best bibi jones: September 2010

Body Painting Art Bust - Lotus Dream ...

At the heart of Prague's medieval Old Town is the expansive Old Town Square. Originally the site of an eleventh century city market, today it is best known as being the location of some of Prague's most iconic attractions. Within the perimeter of the square's cobblestone floor is the gothic skyscraper of Town Hall, the baroque aquamarine domes of St. Nicholas and the twin towers of Tyn Church, along with a cluster of cafes and shops.

Although Old Town Hall is actually a sprawling complex of buildings, what most people notice is its legendary clock tower. The tower was erected in 1410, but it stood without a tic or a tock until 1572, when the astronomical clock was finally installed. The clock itself is a testament to medieval scientific and technological achievement. Not only does it tell the time, it also measures the movement of the planets as they spin in their celestial orbits. The clock's face is a mirage of geometric shapes, colors and symbols, all safely guarded by a deep, dark frame of stone. On the hour, a mischievous looking skeleton rings its little chime, calling forth the wooden apostles, each of who appear through the clock's miniature windows before quickly spinning back into the tower's cavernous confides. Another must do is to take the out-of-place modern elevator up to the tower's viewing gallery, where one is treated to a panoramic view of Prague.

While in Old Town Square, visitors should check to see if the Church of St. Nicholas is hosting a choir or organ concert, which are a regular occurrence. For a romantic evening, hire one of several horse and carriages patiently waiting along the pedestrian path running between Old Town Hall and St. Nicholas Church.

Old Town Hall is open every day except Mondays, April - October: 10am to 6pm; November - March: 11am to 5pm.

The Jewish Quarter

Little remains of Prague's once vibrant, if not humbling, Jewish Quarter. Yet within these cramped and shaded blocks one can discover the enduring history of Prague's once prominent Jewish population.

One of the main attractions is the Alt-Neu (Old-New) Synagogue. Recognized by its jagged, pyramid roof that looks to be sawing its way towards the heavens, it was once the center of Prague's Jewish life. This seven hundred year old Synagogue, which the city's Orthodox Jewish population still uses for services, is the oldest in Europe and is reportedly constructed of stone brought from Jerusalem. The entire building is enshrouded with an air of eerie history. Legend has it that within the mystery that permeates the musty air of the Synagogue, stashed away in the chain-bolted attic, are the remains of the Jewish Frankenstein known as The Golem.

From the synagogue, it is just several blocks along a craft-shop lined promenade to the black iron gate of the Old Jewish Cemetery. As city rules once forbade Jews from being buried outside the strangling confines of the ghetto's boundaries, the cemetery is overfilled with 12,000 bodies, sometimes buried twelve deep, which cause the earth to swell like the tide of a dead sea. The slim stone tombstones lean and tilt, stretching for the filtered beams of sunlight that occasionally make their way through the canopy of trees hanging above. Within these sacred grounds lay some of Prague's most revered Jewish leaders, including Rabbi Loew, Mordecai Maisel and David Gans.

For more information on the Old Jewish Cemetery. The cemetery is open Sunday through Friday 9am to 6pm from April through October and 9am to 4:30pm from November through March. The grounds are closed during Jewish Holidays.

Prague Castle

Prague Castle is a truly majestic site that witnesses all that occurs within the city. Perched atop a hill on the far side of the Vltav River, its plethora of palaces, towers and spires can be seen from almost any open vantage point in the city. The castle grounds are free and open to the public, but admission is charged for entrance into its many museums and buildings. However, the spectacular twelfth century St. Vitus's Cathedral, with its robust, kaleidoscope stained glass windows and towering vaulted ceilings, can be seen for free. The best way to reach the castle is via a steep climb up the New Castle Steps, located just off Nerudova, one of the district's main thoroughfares.

At least an entire day is needed to see everything the castle has to offer. However, if one is short on time and is looking for an abbreviated tour, be sure to put the Old Royal Palace, White Tower, Golden Lane and The Story of Prague Castle on your agenda.

Old Royal Palace is impressive in its bare simplicity. Its main hall is an open and rather dull stone and wood affair brightened by coats of arms, jeweled chandeliers and an intricately woven web of trim that races across its vaulted ceiling. Be sure to step outside onto the hall's balcony for royal views over the castle's gardens and stretching well past Old Town.

