same, not quite as louche. If that’s the right word.

How did you hear about Mérida?

I was in Cozumel. And this is before Wilma.

And some friends had a restaurant there.

And she’d said, you know, do you know about recado negro? And I said, no, no. And so she took me into the jungle with three Mayan women. And they showed me. They had roasted chilies until they were black, which was incredibly astounding and astonishing.

And then, the next day, they showed me how to make the recado paste. And then they cooked the relleno negro, which was my benchmark for that. I mean, it was the most relleno negro you get in Mérida because, you know, it’s okay. Not great.

So then I tasted that, and I thought, this is worldclass.

I mean, was that a pretty good introduction to Maya cuisine?

Absolutely. And then the same women showed me papadzules, prepared the proper way … and then I tasted cochinita tacos, and I went, “Okay, I’m done.”

One thing you haven’t done here is open your own restaurant.

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Ah. I had 35 years of 80-90-hour weeks and a lot of success and everything, but now I’m only interested in a beach bar or something like that.

Do you think you may?

I might, yeah.

How do you feed yourself? Do you go to restaurants here or …

We cook and go to restaurants. I still go to the same places. I had that first cochinita at the main market right inside the entrance.

Near the main entrance. Do you know what the name is? Well, now we’re going to ruin it by …

Yeah. That’s where I go mostly. And Roberto Solís [another well-known chef in Mérida] was there the other day. There’s another stamp of approval.

So those are your favorite places to eat.

As opposed to …

I know some others. But if I say my favorite, I have to leave town. But Calle 47, let me say, is a very interesting street. And Santa Lucia.

Good food there.

When you cook here, and this is an obvious question, and I’m embarrassed to ask, but what do you cook for yourself?

Simple vegetables from the market, even though they’re mostly pretty boring. The thing about the main market and Santiago, it’s the same stuff all the time.. What is fabulous here in the Yucatán is citrus. Kinds of citrus I’ve never even seen before. The fish, of course. Octopus. I love to go down to the main back and get octopus, bring it back, and cook it. Paprika with recado negro. So what do we eat? Simple food. I haven’t tried the pork yet.

So you really become a fan of the local cuisine. Which is funny, because you know, the guidebooks kind of tell you there’s no good restaurants, and the best meals are at home. Is that still true?

No. That changed in the last five or six years.

I mean, that was true. But now, no longer, because the whole population’s changed.

Do you remember your first meal out?

I remember was a very big deal when La Tratto opened in Santa Lucia. Huge deal.

Because I looked at that square when it was boarded up. And I thought, boy, if I ever get my hands on that. And I tried and tried and tried but because it belonged to the city government, you could never get an answer.

When was the last you’ve been to the States?

It was a few months ago. I go back occasionally. But I mean, it’s much more civilized here.  YUCATÁN MAGAZINE | ISSUE 10

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Books

Elevated

A chef from Mexico is the toast of London and author of a comprehensive new cookbook SINALOA-STYLE AGUACHILE

TEXT LEE STEELE PHOTO CLARE WINFIELD

Serves 4 Sinaloa is very well known for this dish. Goes well with a cold beer.

The prawns or shrimp really need to be very fresh — ask for the largest and freshest available.

» 20 raw prawns / shrimp,

cleaned, shelled, deveined, and cut in half

» 1½ cup of freshly squeezed lime juice » 2 tablespoons sea salt » 1-2 fresh green chiles, finely

chopped (depending on how spicy you like your food)

» 1 red onion, thinly sliced » 1 cucumber, halved lengthways and thinly sliced

Place all the ingredients in a large bowl and stir gently to mix everything together. Taste and adjust the seasoning if needed.

Let rest one minute. Serve with tostadas and avocado salsa / guacamole.

Adapted from Cocina Mexicana: Fresh, Vibrant Recipes for Authentic Mexican Food

by Adriana Cavita

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DRIANA CAVITA WASN’T even 20 when she became associated with one of the world’s best restaurants. When she left Mexico City for London, she took the job as head chef at Peyotito, considered one of the UK’s best restaurants. Now she has an eponymous restaurant of her own, also in London, where she’s built a solid following.

I’m not sure what panuchos and other Yucatecan specialties would look like in Cavita’s Marylebone Village kitchen, but her upcoming Cocina Mexicana hints at how her restaurant would elevate them.

Cavita grew up between the capital and the village of San Felipe Ixtacuixtla, inspired by her grandmother’s street-food business. “Her huaraches became famous in the neighborhood,” Cavita says.

She has since traveled extensively around Mexico, sampling tlayudas of Oaxaca and Baja’s rugged, meaty birria. Of course, she did not skip the Yucatán Peninsula’s famous dishes. This collection of recipes is built around all her experiences.

“The object of this book is to share my

love for Mexican cooking through a series of recipes adapted so that they can be easily reproduced at home,” Cavita says. “Influences from all over the world can be traced through Mexican food: Spanish, North African, Middle Eastern, French, Italian, American, and even English.”

Her pork pibil, panuchos, and salbutes are upscale versions of Yucatán classics.

A simple ceviche or a grilled fish wrapped in banana leaves are seen through the eyes of a young, exceptionally sophisticated and successful chef.

Adriana shares some Mexican-cooking basics, including salsas, corn dough, tostadas, and moles and, as if to reward us, includes a solid selection of tequila and mezcal cocktails.

