Birth of a Living Museum

Walking into the Museo Viviente Otavalango in Otavalo, I heard voices.

We had not been greeted and there was no one there. But the voices of workers who once toiled in what was the San Pedro textile factory were loud and clear. The past emanated from the corners of the silent rooms. Footsteps of artisans hurrying to work made the old wooden floors creak once again, echoing my own.

My friend and I found the Museo by accident. Quite literally. We had been looking for it, but the “ten minute walk” promised by the tourist office in town had turned into 30 and it was nowhere in sight. On Google maps, the museo is on “Unnamed Street.” Big help. We found a friendly local woman who offered to lead us. Then we bumped into a man and young boy who pointed us in the opposite direction.

Finally, we found it. Another couple was just getting into a taxi when we arrived, leaving us the only visitors on the property.

What a property. The 200-year-old shell of the former textile factory still stands. Only one of the three large buildings is still empty. Woven between them are tiny homes of some of those who have vowed to preserve the ancient culture of the Quechua.DSC_0102DSC_0094

DSC_0116We were soon met by José René Zambrano Cachimuel, the president of The Otavalango Living Museum. As a young man, René worked in the same the buildings now housing the museum. It is because of René, and his determined wife Luzmila, that the dilapidated factory has been preserved, and the museum created.

Years after working there, curiosity took him back to the factory where he found it in ruins. There was very little left, and most of the furniture and antique looms had been stolen. René began the several years’ process of rallying support for an indigenous center. He ever coerced his wife into writing the president of Ecuador to ask for his support. That letter led to the president soliciting a bank to loan funds to the project.

In 2011, a company of twenty Quechuas, also known as Kichwas for their language, from Otavalo became the first indigenous owners of La Fabrica San Pedro. Together they fed the dream promoted by René and Luzmila, joining to find and preserve artifacts and ancient stories.

The Otavalango Living Museum is an interactive classroom, showcasing traditional games, dances, and ancestral tales. Groups schedule meetings in the renovated classroom and teachers offer regular classes in the Kichwa language.

DSC_0111My friend, Carol, and I were a captive audience. We marveled at the talents of seamstresses who create elaborate costumes. René explained the traditional Otavalan clothing that began with two versions before the Spaniards arrived and two more after they occupied the land.

This slideshow requires JavaScript.

We learned about ceremonial weddings during which the couple remains on their knees. They are blessed by herbs and antique artifacts, and the event ends with the woman braiding the man’s long, black hair.

There are masks and traditional costumes used for celebrations blessing the sun, moon and earth. René playfully dons one mask and takes a few steps, leaving us all laughing.

We hover over the display of Kichwa burials. We are enthralled with the tiny casket surrounded by toys. It’s part of the Incan culture passed down that encourages those left behind to populate the burial ground of loved ones with the things they will need in the next life.

DSC_0132René does his best to make the displays come alive. There is another man in the weaving room, who begins spinning yarn as we enter. It isn’t enough for our tour guide who drops to the ground to operate a back strap weaving loom.

Our private tour ends and our senses are full. We are so thankful we chose the museum as our last stop in Otavalo.  René’s passion is infectious; he found converts in both of us.

Museo Viviente Otavalango is open Monday through Saturday from 9 a.m. to 5 p.m. It’s important to call ahead at (593)062.903.879, especially if you come with a group, to ensure an English-speaking guide. Advance notice also gives René an opportunity to gather members of the community to set up live demonstrations.

Admission is just $5. The official address is Vía Antigua a Quiroga #1230. But just ask for the Antigua Fábrica San Pedro. The Museo Viviente Otavalo hasn’t quite stuck – yet.

ContactMuseo Viviente Otavalango at museovivienteotavalango@hotmail.com or http://www.otavalango.org

Falling for Peguche

DSC_0041I chose the path that got us lost.

And once we found the grand entrance, it was a challenging admission to make.

Nonetheless, we had lots of laughs and a grand adventure finding the Las Cascadas de Peguche, tucked into the foothills of the Imbaburu volcano in Otavalo, Ecuador.