Golden Lane, running between the Royal Palace and the White Tower, is filled with colorfully painted houses tucked into the castle's wall. Originally they were home to goldsmiths looking to avoid having to pay the dues required for those living in town. Today these homes sell an assortment of crafts, foods and souvenirs.

The White Tower and its adjacent halls, which run along the back of Golden Lane, were the castle's source of protection and served at its jail. Within the halls, where archers once guarded the premises from invaders, are replicas of medieval weapons, suits of armor and even an opportunity to test your aim at the crossbow. The dusty, stale-air filled tower itself, where many prisoners met their untimely deaths, contains replicas of the era's creatively grotesque torture machines.

The Story of Prague Castle is a fascinating museum that chronicles the history of the complex from B.C. to modern times. Although the castle complex is still home to the Czech Republic's president, nobility and leaders have occupied it since 3200 BC. Today the castle is the accumulated result of a building spree that transported it through Romanesque, Gothic, Renaissance, Baroque and modern times. Here history is heaped on top of history, burying the ghosts of its collective past with the treasures and bones just now being unearthed from the castle's most inner vaults. Within this collection of artifacts unearthed through the castle's ongoing archeological excavations are the crown jewels of St. King Wenceslas, the skeletal remains of royalty, art works expanding the breadth of art history, and an encyclopedia-worth of information on the cultural evolution of Prague. Also worth the trip is the chance to see exposed sections of the former castles, long buried under the current structures.

For more information on visiting Prague Castle, go to http://www.hrad.cz. Although the castle grounds are open until midnight, most buildings close by 5pm.

Wenceslas Square

Stretching across the expanse of New Town, this former horse market's modern buildings and art nouveau highlights offers a stark contrast to the city's otherwise medieval facade. Wenceslas Square is most likely etched into our memories as being the stage for Prague's Velvet Revolution, which caused the topple of Communist rule in 1989. Today the square stands to honor the past while looking towards the city's encouraging future.

At the far end of the square is the parliament-like building which houses the National Museum. Inside is an interesting collection pertaining to mostly the natural sciences, although most visitors consider the mocha-colored marble, statute-lined stairway as being the building's main attraction.
Saddled to his horse, standing just outside the National Museum, is the statute of St. Wenceslas, the patron saint of Bohemia. The area around the statute is considered a traditional meeting place and in fact is where many anti-communist protesters held court. Directly in front of the statute is the Communist Memorial, a testament to the courageous acts of the many victims of Communism's cruelty.

Besides the memorials, museums and unique architecture, Wenceslas Square is also the place to shop. All of the main brand-named outlets can be found either in the square or within its vicinity.

Franz Kafka Museum

Although Franz Kafka once described his native city of Prague as "a dear little mother with claws" who never let him go, today Kafka's entrapment in Prague is greater than ever. Declaring itself the "City of Kafka", Prague has associated itself with the author's now iconic, brooding face. Gift shop shelves are cluttered with Kafka mugs, Kafka books and screen printed Kafka t-shirts. There is a Kafka memorial near the Old-New Synagogue, several Kafka cafés, and a Kafka bust standing guard in the Mercure Hotel's lobby, located in the office Kafka once worked at as an attorney. And, with the newly opened Franz Kafka Museum, it seems ensured that Kafka will now forever be trapped in what he called the "bird cage" of Prague.

Located near the bottom of the steep Old Castle Stairs, the Franz Kafka Museum is guarded by a ghostly moving, abstract sculpture of two men urinating into a pool. Strange as the entrance may be, this comprehensive museum does an excellent job of capturing both the facts of Kafka's biography and the creative genius that occupied his mind. Within the museum visitors can traverse Kafka's life through hallways and corridors enshrouded with shadows, muffled with white noise and distracted by flowing water. Along with rare copies of Kafka's letters and books, the museum also has displays specifically focused on each of his major works.

Exiting the museum, one comes face to face with a giant black K. Despite the fact that during his life Kafka only thought of escaping, today there is no escape. Franz Kafka now permeates throughout the city of Prague, defining both what the city was and who it has become. Nothing seems to summarize this complicated and shared history better than the poignantly simple yet somehow complex "K" logo of the Franz Kafka Museum.

The Franz Kafka Museum is located at Cihelna 2b and is open daily from 10am to 6pm.