She’s far from home and under the glare of a celebrity-chef spotlight in London, but Cocina Mexicana tells the world she has not forgotten her heritage and the people who taught her the craft of cooking.  Cocina Mexicana (Ryland Peters & Small, US$30). 192 pages, hardcover. Photography by Clare Winfield © Ryland Peters & Small ISSUE 10 | YUCATÁN MAGAZINE

For the bookshelf Juanita Stein » The Wind Knows My Name by Isabel Allende

» Silver Nitrate

An author who never disappoints, Allende weaves together the stories of a 5-year-old Jewish boy whose mother sends him away from Nazi-occupied Vienna, and a mother and daughter who are escaping from present-day El Salvador. While the two experiences are vastly different, the themes of war and immigration are not. Samuel leaves Vienna soon after Kristallnacht, when his father disappears and his family loses everything. He is sent to London with nothing but a few clothes and his violin. Eight decades later Anita and her mother are running from an impossible situation in El Salvador and are separated at the US border, victims of the new family separation policy. Seven-year-old Anita is housed at a refugee camp in Nogales, and is befriended by Selena, a social worker who works diligently to try and locate Anita’s mother. The past and the present intersect at various points of these two stories about the search for family and the sacrifices that parents make for their children.

Paperback, 257 pages, 399 pesos.

Between the Lines’ No. 1-selling author has just released her newest genre-bending novel. This noir/horror/ supernatural thriller is the story of Montserrat, a skilled sound editor, who’s constantly put down by the macho guys who run the film industry in 1993 Mexico City. Her relationship with her charming soap star friend Tristán is a roller coaster. Things get complicated when they meet Abel Urueta, a horror movie director from decades past, whose career ended abruptly when a film he was working on was never finished. He claims there was a Nazi occultist who imbued magic into the highly volatile silver nitrate film stock, and he needs the pair’s help to film the missing scene and lift the curse that caused his legendary film trajectory to come to a crashing halt. But then Montserrat begins to notice a dark form following her … and Tristán starts to see the ghost of his ex-girlfriend. As they race to solve the mystery of the mysterious film and the occultist who wandered their city, Montserrat and Tristán might find out that sinister magic isn’t just something you see in a horror flick. Paperback, 336 pages, 399 pesos.

by Silvia Moreno-García

Juanita Stein owns the Mérida bookstore Between the Lines on Calle 62 and 53 in the Centro. Visit facebook.com/BetweenTheLinesMerida

YUCATÁN MAGAZINE | ISSUE 10

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Wellbeing Brian D. Mahan, SEP “A journey is best measured in friends, rather than miles.” —Tim Cahill

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s an expat, it’s all about finding your tribe. It might feel like you’ve got two left feet and stepped into a salsa class for the first time. You might step on a few toes initially, but you’ll find your rhythm with time. It requires stepping out of your comfort zone, being open to new experiences, and, most importantly, being your authentic self.

Deep and meaningful friendships provide emotional support, help us cope with stress, and contribute to our overall health, longevity, and well-being.

But cultivating friendships in a new country is not always easy. It can be challenging to find people who share your values, challenge you, inspire you, and, most importantly, accept you for who you are, warts and all.

When I first arrived in Mexico, everything was new and exciting. The vibrant culture, the delicious food, the warm and welcoming people. The common ground

Find your tribe

of simply being an expat kept my dance card full. I was quickly swept up and into a vibrant social life that I found to be even more robust than what I had after being in Los Angeles for 30 years. It was intoxicating. It felt like a perpetual vacation. I had to start reminding myself that I live here now. And I needed to regroup and lose the twenty pounds I had gained.

But slowly, over time, and particularly after a series of devastating life events, it was sobering to gain clarity on the difference between fair-weather friends, acquaintances, and real meaningful friendships.

After my partner and I broke up, I quickly faced the “fifth wheel syndrome.” And with that also came the disorientation of being single in a different culture and country.

So not only had the crowded dance floor of my social life begun to clear out, but I also had to find the internal resolve to redefine my experience here as a single man while nearly all of my acquaintances were coupled. Dinner reservations for a table of 3, 5, or 7 just didn’t seem part of the new melody. But I quickly learned to say, “Una

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Slow Food Yucatan

Every Saturday.

ISSUE 10 | YUCATÁN MAGAZINE

mesa para uno, por favor.” best friend. Or, at the very least, they could Navigating the social landscape as a introduce you to the best taco stand in single expat in Mexico has been a journey town. of deeper self-discovery.

People are drawn to authenticity. Fill It’s been about doubling your alone time with expedown in my quest to be riences that you enjoy, have Brian D. Mahan is comfortable in my own skin, meaning, and matter to you. a Somatic Experiencing embracing my , and filling Then you will have more to Practitioner who lives in my calendar with the things chat about than cocktail party Mérida. Brian is a teacher, I genuinely enjoy. lecturer, and the author of I small talk. Intimate friendship Finding your “inner occurs through transparency.