My buddy Carol is a good sport. She followed me dutifully. We skated down slippery, muddy slopes. We tiptoed across barely-there wooden bridges. When we lost all signage, we confidently walked the animal paths along the edges of the mountain.

The unmistakable roar of cascading water led us there. Frothy foam and churning liquid is spell-binding. Falling from 50 feet through the jungle foliage into the Peguche River, the scene was all the more mesmerizing.

It was well worth the walk – and the detour!

DSC_0036Peguche is one of many waterfalls throughout Ecuador. But it holds three distinctions: It’s found inside one of the most beautiful forests of northern Ecuador, it’s easily accessed from the main road through Otavalo, and it’s an indigenous ceremonial site.

Inside a 40-acre protected forest known as Bosque Protector Cascada de Peguche, the falls can be reached in 20 minutes. That assumes you go through the front gate. There is no charge, but donations are accepted inside the interpretive center. The waterfalls  originate at the foothills of the volcano, at the northern tip of San Pablo Lake, about two and a half miles south of Otavalo.

This slideshow requires JavaScript.

Peguche is considered a sacred place in the indigenous culture because of the native people’s relationship to nature. Villagers from throughout the region visit the falls to perform purification rituals in the days before Inti Raymi. Inti Raymi is an Incan-based celebration of the sun and harvest, traditionally set for June 24.

Like many ancient sites, the falls are also the stuff of legends.

We rested outside a cave leading behind the falls, but neither of us had any interest in, or equipment for, crawling through the mud into the inky blackness. Later I heard one of many folktales: There is a cauldron of gold guarded by two black dogs deep inside the cave. The devil sits next to the cauldron, according to the legend, holding a plate of sand. The falling water washes away the sand in the plate, little by little, until the plate is empty. At that point, the devil snatches the soul of whoever has entered the waterfall at the same moment.

No problem there. We weren’t in the purification mood. And while the mist felt rejuvenating, the icy cold water was not appealing.

Hikers in the area need to look pat the ever-present, shameful graffiti, to appreciate the forest foliage and an abundance of birds. While we didn’t see most of them, I’m told the lush vegetation houses doves, owls, Quindes, hummingbirds, reptiles, frogs and various other species.

We passed through a Quichua community on the way to the falls (or on the way out for those who follow signage). We were a bit early for business, but the villagers living there are dedicated craftsmen. Still weaving in the traditional ways, they produce blankets, ponchos, bags and other textiles. They offer photos with a fully outfitted llama for a price and refreshments in a small café.

There is public transportation available in Otavalo to get to the waterfalls at Parque Central Simon Bolivar. Buses leave every 20 minutes from there. Taxis are readily available and charge about $3 one way.

If you are planning your trip from Quito, there are buses from the main station every 5 to 10 minutes. The Terminal de Buses de Carcelen is on the north side of Quito. The two-hour ride costs about $3.

Just a reminder. Look for the main entrance. You can still have the adventure but maybe a little less stress.peguche-entrance

The Art of Life

DSC_0003

Who knew weaving was pure poetry of the soul?

Monica Malo Piedra did. And soon, the rest of us at IdiomArt’s weekly Art Salon understood as well.

The renowned Ecuadorian artist and CIDAP award winner recently took a group of weaving newbies on a spellbinding anthropological and history journey. It’s safe to say; those in attendance will never look at a square of fabric or brilliant tapestry the same again.

DSC_0014

The native Cuencana has been creating fabric masterpieces for more than 30 years. She learned first, from her mother, who taught herself to shear sheep and researched designs from magazines to incorporate into weavings.

But Monica wanted to create her own designs. She began to teach herself, experimenting with materials and observing others. Eventually she moved into the jungle where she spent five years embracing the history and talent of the Schuar people.

“It was like my soul connected with their weaving,” she said, through translator and host Berenice Cárdenas, a local art historian and curator.

In the jungle, Monica had a woodworker create her first loom of four simple sticks. She learned new ways to weave and began experimenting with colors. A Uruguayan

DSC_0002

Monica Malo Piedra

professor later taught her loom weaving techniques and she began to “play,” she said.

