Showing posts with label National Palace. Show all posts
Showing posts with label National Palace. Show all posts

Tuesday, June 30, 2015

Reflecting on Porfirio Díaz

Thursday is the 100th anniversary of the death of President Porfirio Díaz, who ruled Mexico for thirty years between 1876 and 1911. With only one exception, he was re-elected every four years during that time. However, he is not a president you see honored by many statues or street names.

For most of the 20th century Díaz was called a dictator or tyrant. He has been described as heavy-handed, iron-fisted or sometimes both. His long rule is the reason for Mexico’s fierce constitutional ban on re-election to public office. For this Díaz did get streets named for him. Nearly every town in Mexico has a street named “No Reelección.”

Faced with the armed insurgency of the Mexican Revolution of 1910, Díaz presented his resignation to the Chamber of Deputies on May 25, 1911. In a four-paragraph, single-page typed letter, he even used the word “revolution” as the reason for his resignation.

Though there is little public adulation of Díaz, there is recognition of him in strange places.

General Porfirio Díaz is one of the officers listed as being taken prisoner by the French on an oval-shaped monument in Puebla’s Zócalo. The monument honors the “exemplary surrender of the Army of the East under the command of General Jesús Ortega,” to French General Élie Frédéric Forey on May 17, 1863. Díaz somehow escaped from the French army and continued fighting against the French Intervention under President Benito Juárez.

Though the Mexicans did not defeat the French, Díaz emerged a military war hero. He remained loyal to President Juárez through Maximilian’s reign but had developed presidential ambitions of his own.

In an 1876 coup, soon after death of Juárez, Díaz assumed the presidency and was president for 30 of the next 34 years the period known as the Porfiriato.

Despite having made his military fame fighting the French during Maximilian’s short-lived Mexican Empire, Díaz was a great admirer of everything French. Think Porfiriato when you see the French- style buildings in downtown Mexico City. 

Their steep metal roofing was a 19th century European design to assure snow would slide off easily — hardly necessary in tropical Mexico.

In fact, the most spectacular and beautiful buildings in Mexico City’s Centro Histórico were either built or started during the Porfiriato. The domed Monument to the Revolution was really meant to be the dome over the center of the legislative palace the opus magnus Díaz was constructing.

Porfirio Díaz is one of the most easily recognizable figures in Mexico’s 20th-century murals. I have no doubt Díaz would have been delighted with his portraits as immortalized by Diego Rivera and David Alfaro Siqueiros. Both were members of the post-revolutionary mural art movement. They intentionally ridiculed Díaz’ vanity; the satire would have been lost on him.

Rivera portrayed Díaz prominently in the murals in the National Palace’s central staircase his chest covered with medals and wearing a white-plumed hat just as Díaz portrayed himself in his official presidential portrait.

Siqueiros’ mural in Chapultepec Castle would certainly have filled President Díaz with pride sitting in the presidential chair seemingly oblivious to the swooning crowd of top-hatted members of high society pressing in around him while swirling women dance in front of him.

The railroads became the signature trademark of the Porfiriato. Twenty thousand kilometers of track were laid during his tenure. Telegraph lines, paralleling the tracks, served as the long arm of the Díaz administration’s control over the rest of the country.

Reliable, scheduled long-distance transportation became the norm during the Porfiriato. The president himself traveled the length of the country in the presidential railroad coach. He personally inaugurated public works projects of French design, many of them railroad related. Any city on a railroad line has buildings dating back to the Porfiriato ― if only the train station.

Though there was very good material progress during his tenure, pressure built up in society. Díaz’s long term in office meant little turnover at all levels of government and left little opportunity for young lawyers to advance in government positions. A closed dictatorial system left middle-class professionals and business owners increasingly marginalized and in search of alternative forms of government.

Rapid capitalist transformation of the rural countryside meant increasing the size of the haciendas and mass dispossession of land, water and traditional rights of Mexico’s rural villages.

The ensuing Revolution was one of the first wars in which trains served as troop transports. In fact
a steam locomotive and a coal car are an outdoor display at the Museum of the Revolution.

And, it was aboard a train that Díaz would set off on his exile to Paris. Díaz rode the train from Mexico City to Veracruz where, after having coffee at one of my favorite restaurants, La Parroquia, he departed aboard the Ypiranga into exile to France. He died at 85 years of age on July 2, 1915, and is buried in Paris’ elegant Mountparnasse. General Gustave León Niox, who Díaz had fought against in Mexico, walked in Díaz’s funeral procession.