Cried All the Way To Happy circle of real friends” in a The more you know about Hour —What To Do When Self-Help Or Talk Therapy new country starts with someone and the more they Haven’t Really Helped. He being open and proactive. know about you, the closer specializes in breaking Sometimes it might feel like your relationship will become. patterns and changing you are the only one initiShare your experiences, your limiting beliefs by healing ating connection by sending passions, and your dreams. shock trauma, developtexts, making calls, and But more importantly, show mental trauma, and toxic planning group events. interest in others and listen to shame. briandmahan.com Be careful to avoid gossip their stories. We have two ears while keeping in mind that and one mouth for a reason. if someone is gossiping about someone Perhaps a gardening metaphor is else, they will likely soon be gossiping more appropriate than the previous about you. And don’t be afraid to strike up dance metaphor. Relationships are more a conversation with a stranger. You never like gardens than dance partners. They know. They might just become your next require time, energy, and effort to till the

»

soil, plant the seeds, and provide the right amount of water, light, and fertilizer. And it’s important to know when to prune and weed. And you don’t want to keep pulling the seedlings out of the ground to see if their roots are growing.

So, don’t be disheartened if you don’t find your tribe right away. It takes time. You may have entered into a group of people who already have well-established mature gardens. Be proactive in tending to the garden of your social life, or it will likely wither.

And remember, family is not always about blood. It’s about who is there to lean on when you need them the most and how you show up for those whom you have come to care about.

Embrace the local culture and customs while still maintaining your own identity.

So, as you embark on your expat journey in Mexico, remember to take the time to foster true friendships.

Because as the saying goes, “A journey is best measured in friends, rather than miles.” 

Experience the best in contemporary art CALLE 60 #400-A ENTRE 43 Y 41 CENTRO

PHONE: +52 999 344 7463 MONDAY - FRIDAY: 10 AM – 5 PM SATURDAY: 10 AM – 2 PM

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COVER STORY

Memory, identity, and artful archaeology of the not-so-distant past

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RMED WITH A simple but trusty set of tools, artist Alfredo Romero has made his way across Mexico, literally peeling layers of history found beneath decades of paint.

Alfred is obsessed with memory and what he refers to as “the archaeology of the recent past.”

Anyone who has spent time in Mexico knows that painted signs and advertisements known as rótulos are ubiquitous. But in recent years, this trade, along with both its commercial and artistic dimensions, has begun to be displaced from the centers of major cities and towns.

TEXT AND PHOTOS CARLOS ROSADO VAN DER GRACHT

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ISSUE 10 | YUCATÁN MAGAZINE

“These time capsules of sorts tell a story and though for some they are nothing but eyesores, for people like me they are invaluable.”

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COVER STORY CULINARY REVERIES

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RIGINALLY FROM BARCELONA, Alfredo explains that the phasing out of this tradition is due in large part to renewed interest on the part of affluent Mexicans and foreigners to buy up homes in the once again desirable centers of colonial cities.

In Mérida, as with other cities, a great many of these homes lay empty for decades, with their owners opting instead to move out to the north of the city and its mall-filled suburbs.

And with the people went the businesses. By the ’80s, the Centro had gone from a booming commercial area full of movie theaters, shops, and markets to not much more than a hub for travel to and from the region’s towns and villages.

“Now that the Centro is desirable again people want everything to be clean and shiny, they scrape away countless decades worth of layers of paint without realizing that what they are doing away with is history and memory,” says Alfredo.

Alfredo refers to the recovery and safeguarding of these memories rendered in paint and plaster as a despiel or de-skinning. Think of this process as a more elaborate version of what happens when you tear a piece of adhesive tape off a wall. While sometimes the patterns and colors which emerge from this process resemble a surreal patchwork of designs and shapes, on others Alfredo is able to recover old hand-painted commercial rótulos for beer brands that are no longer or the mascot of a long ago abandoned bodega or cornershop.

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PHOTOS: LA SALA

“...they scrape away countless decades worth of layers of paint without realizing that what they are doing away with is history and memory.”

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The Removal Process

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HEN ALFREDO ROMERO REMOVES SIGNAGE that’s been painted on a wall, his technique isn’t much different than an archeologist’s.

» The strappo technique consists of firmly gluing canvas to the artwork’s surface and then carefully peeling away a thin layer of the plaster containing the pigment.

» Alfredo then may embellish the canvas with paints or by revealing several layers of advertising. One year, the wall might have been promoting Coca-Cola, and a decade before that, bottles of Sol.

» The end result is a vestige of commercial street art, usually from the 1960s to the 2000s, preserving what would have been lost to remodeling or demolition.

See the process at YouTube.com/@lasalaartgallery9878

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Soldado de Chocolate was once the Yucatán’s most popular chocolate beverage.

Romero removed the soldier logo image from their shuttered factory in 2017 after the company went out of business.

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“I always get such positive reactions from people, especially when they recognize Yucatecan icons.”

Alfredo takes a break to play with his kitty, Miernino. Opposite, Canelo hangs out under the desk.

“These time capsules of sorts tell a story, and though for some they are nothing but eye sores, for people like me they are invaluable,” says alfredo.

In his Chuminópolis home, which doubles as his studio, accompanied by his pets and with the help of his friend and colleague Manuel Canché , Alfredo assembles these patchworks of paint in to true work of art, either set on canvases or treated to be more resistant and hang as if they were a fabric.

“For me, existence is an act of memory that reminds us all that all of our facades both literal and metaphorical, are just temporary. Nothing really belongs to us but rather to time,” reflects Alfredo.

Signs for business like bakeries and advertisements for cola brands are still painted on to facades all over Mexico, but especially small towns and villages. However, unlike in decades and centuries past these designs have become much more standardized and are seldom done by hand, utilizing instead stencil techniques which guarantee uniformity at the cost of uniqueness and artistry.

