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Barrio negro. Georges Simenon. Editorial: Tusquets. Año publicación: 2001. Temas: Policíaca y Espionaje. Resumen y sinopsis de Barrio negro de Georges Simenon. Uno de los dos biógrafos más importantes y recientes de Simenon , Patrick Marnham, en su extraordinario libro El hombre que no era Maigret.
- Georges Simenon
- Overview
- From functional to figurative
- The shift back to craft roots
In Oaxaca, traditional black pottery is making a comeback as a sustainable alternative to throwaway plastics.
In the Oaxacan village of San Bartolo Coyotepec, Silvia García Mateos is one of the members of Colectivo 1050°, an artisan cooperative steering the 2,500-year-old tradition of black pottery back to its sustainable roots.
In the Oaxacan village of San Bartolo Coyotepec, legend contends the clay is blessed. Artisans who use it to make Oaxaca’s famous barro negro, black clay pottery, are reluctant to reveal its secrets.
But 66-year-old Amando Pedro Martínez is an exception. Sparks crackle from the earth oven in his studio as I watch him reach, with cloth-covered hands, into the still cooling kiln and pull out smooth ebony plates one by one.
Made from clay mined on the slopes of the Sierra Madre across the valley, these pieces started out the color of wet mud. Impregnated with heat and smoke, they transformed into sleek greys and blacks evocative of twilight’s darkest hour. It’s no wonder ancient Zapotec folktales call barro negro “pottery of the night.”
Pedro is upholding an artisanal tradition that dates back more than 2,500 years—making San Bartolo Coyotepec, about five miles from Oaxaca City, one of Mexico’s oldest and most distinctive pottery communities.
“Barro negro is the megafauna of Oaxacan pottery,” says Eric Mindling, documentary photographer and author of Fire and Clay: The Art of Oaxacan Pottery. “It’s the most recognizable, but its rise is dependent on a rich pottery ecosystem.” Mindling has visited more than 70 villages across Oaxaca and encountered at least as many variations of pottery style.
The earliest examples of black pottery were found in Monte Albán, a Mesoamerican Zapotec and Mixtec stronghold dating back to 500 B.C. Situated roughly five miles southwest of Oaxaca City, Monte Albán rises strategically at the point where Oaxaca’s three main valleys converge.
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Beyond these valleys, the Sierra Madre mountains rise and fall north to Puebla, south to Chiapas, and west to the Pacific coast. This heaving landscape, with its sinuous valleys, mountain passes, and trading routes, harbors at least 16 distinct ethnic groups that still practice a farming system known as milpa, wherein corn, beans, and squash are cultivated together.
Oaxaca’s pottery evolved to perform distinct tasks related to milpa, such as cooking, storing, and irrigation. “The majority of Oaxacan pottery was made to absorb the thermal shock of cooking on top of a hot flame,” Mindling says.
San Bartolo Coyotepec pottery was different. Fired in sealed underground ovens at high temperatures, barro negro’s color and impervious clay body is a result of intense carbonization. It’s suited to holding and transporting liquids—but not for cooking, as traditional red pottery is.
“In Oaxaca, clay represents a way of living. It’s practical, sustainable, and an example of good design,” says industrial designer Kythzia Barrera, who, along with Diego Mier y Terán, co-founded Innovando la Tradición and Colectivo 1050°, sister organizations that collaborate with Indigenous potters to preserve traditional knowledge and skills.
“Take the well jug, for instance,” Barrera says. “It’s got a short neck for tying the rope to lower it into a well. The round, egg-shaped body is ergonomically designed to tilt when it hits water. The mouth is shaped to scoop up water and keep it in without spilling. This is a good design, perfectly suited to the task with no excess waste. And it’s a design that no doubt was worked out by the whole community, over time.”
Left: The Bartolo Jug created by Colectivo 1050° artisans is one of the cooperative’s best-selling barro negro pieces. The group helps Indigenous ceramicists preserve traditional knowledge and skills.
Right: In San Marcos Tlapazola, Griselda Mateo Gutiérrez uses a piece of quartz to burnish a shallow bowl made of local red clay. She learned how to make pottery from her mother and aunts.
In Mexico where systemic obstacles persist, “there is nothing more challenging than being an Indigenous woman,” says Barrera. Clay is an integral part of Indigenous identity; for many, it’s the only source of income.
Giving value to Indigenous pottery makers’ ancient system of producing and consuming in balance with the earth—what Barrera and Mier y Terán call the “artisan mindset”—is their core work.
Barro negro pottery ("black clay") is a style of pottery from Oaxaca, Mexico, distinguished by its color, sheen and unique designs. Oaxaca is one of few Mexican states which is characterized by the continuance of its ancestral crafts, which are still used in everyday life. [1]
2 de feb. de 2024 · El Barro Negro es una técnica de cerámica que se originó en la región de Oaxaca, en México, alrededor del año 500 AC. Fue desarrollada por las civilizaciones indígenas de la región quienes descubrieron que al pulir y quemar la arcilla a alta temperatura, adquiere un color negro mate.
9 de nov. de 2020 · El barro negro es considerado uno de los más populares y rigurosos estilos de alfarería en México. Las primeras piezas de este material fueron elaboradas en el periodo de Monte Albán en tonos grisáceos mates.
Joseph Dupuche, un joveningeniero, llega con su mujer a Panamá, contratado por una empresa colonial.Pero se encuentra con que ésta ha quebrado y que los bancos se niegan apagarle.
1 de ago. de 2021 · Barro negro pottery (“black clay”) is a style of pottery from Oaxaca, Mexico, distinguished by its color, sheen, and unique designs. Oaxaca is one of few Mexican states which is characterized by the continuance of its ancestral crafts, which are still used in everyday life.
