Made in Mexico
Tradition, Tourism, and Political Fermant in Oaxaca
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This book concerns the aesthetic, political, and socio-political aspects of tourism in Southern Mexico, particularly in the state of Oaxaca. Tourists seeking "authenticity" buy crafts and festival tickets, and spend even more on travel expenses. Indeed, when the income from tourism falters, southern Mexico's endemic economic and social problems worsen dramatically. What does a craft object or a festival moment need to look like or sound like to please both tradition bearers and tourists in terms of aesthetics? Under what conditions are transactions between these parties psychologically healthy...
This book concerns the aesthetic, political, and socio-political aspects of tourism in Southern Mexico, particularly in the state of Oaxaca. Tourists seeking "authenticity" buy crafts and festival tickets, and spend even more on travel expenses. Indeed, when the income from tourism falters, southern Mexico's endemic economic and social problems worsen dramatically. What does a craft object or a festival moment need to look like or sound like to please both tradition bearers and tourists in terms of aesthetics? Under what conditions are transactions between these parties psychologically healthy and sustainable. What political factors can interfere with the success of this negotiation, and what happens when the process breaks down? This is not a theoretical problem-social and political unrest cast a shadow on tourism in Oaxaca in the summer of 2006, a shadow now lifting slowly and uncertainly. Chris Goertzen begins with a case study from the neighboring state Chiapas, analyzing the nature and meaning of a single craft object, a woven pillowcase, thus previewing what the book will accomplish in greater depth in Oaxaca. He introduces the book's guiding concepts, especially concerning the types of aesthetic intensification that have replaced fading cultural contexts, and the tragic partnership between ethnic distinctiveness and oppressive politics. He then bring these concepts to bear on crafts in Oaxaca and on Oaxaca's Guelaguetza, a festival with an increasingly contested meaning that is the anchor for tourism in the state. Goertzen describes his search for crafts and customs independent of the tourist umbrella. Finally, he offers reflections and conclusions, and explores recent events, including politically motivated attacks on the Guelaguetza and thus on the tourism industry.
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