“I always get such positive reactions from people, especially when they recognize yucatecan icons like the soldado de chocolate (from a now defunct local brand chocolate drink brand) or mascot they remember from their childhood,” Alfredo says with a smile.  Visit alfredoromero.net and www.lasalaart.com

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Tango Yucatán Argentina’s sexiest dance form hit the Peninsula with gusto

TEXT YESICA BENITEZ AND CARLOS ROSADO VAN DER GRACHT PHOTOS CARLOS ROSADO VAN DER GRACHT

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HILE AT A BUS STOP In Mexico City, where he was studying mathematics, Leonardo Araujo came across a sign offering tango lessons. While at first glance, there is not too much overlap between math and tango, Leonardo begs to differ.

“Both math and tango require a great deal of creativity. There is not always one single way to do things. Often, it’s about instinct and moving with the flow to find the most elegant solution,” says Leonardo.

After several years of taking classes and learning on his own, Leonardo decides to visit Buenos Aires to experience the tango World Championship as a spectator. Being exposed to the culture of Argentine tango has a profound effect on him.

“After my experience in Argentina, I knew I wanted to bring tango to Mérida and share what I had learned with others,” says Leonardo.

In the beginning, with a small group of friends and students, Leonardo started to organize informal milongas, which are social events of sorts during which people passionate about tango get together to dance and have a sip or two of wine.

These days Leonardo’s dance classes and milongas essentially take place inside dance studios and local restaurants like the second floor of the iconic restaurant Luigi’s in Colonia Itzimná. Though the spirit of these milongas is identical to when he simply danced with friends at the park, he and his students now dress to look the part, with the dominant colors being red and black.

“When people think of tango, they

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imagine a carefully put-together choreography, roses in mouths, and lots of flare.

While there is some truth to this, for us who make tango part of our life, this is more the exception than the rule, as we enjoy being loose and simply dancing,” says Leonardo.

Though precision is undoubtedly a big part of tango, in many ways, Leonardo’s preferred form of tango has a lot to do with improvisation, like jazz.

But of course, also like jazz, the ability to improvise effectively comes only after one has mastered at least the basics of the

moves and a deep understanding of your main tool, in this case, the body.

While tango started as a hobby for Leonardo, it is now “taken over his life” — although he is still involved in research.

“There is nothing quite like a good milonga, the music, the dance, friends, a little food and wine; everyone should experience it at least once,” he says.  Leonardo Araujo offers private lessons for the uninitiated or a full-fledged group class. Facebook: @decorazontango or Instagram: @de.corazon.tango ISSUE 10 | YUCATÁN MAGAZINE

YUCATÁN MAGAZINE | ISSUE 10

With a dance student at a restaurant gathering in Itzimná, Leonardo Araujo demonstrates the tango’s demonstrative qualities.

Opposite: Yarima Nuñez 29 waves her hand fan.

EX VOTOS

DEVIL’S BARGAIN

A man seems to converse with the devil (Kisín) about his crop failures but is interrupted by the Virgen de Guadalupe before striking a 30 possibly sinful deal.

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Ex-Votos Explained The anatomy, meaning, and new life of one of Mexico’s most unique artistic traditions

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TEXT CARLOS ROSADO VAN DER GRACHT

RELIGIOUSLY

Traditional Mexican exvotos follow a pattern with a saint, the Virgin, or Christ in the upper left corner, the scene of a miracle of blessing at center stage, and devotional text to the right or bottom.

T ONCE EXPRESSIVE and fantastical, ex-votos are a form of religious folk art that expresses gratitude for miracles and positive outcomes.

Though the exact form of these votive paintings varies from country to country, in Mexico, these devotional pieces have taken on the colorful style for which the country is known. Though some ex-votos can be elaborate, the votive offering’s outpouring of emotion is prioritized over artistic technique, realistic proportions, or proper perspective.

Given their religious subject matter, ex-votos often take on properties associated with magical realism, an art form with roots in Latin American literature that matter-offactly depicts the surreal.

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In recent years exvotos covering encounters with UFOs and otherworldly creatures have become more and more common.

LIKE A VIRGEN

La Virgen de Guadalupe is far and away the most beloved religious icon in Mexico — which explains why she is so prolific on ex-votos.

The term ‘ex-voto’ originally comes from Spain, where photographs were used in a type of ancestor worship which in Mexico evolved into a pictographic form.

MERMAID ASSIST

Because ex-votos have now become a trendy form of popular art, their subject matter has shifted dramatically front the explicitly sacrosanct to the everyday realities and even the realm of fantasy.

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DEATH WISH

The penmanship on exvotos can be fairly crude and often even has spelling mistakes.

An ex-voto commissioned by three sisters to commemorate the passing of a fourth, entrusting her to La Virgen de Guadalupe.

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INCE THE COLONIAL PERIOD, votive paintings in Mexico have been primarily dedicated to figures like La Virgen de Guadalupe or San Judas Tadeo. Still, there is evidence that ancient Mesoamerican cultures engaged in similar practices. When Europeans arrived on the continent, the ancient traditions of the Maya, Olmec, and Aztecs were fused with Catholic beliefs and artistic conventions, giving birth to the hand-painted tin or wood ex-votos we know today.