Pilsner Beer

In describing his country's marquee beer, Czech Emperor Franz Josef I commented, "It is indeed curious that no brewery has yet succeeded in replicating the distinctive gourmet flavor of the pilsner beer." Prague, the centerpiece of the golden genre of beer known as pilsner, was built, destroyed, and rebuilt on a foundation of beer.

Therefore, when in Prague, one must sample at least one of its many pints of pilsner. No matter what part of Prague you find yourself in, there are plenty of great places to quench your thirst for a cold Czech beer.

Old Town

U Zlateho Tygra: A crowded, standing room only, smoke filled dive of a working class bar. Here Czech beer is enjoyed in the most classic tradition. The bar is famous for being the haunt of writer Bohumil Hrabal, a place President Bill Clinton paid homage to, and for serving the best Pilsner Urquel in Prague. (Husova 17, 222-221111)

Literarni Kavarna: It may be a bit hard to find as there's really no sign revealing its hiding behind an arched wooden door, but this intellectual hangout is a great find. The interior's courtyard is the place to relax, eavesdrop and, most importantly, sample a new variety of beer. (Tynska 6, 420-2-2482-7807)

Castle District

U Cerneho Vola: Here's a concept you cannot refuse: a chance to drink for charity. A portion of all sales goes towards a local school for the blind. The bar also offers a good, local feel and relatively cheap draws. (Loretanske Namesti 1)

Hospuda na Schodech: Conveniently located at the crest of the Radnicke Schody steps, this quaint bar is a cheap pit stop that also offers an outstanding view. (Radnicke Schody 5)

New Town

U Fleku: Perhaps the world's most famous beer hall, this sprawling restaurant and brewery is everything a beer hall is suppose to be: crowded, loud and over priced. Yet, one literally cannot say no to the constant onslaught of oncoming mugs filled with caramel-dark U Fleku Lager. (Kremencova 11, 420-224-934-805)

Pivovarsky Dum and Pivovarsky Klub: Whereas Pivovarsky Dum is the city's original brewpub and brews Prague's most original flavors, Pivovarsky Klub, a beer boutique, has over 200 beers for you to choose from. (Pivovarsky Dum: Lipova 15, 420-296-216-666; Pivovarsky
Klub: Krizikova 17, 420-222-315-777).

The Big Breweries

Staropramen: Located in a working class part of town, this is Prague's only brewery. It brews an excellent pilsner and a tasty dark variety. Tours are available but must be arranged beforehand. (Nadrazni 84, 420-257-191-402)

Gulas

It's hearty, it's meaty and it has more carbohydrates than one can count, but Czech Gulas should be a staple in any visitor's diet. Unlike the goulash most people are accustomed to eating, Gulas is not a pasta dish. In fact, there are no noodles and no tomato sauce present on the plate. Instead, the Czech species consists of juicy strips of beef smothered with a gooey gravy and served over bacon and beer-based dumplings.

Gulas is served in most traditional Czech restaurants, including the many beer halls. U Medvidk, a restaurant and brewery, serves one of the city's best plates of gulas and at a surprisingly affordable price. (Na Perstyne 7, 420-224-211-916).

Other Prague staples include such fried, gravy and bread fares as Smazeny Syr (deep-fried cheese), Utopence (pickled sausages), Pivni Syr (beer cheese), and Veprokendlozelo (pork, dumplings and sauerkraut).

Charles Bridge

During the day, crossing the Vltava River via the gothic statue lined Charles Bridge is akin to being a pinball, bouncing your way through obstacles of tourists. This being said, the ideal times to enjoy the suspended cobblestone alleyway of this six hundred year old bridge is during the morning or evening. At these times you can take in the architecture of the bridge's two bookend towers, the detail of its statues and the beauty of its setting in near solitude.

Starting from the Old Town side of the bridge, one begins by passing through the shadows of Old Town Bridge Tower, a royal-crown capped behemoth of stone and sculpture. Visitors can climb to the top for one of Prague's most prized views.

While walking across the bridge, one is watched by the eyes of over thirty statues, all depicting saints and other religious figures or events. One of the most famous is the Calvary statue, a depiction of the Crucifixion of Christ holding the words "Holy, Holy, Holy is the Lord of Hosts" written in Hebrew. The Statue of St. John of Nepomuk is recognized by the shiny brass color protruding from the surrounding darkness. Legend has it that rubbing the depiction of the saint diving into the river will bring good luck.