Monica read constantly. She absorbed all she could about techniques, fabrics and dyes, and found herself drawn to history and anthropology. She deeply believed that to understand and create textiles, she had to understand the indigenous people’s history, and their way of living and thinking first.

For the next 15 years, she lived a simple life in Susadel. She began to work with the women of the community, many of whom had given up the skill of weaving to men. While the women gathered and prepared the materials from animals and plants, it was primarily the men who were using the threads to create woven textiles.

“I needed to recover the ancient memories,” she said, by reminding the women of their pre-Colombian roots.

Still, the collective self-esteem of the women of the village was so low; it took time to convince them to experiment with the threads they created. Soon, the older women were recounting history, remembering their grandparents, recalling childhood incidents and sharing their histories with each other. Young women joined the group and even men participated.

“It was very interesting to see what the women did in their weaving. Houses, flowers, domestic things, encrypted in ancient symbols, began to emerge through their memories,” she said. “The men created condors, large animals, donkeys, all images they worked with in daily life.”

DSC_0005

The project blossomed as Monica and a friend raised money for looms and hosted workshops to share techniques.

“It was an empowering process for the women,” she recalled.

Monica continued her mission when she left Susadel and moved to Riobamba. There she created weaving groups of all ages of women who were “recovering their essence” through their work.

For the next hour, Monica taught us about plants and insects that produce vibrant dyes. She educated us about how lunar phases and water affect plants to such a degree that the same hue is rarely replicated. We learned the differences between threads woven of the hair of llama, alpaca, vicuña, and even bats. We found that, with keen observation, we could identify the heritage of any indigenous group simply by the woven clothing they wore.

Ultimately, she said, textiles are not just a piece of cloth.

“When you see a tactile piece, look beyond the image, colors and fabric,” she said. “Think about the raising of the animals or plants that produced the thread.”

DSC_0011

Consider the relationship of the work to what surrounded the artist, she said. For instance, an evening star to a Navajo weaving friend was the North Star, but that same celestial sight is Venus to Ecuadorian artists who do not have the same night sky.

As a young girl, a wise man told her: “Those who know how to weave know the art of life.” She never fully understood that sentiment, Monica said, until she spent years among indigenous populations absorbing their craft.

“The yarn – the warp – is like a house without structure. The weaving creates the strength of the structure. And, like life, you can change it, take it apart, and rebuild it,” she said.

Part historian, part anthropologist, and all artist, Monica ended her presentation with a poetic philosophy. Clearly, for Monica, weaving is a metaphor for life.

“Words are threads wove between human beings,” she said. “Society is an immense fabric made from the need for communication, equal reception and solidarity among individuals.”

DSC_0004

Monica’s new gallery is expected to open mid-month in the San Sebastian neighborhood. IdiomArt’s weekly Art Salon features a wide range of art-related talks and presentations each Friday at 10:30 a.m. IdiomArt is in El Centro, at Presidente Cordova 1-77 between Manuel Vega and Miguel Angel Estrella. Art Salons are $10 and reservations are not required. Contact studio@idiomart.net for more information.

Tale of Two Holidays

dsc_0021

I’m not sure when the holy Three Kings Day became the biblical-turned-satirical Day of Innocents, but in Cuenca, January 6 has become that.

I wasn’t sure what to expect for my first “Day of Innocents Parade,” also known locally as “The Parade of Masquerades.” But wearing a unicorn headband to stand next to a family that included a clown, Snow White and another unicorn, I knew it would be fun.

First, a little background.

I grew up on the border of Mexico where January 6 meant celebrations, religious parades, masses and the “rosca” cake. Parades on the theme celebrated the arrival of the three wise men into Jerusalem to visit Jesus at his birth. Also called the Feast of the Epiphany, January 6 recognizes the end of the Christmas season, the 12th night.

In Mexico, colorful costumes denoted kings, as well as Joseph, Mary and Jesus. Religious ceremonies cited the story from the bible. Then families gathered for neighborhood celebrations featuring the round cake with a tiny plastic baby hidden inside. Whoever received the piece of cake with the baby in it was responsible for the celebration the next year.