Though ex-votos hold very special meaning for the faithful, this folk art form has become popular among anyone who appreciates these colorful pieces simply for their charm. These days ex-votos can be found for sale in bazaars and artisan shops, often as reproductions of fairly famous pieces.

The paintings traditionally depict scenes of gratitude for a successful childbirth after a particularly difficult pregnancy, a change of fortunes, or the return of a family’s “black sheep” to the fold. But these days, the themes presented on contemporary ex-votos often bring to life images that parish priests probably would not approve of, such as encounters with UFOs or a gay person finding love.

This is not to say that ex-votos no longer hold an important space in the hearts and minds of the faithful, but that their unique, often childlike, imagery has gained popularity with a much broader fan base.

So these days, ex-votos are found in the homes of Mexican grandmothers and those of young expats alike, though the subject matter is likely to vary, to say the least. 

In rural settings, exvotos often show gratitude for the protection of family, harvests, and animals.

YUCATÁN MAGAZINE | ISSUE 10

LOVE IS LOVE

Ex-votos often are created to thank a sacred benefactor for helping the artist or person commissioning the piece for finding love. in this case, the love is same-sex.

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Art, In Fact

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Patricia Martín reproduces Mesoamerican artifacts, making them accessible to everyone

HEN WALKING INTO Los Ceibos Arte Maya, in the town of Muna, it is hard not to be taken by the sheer beauty of Patricia Martín’s work on display.

The showroom’s visitors are likely to be immediately drawn to reproductions of famous pieces like that of a ceramic Prehispanic warrior with a detachable helmet or stone Maya stelae from the Usumacinta region. Patricia’s inventory is extensive, packing the studio.

Patricia herself is just as impressive. She began creating reproductions of Mesoamerican art in 1985. After several years as an apprentice, she took ownership of the workshop after its founder moved to Quintana Roo. Patricia works with her sons Adrián Magaña, who is an archaeologist, and Julián Magaña, who studied gastronomy, as well as her husband, Martín Magaña, who specializes in molding clay vessels.

At the workshop, the Magaña-Martín family creates spectacular works of art using a variety of naturally sourced materials, just like their ancient counterparts once did. They use clays from Chiapas, Tabasco, and Yucatán, as well as natural pigments (including the

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MUNA TEXT AND PHOTOS CARLOS ROSADO VAN DER GRACHT

Because the reproductions are so convincing, Patricia dates and signs the bottom of her creations with her name in glyph form.

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famous Maya Blue), depending on the type and style of the piece they intend to reproduce.

“We love and respect the work of our ancestors, but we also like to introduce and fuse certain artistic motifs when appropriate. It’s not just about reproducing the past but getting to experience the process of creation in a way that connects us with and honors our past,” says Patricia.

Because this is Yucatán, after all, artisanal creations recreating the region’s past are in abundance here. Still, figures from other Mesoamerican cultures, such as the Olmec and Mixteca, are also on display and available for commission.

The workshop creations have attracted the attention of collectors and museums around the world, including the United States, France, and Spain. The family also offers workshops to folks interested

“It’s not just about reproducing the past but getting to experience the process of creation in a way that connects us with and honors our past.”

PATRICIA MARTÍN

Julián Magaña begins work on a new piece on a pottery wheel.

in learning their techniques, as well as lectures and presentations in Mexico and abroad.

The crafts for sale at the workshop vary in size, complexity, and cost, making it possible for anyone who visits to come away with a handmade piece that fits their budget.

Because the reproductions are so convincing, Patricia dates and signs the bottom of her creations with her name in glyph form. Given the rising popularity of legally and morally dubious auctions of Mesoamerican artifacts around the world, the work of the Magaña-Martín family offers a much more ethical way to adorn your home with “ancient” treasure.  Visit Los Ceibos Arte Maya in Muna on Calle 13 between 28 and 26. Instagram: @patriciamartinmorales

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The creations crafted a Los Ceibos Arte Maya are remarkable not only for

their beauty but for being produced in accordance with “the old ways.”

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TEXT PETER KARAVAIS PHOTOS STEVE R. GARZO

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Casa

INA AND I spent a year

traveling around Mexico with the intention of finding the right place to build Casa Cascabel.

As we went to these different places, nothing was feeling quite right. We really wanted to find a place that seemed to be in the earlier stages of its modern art and music scene development. A place that was accessible for artists to still live and work and one where you could tangibly feel its acceptance of new things and feel its growth happening. That was incredibly important to us because we wanted Cascabel to be a place that supported artists at every level. That was a home for creativity and support and care.

After feeling very unsure of where we wanted to land, we spent a week in CDMX and were speaking to some of our friends about what we wanted to build. In four days, four separate friends that exist in all different disciplines of art, in four completely separate conversations, said the same thing: Mérida.

We booked a flight, spent five days, and the decision was made. We found the property on the second day of our arrival.

It’s now been two and-a-half years since we moved in and started the work to build Cascabel.

Before we even started the residency program, we wanted the local community to be aware and a part of the space. We held a few events that were all local bands and DJs. This allowed us to get to start to get to know the community and also meet the artists that would join in the shows and events to come, both as observers and participants.

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Lead singer Elizabeth Valdivieso, from the Oaxacan duo Valgur (@soyvalgur) performs for a crowd on the last night of their recording residency.

ISSUE 10 | YUCATÁN MAGAZINE

Cascabel Peter Karavais explains the motivation behind a cultural arts space he and partner Tina Marie Wood founded in the Centro.

