This Year’s Buying Trip to the Village and Mucho Mas

by Susan­na Starr

Hav­ing just returned from a vis­it to the weav­ing vil­lage, the images are strong in my mind. For some time my fam­i­ly of three grown chil­dren have been talk­ing about get­ting togeth­er in Oax­a­ca when we did our next buy­ing trip. Although they’ve come down to the weav­ing vil­lage indi­vid­u­al­ly as chil­dren and young adults for many decades, this was the first time they came down togeth­er. At this point in their lives, work and time are dif­fi­cult to come by, so we start­ed mak­ing arrange­ments, sched­ul­ing the vis­it and not­ing it into their cal­en­dars, many months pri­or to the antic­i­pat­ed trip.

Amy, Roy and Mirabai in front of Tlamanalli Restaurant
Amy, Roy and Mirabai in front of Tla­manal­li Restaurant

Our Interwoven Lives with the Zapotec Weavers: An Odyssey of Love

The Zapotec Indi­an cul­ture is a rich one, with many thou­sands of years of endur­ing tra­di­tions. Of all the tra­di­tions, fam­i­ly is prob­a­bly the most impor­tant of the under­ly­ing struc­ture of this ancient cul­ture. My part­ner, John Lamkin, and I had recent­ly pub­lished a beau­ti­ful book called Our Inter­wo­ven Lives with the Zapotec Weavers: An Odyssey of Love (sales@Starr-Interiors.com) which tells the sto­ry of my more than forty years of work­ing with the same fam­i­lies in the vil­lage. John’s beau­ti­ful pho­tographs accom­pa­ny that jour­ney. In it, I trace three gen­er­a­tions of fam­i­lies that I’ve been so close to, as well as pho­tographs of oth­er weavers I’ve been work­ing with, espe­cial­ly on the Line of the Spir­it™, a spe­cial design­er col­lec­tion that has been an impor­tant part of what we do for more than twen­ty-five years.

Roy enjoying tortilla fresh from the comal Rosario, husband Faustino, Amy, Roy and Mirabai.
Roy enjoy­ing tor­tilla fresh from the comal
Rosario, hus­band Fausti­no, Amy, Roy and Mirabai.

Hav­ing Mirabai, Amy and Roy accom­pa­ny­ing us to vis­it each of the weav­ing fam­i­lies was not only impor­tant to the fam­i­lies, but to our fam­i­ly as well. When Roy and Rosario Men­doza met again,  thir­ty years had passed since they both were liv­ing in the Men­doza house in Oax­a­ca. but there was no prob­lem in rec­og­niz­ing each oth­er. Mirabai and Amy were down more recent­ly, some­times with their own chil­dren, but now there were not just two gen­er­a­tions, but three. As close as I am to the orig­i­nal fam­i­lies and their grown chil­dren, it’s this third gen­er­a­tion, the same age as my own grand­chil­dren, that are mov­ing beyond the life they were born into, while still hon­or­ing and prac­tic­ing the cul­tur­al val­ues that have con­tin­ued for so many gen­er­a­tions before them.

Armando in front of special "Tree of Life" which we purchased
Arman­do in front of spe­cial “Tree of Life” which we purchased

Now, through the hard work of their grand­par­ents and par­ents, they have been afford­ed edu­ca­tion­al oppor­tu­ni­ties nev­er before avail­able to pre­ced­ing gen­er­a­tions. Although many of the young peo­ple of this age are still weav­ing, those who have been giv­en the oppor­tu­ni­ties to study at uni­ver­si­ties are con­tin­u­ing on to become doc­tors, den­tists, and study­ing for oth­er professions.

I feel as proud of their accom­plish­ments as I do those of my own grand­chil­dren. The ties we have are strong ones and hav­ing our fam­i­lies togeth­er dur­ing this time was evi­dence of the warmth and friend­ship that goes far beyond just a work­ing rela­tion­ship. Liv­ing in the vil­lage, wak­ing up to the sounds, vis­it­ing the mar­ket to buy our flow­ers and fresh pro­duce, vis­it­ing the fam­i­lies we work with, hav­ing lunch at El Des­can­so and at Tier­ra Antigua with the Montaño fam­i­lies was joyful…and memorable.

