Alebrije - WikiHQ

thumb|300px|Alebrijes at the Pochote Market in the city of Oaxaca

thumb|Zacualpan Mojiganga 070

thumb|300px|Animation clip (in Spanish) about alebrijes made by the [[Museo de Arte Popular in collaboration with Wiki Learning, Tec de Monterrey]]

Alebrijes () are brightly colored Mexican folk art sculptures of fantastical (fantasy/mythical) creatures, traditionally made from papier-mâché or wood. The art form originated in Mexico City in the 1930s, when Pedro Linares, a papier-mâché artist, began creating surreal, dreamlike creatures after experiencing vivid hallucinations during an illness. His designs, which combined elements of various animals, became widely recognized as alebrijes and were later adopted by artisans in Oaxaca, who began carving them from copal wood, a local softwood.

Alebrijes are now a significant part of Mexican folk art, blending indigenous traditions with modern artistic expression. They are often associated with Día de Muertos (Day of the Dead), though they are not traditionally part of the holiday's customs. Today, alebrijes are crafted in various regions of Mexico and have gained international recognition, appearing in exhibitions, festivals, and even contemporary media.

Description

The first alebrijes originated in Mexico City, originally created by 'cartonero' artist Pedro Linares. Linares often said that in 1943, he fell very ill. While he was in bed unconscious, he dreamt of a strange place resembling a forest. There, he saw trees, rocks, and clouds that suddenly transformed into strange, unknown animals. He saw "a donkey with butterfly wings, a rooster with bull horns, and a lion with an eagle head," and all of them were shouting one word "Alebrijes! Alebrijes! Alebrijes!" Upon recovery, he began recreating these Chimera-like creatures that he had seen in cartonería, the making of three-dimensional sculptures with different types of papers, strips of papers, and "engrudo" (glue made out of wheat flour and water).

His work caught the attention of artists Diego Rivera and Frida Kahlo because they used to purchase Judas figures from Pedro Linares. In the 1980s, British filmmaker Judith Bronowski arranged an itinerant Mexican art craft demonstration workshop in the United States featuring Pedro Linares, Manuel Jiménez, and Maria Sabina, a textile artisan from Oaxaca. Although the Oaxaca Valley area already had a history of carving animals and other types of figures from wood, artisans from Oaxaca learned of the alebrijes paper-mâché sculptures when Bronowski's workshop took place. Linares demonstrated his designs on family visits. These were adapted to the carving of a local wood called copal; this type of wood is said to be magical, made from united magic. In the 1990s, the artisans of Oaxaca began to use the word Alebrije to designate their figures carved in wood.

The papier-mâché-to-wood carving adaptation was pioneered by Arrazola native Manuel Jiménez. This version of the craft has since spread to several other towns, most notably San Martín Tilcajete and La Unión Tejalapan, and has become a significant source of income for the area, especially for Tilcajete. The success of the craft, however, has led to the depletion of the native copal trees. Attempts to remedy this with reforestation efforts and management of wild copal trees have had limited success. The three towns most closely associated with alebrije production in Oaxaca have produced a number of notable artisans such as Manuel Jiménez, Jacobo Angeles, Julia Fuentes, and Miguel Sandiego.

Original papercraft alebrijes

thumb|Papier-mâché alebrije in progress at a workshop at the Museo de Arte Popular in Mexico City

thumb|Alebrije named Michin Rojo with salute to Pedro Linares

Alebrijes originated in Mexico City in the 20th century, in 1936. The first alebrijes, as well as the name itself, are attributed to Pedro Linares, an artisan from México City (Distrito Federal), who specialized in making piñatas, carnival masks and "Judas" figures from cartonería, an ancient and widespread papercraft often confused with papier-mâché. He sold his work in markets such as the one in La Merced.