Between the statues are a collection of private art vendors, craft makers and music players. Everything from magic flutes to personal portraits and photographs of Prague can be purchased. Some of the most notable performers are the Dixie-land band known to set up impromptu shows along the bridge's path. Another most-see is Antonin, a local artist who specializes in painting self-portraits taking the persona of Satan.

Museum of Communism

Don't let this museum's location next to a Casino and above a McDonald's or its late-night hours deter you. This is not another gimmick museum along the lines of the Museum of Torture Instruments or Sex Machine Museum. The Museum of Communism is an excellent portrayal of the "dream, reality and nightmare" of the Czech Republic's communist experience.

The curators of the museum put together a well-researched and comprehensive collection of artifacts that chronicle the rise and fall of Communism. Starting with the end of World War II, the museum ushers one through a timeline that includes Sputnik, Stalin, the Warsaw Pact, the Velvet Revolution and the ultimate crumbling of the system.

Not only does the museum contain in-depth historic information, it also has a wide-ranging collection of memorabilia and other historic artifacts. From bearded busts of Marx to silver cosmonaut space suits, school books, propaganda posters, hammer and cycles, an authentic interrogation room and a graffiti-washed slab of the Berlin Wall, the museum does an excellent job at capturing the philosophy, ideals, culture, life and failures of this fascinating period of Czech history.

The Museum of Communism is located at Na Prikope 10, on the first floor. It is open daily from 9am to 9pm. For more information, call +420 224 212 966.

Prague's Left Bank

Known as The Little Quarter, the arts-orientated and café cluttered Mala Strana is a peaceful stretch of green running along the Vltava River, just under Charles Bridge. Within the solitude of this neighborhood one can enjoy the hippie-created John Lennon Wall, Kampa Park and its galleries, and the lush hill that is Petrin Park.

Located within walking distance of Prague's main attractions while at the same time retaining its "off-the-beaten-track" charm, Mala Strana is an ideal place to call home while in Prague. The crème-de-le-crème hotel of this neighborhood is the Mandarin Oriental. The Mandarin Oriental Hotel Prague stands out from other chain hotels in that it excels in blending into its historic surrounds by creating a modern, luxury hotel within the structure of an old baroque and renaissance Dominican abbey.

The hotel's rooms are of two general designs: the baroque, with grand arches and exposed wooden beams, and the renaissance, with its long, geometrical halls speckled with hints of frescos worn away with time. Each room is characterized by a unique touch of original abbey trimmings and unearthed artifacts.

The hotel has one main restaurant, a café and several bars. Essensia, serving both Asian and international fare, is located within several adjoining rooms stretching along an arched renaissance hallway highlighted with Asian inspired wall hangings. Afternoon tea is offered in the comfortable, vaulted ceiling and baroque-styled Monastery Lounge, while drinks can be shared in the ultra-cool yet highly sophisticated atmosphere of Barego, a glass and mirror cocktail lounge. The wine cellar, located down in the musty stone interior of the abbey's floors, is available for private dinners and wine tastings.

bodypainting. cave art. caveman

If you are just getting started in body painting or face painting, one thing you may not have considered is how you are going to get all that paint off again!

While your client may like being a zombie or a tiger at a party, they may not want to go to work looking like one. In any case, they will want to get cleaned up before going to bed or doing pretty much anything else, and you will be expected to know how to remove the paint you put on them safely and painlessly.

Here are 7 quick tips for removing body paint from the skin, and also for staying clean and neat while you are working.

1. Check your paints and packaging.

Always use safe paints that have been made specifically for face painting and body painting. They should explicitly say that is what they are for. Read what they say, either on the label, or on the website, about how to clean them up. Some body paints are made to be cleaned with water; others may use a special kind of remover that you will have to buy. Be sure you are cleaning them off skin using the methods the packaging says to use.

2. Use warm water, sponges, and cloths.

If your body painting or face painting supplies say to use only water, or mild soap and water, then follow those instructions. Use warm water if possible to make cleanup nicer for your clients, and easier paint removal. Sponges (the same kind you use to apply body paints) and soft cloths are the best tools; you can use paper towels, but why not save the environment a bit and use something re-useable? And using the same types of sponges you use to put paint on will give you the best kinds of shapes for removing it as well.