The Montaños at El Descanso
The Mon­taños at El Descanso

Also mem­o­rable, was the evening we spent at the home of our good friends, Flo­renti­no and Eloisa Gutier­rez. Their son, Juan Cristo­bal, who stud­ied audio engi­neer­ing in Cal­i­for­nia, has put togeth­er a band and at Mirabai’s urg­ing, decid­ed to per­form a con­cert for us. It was held in their spa­cious court­yard, with lux­u­ri­ant flow­ers and plants pro­vid­ing the per­fect back­drop for the con­cert. And, the younger Fidel Mon­taño was the lead singer. Writ­ing their own music and lyrics and accom­pa­nied by a few oth­er mem­bers of the band, the con­cert was outstanding.

Juan Cristobal, Fidel and their band, Km 1
Juan Cristo­bal, Fidel and their band, Km 1
Roy holding Alta's grandson Pablito
Roy hold­ing Alta’s grand­son Pablito

We spent impor­tant time with Alta Gra­cia, the dye­mak­er for Line of the Spir­it™ since its incep­tion and with her son Jaci and his wife Soledad. We vis­it­ed with the wife of Felipe Lazaro who passed away recent­ly and bought some of her spe­cial­ties of roast­ed pump­kin seed bars, ama­ranth bars and light wafers and exchanged warm embraces. We vis­it­ed with Maria and Eloisa Bautista whose recent­ly mar­ried son, Jacobo now is fol­low­ing in the foot­steps of his par­ents who have been part of the Line of the Spir­it™ team since it began, more than twen­ty-five years ago when he was just a baby. Our fam­i­ly meet­ing with Jovi­ta and her broth­er, Valenti­no and his wife, was affir­ma­tion of the ongo­ing rela­tion­ship of our fam­i­lies, as it was with all the Line of the Spir­it™ weavers.

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Maria & Eliseo Bautista with Susanna and Jazi
Maria & Eliseo Bautista with Susan­na and Jacinto

Hav­ing lunch at Tla­manal­li, the acclaimed restau­rant of world-famous chef, Abi­gail Men­doza, and her sis­ters, was anoth­er spe­cial event. In the kitchen, we cried togeth­er with their moth­er, Dona Clara, who lost her son Arnul­fo, one of the most tal­ent­ed artists the vil­lage has ever known and one of our close friends. In the beau­ti­ful patio, we enjoyed some of their famous dish­es at the tra­di­tion­al­ly dec­o­rat­ed tables. The embraces we exchanged were heartfelt.

Our family with wife of recently deceased weaver Felipe Lazaro
Our fam­i­ly with wife of recent­ly deceased weaver Felipe Lazaro
Our family looks on as art director, Jacinto Morales, discusses technical aspect with Juan Luis and his wife Paula
Our fam­i­ly looks on as art direc­tor, Jac­in­to Morales, dis­cuss­es tech­ni­cal aspect with Juan Luis and his wife Paula

 

 

 

 

 

 

 

 

 

Yes, this was a mem­o­rable vis­it, a tes­ti­mo­ny to what busi­ness can real­ly bring as its reward. We have all pros­pered and its always a joy to see how the entire vil­lage has also pros­pered over these decades. But, always, its the per­son­al rela­tion­ships, the warmth and gen­uine car­ing, the being part of an extend­ed fam­i­ly that is the real bonus. This is as much a part of our con­nec­tion as any­thing else that we con­tin­ue to be involved in togeth­er. The weav­ings they pro­duce and that we sell to our clients who pro­vide a home for them where they will be enjoyed and appre­ci­at­ed com­pletes the cir­cle. But the heart con­nec­tion is what can­not be seen, just felt, and what endures.

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Our Interwoven Lives with the Zapotec Weavers — The book

Susan­na Starr has cap­tured this lyri­cal and sen­ti­men­tal jour­ney from Taos to Oax­a­ca and back in her upcom­ing book enti­tled Our Inter­wo­ven Lives with the Zapotec Weavers: An Odyssey of the Heart.   It is part mem­oir, part pho­to­graph­ic jour­nal, part trib­ute to an ancient civilization’s sur­vival in the twen­ty-first cen­tu­ry, and com­plete­ly a must-read to those enchant­ed with the sto­ry of the Zapotec Indi­an peo­ple.  She will host a book  sign­ing on June 21, the high­light of a month-long pho­to exhi­bi­tion that kicks off the gallery’s anniver­sary celebration.” 