“We really wanted to find a place

that seemed to be in the earlier stages of its modern art and music scene development.”

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O Columba Diaz (@coludiaz) was one of Cascabel’s first artists in residence and has since returned to Mérida on multiple occasions.

UTSIDE of Mérida, Tina and I have both been involved in art and music communities for a long time. We’ve always supported the work of our friends (and strangers) in different capacities and, in doing so, we’ve seen certain spaces of need that exist. That community became the starting group. We focused primarily on our friends around Mexico and leaned on them to point us to friends they knew that would benefit from being welcomed. Plus, this is also our home, so we wanted to make sure the artists and musicians would be good people to share a space with.

Those residents then referred other artists and it just kept going from there.

Always by reference of artistry, friendship and general energy.

That process has been beautiful because almost every artist has left the residency feeling like family. We find each other in other cities. We still try and help and support one another. The residents who met there have collaborated. It’s truly beautiful and we’ve been so grateful for everyone’s partnership in building this thing.  Instagram: @casacascabel.studio

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Artist João Incerti (@o_incerti) prepares for the opening of his exhibit following his residency, during which he created this new body of work.

ISSUE 10 | YUCATÁN MAGAZINE

Kasia Kulnty fashions (@Kasiakulenty) shot poolside at, and in collaboration with, Casa Cascabel.

Photo: Terri Colamateur

Aldo Caza (in orange) is a fixture at Casa Cascabel events as a performer, emcee, and organizer.

“It’s truly beautiful and we’ve been so grateful for everyone’s partnership in building this thing.”

Trans DJ Guagis (@djguapis), from CDMX, closes out a night of music and visual performance.

A mural by frequent collaborator Aldo Cazao (@nastyhornsmx) looms behind founders Tina Marie Wood and Peter Karavias.

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ISSUE 10 | YUCATÁN MAGAZINE

Mayan Rap Forever!

Pat Boy takes on the world

P

AT BOY IS A Mayan rapper from the tiny town of José María Pino Suárez — population 200. But after a decade of hard work, this young man has accomplished the type of success and recognition that few in his field can boast.

“I first got really into music and rap when I was about 13. I loved to listen to hip-hop artists like Kinto Sol as well as tropical music from the region. I guess I always knew this was my path, though by no means has it been easy,” reminisces Pat Boy, now 30.

Pat Boy explains that to this day, there is still a great deal of social stigma to speaking Mayan in public places, let alone in art. But Pat Boy emphasizes that the only way to combat these backward ideas is to forge ahead anyway, despite it all. The style of music Pat Boy is most closely associated with is known as Rap Originario, which can be translated as Rap of First Peoples or mother tongues.

“One of the most satisfying things about my work is to get to work with other artists from countries like Guatemala and Chile who produce incredible music in their own mother tongues. There are not that many of us, but we are a growing community and finally starting to get a bit more representation,” says Pat Boy. When listening to Pat Boy’s music, you can sense the passion he pours into his lyrics and the quality of his productions regardless of whether his genre is your thing.

This hard work recently allowed Pat Boy an opportunity to work with fellow musician and producer Ludwig Göransson on the soundtrack for Marvel Studios’ 2022 blockbuster Wakanda Forever. The track, “Láayli kuxa’ano’one,” translates as “we are still here” and centers on the theme of YUCATÁN MAGAZINE | ISSUE 10

TEXT AND PHOTOS CARLOS ROSADO VAN DER GRACHT

belonging and the fact that the Maya are by no means gone from this world.

“It was, of course, amazing to get to collaborate on this project, but the best thing of all is the pride it has brought to my community. People who would have before never given us a second look now all of a sudden are reaching out. I have always found it ironic that we have found greater recognition abroad than in our own country, but I guess it’s true what they say, ‘one is never a prophet in their own land,’ ” Pat Boy says with a sly smile.

Aside from making his own music, Pat Boy spends much of his time offering seminars to up-and-coming artists throughout the Yucatán Peninsula and the rest of Mexico. He notes that many of the youngsters who attend his seminars have no knowledge of their own mother tongues but that this art form serves as a way to spark not only their creativity but also their love for their traditions and culture.

Pat Boy is currently wrapping up production of his newest album, as well as a compilation he is producing featuring a third generation of upcoming Mayan language musicians.

He will also be soon departing for Spain, where he is set to perform and accept the Linguapax award for his musical accomplishments as well as his social outreach.

Ever the entrepreneur, Pat Boy has also launched his own label. ADN Maya colectivo, as well as his own apparel line under the brands Malix Pek and Sangre Maya. 

The chorus from ‘Láayli kuxa’ano’one’ Tene’ wayilene’ I am from here Tu’ux ku síijil in k’aay And this is where my song is born Lela’ in kaajal This is my land Lela’ in wotoch This is my home Teech a woojel, láak’ You know it, brother/sister

To check out Pat Boy’s music, including his award-winning “Láayli kuxa’ano’one,” give him a listen on Spotify (where he has wracked up millions of listens) or wherever music is streaming.

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Hole Earth

A California artist sees virture beneath the surface in Yucatán TEXT LEE STEELE

PHOTOS CARLOS ROSADO VAN DER GRACHT

“Getting your hands dirty is good for you.

Soil is the beginning of life itself.”