Tuesday, January 28, 2014

Maya art at the National Palace

Mexico’s National Palace is hosting the grandest Maya exhibit I’ve ever seen. Mayas: Revelation of Time Without End brings together 470 pieces of ancient Maya art as well as a smattering of colonial and contemporary Maya art. Half the items on display are of recent discovery, many being displayed for the very first time. Many other items come from collections of Mexico’s various museums of Maya archeology. I was delighted to see so many pieces from museums I thought I knew well but where I never had access to what was in storage.

“They came out of storage rooms and have been cleaned and restored for this exhibit,” said Mercedes de la Garza, curator of the exhibit. Foremost among the storage rooms was the basement of the National Museum of Anthropology, which holds more items than are on display.

Every visitor will certainly leave with favorite pieces in mind. Stellar is the Tablet of the Throne, discovered in 2002 in Palenque’s Temple XXI. The exquisite detail, accompanied by hieroglyphic text, shows two deities along with Pacal Kin (the Palenque ruler buried in the tomb under the Temple of the Inscriptions) and two other governing dignitaries in a ceremony of blood-letting self-sacrifice.
I’m haunted by the life-sized sculpture in limestone of a man who has just offered his heart in sacrifice. It is on loan from the INAH’s regional museum in Campeche.

I was most intrigued by two figurines, each about six inches high, portraying a god embracing a woman. They are so similar that they must have come from the same potter’s workshop. However, one belongs to the National Autonomous University of Mexico’s (UNAM) Tlatelolco museum and the other to the Canton Palace museum in Mérida. They made me think of the technique developed by Dorie Reents-Budet of using neutron activation to determine if two pieces of pottery came from the same workshop or even from the same ball of clay.

A welcomed warming of international relations was palpable in last month’s inauguration ceremony as well as in the exhibit itself. French ambassador Elisabeth Beton sat on the speakers’ platform with President Peña Nieto, governors of states in the Maya area, and the heads of the National Institute of Anthropology and History (INAH) and Council of Culture and Arts (Conaculta). It was a subtle way to underline a warming in Franco-Mexican relations under Peña Nieto’s presidency. 

In his remarks President Peña Nieto said the Maya exhibit will travel to Brazil and France before returning to tour Mexico. I was pleased to hear President Peña Nieto recognize the importance of Mexico’s ancient history when he said: “This exhibit — along with all the other work we are doing — will be a stimulus projecting Mexico to the rest of the world. More importantly it will make Mexican’s pride in our roots and our identity flourish.”

Approximately 20 percent of the pieces on display are on loan from three Guatemalan museums. This confirms a thawing of relations in archeological circles where a longstanding irritant has been the display in Mexico’s Templo Mayor museum of the Nobel Peace Prize medal won by Guatemalan Rigoberta Menchu. Menchu deposited it there in 1992 saying: “It will be transferred to Guatemala when conditions of respect of human rights and peace exist. They do not exist at the present time.” The medal is still on display but that text has been removed from the plaque.

The National Palace is a wonderful place to house this magnificent exhibit. You enter and leave through side-by-side narrow doors, spanned by a single arch, between two of Diego Rivera’s murals in the National Palace’s central courtyard. Set in what seems like a rabbits’ warren of spacious galleries, with no view to the outside, the exhibit winds around another of the palace’s many courtyards not even visible to the visitor until the very end of the exhibit.

Rafael Tovar y de Teresa, President of Conaculta, described the layout of the exhibit’s division into six sections: the Maya relationship with nature; Maya community and daily life; the ceremonial heart of the Maya cities; the Maya relationship with time and astronomy; and Maya sacred forces — in which two burials are exhibited just as they were found. The exhibit ends with colonial and contemporary textiles, musical instruments, and items of religious nature produced as the Mayas blended with Christianity.

Tovar also gave us the wonderful news that this exhibit is the first of a series that will be held in the National Palace during this presidential administration. It will be followed by equally impressive exhibits of Mixtec and Zapotec cultures, Teotihuacan, the Aztecs, cultures of Northern Mexico, and the Totonacs. 

Mayas: Revelation of Time Without End lives up to Mexico’s enviable reputation for the quality of its museums — in content, quality of the displays, as well as a logical progression in the presentation of the displays. It exceeds other Mexican museums in its friendliness. Admission is free for all visitors and photography is welcomed (without flash or tripods). Its schedule brackets Mexico’s busiest family vacation times. It opened last month before the year-end holidays, and will close April 27, 2014, after Holy Week. Open 10 a.m. to 5 p.m. Closed Mondays.