 OUR INTERWOVEN LIVES WITH THE ZAPOTEC WEAVERS

An Odyssey of the Heart

by Susan­na Starr

 with Pho­tographs by John Lamkin

Village Church atop Ancient Zapotec Temple Ruins
Vil­lage Church atop Ancient Zapotec Tem­ple Ruins

 The book is available right now through Starr Interiors!
A new mini-coffee table book — soft or hard cover 

Pages: 135
Price: $29.95 Hard­cov­er or $19.95 Softcover
Pub­lish­er: Palo­ma Blan­ca Press
Offi­cial Pub. Date: June 2014 (now avail­able through the gallery)

I hope this sto­ry serves as a reminder that busi­ness is not a neg­a­tive word. Trad­ing is as old as human his­to­ry, whether for goods or ser­vices. It does­n’t have to be exploita­tive nor imper­son­al to be suc­cess­ful. Rather, if it is infused with joy and hap­pi­ness, it can pro­vide a vital, impor­tant and enrich­ing aspect of our lives.
–  Susan­na Starr, Taos, NM

[See Excerpt Below.]

Advance Praise

A must read for any­one who wants to do well by doing good in the world . This improb­a­ble sto­ry about an Amer­i­can “hip­pie” and tra­di­tion­al weavers in the Oax­a­ca Val­ley of Mex­i­co will fire your Imag­i­na­tion and touch your heart. Susan­na Star­r’s life sto­ry proves that love, respect, learn­ing and suc­cess in busi­ness can go hand in hand.”–Judith Fein, Author of LIFE IS A TRIPThe Trans­for­ma­tive Mag­ic of Travel 

OUR INTERWOVEN LIVES WITH THE ZAPOTEC WEAVERS is a beau­ti­ful book, both the writ­ing and pho­tographs.  I own a Zapotec rug and appre­ci­ate the work of these artists. This book gives them cred­it where cred­it is long over­due.” –Tom Aage­son, Exec­u­tive Direc­tor, Glob­al Cen­ter for Cul­tur­al Entrepreneurship

 

One of life’s mem­o­rable intersections…

OUR INTERWOVEN LIVES WITH THE ZAPOTEC WEAVERS: An Odyssey of Heart cel­e­brates Amer­i­can entre­pre­neur and gallery own­er Susan­na Starr’s forty years of work­ing with the Zapotec weavers of the Oax­a­ca Val­ley in Mex­i­co. Starr  takes us back to the moment when she first nav­i­gat­ed dirt roads into the remote vil­lage of Teoti­t­lan in the 70s, and fell in Heart with the vibrant Zapotec hand-loomed weav­ings and the warmth of the weavers them­selves. She leads us on a three-gen­er­a­tional trek of mind and spir­it, as the Zapotec fam­i­lies and her own grow in par­al­lels of sym­bi­ot­ic pros­per­i­ty and mutu­al respect that reminds us that “busi­ness” does not have to be a neg­a­tive word.

Susan­na Starr is the own­er of Starr Inte­ri­ors in Taos, New Mex­i­co, which began as La Uni­ca Cosa in 1974, and fea­tures hand-dyed 100% wool rugs, wall hang­ings, and pil­lows tra­di­tion­al­ly dyed and loomed by the Zapotec weavers.

OUR INTERWOVEN LIVES WITH THE ZAPOTEC WEAVERS: An Odyssey of Heart reflects Starr’s phi­los­o­phy that busi­ness need not be kept sep­a­rate, but can be an inte­gral and mean­ing­ful part of every­day lives.

I hope this sto­ry serves as a reminder that busi­ness is not a neg­a­tive word,” says Starr. “Trad­ing is as old as human his­to­ry, whether for goods or ser­vices. It need not be exploita­tive or imper­son­al to be suc­cess­ful. Rather, if it is infused with joy and hap­pi­ness, it can pro­vide a vital, impor­tant and enrich­ing aspect of our lives.