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ISSUE 10 | YUCATÁN MAGAZINE

I

N THE CALIFORNIA DESERT, Angel Chen’s white geodesic dome bubbles up from the ground. In Mérida, she’s taken the inverse approach. She’s going underground.

Angel is exploring a project to create an inhabitable subterranean dome scooped out from Yucatán’s jungle earth.

“This artwork is buried in the ground. Art made directly in the landscape. Sculpted primarily of its own material,” said Angel, who has dug a scaled-down prototype in her outdoor studio in the San Sebastián neighborhood. At first glance, it looks like a perfectly round hole revealing layers of earth and sediment. But its meaning runs deeper. The prototype initiates conversations about land use and our relationship to nature. Angel, who has degrees from UCLA and CalArts, was inspired by a 2006 pilgrimage to famous land-art sites such as Spiral Jetty and Sun Tunnels in Utah and Lightning Field in New Mexico. “This is my life’s work,” she explains.

Next, she seeks land outside the city for stargazing at night, free of urban light pollution.

“I am excited to create this prototype here in the Yucatán. It was an idea and theoretical drawing until it came to life here,” Angel says. She is beaming, obviously still enthused after years of planning and labor.

“This prototype in the city was always meant to be temporary.

The physical process taught me so much more than I could have

imagined at a desk. Digging the hole, making mountains, and now restoring the earth by returning the displaced earth and rocks, filling the hole. It feels like I am not just working with nature, I am nature.

Which is exactly the emotion I want the audience to experience.”

The Zen Dome and the underground “art experience” have one thing in common. As she told the Palm Springs Desert Sun: “It is essential to pay attention to nature and for us to be in concert with nature instead of fighting it.”

“I don’t paint or decorate rocks,” Angel says. “They are beautiful as they are. I believe in respecting rather than dominating the natural world, approaching land as having inherent value.”

The earth implores us to kick off our shoes and connect our bare feet with the electrical charge of the earth’s surface. “Take off your shoes and you are earthing,” she says, and we comply. “Getting your hands dirty is good for you. Soil is the beginning of life itself.”

The hole is Phase 1. In Phase 2, she plans to build the underground sleeping chamber,. The Yucatecan hammock is the inspiration for a planned floating bed. And the rugged, native-stone bedrock creates a dramatic floor. Phase 3 camouflages it underground, where geothermal insulation maintains a cool consistent temperature year-round.

The Yucatán is ground zero. Sixty-six million years ago, the Chicxulub meteor extinguished most life forms, including 75% of plant life. When the dust settled, a whole new climate was born where humans could exist. That event was actually the beginning of life as we know it.

“The experience hopefully impacts our modern culture’s behavior towards nature, building a relationship with the earth itself, feeling comfortable and supported, cocooned underground, attention guided towards the cosmos,” Angel says. 

Chen with a rendering of her subterranean land-art project.

YUCATÁN MAGAZINE | ISSUE 10

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ISSUE 10 | YUCATÁN MAGAZINE

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ISSUE 10 | YUCATÁN MAGAZINE

CASA

PHOTO: LUIS CAMPOS SOSA

The courtyard at the front entrance to this wide Chuminópolis house helps create privacy. See Page 50

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LUXURY LISTINGS

Compound Chic This large property has room for a guest casita or even a boutique hotel

POOL PHOTO: ALFREDO ROMERO

Luxury Listing

BY THE NUMBERS Lot size: 1,253 sq. meters

Living area: 768 sq. meters

Bedrooms: 3

Bathrooms: 4.5

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PHOTOS: LUIS CAMPOS SOSA

T

HIS CHARMING HOME optimizes Yucatecan living as it was 100 years ago in the “country areas” surrounding downtown. It has a timeless air, yet it is updated with new kitchen, baths, air conditioning, chukum finishes and distinctive metal designs on gates.

The wide house is set back from the street with a lush garden with high-beamed ceilings, original colonial wooden doors and beautiful pasta floors in the largesized public rooms. The form is basically a U-shape surrounding a large covered terrace, which functions as the center of household activity. Its layout makes this three-bedroom house amazing for entertaining, with a beautiful window/bar extending from the kitchen, a large outdoor brick oven, adjoining outdoor terrace and tantalizing views of the large garden and pool.

At the end of the extensive sun-dappled tropical garden, planted with palms, fruit trees and lined with paths, is an extremely large utilitarian building of about 500 square meters that is currently being used as an artist’s studio and gallery. This may

be easily turned into more bedrooms if one wanted to have a boutique hotel or serve for an array of business-related uses.

Although not as well known as Itzimná, the neighborhood of Chuminópolis functioned as a weekend and summering area for downtown gentry long ago, and is amazingly close to Centro. The Chem Bech market is a short walk away and most of downtown is just 5-10 minutes by car.

This home is offered at MX$13M by Mérida Centro Real Estate. Contact Ross Schiering at 999247-8458 or ross@meridacentrorealestate.com.

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LUXURY LISTINGS

Yes Sir, Casa Sur

BY THE NUMBERS Lot area: 708 sq. meters

Living area: 320 sq. meters

Bedrooms: 3

Bathrooms: 3

A beautiful 19th-century colonial awaits in La Ermita

T

HIS HACIENDA-STYLE dream home has stood in the heart of Mérida since the mid-1800s.

Located in a friendly and tranquil neighborhood south of Parque La Ermita, today’s Casa Sur is an updated three-bedroom, three-bathroom updated stunner that blends historic charm with today’s comforts.

