The state of Oaxaca is well-known for unique forms of artistic expression. Here, artistic processes are handed down from one generation to the next and have become the main source of income for many families in the region.

Alebrijes! In the 1930s, Pedro Linares, an artist from Oaxaca fell ill. While recovering, his fever-induced dreams were filled with psychedelic-colored animal figures. Using these visions as inspiration, he began creating vibrant papier-mâché creatures. Later, local artists in the Oaxaca valley began creating wooden versions of these creatures using the soft wood from the copal tree.

In the small town of San Antonio de Arrazola, I visited the Santiago family. They have been making wacky wooden creatures for two generations. The Santigo family relies on this folk art for financial stability. Work in these small villages tends to center around three things: farming, tourism, and handicrafts. The Santiago children are taught the family business of creating alebrijes at a young age. This helps to ensure that they will have a skill and source of income as they grow older, similar to an apprenticeship.

When it comes to alebrijes, armadillos, lizards, and dragons are the most traditional figures. In particular, the armadillo holds special significance; complete with its own armor it is believed to protect its owner. My fellow travellers and I left with three armadillos. I imagine that will be enough protection for the remainder of our trip!

Barro Negro. Pottery can be traced to nearly every ancient civilization throughout history. Dating back to 10,000 BCE (maybe even earlier) it has served as an important art form and practical tool for more than 12,000 years. In Oaxaca, pieces of pottery have been discovered at Monte Albán and it is believed that the Zapotec were crafting pottery around 450 BCE.

In the 1950s, Oaxacan potter Doña Rosa developed the process of making barro negro, or black pottery. Today, both the ancient Zapotec and Rosa family tradition of making barro negro is continued by Doña’s son, grandson, and great grandson.

The unique clay used to make barro negro can only be found at the nearby quarry in San Bartolo Coyotepec and is only available to local artists. This restricted access ensures the tradition of locally produced black pottery in order to stimulate the region’s economy.

Using the same technique Rosa developed in the 1950s means each piece is created entirely by hand; a process that takes nearly three weeks to complete. To begin, wet clay is shaped and molded. For many potters, a spinning wheel is used to help give shape to the clay. At Doña Rosa’s studio they don’t use a wheel. Instead, two plates are inverted and balance on top one another. The clay mound is put on the top plate and spun by hand. Watch both pottery videos to see the different clay-molding techniques.

Then, the clay is shaped and decorated using a variety of tools made out of bamboo and gourds. My favorite part was using water to even out the bumps and wrinkles, making the surface silky smooth and ready for the kiln. My first attempt wasn’t bad, but I think I’ll stick to my day job.

Tomorrow: The magnificent mountain-top view from Monte Albán.

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