The weav­ings have been pur­chased by numer­ous celebri­ties includ­ing Paul Simon, Sting and Diana Ross, and fea­tured in style mag­a­zines such as “Archi­tec­tur­al Digest.”

With Love it began…With Love it flourished…And with Love it continues.
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The book is due out in 2014, and fea­tures poignant pho­tographs by pho­to­jour­nal­ist John Lamkin.

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BOOK EXCERPT:  Introduction

For a long time I’ve been encour­aged to write about the years I’ve spent work­ing with the weavers of a small Zapotec Indi­an vil­lage high up in the moun­tains out­side of the city of Oax­a­ca, Mex­i­co. Not only have I had this encour­age­ment from fam­i­ly, friends and peo­ple I’ve dealt with through my weav­ing gallery in Taos, New Mex­i­co over the past forty years but, most impor­tant­ly, I’ve been encour­aged by the weavers themselves.

Now the time has come to tell that sto­ry. Far from being a sto­ry of run­ning a busi­ness of intro­duc­ing and sell­ing these weav­ings in the Unit­ed States, this is a sto­ry of the per­son­al inter­ac­tions that have tak­en place between me and the Zapotec peo­ple over the past four decades. The gallery that I’ve run dur­ing this time has sim­ply been a vehi­cle to pro­mote and dis­trib­ute this par­tic­u­lar art form. In the evo­lu­tion of the gallery and of the weav­ings in gen­er­al, as in any oth­er part of life, many changes have tak­en place. But, as in any oth­er endeav­or, some con­stants remain.

For me the most impor­tant of these con­stants is the deeply per­son­al con­nec­tion I’ve had with par­tic­u­lar weav­ing fam­i­lies as well as with the vil­lage as a whole. This con­nec­tion has encom­passed half of my life and the pas­sion remains. Obvi­ous­ly, this is a per­son­al nar­ra­tive, but it also tells the sto­ry of peo­ple work­ing togeth­er to pre­serve a cul­ture and to pro­mote a craft that has great impact not only on the indi­vid­ual weavers but on the whole vil­lage. The suc­cess I’ve enjoyed is mir­rored in the suc­cess of that vil­lage and the indi­vid­ual weavers with whom I’ve been connected.

The sto­ry begins with my first vis­it in 1974 dri­ving, with my part­ner Ramon, down a long, dirt road through a some­what hos­tile vil­lage whose peo­ple were resent­ful of the peo­ple of the neigh­bor­ing vil­lage and refused to give any help­ful direc­tions. But, con­tin­u­ing on, we even­tu­al­ly reached our des­ti­na­tion. We final­ly arrived in the small square that was the cen­ter of Teoti­t­lan del Valle.

The book is divid­ed by gen­er­a­tions. The first gen­er­a­tion deals with that arrival and my ini­tial intro­duc­tion to the weav­ings. It paints a pic­ture of the ear­ly years. There is a descrip­tion of my own life at that time and the involve­ment with the Zapotec Indi­ans of the vil­lage that was to become life chang­ing for me.

The sec­ond gen­er­a­tion is my work with the chil­dren of those ini­tial weavers, after hav­ing had a long rela­tion­ship with their par­ents. This is the same gen­er­a­tion as that of my own three chil­dren. All of these chil­dren are now grown and well into the mid­dle stage of their own lives. Although I am still very much con­nect­ed to the par­ents, most of my busi­ness deal­ings over the past two decades have been with this sec­ond gen­er­a­tion, chil­dren when I first knew them, and now asso­ciates in the busi­ness of buy­ing and col­lab­o­rat­ing on rug designs and purchases.

The third gen­er­a­tion, who are pri­mar­i­ly teenagers and young adults, is now just com­ing into its own. Once again, there’s the par­al­lel with my own fam­i­ly. In this sec­tion we look at the grand­chil­dren who have been raised in the weav­ing tra­di­tion but who have been afford­ed oppor­tu­ni­ties their own par­ents, and cer­tain­ly not their grand­par­ents, were unable to enjoy when they were of a sim­i­lar age.

