Somehow between running multivariate regressions, drawing supply and demand curves, case studies and five forces analyses, I found time to knit.
The projects took longer to complete as I fit in spurts of knitting between exams and assignments. These socks started out at Mom’s house so it was fitting that they be for her.
This is the first time I used a Schoppel Crazy Zauberball and what a joy it was to knit. The colorway is Papagei (parrot). The colors flowed into each other languorously. Row by row, the transitions morphed into rich textured colors.
Knitting these socks was like a process of discovery wondering what the next color combination would look like.
These were a labor of love knitted in small spurts. The time out from school was like a special treat, like smoking cigarettes behind the gym between classes.
Mom loved them. She called to tell me she put them on as soon as she opened the package. Her feet were cold and she was trying to get comfortable. From my hands to her feet. Feet that paced the floor while she held me in her arms, scurried around the kitchen while she prepared dinner and which stayed firmly planted while she scolded me for some childhood transgression.
I didn’t tell her they were in the mail. I could almost see her ripping the package open wondering what was in it. I hope she wears huge holes in them.
Visiting Mexico City means taking in the larger-than-life murals of Diego Rivera. We visited three locations featuring these exquisite frescoes.
The Palacio Nacional (National Palace), which houses the office of the President and other cabinet departments, contains a historical timeline of Mexico as depicted by Rivera. It is difficult to capture the grandeur of these detailed murals of the Mexican civilization. I will share only two murals with you, one showing the indigenous cultures that flourished before the Spanish conquest, and one after.
After the Mexican Revolution Rivera was concerned with two issues, and these determined his artistic themes: the need to offset the contempt with which the conquistadors had viewed the ancient Indian civilizations, and the need to offset the anti-mestizo and anti-Indian attitudes of the European-oriented ruling classes during the porfiriato (the dictatorship of Porfirio Diaz).
The role of the arts was to restore understanding of and pride in the heritage and cultures that the concept of Spanish superiority had subverted . . . early indigenistas [like Rivera] tended to glorify the Indian heritage and vilify that of the Spaniards as a means of rectifying a historical imbalance and advancing certain political ideas” (103). (Source: http://bit.ly/2sBTjbn)
Ruins of the structures depicted can be found at El Tajín, Veracruz. At the Museum of Anthropology, we saw the rings and balls used in the ball courts in the upper left corner of the mural.
The Arrival of Cortés
… he depicts in dramatic fashion the violence and exploitation of the Spanish conquerors. Natives hanging in the background, the branding of the native in the foreground, and the reduction of the indians to slaves and pack horses show the cruelty and savagery of the Conquest.
In the center is La Malinche (Doña Marina), a native woman who became Cortés’ mistress and mother of his child Martín. Malinche knew both the (Aztec) Nahuatl language and Maya, thus enabling Hernán Cortés to communicate in both. She became a very valuable interpreter and counselor. The blue-eyed child staring outward at us represents the mixture of the races. (Source: http://bit.ly/2tubi3n)
At the Palacio de Bellas Artes, a magnificent art deco building that hosts visual and performing artists, is the famous mural, “Man, Controller of the Universe.” This is the recreation of the mural that Rivera painted at the Rockefeller Center and which was destroyed in 1934. It is almost impossible to capture the entire mural given its size and frequent visitors, so I show you the panel that caused the controversy.
Man at the Crossroads
Man at the Crossroads … is a whodunit tale that also illustrates the tensions between art and politics.
… the piece would have been stunning had it survived. He had this vision of the importance of technology in the future and the hope that there would be a coming together of workers and industrialists and businessmen to further mankind in general, … It was a very hopeful mural. (Source: Destroyed by Rockefellers, Mural Trespassed On Political Vision, NPR. http://n.pr/1G1R5Rj)
If you are ever in CDMX and want to get unobstructed views of Rivera’s murals, go to the Ministry of Public Education, a few blocks away from the National Palace. We had the entire grounds practically to ourselves. The building has two large courtyards with Rivera’s murals covering several floors in each.
Attempting to sum up his 235 panel cycle, Rivera later writes that his goal was “to reflect the social life of Mexico as I saw it, and through my vision of the truth to show the masses the outline of the future.” (Source: http://mo.ma/2sBNvia)
While all of the frescoes have their own story, these were my favorite. They depict the daily arts of dyeing and weaving.
