So, I’ll start with the serious stuff, and work downhill towards the frivolous.
Yesterday I was taken by the poet (and translator of Seamus Heaney), Pura López Colomé to see an impressive and moving exhibition at the Museo Memoria y Tolerancia organised by the Movimiento por la paz con justicia y dignidad (Movement for peace with justice and dignity), whose motto is estamos a la madre meaning, approximately, ‘we have had enough’. This group was set up by the poet, writer, academic and activist Javier Sicilia, following the torture and murder of his son Juan Francisco, along with six others, by drug gang assassins in March 2011.
Following this, Sicilia has developed a formidable organisation that calls for an end to the drug wars, withdrawal of the military presence from the streets, the legalisation of drugs, and an end to political corruption. He has led demonstrations – at huge personal risk to himself – as well as marches across the whole of Mexico and much of the United States. In 2011 he was named Person of the Year by TIME magazine. His influence in starting up a popular, non-aligned movement directly confronting the perpetrators of violent crime and political corruption in Mexico represents an act of immense personal courage. His organisation has found followers in every walk of life, precisely because so many people have been affected by the drug wars – whether as victims themselves, or else as having lost family members to the violence. Furthermore, unlike the many ‘self-defence’ groups that have sprouted up across the country in opposition to the terror perpetrated by drug gangs – which simply promotes a never-ending cycle of violence met by more violence – Sicilia’s movement is based on entirely peaceful means of protest. I am posting a few images below from the exhibition, with apologies for the quality of the photographs, my camera having developed a mysterious and inexplicable blur on the lens over the past few days.
Screen design of protesters for peace, being addressed by Javier Sicilia.
Javier Sicilia, on the left, superimposed on a map of one of his marches.
Any family can find themselves a victim of the violence.
Mementos of the disappeared, embroidered on handkerchiefs.
A ‘wall’ of such handkerchiefs: note the resemblance to the Aztec wall of skulls, below.
At a considerable remove from the foregoing, and my head filled with disturbing images, which I have not reproduced here, I bade farewell to Pura and wandered alone through the derelict remains of the Templo Mayor, the Aztec temple at the centre of the city of Tenochtitlan (Mexico City), destroyed by Cortés in 1521. Much of this area was entirely buried for centuries. The conquerors built a church over part of the precinct – the present cathedral – and other parts were used for housing and other civic buildings. I found it extraordinarily haunting to walk around this area, directly after witnessing the sufferings endured by present-day Mexicans, as if – and this is by no means an original thought – the cycle of violence, destruction and waste were part of some terrible continuum from which there can be no escape, only temporary respite.
Templo mayor, with cathedral behind.
Tzompantli, or wall of skulls.
Inside the museum, having stood before the astonishing Tzompantli, or wall of skulls, I am confronted by a statue of Mictlantecuhtli, the Aztec god of the underworld and of death.
Mictlantecuhtli, Aztec god of the underworld.
Unfortunately, he reminds me of the ogre in the first Harry Potter film, who was rather an inept type. Intertextuality gone awry. The museum’s English description below the statue is worth reproducing:
Mictlantecuhtli is conceived by the Aztecs as a half-gaunt being in a position of attack with claws and curly hair . . . The liver hangs out from his thorax because according to Aztec beliefs this organ was closely related to Mictlan or the underworld.
I’ll forever be on the look-out for half-gaunts from Mictlan, with their livers hanging out.
Which leads me – not through any direct path – to another sight witnessed in the Zócalo, which had me confused for a minute: what appeared to be a bishop, protesting against child abuse in the Catholic church, and which transpired to be a person disguised as a bishop. Shame, really.
And from the tragic, via the bizarre, to the frivolous, as promised:
Swimming pool sign, advising the visitor to ‘Swing at your own risk’. Lowry would have used this, for sure.
Self-explanatory. But why the past tense? And how did it ‘contribute’? And what of the environment now?
Blanco’s associate ‘Richard’ – having undergone an astonishing transformation, and currently resident at ‘The Woman’s Club’ in Mexico City.