3. Use non-allergenic, natural, safe skin soaps.

If you've chosen your face and body paints correctly, you have made sure they are meant for face painting and body painted and are almost guaranteed not to cause an allergic reaction. Be sure your clean up soaps follow the same standards. Natural bases like glycerin and castille are good; try to avoid perfumes, artificial colors, and chemicals. If it says 'natural' or 'hypo-allergenic' on the label, you may still want to check the ingredients, they may still include scents or high amounts of alcohol-stearates, which can cause sensitive skin to react.

4. Be careful around the eyes.

Watch cleaning around the eyes especially - of course ask your client to close their eyes, and go slowly. Some makeup suppliers (Mehron, for example) carry special cleaners especially made for cleaning around eyes; you may want to try one of those. You could also look at makeup suppliers for smaller tools meant for cleaning around eyes. The skin around the eyes (and of course the eye itself) is more sensitive than the rest of the skin, so what works on the rest of the skin may not equally well around the eyes.

One good trick is to clean the other areas entirely first, and leave the eyes for very last - that way you will not be getting more paint near the eyes once they are clean, and will only have to clean them once. That way you can avoid repetitive cleaning (and irritation) of the eye area - as well as extra work on your part.

5. Baby Wipes are great, but use the right ones.

Baby wipes are great to have on hand, but remember they were formulated for wiping a very different area of the body than the face. This means they have probably not been tested for facial safety and irritation. I would recommend getting baby wipes that are 'natural,' but again, check the ingredients on the back. You want no fragrances if possible, and no dyes. Sometimes you can get them especially for 'sensitive skin,' again, read the labels. Then try them on your face to see how they work before using them on others.

6. Protect clothing while painting - and washing up.

Paints made for face painting and body painting should never stain the face, but the same can't be said for clothing. Even water based body paints can still stain clothing. Keep clothing away from the paint as it is being applied, of course - but you will want to watch it when you are cleaning up as well. Soaking paints with water and washing them off can be a drippy process, and colors are even more likely to get on clothes then than when painting. Consider using covering cloths while you are cleaning, even if you didn't when painting.

7. And Last But Not Least: Don't Scrub!

Don't scrub the skin, even if the paints are not coming off properly. Scrubbing can cause bad reactions even if everything else is safe for skin. If your paint is not coming off quickly, be patient, let it soak a bit and try again, gently. Try using something else to clean such as baby wipes or a cloth with a little soap squirted directly on it. You may also want to take a look at the paint's instructions on cleaning up again - maybe you missed something on cleaning up. In any case, don't get frustrated and scrub! Your client will appreciate it.

So that's it - 7 best tips for cleaning up safely and easily after face painting or body painting. You may want to print these out as a reminder sheet to include in your painting supplies, that way if you have a cleaning problem, you can consult them quickly!

Body Painting European Festival 2010

Lawyer Kaireddyn (Kai) Orta began fabricating his own, rudimentary tools for making tattoos in 1996, while still in high school here in Oaxaca, Mexico. One day a neighbor saw him carrying a shoe box, and asked him what was in it. Kai showed him the adapted motor, needles, ink and other paraphernalia. The neighbor was the recipient of Kai's first tattoo. Kai then began doing tattoos for his schoolmates.

Kai had been interested in tattoos (tatuajes) and body piercing (perforación) since boyhood. It was natural for him, since his father was a history teacher, constantly recounting stories of rituals of Mexico's indigenous populations. There was no shortage of books around the house with images of pre-Hispanic peoples who were accustomed to self-adornment. Kai ate it up.

But throughout Kai's youth, seeing tattoos in the flesh was a rarity. Aside from in books and occasionally coming across a tattooed person on TV, he would only have an opportunity to actually see real live people with tattoos and body piercings when he would catch a glimpse of mainly North American and European tourists walking the streets of downtown Oaxaca, a Mecca for international tourism.

The modern tradition of tattoos and body piercings had been established in countries such as Canada, the US, Spain and Britain, long before it arrived in Mexico. Like so many representations of emerging subcultures, it takes upwards of a decade for them to catch on in Mexico, especially in the more isolated and conservative regions of the country, like Oaxaca.

The state of Oaxaca was by and large physically isolated from the northern half of the country, and indeed the broader world, until the arrival of the pan American highway in the late 1940s. While the odd adventurer would make his way down to Oaxaca between then and the early 1960s, it was the hippie movement later that decade and into the early 1970s which opened up southern Mexico to the concept of North American and European counter-cultures, including tattoos, and then body piercing. However the prevailing sentiment of the Mexican middle classes was that their children should be insulated from foreign youth, and all that its subculture stood for.