Tall antique beamed ceilings create an airy and open ambiance, while the locally handcrafted colonial-style doors, shutters, and cabinetry lend an air of elegance. Pasta tile floors — some of it original — fossil stone columns and custom-designed wrought iron chandeliers and wall lights contribute to Casa Sur’s timelessness.

The gourmet old-world kitchen features custom hand-painted cabinetry, colorful Talavera tile, and an oil-rubbed bronze pot filler faucet over a hand-formed copper

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farm sink. The custom kitchen island is surrounded by top-of-the-line stainless steel appliances, including a 52-inch commercial range and a side-by-side refrigerator. An antique wood and iron pot rack, along with a commercial fan ventilation system, are also included. A crystal chandelier graces the dining area, adding a touch of elegance.

Outside is a serene oasis. The beautifully landscaped gardens are complete with a fountain, stone patios, and stone planters.

The large covered outdoor living space with tall arches and columns has an outdoor kitchen that’s perfect for entertaining. An elegant filtered pool features a floating column and fountain.

For added privacy, the home offers a detached master suite casita. A detached laundry room ensures convenience and functionality.

ISSUE 10 | YUCATÁN MAGAZINE

PHOTOS: NEIL YOUNGSON

Other amenities include a reverse osmosis water system that has been installed throughout the entire house. A new washing machine, two large Samsung smart TVs, a new refrigerator, landscape lighting, an automatic garden watering system, and a fully remodeled and updated kitchen are included in the sale. The plumbing and electrical systems have been completely modernized, and the guest bathroom off the kitchen has been tastefully remodeled. The addition of a storage area and water system utility room offers practicality and efficiency. A mesh Wi-Fi system runs throughout the house, and its new owner will enjoy the benefits of a new meter and electrical boxes.

Casa Sur has a track record as a successful income property. Rental income data is available on request.

Casa Sur is offered US$649,900 by Mexico International Real Estate. For more photos and information, visit mxintl.com and enter property code 006219, or contact agent Robert Slaats at 999-246-6555 / slaatsrobert@gmail.com for a private showing.

YUCATÁN MAGAZINE | ISSUE 10

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Property Manager Directory

P R O P E R T Y

Property Manager

M A N A G E M E N T

CLEANING • GARDEN HOME REPAIRS POOL MAINTENANCE

by Pedro González

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OUR GOAL: OFFER THE BEST PROPERTY MANAGER SERVICE, BECAUSE WE CARE.

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Better solutions for the homes and residents of downtown Mérida www.centroarchitects.com info@centroarchitects.com

Relax.

Let us handle the details. pm23yucatan.com To included in this directory, contact hola@yucatanmagazine.com YUCATÁN MAGAZINE | ISSUE 10

55

Framed | JAAR

Left, Differente, 2023, 120 x 100 cm; above, Pride, Someone, both 50 x 50 cm, 2023, all at SoHo Galleries; below, the artist at work.

An Animated Art Career TEXT LEE STEELE PHOTOS SOHO GALLERIES

A

MEXICAN PAINTER introduced to the Mérida art community by Adele Aguirre at SoHo Galleries has found a new direction.

Earlier this year, when the artist Jorge Alberto Aguilar Rojas — better known as JAAR — attended the Annecy Animation Film Festival in Paris. He came home deeply influenced by what he saw.

“This trip was of the utmost importance for my artistic training,” JAAR says. At 36, he’s entering a new phase of his career.

He is studying animation at Mexico City’s SAE Institute, where his artist parents, Argelia Rojas and Juan Carlos Breceda, are alumni. In 2024, JAAR will move to London to finish his degree, and then return to France for a master’s degree in animation at Gobelins in Paris.

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“During my stay in France, I met with great Mexican and international artists in the field of animation,” JAAR recalls.

Mexico was the Festival’s “guest country.”

The festival was a whirlwind of top talent. It put him in direct contact with Mexican-born animator Jorge Gutierrez;

film director Guillermo del Toro, who has also turned to animation; twin character designers Sebastián and Diego Ramírez; and ND Stevenson, the creator of Nimona, a new Netflix movie.

“This encounter with all these personalities from the animation world made my perspective of art drastically change 180 degrees,” JAAR adds, projecting that his painting — which are typically colorful, somewhat abstract posed portraits of fanciful figures — will incorporate more movement.

“Adele and Kena from Soho Galleries have put all their trust in me to be able to continue my studies in animation, knowing that the next times fate brings us together will be with animated JAAR art, which can make present and future collectors find a more friendly way to access the JAAR world, the happiness that Soho and Adele have brought to my work has been quite a lot since the last 13 years since we had the opportunity to meet in the city from Mexico on one of his trips in search of Mexican talent for Soho,” he says.

JAAR characterizes his art as Neobaroque Hyper Surrealism, full of fury, joy, and magic. In his next phase, JAAR welcomes digital media, “preparing me for the creation of a future where technology is a key part of that future to come.”  JAAR’s work can be viewed at SoHo Galleries, Calle 60, 400A between 43 and 41, or at sohogalleriesmx.com. Instagram: @artjaar ISSUE 10 | YUCATÁN MAGAZINE

EVERY CITY NEEDS A GOOD BURGER JOINT

/ flamanteburgers

Calle 64 x 47 Centro, Merida

Casa Sur us$649,900 Listing 6219 FEATURE STORY p. 54-55