Oaxaca handcrafts and folk art is one of Mexico's important regional traditions of its kind, distinguished by both its overall quality and variety. Producing goods for trade has been an important economic activity in the state, especially in the Central Valleys region since the pre-Hispanic era which the area laid on the trade route between central Mexico and Central America. In the colonial period, the Spanish introduced new raw materials, new techniques and products but the rise of industrially produced products lowered the demand for most handcrafts by the early 20th century. The introduction of highways in the middle part of the century brought tourism to the region and with it a new market for traditional handcrafts. Today, the state boasts the largest number of working artisans in Mexico, producing a wide range of products that continue to grow and evolve to meet changing tastes in the market.
Oaxacan handcrafts are also highly specialized by community. Notable wares include the barro negro pottery of San Bartolo Coyotepec, the green glazed and other pottery of Santa María Atzompa, the wool textiles of Teotitlán del Valle and surrounding communities, the mezcal of Tlacolula de Matamoros (and numerous other towns and villages) and a newcomer, colorful animal figures carved from wood made in San Antonio Arrazola and San Martín Tilcajete. Most of the production is in the Central Valleys, but artisans can be found all over the state including the Chinantla area with its huipils, the Tehuantepec area with its traditional clothing and jewelry made of gold coins and palm frond woven goods from the Mixtec area of the state.
Status and distinguishing characteristics
The state of Oaxaca is one of the main and best-known producers of handcrafts (which includes certain kinds of processed foods) in Mexico. Its long tradition of production since the pre-Hispanic period along with an abundance of raw materials has allowed this tradition to stand out both in quality and the variety. The most successful products are ceramics and textiles, followed by those made from wood and leather. Other production includes wood carving, metal work, embroidery, leatherwork, fireworks, papel picado, stone work, furniture and more.
One distinguishing feature of Oaxaca handcrafts is specialization of production by community, which began in the pre-Hispanic period supported by a complex web of regional markets. This tradition is maintained because of the state's mountainous terrain and poverty, which has inhibited the development of transportation infrastructure allowing communities to remain relatively autonomous and fractured politically and socially. This tradition is one of the strongest in Mexico, the number of artisan producers in Oaxaca was estimated at 451,837 artisans, equivalent to 12% of the state's total population (FONART, 2020). The regional market system also remains in place to make handcrafts widely available in the state, especially in the Central Valleys region.
The strongest indigenous influences on Oaxacan handcrafts are Zapotec and Mixtec. Local materials also have an effect on what is produced. In San Bartolo Coyotepec, the local clay turns a deep shiny black if the piece is burnished before firing. Traditional dyes for textiles include those made from the cochineal insect, which produces various shades of red and a marine snail found on the state's coastline for purple. Traditional fibers include cotton (brown and white), wool and maguey. Production techniques are largely unchanged since the pre Hispanic and colonial periods, made in family workshops, with labor often divided by sex, age and social status. A number of artisans and artisan families have gained reputation for fine products and the fine pieces can be found in museums in many parts of the world. There is also innovation in the handcraft markets with artisans adapting designs to suit new markets and even the creation of new items, such as alebrijes.
Development
The making of good for trade as well as local use was established in the region relatively early in the pre-Hispanic period because the state, especially the Central Valley, was on the trade route that connected central Mexico with Central America. One example of this is the archeological site of El Palmillo, which was a major weaving center, with the weaving of various fibers established by the Classic Period. Then as now, production was centered in households with the households varying in the intensity and type of production. One other common trade good was worked seashells, which the raw material coming from the Oaxacan coast despite the rough terrain, to be worked and then traded here.
This tradition of supplementing family income has remained to the present day. The main products have been textiles, ceramics, stone products, baskets and wood products although these have evolved and new products have been introduced.
The Spanish, at the beginning of the colonial period, introduced new raw materials, new products and new techniques to diversify the products the region's artisans produced. In the pre-Hispanic period, the main fibers were cotton and ixtle (made from maguey leaves), and the main weaving mechanism was the backstrap loom. The Spanish introduced wool and silk, along with new dyes/colors as well as the pedal loom, which allows faster weaving and the creation of larger pieces. Today Oaxacan weavers produce rugs, handkerchiefs, carrying bags, ponchos, various articles of clothing and more. These changes did not eliminate the older methods. The backstrap loom in still in use, as are dyes made from local plants, animals and minerals such as cochineal, an insect which is used to create red and tishinda, a marine snail used to create purple. The Spanish also introduced glazed ceramics, the filigree method of making gold and silver jewelry and the working of new metals, especially tin and iron.