Leap forward to the 1990s. Change would begin to emerge in Oaxaca. Tattoos, body piercings and other non-traditional forms of self-expression had begun to be perceived as mainstream throughout the Western World. The silver screen and magazines promoting its pierced and tattooed stars had become commonplace. Oaxaca had to take notice. And that included its older generation, which was then forced to recognize if not accept that the ritualized behavior of their grandchildren (and to a much lesser extent their children) could no longer be equated with something devious, dirty and wrong, simply as a consequence of changing their physical appearance through piercing and painting their bodies, permanently. Many in the Oaxacan youth culture were becoming critical thinkers through higher education, therefore better able to make informed decisions, stand up for them, and celebrate them.

Kai is thirty years old. Practicing law wasn't for him. By the time he had graduated and had a taste of the working world of attorneys (less than a year), he had already become an established tattoo and body piercing artist, with his own studio, albeit quite smaller than his current digs. And besides, most lawyers in Oaxaca do not earn the level of income that provides for a middle class lifestyle, at least by Western standards.

Kai's current studio, Dermographics, in the heart of downtown Oaxaca, consists of:

• The reception area with long desk and computer, tropical fish filled aquariums, display cases with mainly jewelry relating to body piercings, wooden African floor sculptures and masks (as well as a few Mexican masks), a bookcase filled with albums containing drawings and photographs of mainly tattoos, and two comfortable sofas where customers can browse through the "catalogues" at their leisure
• A similarly adorned middle room with supply cases by now of course filled with modern, commercial equipment and supplies, and a small adjoining workroom
• The back room, with chairs and "operating" table, for attending to tattoos and body piercings

"Here in Oaxaca we don't refer to ourselves as 'artistas,' Kai explains. "In the United States there's much greater acceptance of the art form and those who are dedicated to the skill, so in the US and other countries such as Canada it's acceptable to use the term 'tattoo artist.' But in Oaxaca we just refer to ourselves as tatuadores."

Kai & Colleagues Participate in Twelfth Annual Tattoo Fest in Oaxaca, Summer, 2010

During the course of a 3 ½ hour interview at Kai's studio, his friends and fellow tatuadores from Mexico City, Daniel (Tuna) Larios and his girlfriend Angélica (Angy) de la Mora, were in the shop working and otherwise serving customers, while for part of the time Kai was out running errands.

Tuna has been a tatuador for 12 years while Angy began doing tattoos only a year ago, when she began living with Tuna. Together they opened up a shop, called Toltecan, in the nation's capital. Before then Tuna had been doing tattoos for customers at other studios. He was introduced to the trade from having had his body tattooed. Angy learned the skill from Tuna.

But for Angy learning to be a tatuadora was a natural extension. She already held a degree in fine arts from a university in Chihuahua, and had participated in several collective traditional art exhibits. "But it's easier to make a living doing tattoos than as an artist," Angy concedes. As distinct from Angy and Kai, most tatuadores in Mexico do not have advanced training for other career paths options.

Tuna and Angy had come to Oaxaca to participate in the twelfth annual Tattoo Fest, held on August 21 & 22, 2010, a couple of days earlier. Kai is one of three festival organizers, and was on the ground floor of the concept when the first fest was held back in 1998. "Until this year the event was called Expo Tatuaje," Kai clarifies. "We decided to change the name with a view to attracting more foreigners. But back in the early years we held the exposition so that we could meet to exchange ideas, improve access to modern equipment and supplies, and raise the level of consciousness of the Oaxacan community, so that hopefully there would be a greater acceptance of what we were doing. Now the purposes and functions of the event are much broader, since we are well on our way to achieving our earlier goals."

The success of Oaxaca's Tattoo Fest 2010 was evident from the crowds (hundreds by all estimates) and sales. Tuna and Angy between them did 11 tattoos over the two-day period. "I've been coming to the fair for the past four or five years," Tuna explains, "but this is the first year I can actually say that it was worth my while, profit-wise, to come to Oaxaca. You know I had to close my shop in Mexico City to come here. I think this show has finally turned a corner."

This year there were approximately thirty booths, about a dozen of which were dedicated to doing tattoos. In the course of a one-hour visit on the Sunday, during that entire time each and every tatuador was kept busy working - and in many cases there were onlookers in queue awaiting their turn.