Los Tintoreros (The Dyers)
Los Tejedores (The Weavers)
The one mural I have not seen is Sueño de una tarde dominical en la Alameda Central (Dream of a Sunday Afternoon in Alameda Central Park) located at the Museo Mural Diego Rivera. Therefore, I must return to CDMX one day!
Our trip to CDMX (Ciudad de México or Mexico City) was packed with visits to historic archaeological sites, museums, street festivals, and restaurants serving the most delicious food. These photos do not do justice to the sights, sounds, and smells of the city but they will give you a glimpse of the amazing CDMX.
The Great Temple was the Mexica sacred space par excellence. The most important rituals were enacted here, including those dedicated to their gods, the naming of their leaders, and the funerals of the nobility. The Mexica architects designed the Great Temple as the center for their model of the universe, where the horizontal plane converged with the vertical plane. (Source: Site placard).
Frida Kahlo’s blue house is located in the neighborhood of Coyoacán. The word means roughly “place of the coyotes” in náhuatl, an Aztec language still spoken today. The neighborhood is vibrant. Walking along the shady streets, we came across this brightly decorated altar to the Virgen de Guadalupe.
Our destination was La Casa Azul, the home that Frida Kahlo was born and died in. A hand painted sign tells visitors that Frida y Diego vivieron en esta casa 1929-1954 (Frida and Diego lived in this house 1929-1954).
Frida’s studio still has her collection of paint bottles and brushes.
A special exhibit called Los Vestidos de Frida Kahlo (The Dresses of Frida Kahlo) displayed the artist’s clothing, jewelry and footwear. Also on display were the tight corsets she wore as a result of a childhood accident that left her with a lifetime of pain.
“My painting carries with it the message of pain.” – Frida Kahlo.
The exhibition takes its title from an artwork by Frida Kahlo of the same title – Las Apariencias Engañan (Appearances can be Deceiving) – where Kahlo portrays herself in manner of an X-Ray, revealing her dramatic disabilities concealed beneath the layers. (Source: http://bit.ly/2s0j0lC)
Giant paper mâché figures are located throughout the house and courtyards.
Leon Trotsky’s house is a ten minute walk from La Casa Azul. The home is simple and the grounds peaceful although the guard towers and bullet holes in the walls tell another story.
Trotsky’s desk still has the items he used on a daily basis – his spectacles, papers and ink bottles.
The Mercado de Coyoacán is a typical Mexican market with all kinds of touristy items on sale including pottery, traditional dresses, puppets, t-shirts and the like. The market also carries an abundance of fresh fruit, meats and spices. Walking along all the circuitous aisles I finally spotted yarn. I didn’t buy any but it was nice to see and touch.
City of Teotihuacán
The holy city of Teotihuacan (‘the place where the gods were created’) is situated some 50 km north-east of Mexico City. Built between the 1st and 7th centuries A.D., it is characterized by the vast size of its monuments – in particular, the Temple of Quetzalcoatl and the Pyramids of the Sun and the Moon, laid out on geometric and symbolic principles.
Human occupation of the valley of Teotihuacan began before the Christian era, but it was only between the 1st and the 7th centuries A.D. that the settlement developed into one of the largest ancient cities in the Americas, with at least 25,000 inhabitants.
A full-day excursion took us to the City of Teotihuacán where my son and I climbed to the tops of the Pyramids of the Sun and Moon. The Pyramid of the Sun is the third largest pyramid in the world rising to 75 meters (246 feet) high. The 248 steps to the top are high and narrow. I won’t show you a photo of what I looked like once I got to the top, but trust me, I did it. We also climbed the Pyramid of the Moon which is 43 meters (140 feet) high.
Pyramid of the Sun: The pyramid’s base is 222 meters long on each side, and it’s now just over 70 meters high. The pyramid was cobbled together around AD 100 from three million tonnes of stone, without the use of metal tools, pack animals or the wheel. (Source: http://bit.ly/2r8Zr9p).