By the 20th century, industrialization had chipped away at the production of handcrafts, especially for local use. For example, by 1965 in San Miguel del Valle, only a few old men still weaved the local wood, using natural dyes because the demand was so low. However, in the 1960s and 1970s, the construction of modern roadways, especially the Pan American Highway, allowed the development of a tourist industry, catering to those looking to explore traditional Mexico as well as the coastline. The modern Oaxacan handcraft industry took off, with its initial market being tourists. This led to an interest in traditional methods with the numbers of artisans multiplying, especially in textiles and ceramics from the 1960s to the late 1980s. By the end of this period, a number of communities’ economies had changed from agricultural to those based on one particular handcraft. The 20th century also saw some changes in technique, especially the use of synthetic dyes and paints and commercial thread, as well as lead-free glazes, but these have not completely replaced more traditional production.
Today, Oaxacan handcrafts are heavily dependent on the tourist trade, including collectors who come to the area especially for handcrafts. This success has also translated into an increase in exports of products to various parts of the world, especially to the United States. The continued development of Oaxacan crafts is supported by both government and private entities. One method of doing this is to encourage younger generations to become craftsmen, with money for equipment and avenues to promote their merchandise such as contests. These efforts also include those outside of Mexico, such as a government-run outlet in Pasadena, California, financing for export by Bancomext and sales by groups such as the Friends of Oaxacan Folk Art. Handcraft traditions continue to evolve in the state, generally to cater to tourist and foreign tastes and include the creation of new products such as alebrijes. The Centro de Diseño Oaxaca has worked to join artisans and contemporary designers to create new products based on traditional techniques and to document the development of handcrafts and folk art in the state.
The relationship of crafts to tourism has promoted the opening of a number of museums, generally in the Central Valleys area, to promote and education about the products. These include the Oaxaca Textile Museum (Museo Textile de Oaxaca) founded by the Alfredo Harp Foundation and has a permanent collection of over 1,000 pieces, including some that date from the 17th century. Another example is the state run Museo Estatal de Arte Popular de Oaxaca, which mostly focuses on the barro negro pottery produced in San Bartolo Coyotepec, but contains representative example of all major crafts traditions in the state.
Challenges
Oaxacan artisans are noted for the quality of their work and business success; however, the industry still faces challenges. There is little to no local demand for products because commercially made equivalents are cheaper and often easier to use. This means that artisans are almost completely dependent on tourism to keep traditions alive. The success of Oaxacan crafts has put strains on the availability of raw materials. One example of this is the over-exploitation of copal trees, whose soft wood is preferred by alebrije carvers. Another challenge is the introduction of cheaper imitations of products, generally from China. To date, few Mexican handcraft products have been eligible for certification guaranteeing authenticity.
Although the promotion of handcrafts and folk art is a priority in the social and economic development of the state, there is still a lack of government support, often due to bureaucracy. Crafts that have a history in a town that dates back at least to the colonial period is more likely to receive support from government entities. Alebrijes is one exception.
The dependency of crafts on the tourism trade means that disruption here has a disproportionate effect on the industry. The 2006 Oaxaca protests severely curtailed tourism to Oaxaca and with it the sales of handcrafts, affecting one of the most vulnerable economic sectors of the state, with sales reduced during the uprising by up to 95% as shops in the historic center were forced to close. This meant that not only vendors in the city were affected but also handcraft producers throughout the Central Valleys who depend on sales in the capital. Political corruption and upheaval, such as the 2006 uprising, have had a negative effect on handcraft sales. The 2006 events hit the artisans hard because as small enterprises, they did not have the resources needed to adapt to rapidly changing conditions. Since tourism centers on the city of Oaxaca, with relatively few venturing to the outlying areas where the products are made, many artisans are dependent on middlemen based in the city and often are in debt to them.
Wood carving and weaving artisans have formed cooperatives and other organizations to continue to promote their work. However, not all artisans have been able to do this. Because of the difficulty in making a living, many artisans emigrate to the United States.
Towns of the Central Valleys
Central Valleys
Handcraft creation is mostly concentrated in the Central Valleys, the Zapotec region of the state. This area has the highest degree of specialization and variety which includes ceramics, stiff fiber weaving (baskets), textiles of wool and cotton, stone work, wood work, the making of mezcal and leather work. Most crafts-producing communities in the area specialize in one type or sub-type of handcraft and most are located in or near the city of Oaxaca.