There exists a Holy Innocents Day – also known as Childermas, and Feast of the Holy Innocents. It’s a holiday that falls on different days in the Western and Eastern Christian churches. In Western churches, it is celebrated on December 28 and in Eastern churches, it is celebrated on December 29.

The holiday commemorates the massacre of children by King Herod as he was attempting to kill baby Jesus. The story of Herod is told in the Book of Matthew, Chapter 2:1-18. Herod, king of Judea, was unpopular and always feared being overthrown or killed. The bible says Eastern astrologers asked Herod about the birth of the “king of the Jews.” He sent them to find Jesus and to report back, but they were warned by an angel to return home by another route. In anger, Herod ordered that all boys under the age of two in Bethlehem to be put to death.

In Cuenca, the two traditional holidays merged 38 years ago, spitting out a unique, carnival-like celebration that more closely resembles Halloween – with a touch of April Fool’s Day.

While one of the 28 units in our parade faithfully depicted the heart-rending edict of King Herod, none of the others were religious, or remotely serious. Said to be among the largest Day of Innocents parades in the country, this year’s floats ranged from political commentary on the Odebrecht scandal that involved off-shore bank accounts to social themes such as protection of wildlife.

The winning float was “Ecuador Post-Apocalyptic,” created by students and faculty at the University of Azuay. The elaborate four-car float was a commentary on the endangered environment with costumes inspired by the movie Mad Max.

And, of course, there were the Gringos. For the first time, expats were granted a permit to march in a local parade. The idea was hatched by Ned Flottman, a former Dallasite and, ironically, a high school buddy of one of my college roommates.

dsc_0199
dsc_0201
dsc_0202

Ned dreamed up the “The Old Gringo Cuenca Appreciation and Kazoo Marching Band.” Ecuadorians were charmed by the kazoos and the costumed characters that happily interacted with the thousands of spectators along the street.

We were thrilled by Bolivian indigenous dancers as well as a scantily clad and high-flying dance troupe. The Planet of the Flowers, resembling Planet of the Apes, brought gorillas that passed out hamburgers made of foam (still haven’t figured that one out.) There were two “marching bands” featuring oversized and out-of-step participants.

Everywhere, children were laughing and adults were cheering. It was a remarkable, inclusive event.

Finally, I should note that this crazy, family friendly and very interactive parade is organized by two local groups. The Amistad – or Friendship – Club and… the National Union of Journalists. Odd bedfellows for sponsorship of this mixed-up parade, but there it is. In reading the rules set out by these partners for the parade, I came across this: “The use of live animals, advertising of any kind and the use of alcoholic beverages are prohibited.

“It is forbidden to use words that violate the honor and dignity of the people, the mockery and scenes that ridicule and denigrate women. In addition each delegation must be escorted by clowns and security personnel.”

Oh Cuenca! What a treasure you are!

Shared Visions

The Shaman made me laugh.

The leader of his Achuar community, a revered elder in full regalia, was chuckling. Having met him earlier in the evening, I was enchanted. Sumpa introduced himself to me as I was admiring tables of beautiful handicrafts at a benefit for the Achuar foundation, IKIAM, and Cuenca’s Hogar de Esperanza, in their Minka restaurant.

DSC_0778The Achuar are one of Ecuador’s 14 indigenous nationalities. They existed relatively unknown,  deep in the Amazon rainforest, until the 1960s. It was then a few missionaries entered the territory, promoting Catholicism and making the Achuar aware of other forms of development.

In the early 1990s, as outside interest in the indigenous group grew, the Achuar began to further organize themselves to protect their land and their interests. They formed the United Achuar Nation. They united in their decision to keep their land free from natural resource development, such as logging, mining, and oil.

The Achuar are a “dream people,” and their dreams warned them of the dangers of the Western World’s thirst for oil. Estimates of their dwindling population range from 6,000 to 10,000.