In this time of instant com­mu­ni­ca­tions and cut­ting edge advances in the pro­mo­tion of prod­ucts, from smart phones to pur­chas­ing online, this nar­ra­tive illus­trates the fun­da­men­tal exchange, on a very per­son­al lev­el, of real peo­ple and the weav­ings they pro­duce com­plete­ly by hand. Each of the weav­ings I’ve ever han­dled is infused with spir­it. I know this to be a fact. It’s not only the spir­i­tu­al­i­ty of the peo­ple that per­me­ates all that they do, but also the authen­tic­i­ty with which they do it. Each weav­ing rep­re­sents part of someone’s life. No weav­ing machines or equip­ment of any kind are used, despite the avail­abil­i­ty of mech­a­nized looms and com­put­er­ized designs.

This is not to sug­gest that the vil­lage is back­ward or unaware of changes that have tak­en place in the mar­ket­place. Rather, they have cho­sen to incor­po­rate many aspects of our con­tem­po­rary world, while at the same time main­tain­ing the integri­ty of their tra­di­tion­al way of life. But this third gen­er­a­tion, as a result of the work and ded­i­ca­tion of their par­ents and grand­par­ents, has been afford­ed many more oppor­tu­ni­ties to make dif­fer­ent life choic­es. They have not only had the same expo­sure to the same things my own grand­chil­dren have, but they have also had edu­ca­tion­al oppor­tu­ni­ties the pre­vi­ous gen­er­a­tions had been denied.

The weavers I first encoun­tered had only an ear­ly grade school edu­ca­tion in the vil­lage which was all that was avail­able to them at that time. This sec­ond gen­er­a­tion saw their chil­dren attend the new­ly built grammar/junior high school. The third gen­er­a­tion now has had access to high schools and uni­ver­si­ties. Weav­ing is still an option and a good choice for many of this youngest gen­er­a­tion but for some, as you will see, their lives are tak­ing dif­fer­ent direc­tions. Some things, how­ev­er, remain the same, among them the sanc­ti­ty of the fun­da­men­tal fam­i­ly unit and the con­tin­u­ing impor­tance of main­tain­ing their cul­tur­al heritage.

ABOUT THE AUTHOR:

Susan­na Starr is an entre­pre­neur, pho­tog­ra­ph­er, speak­er, artist and trav­el writer. She is the own­er of Starr Inte­ri­ors in Taos, New Mex­i­co, which began as La Uni­ca Cosa in 1974, and fea­tures hand-dyed 100% wool rugs, wall hang­ings, and pil­lows tra­di­tion­al­ly dyed and loomed by the Zapotec weavers.  Susan­na has lived in North­ern New Mex­i­co for forty years, and has over twen­ty years expe­ri­ence in the hos­pi­tal­i­ty busi­ness as own­er of Ran­cho Encan­ta­do, an eco-resort and spa in Mex­i­co. Her degree in Phi­los­o­phy is from Stony Brook State Uni­ver­si­ty of New York, and she is IFWTWA Region­al Mem­ber­ship Coor­di­na­tor (RMC) for Riv­iera Maya & Oax­a­ca, Mex­i­co. Susan­na Starr is also the author of FIFTY AND BEYOND: New Begin­nings in Health and Well-Being pub­lished by Palo­ma Blan­ca. Her online arti­cles have appeared in numer­ous pub­li­ca­tions, includ­ing Soul of Trav­el Mag­a­zine, The Exam­in­er, and the award-win­ning trav­el jour­nal, Your Life Is a Trip.