In 1936, when he was 30 years old, Linares fell ill with a high fever, which caused him to hallucinate. In his fever dreams, he was in a forest with rocks and clouds, many of which turned into wild, unnaturally colored creatures, frequently featuring wings, horns, tails, fierce teeth and bulging eyes. He heard a crowd of voices repeating the nonsense word "Alebrije". After he recovered, he began to re-create the creatures he'd seen, using papier-mâché and cardboard. Eventually, a Cuernavaca gallery owner discovered his work. This brought him to the attention of Diego Rivera and Frida Kahlo, who began commissioning more alebrijes. This inspired other alebrije artists, and Linares' work became prized both in Mexico and abroad. Rivera said that no one else could have fashioned the strange figures he requested; work done by Linares for Rivera is now displayed at the Anahuacalli Museum in Mexico City. Various branches of the family occupy a row of houses on the same street. Each family works in its own workshops in their own houses, but they will lend each other a hand with big orders. Demand rises and falls; sometimes there is no work, and sometimes families work 18 hours a day. The Linares family continues to export their work to the most important galleries showing Mexican art worldwide.

Because a variety of artists and artisans have been creating alebrijes in their own styles, the craft has become part of Mexico's folk art repertoire. Red cardboard demons called judas, which Linares made, are still made to be burned in Mexico during Holy Week in purification rituals. Alebrijes, especially the monsters, have gained a reputation for "scaring away bad spirits" and protecting the home.

The annual Mexico City Alebrije Parade

thumb|Monumental alebrije named La Urbe in the Zocalo of Mexico City during the 2009 Parade

A more recent phenomenon, the annual Mexico City Alebrije Parade, has been sponsored by the Museo de Arte Popular in Mexico City since 2007. The 2009 parade featured more than 130 giant alebrijes made of wood, cardboard, paper, wire, and other materials, and marched from the Zocalo in the historic center of the city to the Angel of Independence monument on Paseo de la Reforma. Entries by artisans, artists, families and groups each year have gotten bigger, more creative and more numerous, with names like:

"Devora Stein" by Uriel López Baltazar
"Alebrhijos" by Santiago Goncen
"Totolina", by Arte Lado C
"AH1N1" by Taller Don Guajo
"Volador", by Taller de Plástica El Volador
"La mula del 6" by Daniel Martínez Bartelt
"La gárgola de la Atlántida" by Juan Carlos Islas
"Alebrije luchador" by Ricardo Rosales

They are accompanied by bands playing popular Mexican music. At the end of the parade, the pieces are lined up on Paseo de la Reforma for judging and displayed for two weeks. The 2010 alebrije parade had themes related to the Bicentennial of the Independence of Mexico and the Centennial of the Mexican Revolution, although Walter Boelsterly, head of the Museo de Artes Populares, concedes that such may require a bit of tolerance because it can lead to revered figures such as Miguel Hidalgo and Ignacio Allende with animal parts. He states that the aim is to celebrate and not to mock.

Pedro Linares was originally from México City (Distrito Federal). In the 1980s, British filmmaker, Judith Bronowski, arranged an itinerant demonstration workshop in the United States participating Pedro Linares, Manuel Jiménez and a textile artisan Maria Sabina from Oaxaca. Although the Oaxaca valley area already had a history of carving animal and other types of figures from wood, it was at this time, when Bronowski's workshop took place when artisans from Oaxaca knew the alebrijes papier-mâché sculptures.

Then Linares' designs were adapted to the carving of a local wood called copal. The Oaxaca valley area already had a history of carving animal and other types of figures from wood, and Linares' designs were adapted to the carving of a local wood called copal. This adaptation was pioneered by Arrazola native Manuel Jiménez. This version of the craft has since spread to a number of other towns, most notably San Martín Tilcajete and La Unión Tejalapan, become a major source of income for the area, especially for Tilcajete. Given the scale of success with alebrijes, populations of native copal trees have decreased over the years. Efforts through reforestation and the management of the trees have yet to create any significant growth in population. The three towns most closely associated with alebrije production in Oaxaca have produced a number of notable artisans such as Manuel Jiménez, Jacobo Angeles, Martin Sandiego, Julia Fuentes and Miguel Sandiego.

One of the most important things about the fantastical creatures carved of wood is that every piece is removable, it is how one can tell a genuine piece carved by one of the original great carvers. The later carvers did not learn the technique of making each piece fit so well that it could be removed and put back in again and again. Those pieces have more than tripled in value. The painting on these figures is also more intense and varied.

