​An homenaje to all things wondrous and wild this time of year in our corner of the world --loosely inspired by a local folktale of the disobedient young lady seduced by the devil at a community dance. Smitten, she becomes transparent beneath his gaze. His appearance crosses centuries - skull face and long warrior hair under a classic fedora hat and flashy 40's suit.

The scene is the iconic historical shrine, El Tiradito (The Castaway) - often regarded as the heartbeat of Tucson, decorated for El Dia de los Muertos. 

Ancient deities rule... shining through the moon. But La Virgen de Guadalupe lives on... here on a ball cap that could have been left by a thankful border-crosser. (When one becomes aware of La Virgen, one notices she is everywhere.) 

​As an afterthought I added a curious little dog, just following the trail of marigold petals...

This piece is fashioned after one of the 10th card in Mexico's national game, ¡Lotería!. The Mexican version of the card is simple (right), and has a companion dicho (saying):
El que a buen árbol se arrima, buena sombra le cobija.
(He who nears a good tree, is blanketed by good shade.)

However, I don't do anything simple, so I expanded my interpretation to symbolize a Tree of Life. I found inspiration from the fabulous yarn painting of the Huichol Indians of Mexico's Sierra Madre Occidental, and "painted" with my computer mouse as if I was working with yarn. The paintings are all-digital, created using the software program, Adobe Illustrator. 

The concept of a tree of life is a widespread archetype in the world's mythologies; a sacred tree in religious and philosophical tradition. The tree of knowledge, connecting to heaven and the underworld, and the tree of life, connecting all forms of creation, are both forms of the world tree or cosmic tree. My interpretation is one akin to connecting all forms of creation, and I include animals & insects found in our Sonoran corner of the world: the bat, bees, hummingbirds, the cardinal, the jaguar, sky-island squirrel, a pair of deer, the owl*, and of course, the mythical serpent, La Corua.

* The pinwheel design on the owl's breast is that of a peyote cactus bud - the spiritual hub of Huichol culture.

Located at the base of Sentinel Peak (A Mountain), Barrio Kroeger Lane is set down on the birthplace of Tucson; named Chuk: Shon by its original inhabitants, the Tohono O'odham. There are remnants of ancient Hohokam and Piman settlements scattered throughout the area. It is still considered sacred land by the families (mostly Mexican-American and devoutly Catholic), who have lived here for generations. As with so much else in Tucson with development potential, this rustic neighborhood is endangered by the pressures of progress.

Barrio Kroeger lane gets its namesake from an Anglo doctor who served the neighborhood as a general practitioner. Due to its location on the banks of the Santa Cruz River, the area was also nicknamed Sal Si Puedes due to occasional flooding leaving only one or two exits out of the area.

What distinguishes this humble little neighborhood from most of Tucson’s other barrios is the continuing ownership of horses and small livestock animals. In early years, Tucson’s annual Fiesta del Día de San Juan was graced with rousing performances by Escaramuzas  (ladies in folklorico dresses riding sidesaddle) from Barrio Kroger Lane.  The railroad-tie corral fence is a defining feature of the neighborhood.

A gallo (rooster) crows as the young vaquero practices his skills with his lasso.

The walkway to the adobe house is made from TPBCO (Tucson Pressed Brick Company) bricks. TPBCO and other brick manufacturing companies thrived on the west bank of the Santa Cruz River in the 19th and early 20th centuries, and employed many of Barrio Kroger Lane’s residents.

The little hand-made capilla (chapel) was used to celebrate mass on special occasions. It was also built to honor elders unable to attend regular church. Succumbing to benign neglect, it has since been removed.

The cave high on the hillside is a tiny grotto-like cave honoring the Virgin of Guadalupe. The story goes that, in the 1950’s, a humble man with a devotion to Nuestra Señora de Guadalupe was thrown in jail for a crime he did not commit. From the jail he could see the A Mountain hillside, and every day he prayed to La Virgen. He promised her that if the real criminal was found he would build a shrine to her on that hillside. Sure enough, eventually the true culprit came forward and the man was freed. True to his manda (promise), he created this shrine honoring La Virgen de Guadalupe. The tiny grotto holds offerings to other saints, in particular San Judas, the saint of impossible causes, who is held dear by the neighborhood.

In more recent years, another shrine to the Lady was built on the mountain by local firefighters. She overlooks the sweeping intersection at Star Pass and Mission Roads, and is cleaned and seasonally decorated by Barrio Kroger Lane residents.

My thanks to Josefina Cardenas, long-time resident of Barrio Kroeger Lane, for helping me with this interpretation.

El Día de los Muertos/Day of the Dead/All Souls Day has its roots in the Aztec and Maya traditions of Mexico and is thousands of years old. 
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It has become more & more recognized and celebrated here in the greater American West in recent years. The Day of the Dead as it is celebrated in central and southern Mexico is an incredible amalgamation of native and Catholic beliefs, and honors departed members of the family. As the time of year when the veil between the worlds is the thinnest, it is believed that the departed actually come back, returning to visit their grave sites and the scenes of their lives.