About John Lamkin (Pho­to­jour­nal­ist):

John Lamkin is a free­lance trav­el jour­nal­ist and pho­tog­ra­ph­er based in Taos, New Mex­i­co (and lives part-time in Quin­tana Roo, Mex­i­co). He is a board mem­ber and Glob­al Mem­ber­ship Chair of Inter­na­tion­al Food, Wine & Trav­el Writ­ers Asso­ci­a­tion (IFWTWA). Lamkin attend­ed the San Fran­cis­co Art Insti­tute and found­ed San Fran­cis­co Cam­er­a­work. In addi­tion to food, wine and trav­el writ­ing, he has worn many hats in pub­lic rela­tions, copy writ­ing, tech­ni­cal writ­ing, and poet­ry writ­ing. He is the for­mer edi­tor of Cam­er­a­work Quar­ter­ly and Music of the Spheres Mag­a­zine, and a mem­ber of the North Amer­i­can Trav­el Jour­nal­ists Asso­ci­a­tion (NATJA). Lamkin is a con­tribut­ing writer for Lux­u­ry Latin Amer­i­ca, Lux­u­ry Avenue Mag­a­zine, Suite101, The Exam­in­er, Reuters Amer­i­ca, Your Life Is A Trip, Jet­set­ter, and he is also a colum­nist for The Syn­di­cat­ed News. He is flu­ent in Spanish. 

 

 

Visiting the weaving village and reflecting on three generations

Weaving Village Church   © John Lamkin
Weav­ing Vil­lage Church
© John Lamkin

by Susan­na Starr

Before doing a recap of the year, I want to go back to the last buy­ing trip in Oax­a­ca, in the ear­ly part of the year. As always, vis­it­ing the vil­lage, see­ing all the new and excit­ing weav­ings and, most impor­tant­ly, vis­it­ing old friends, is an ongo­ing joy in my life. This buy­ing trip was excel­lent once again with beau­ti­ful acqui­si­tions from the Mon­taño fam­i­ly, includ­ing the work of Fidel, Pedro and Ali­cia as well as their father, Edmun­do. Vis­it­ing Arman­do and Juan Gutier­rez, sons of Felipe, also pro­vid­ed an abun­dance of new col­ors and designs, as well as warm embraces. And Efren Lazo’s ranges of bright reds are always outstanding.

Diana, Karina and Pedro Montaño © Susanna Starr
Diana, Kari­na and Pedro Mon­taño
© Susan­na Starr

But, at this point in the lives of all my weav­ing friends as well as my own, the most excit­ing thing that’s hap­pen­ing is the third gen­er­a­tion. Edmun­do and Felipe and I go back more than 35 years. Arman­do, Juan, Fidel, Pedro, Ali­cia and Efren were small chil­dren then. Now they’re run­ning the busi­ness­es and their own chil­dren are launched into the world. This gen­er­a­tion has the advan­tage of mak­ing oth­er choic­es. Diego Mon­taño, Pedro and Karina’s son, is pro­duc­ing a line of his own small, deluxe, fine­ly woven pieces, sev­er­al of which are now fea­tured at Starr Inte­ri­ors. But his old­er sis­ter, Diana, has cho­sen a dif­fer­ent career.

We were sit­ting at Pedro and Karina’s new house, restau­rant and show­room enjoy­ing some of her won­der­ful cook­ing, when we saw some­one start up the entry and then veer off to the side. “Oh, that’s Diana,” said Kari­na and called out to her daugh­ter who didn’t want to dis­turb the clients at the restau­rant. Once she heard her moth­er and saw that it was us, she resumed walk­ing in. I was stunned. I’ve known her since she was born 22 years ago and have seen her dur­ing all these years, but all of a sud­den it seemed that I was see­ing some­one new. This tall, beau­ti­ful young woman is now study­ing med­i­cine and was wear­ing her hos­pi­tal “whites.” As I write this, I feel the same emo­tion I had then, which was so very pow­er­ful that my eyes filled with tears. I was so proud and so very hap­py not only for her and her accom­plish­ment, but for her par­ents and, by exten­sion, her grand­par­ents, my friends, Ali­cia and Edmundo.

The sto­ry of each of these fam­i­lies deserves a sep­a­rate telling. They are the core weavers that I’ve been work­ing with for almost four decades, each of whom has been a mean­ing­ful part of my life as well as pro­vid­ing the base for Starr Inte­ri­ors’ col­lec­tion of fine weav­ings. The weavers I start­ed with, my old­est friends from build­ing busi­ness­es togeth­er, are now much less active than they used to be, although still involved as I am. The sec­ond gen­er­a­tion has now tak­en the active roles and the third gen­er­a­tion is explor­ing com­plete­ly new paths of their own. But the tra­di­tion of the vil­lage remains strong and vital with every gen­er­a­tion par­tic­i­pat­ing in fes­ti­vals and spe­cial events which are the life’s blood of the vil­lage. They main­tain the tra­di­tions that go back thou­sands of years with hon­or and respect for their deep­est mean­ing. Zapotec is a lan­guage that con­tin­ues to be used. As they do all this, they are very much a part of the 21st century.