Tonight, Sumpa is dressed as if he was at home, thousands of miles away, in the wetter lowlands of the Amazon rainforest, east of the Ecuadorian Andes, near the Peruvian border. Granted, Cuenca’s cooler weather encouraged a layering under his traditional dress. Still he looked every bit the authority.

DSC_0751According to the event organizers, shamans are honored for their knowledge and their connection to nature. They serve their communities by attending to people who have illnesses or are experiencing problems in their lives.

His weathered face gave him a fierceness, accentuated by the black chevron markings on his cheeks and nose. A vibrant head ring of yellow, black and red feathers from three native birds, called a tawasap, crowned his graying head. He wore a wrap, called an itip, covering his lower body from wait to feet. His simple cotton shirt provided a canvas for crisscrossed white, black and red beads and seeds, and the intricate beaded turquoise pendant around his neck.

Sumpa was perched on a chair in the middle of the room, watching the performance of his countrymen who were dramatizing a tale of the hummingbird. The story involved a hardworking man and his lazy brothers and a father, portrayed by Sumpa, who lived with two beautiful daughters.

DSC_0788.JPG

The Achuar women are, at the very least, beautiful. With long, black straight hair and bright eyes, they have drawn circles on their cheeks to indicate they are the keeper of the family. Some have added stars to represent strength. Two of them wear braided belts with seeds that shake as they walk.

The complicated fable – presented in the Achuar dialect – involved trickery, men turning into birds and women turning into frogs. While the drama was entertaining, Sumpa’s unmitigated joy watching the silly antics of the actors was infectious. I clapped as much for him at the play’s end, as I did for the rest of the cast.

But the evening produced a somber message as well.

The Achuar’s spokesman, Napoleon, or Napo, was in Cuenca to educate. It took the group 11 hours in a canoe and eight more on a bus to reach their destination. Born in the Amazon, he grew up with a dream of creating a force to fight for the survival of the rainforest. Now, serving as the president of Fundacion IKIAM, it is what he does.

Napo is dressed similarly to the Shaman, without the beaded adornments. His face markings are slightly different, with inky black design on his chin emphasizing the seriousness of his demeanor. At 26, he is an accomplished speaker of multiple languages and is passionate about his homeland.

DSC_0740While Ecuador currently is reducing the amount of oil drilling it is conducting in the rich southeast Amazon, the new president of Brazil produces a grave threat, Napo said. The newly elected hard-right Jair Bolsonaro has promised to roll back protections of the rainforest and the rights of indigenous people in Amazonia.

“Twenty percent of the oxygen we breathe around the world comes from the rainforest,” Napo said. More than half of the world’s estimated 10 million species of plants, animals and insects live in the tropical rainforests and one-fifth of the world’s fresh water is in the Amazon Basin.

He stops to give us a mini science lesson, explaining the relationship of the rainforest to carbon dioxide.

While humans continue to pump massive amounts of CO2 into the air by burning fossil fuels, coal, oil and natural gas, a major driver for climate change. Under natural conditions, plants remove carbon dioxide from the atmosphere and absorb it, then turn it into oxygen which is released back into the air. Without the rainforest, Napo explains, the greenhouse effect becomes more significant and climate changes will increase.

“If we lose the rainforest, we lose everything, wisdom, knowledge, culture…our lives,” Napo says. “It is our market, pharmacy, ferreteria (hardware store) and origin of life.”

40878963_ecuador3_map416

His companions are nodding in agreement. I look at them and wonder, again, at the grand plan that placed me in a privileged home in El Paso, Texas, and located this passionate group in the wilds of the Amazon. I think about my passions for the border, for a reasonable and humanitarian answer for immigration, for the protection of women and children.

Napo and his neighbors are worried about their livelihood, their future, the global climate and health. We have the same hearts, the same drive for change, and the same fears. We live in different worlds, but share universal concerns.

DSC_0725“I was born in the rainforest. I feel the rainforest in my brain and in my spirit. Please protect the rainforest for our generation,” Napo says.

My heart aches for him and the future of the next generations. Yes. We have the same passions.