Temple of the Feathered Serpent
The structure known as the Temple of Quetzalcoatl or the “Plumed serpent,” was built between 150 and 200 a.d. It consists of seven stepped bodies, with “slope and panel” designed walls on all four sides, decorated with plumed serpents, carved in stone, which move among seashells. (Source: Site placard).
As we walked down one of the pyramids, we saw these stones jutting out of the slanted wall. There wasn’t a sign telling us what they were but we surmised they are there to break someone’s fall should they have the misfortune of tumbling down the pyramid.
El Bazaar Sábado
Early Saturday morning, we made our way to the neighborhood of San Ángel for the Bazaar Sábado. We walked along cobble-stoned streets into beautiful colonial buildings and around the periphery of San Jacinto Square overflowing with artists. Artisans in many crafts gather every Saturday morning featuring artwork in leather, glass, pottery, jewelry, and textiles. The Androna textiles were magnificent in their multi-colored hues.
Textile techniques and designs are a living heritage passed from mothers to daughters throughout generations in regions like Oaxaca, Chiapas, Puebla, San Luis Potosí, Guerrero, Hidalgo and Yucatán. With materials such as cotton, silk, wool and linen, Androna Linartas curates traditional textiles made with different techniques like back strap loom, foot loom, embroidery and hook among others. Her goal is to preserve the essential Mexican textile culture. (Source: http://bit.ly/2suKWAI).
This is already a long post so I will stop here. Luckily, the flight to CDMX is only two and a half hours from Houston. I see another trip on the horizon. Hasta la próxima.
Working full-time and pursuing an MBA do not leave very much free time. Immediately after the new year, there was a gap of about a week before major assignments were due. We took advantage of this opportunity for a trip to México City, only a two-hour flight from Houston. There was the added benefit that Cornell has a board room of students in México City and I was able to join them for class.
The purpose of the trip was to show our son some of the many treasures of México. We went on a whirlwind tour of murals, pyramids, cathedrals, archaeological ruins, culture and gastronomy. Along the way, my husband and son appeased me by allowing me to look for interesting textile arts.
We could have spent days walking through the vast National Museum of Anthropology. The museum features grand salons for every major period of Mexican history. We made a beeline toward the magnificent Piedra del Sol (Stone of the Sun), which is often incorrectly called the Aztec calendar. The Stone of the Sun is 3 feet deep, almost 12 feet wide and weighs almost 25 tons.
The stone “depicts the five consecutive worlds of the sun from Aztec mythology. …it is an elaborately carved solar disk, which for the Aztecs and other Mesoamerican cultures represented rulership. At the top of the stone is a date glyph (13 reed) which represents both the beginning of the present sun, the 5th and final one according to mythology, and the actual date 1427 CE, thereby legitimizing the rule of Itzcoatl (who took power in that year) and creating a bond between the divine and mankind.
After staring at awe at the massive stone, we wandered through various halls and came across these ancient textiles of the indigenous Nahua.
“Clothing distinguishes the indigenous groups of México and even within one group. Among the Nahuas each subgroup, each region and even each village has its own way of dressing. Each pattern conserves a tradition, each design speaks of knowledge maintained over the centuries, each form represents a way of seeing the world.”
(Source: Museum placard)
We saw woven bags and baskets made from hard fibers such as junco, bejuco, palm and carrizo.
This is a reproduction of a typical home in the village of Contla in the state of Tlaxcala. According to the museum placard, rustic pedaled looms were installed in any available space.
A day at the Saturday Bazaar in San Ángel yielded a wonderful surprise. Since we were there right after Christmas, we saw all the winning entries for the Primer Concurso Nacional, “De Principio a Fin, Tradiciones Populares Mexicanas” (First National Competition, “From Beginning to End, Popular Mexican Traditions”). Themes revolved around the Day of the Dead and Christmas.
Las piezas que se elaboran con motivo de estas festividades, dan cuenta de la compleja concepción de la vida humana y de la constante interacción entre la vida y la muerte dentro de la cultura popular mexicana.
The pieces that are created for these festivities tell the story of the complex idea of life and the constant interaction between life and death within popular mexican culture.
(Source: Event signage. Translations are mine.)
Nativity woven from natural strong and tender palm constructed with a spherical technique. 38 pieces.
Allegorical vehicle with a traditional offering of the day of the dead, constructed with wheat fibers. Time to produce: 1 week.