Edmundo Montaño at Ceremony  © John Lamkin
Edmun­do Mon­taño at Cer­e­mo­ny
© John Lamkin

These method­olo­gies keep lev­i­t­ra on line in pace with com­pet­i­tive work­place dynam­ics. Nephrol­o­gist may fur­ther spe­cial­ize in cur­ing cer­tain age groups, like pedi­atric nephrol­o­gist, who only cialis soft 20mg treats chil­dren. For exam­ple, 50–70% of M.S. patients expe­ri­ence pain in var­i­ous degrees. . cana­di­an via­gra gener­ic We do not call it as a num­ber usa via­gra no pre­scrip­tion one choice of health practitioners. 

While we were there, we were priv­i­leged to attend a spe­cial cer­e­mo­ny at the church where Edmun­do was hon­ored as head of the new com­mit­tee. In an ancient cer­e­mo­ny that passed the staff to the new per­son in charge of the gov­ern­ing com­mit­tee, the mean­ing of gov­ern­ing was reaf­firmed. The per­son cho­sen for this task was picked because of his abil­i­ty to add to the guid­ance of the vil­lage in a car­ing way with com­plete ded­i­ca­tion to his office. There is no pay involved. Those who are cho­sen for the com­mit­tee which gov­erns vil­lage mat­ters for a peri­od of sev­er­al years, and espe­cial­ly the head of the com­mit­tee who has received the cer­e­mo­ni­al staff, take their respon­si­bil­i­ties seri­ous­ly and work for the com­mon good of the entire vil­lage, includ­ing pre­serv­ing the cus­toms, tra­di­tions and many cel­e­bra­tions as well as work­ing with the pres­i­dent of the municipality.

Women preparing Tejate   © John Lamkin
Women prepar­ing Tejate
© John Lamkin
Zapotec Musicians at Ceremony  © John Lamkin
Zapotec Musi­cians at Cer­e­mo­ny © John Lamkin

Although it is men who tra­di­tion­al­ly take on this respon­si­bil­i­ty (for thou­sands of years the women have been tak­ing on the respon­si­bil­i­ty of the home and chil­dren), the women have a strong pres­ence in prepar­ing the caul­drons of drink called tejate and the labor inten­sive prepa­ra­tion of tamales . All of them are dressed in their best embroi­dered huip­iles (blous­es) and tra­di­tion­al skirts, while the men wear their tra­di­tion­al straw som­breros. The bands that play the Zapotec music are an impor­tant part of any fes­ti­val or cer­e­mo­ny. Most of them are weavers who are musi­cians as well. Music, like weav­ing, is an impor­tant part of the cul­ture, also devel­oped over thou­sands of years.

Cer­e­monies of this kind are held in the church, a struc­ture built by the Span­ish more than five hun­dred years ago on the remains of what orig­i­nal­ly was a Zapotec tem­ple. For­tu­nate­ly, some of the orig­i­nal work is still to be seen in the arch­es, on the walls, and on parts of the exposed foun­da­tion. The glyphs and geo­met­ric designs of their ances­tors is a reminder to the peo­ple of the vil­lage of their her­itage which they keep alive through their ongo­ing con­tin­u­a­tion of cus­toms. For us, it is a glimpse into the wealth of that heritage.

Susan­na Starr — own­er of Starr Inte­ri­ors, pho­tog­ra­ph­er, speak­er, artist, writer, holds a degree in phi­los­o­phy from Stony Brook State Uni­ver­si­ty of New York.  She lives in North­ern New Mex­i­co. Susan­na is the author of the book: Fifty and Beyond: New Begin­nings in Health and Well-Being pub­lished by Palo­ma Blan­ca Press and is a board mem­ber of the Trav­el Writ­ers Asso­ci­a­tion.