The first to copy the fantastic forms and bright colors was Manuel Jiménez, who carved the figures in local copal wood rather than using paper. Animal figures had always been carved in the central valleys area of Oaxaca by the Zapotecs since the pre-Hispanic period. Totems of local animals were carved for luck or religious purposes as well as hunting decoys. Figures were also carved for children as toys, a tradition that continued well into the 20th century.

After the craft became popular in Arrazola, it spread to Tilcajete and from there to a number of other communities, and now the three main communities are, San Antonino Arrazola, San Martin Tilcajete and La Union Tejalapam, each of which has developed its own style. The carving of wood figures did not have a name, To make the distinction, the carvings of fantastic creatures, closer to Linares' alebrijes, are now sometimes called "marcianos" (lit. Martians). and it is estimated that more than 150 families in the same area make a living making the figures. These pieces, now referred to as "rustic" (nistico), were carved and painted in a simple manner. Larger pieces are generally made only by the better carving families. Within Mexico, Oaxacan alebrijes are often sold in tourist locations such as Oaxaca city, La Paz, Cancún, Cozumel and Puerto Escondido. Cheaper pieces tend to be sold at trade shows and gift shops.

The price of each piece depends on the quality, coloring, size, originality and sometimes the reputation of the carver. The most expensive pieces are most often sent abroad.

The carving process

thumb|Woman sanding an alebrije in progress in San Martin Tilcajete

The carving of a piece, which is done while the wood is still wet, can last anywhere from hours to a month, depending on the size and fineness of the piece.

After the carving, the figure is then left to dry for up to ten months, depending on its overall size and thickness. Semi tropical wood such as copal is susceptible to insect infestations, and for this reason drying pieces are often soaked in gasoline and sometimes baked to ensure that all insect eggs have been destroyed. As the figure dries, it is also susceptible to cracking. The cracks are filled with small pieces of copal wood and a sawdust resin mixture before painting.

Securing supplies of copal wood is a major concern for woodcarvers. Despite the fact that the cost of the wood is not particularly high, despite the effort, Current needs for the wood far outweigh what these efforts have been able to produce. Annually, the municipality holds its Feria del Alebrije (Alebrije Festival), which features alebrije sales and exhibitions, music, dance and theatre. There are also offerings of local and regional cuisine. More than 100 vendors attend, selling alebrijes, textiles, local dishes, artwork and locally made alcoholic beverages. It is sponsored by the Master Craftsmen Group of Tilcajete (Grupo de Maestros Talladoes de Tilcajete), which includes Hedilberto Olivera, Emilia Calvo, Roberta Ángeles, Juventino Melchor, Martin Melchor, Margarito Melchor Fuentes, Margarito Melchor Santiago, José Olivera Pérez, Jesús Melchor García, Vásquez, María Jiménez, Cira Ojeda, Jacobo and María Ángeles, Justo Xuana, Victor Xuana, Rene Xuana, Abad Xuana, Flor and Ana Xuana, Rogelio Alonso, who works in papier-mâché, and Doris Arellano, who is a painter. which are sold in stores in Chicago, California, New York and Israel. The Hernandez sisters sell primarily from their home and known for their painting style. The Fuentes family gained fame from Efrain's carving talents. He was featured in an exhibit in Santa Fe, NM when he was only 13 and his work has been featured in at least one book.

Like Tilcajete, Arrazola has a number of well known artisans. Marcelo Hernandez Vasquez and his sisters have been making alebrijes for eighteen years, Workshops on the making of alebrijes with the purpose of selling them have been held in Cuautla, Morelos.

One alebrije craftsman in Cuautla is Marcos Zenteno, who has taught the craft to his daughter. He also gives workshops on the making of the craft to others.

This style of alebrije was first presented at a short parade dedicated to them in 2014 in Colonia Roma. These versions have been made in Mexico City by various artists, especially in workshops such as the Fábrica de Artes y Oficios Oriente. Exhibitions dedicated to the variation have attracted up to 6,000 people to the Museo de Arte Popular in Mexico City and have been displayed at Mexico International Festival of Lights.

References

Linares Family website

"En Calavera: The Papier-mâché art of the Linares family" by Susan N. Masuoka (casebound) / (softcover) UCLA Fowler Museum of Cultural History

External links

Amo Alebrijes