“The animals go to see the nativity.” Embroidered strip with mercerized cotton thread with a fine point. Time to produce: 4 months.
Finely embroidered nativity on cotton cloth in the style of the Mazahaua people.
“The tradition of my village.” Napkin woven on a backstrap loom with brocade technique and tinted with natural dyes: purple snails and organic green cotton.”
“Traditional nativity of the city of Cuetzalan del Progreso, Puebla.” Blue cotton on a backstrap loom embroidered in brocade. Time to produce: 1 month
Tapestry of the Mexican Nativity, woven on a backstrap loom out of cotton with fringe. Time to produce: 1 month
These are only a sampling of the many handicrafts we saw during our trip. More to come.
It’s hard to grasp that I am almost halfway through my Executive MBA program. The last eight months have flown by or perhaps I didn’t notice the time passing. The days are filled with meetings that need to be attended, decisions that need to be made and people who need to be met. Nighttime is school time. At this stage of life, I am once again pulling all-nighters. And like those college days, the next day feels euphoric as if I just climbed a mountain or won a marathon. Then comes the crash on or about mid-afternoon of the third day.
There have been the moments of wondering why I chose to do this to myself. There have been stretches of dread trying to figure out if I should fail to reject the null hypothesis and whether the price of a good causes a movement along the demand curve or shifts it entirely, either to the left or to the right.
Having survived the “quants,” we are now in the midst of courses about launching and leading business ventures. I have learned a tremendous amount and despite those twinges of regret that usually come between 3 and 5 in the morning, I am so glad I am doing this. The academic learning challenges me and keeps me sharp and the case studies and classroom discussions round out my experience. Plus, I now have approximately 180 new friends from all walks of life and careers all the way from Edmonton, Alberta, Canada to Santiago, Chile and from the west to east coasts of the United States.
We recently had our second residency on the Cornell campus. Between work, school, family and the occasional nap, my time is consumed. But such is my passion for yarn that I arrived one day early in Ithaca so that I could visit the local hipster yarn spots. If you read my last Ithaca post, you may recall that the yarn shop closest to campus was closed. This time, I made it there twice in one week … in the snow.
I learned that Homespun Boutique has been an Ithaca gem for over 40 years. Every surface is covered with all types of wool, both spun and unspun, and many other fibers. Upon entering, a cardboard cutout sheep displaying lovely balls of yarn greets you.
There are baskets and bins neatly arranged on almost every square meter of floor, like these skeins of organic wool in various weights.
I found a whole shelf of earthy pure Alpaca undyed to showcase its natural hues.
My favorite was the lo-cal yarn – fewer calories, less fat, and tastes great! The Looney Tunis label is for the wool from a flock of tunis sheep located on a farm in nearby Spencer, NY.
Then there were these swoon-worthy displays and the ubiquitous wall of yarn.
Not to be outdone, the other half of the shop was filled with bolts of fabrics grouped by shades of red, yellow and green and all the other colors of the rainbow.
The shop’s only drawback was that it did not have a space for wool-gathering. If they moved a few fabric displays to a back room, they could easily fit in a table and some comfy chairs, and perhaps even an espresso machine for those chilly Ithaca winters.
Homespun Boutique is located on one end of Ithaca Commons, a 4-block pedestrian shopping area flanked by boutiques, restaurants and second-hand stores. At the opposite end of the Commons is SewGreen, a non-profit focused on upcycling fabrics and yarn. Very cool.
Because it relies on donations for its inventory, you never know what treasures you will find at SewGreen. They had cubbies full of yarn, cones of thread, knitting patterns, vintage hooks and needles, embroidery hoops and buttons.
Most of the space was devoted to fabrics. Someone had recently donated several yards of fabric with various bird designs which covered an entire display table.
SewGreen has a boutique of gently used Eileen Fisher clothing. The staff will carefully mend any flaws and the items are cleaned and steamed before being put out for sale. I love their tagline – “We Make ReUse Beautiful.”
My visits to both stores resulted in the following souvenirs: 2 skeins of Zen Serenity Silk Singles in two colorways; 1.5 yards of the red, teal, and yellow fabric; some vintage straight knitting needles; and a few fat quarters.