One of the ways that Mexicans cope with loss is to view the concept of death in an almost playful manner. Markets are filled with candy skulls (complete with names) and statues and depictions of calacas (skeletons) engaged in everyday acts like playing music, celebrating weddings (and funerals!), riding skeleton horses, bikes, and countless other life delights.

Artists have participated in the long-standing tradition of creating calaveras (skulls) to celebrate this event - often satirizing the events, customs and personalities of the day. The most famous Mexican artist known for this is José Guadalupe Posada.

In the northern frontiers of Mexico and border regions, El Día de los Muertos is more muted but departed family members are honored just the same. Fall is when families of the departed clean grave sites, give them fresh paint, and decorate the graves with flowers--fresh, silk/plastic, and hand-made paper.

Of all the seasons of the year, Fall is my favorite. Here in the Sonoran Desert the temperatures begin to cool and there is a restful stillness in the air. Around the world, many cultures celebrate this time as the annual window when the veil between the spirit and physical world is the thinnest. In pre-Christian times, death was not a thing to be feared but a transition to be celebrated as another form of life. In this way, family members and ancestors were honored and kept close in the hearts of the living.

During this special fall window, many grand occurrences take place in nature that have helped people connect with those who have passed on. In North America, one of the most phenomenal is the mass migration of the Monarch butterfly. Every year, 60 million-one billion Monarchs make the journey from eastern Canada to the forests of western central Mexico. They arrive in the state of Michoacán every fall. The Purépecha Indians in the region have noticed the arrival of monarchs since pre-Hispanic times. In the native Purépecha language, the monarch butterfly is called the harvester butterfly, because monarchs appear when it's time to harvest the corn.

Monarchs and the Mexican holiday Day of the Dead (El Día de los Muertos) also occurs when the monarchs appear. According to traditional belief, the monarchs are the souls of ancestors who are returning to Earth for their annual visit.

All Souls/All Saints/Day of the Dead occurs officially on November 2nd. In Mexico, however, it is a three-day celebration that begins on October 31st. More on this festive tradition next post.

Barrio Hollywood is one of Tucson's many distinctive Mexican-American neighborhoods, famous locally for its annual Fiesta Grande - a fantastic street fair along Grande Avenue, its main arterial street.  
This no-nonsense neighborhood is known for its history of activism fighting systemic racism, sub-standard education, and denigration of Mexican culture and use of the Spanish language.

This painting attempts to integrate neighborhood icons with a splash of timelessness. I also seek to honor the power of family in Tucson's barrios. Proud of its Lowrider Culture, this piece enlivened some of my own memories growing up immersed in Chicano & African-American communities of south-central L.A. and I remain a fan of classic low-rider cars and music genre to this day. 

Renown Tucson author, Patricia Preciado Martin, grew up here. Her many books about Southern Arizona's people, history and culture have inspired me for many years.  Barrio Hollywood is also home to Tucson's cherished artist, David Tineo. 

I created this painting styled as an ex-voto; a votive offering to a saint or divinity, given in fulfillment of a vow. (Click on photo to enlarge)

Adelita (la soldadera) stands tall, gazing forward, carrying a young child in a traditional indigenous sling. On her thigh rests a Carabina 30/30— (Winchester 30/30) decorated with a rose and two hummingbirds; both powerful Yoeme (Yaqui) symbols. She is dressed plainly, in a Tehuana style skirt. She shows signs of struggle but is poised and undeterred. She is the enduring Woman Warrior Spirit personified, the unsung strength of the world.

The girl child Adelita carries represents a new generation of life. She could be the child of Adelita, or a rescued child separated from her own natural mother. She sleeps peacefully.

• Blood on the ground: Mexico’s bloody history and ongoing struggles.
• Aztec calendar motif: embodies sun & earth deities Tonatiuh & Tlaltecuhtli – both related to sacrificial blood.
• Border Fence: symbol for all that is ridiculous.
• Skeletons: ancestors, perished migrants.
• Rattlesnake: Animal guardian, powerful transformative medicine. Also connected to the Aztec serpent goddess, Coatilcue, and Cihuateteo; one who guards the spirits of women who died in childbirth.
• Prickly pear cactus: (in this case opuntia var. Santa Rita) Food & sustenance for desert survivors.
• Mourning Dove w/creosote bush sprig: Desert peace symbol.
• Banner: In English: “If you want peace, work for justice.” --Pope Paul VI
• River: Santa Cruz River; without which human settlement in this far corner of the Sonoran desert would not have been possible.
• La Virgen de Guadalupe: Our Holy Blessed Mother and Empress of the Americas, sprung from the ancient Aztec mother goddess Tonanztin. Some believe that she holds the spiritual blueprint of the U.S. Southwest.