Many vendors had come from other parts of Mexico to participate. They converged on Oaxaca to not only do tattoos and piercings, but to also sell a broad diversity of related materials including:

• Tattooing and body piercing equipment, supplies and other paraphernalia
• CDs, DVDs and posters all with alternative themes (both Bob Marley and Alice Cooper live on in Oaxaca)
• Body piercing and other personal adornments, wrestling masks, and clothing, custom-painted while-u-wait.

The event was much more than a sales opportunity for retailers, however. It provided a chance for those in the business to promote their industry, source state-of-the-art and otherwise imported equipment and supplies (since many tatuadores don't get to Mexico City very often, and most imported machinery, needles and paints arrive initially in Mexico City), and entertain tattoo and piercing collectors, aficionados, and the curious, all under one roof, the Salón Señorial located across from Oaxaca's renowned Abastos Market.

As Kai contends, there appears to be three classes of people in Oaxaca, and presumably in other countries, who get tattoos:

• The colecionista who usually ends up filling most parts of his or her body, attempting to adorn with as broad a diversity of designs as possible, or with a particular class of design or artistry (i.e. demons, pre-Hispanic figures, animals, famous faces), often seeking to get the work done by several different top tatuadores from various states and countries if possible
• The aficionado who wants a few tattoos strategically placed on select body parts
• The casual individual who desires one or two tattoos for self-expression or to make some kind of statement, having seen a tattoo he or she likes, whether on a celebrity, friend or stranger on the street, or electing to do a specific design; a tattoo of the logo of one's favorite sports team exemplifies this type work

It's not unlike other hobbies and interests. Human nature remains the same. The first category represents an obsession with collecting, just as in a class of antique, salt and pepper shakers, folk art, weigh scales, and so on. The second is an enthusiast who imposes boundaries, either by design or subconsciously based on personality trait. The third does only selective thinking about it, whatever the product, holding some interest, often fleeting but long enough to result in a purchase or two.

In the course of the two day celebration of all that is still somewhat considered counter-culture in Oaxaca, there was:

• Live entertainment including seven predominantly rock and reggae bands, as well as belly dancers and other forms of choreographed performances
• An outdoor makeshift restaurant serving beer, soft drinks, and real barbecued hamburgers
• Panel discussions and forums with themes including methods for advancing the reputation of this alternative art form in Oaxaca, and dealing with allaying health and safety concerns through the adoption of US-style norms

Health & Safety Issues a Concern of the Body Piercing & Tattoo Trade in Oaxaca, Mexico

Throughout the US there are health and safety regulations relating to tattooing and body piercing; not so in Oaxaca, though it's a hot topic throughout the Mexican tattoo and body piercing community. The word "normas" is constantly being bandied about. The tatuadores at Tattoo Fest, and more particularly Kai, Tuna and Angy, made a point of indicating that most in the industry follow US norms for health, safety and hygiene. According to Tuna, the United Kingdom has the strictest, all-encompassing laws relating to tattooing and body piercing, which he views as a good thing.

It appears that virtually all tatuadores are sensitive to the clout carried by the authorities, even without specific laws relating to tattooing and body piercing. In Oaxaca it's the Secretaria de Salud (ministry of health) which does in fact conduct spot checks of studios, much the same as it does of restaurants in Oaxaca. It has the ability to shut down a restaurant, eatery or comedor, on the spot. And the same holds true for a tattoo studio.

The threat or perceived threat of incarceration perhaps serves a positive function in the tattoo and body piercing milieu. While Oaxaca's inquisitorial, Napoleonic legal code is slowly changing (oral trials arrived in the state of Oaxaca in 2007, albeit for only the most heinous criminal offences), the attorney general's office still has the right to jail alleged offenders of virtually any rule, law or regulation, where a personal injury has resulted. Without specific laws relating to tattooing and body piercing, perhaps Oaxaca's current legal system, as high-handed as it might appear, serves an important function for the tattoo-buying public. Certainly it appears to keep those in the industry in check.

"We won't work on a minor, plain and simple, without parental authorization," Tuna stresses. "And in fact, rather than relying on written permission from a parent, for me, I personally want the father right there in my studio when I'm working on his son or daughter."

Having been trained as a lawyer, Kai has a special appreciation for the implications of not ensuring a clean, safe work environment in his studio, and following health, safety and hygiene procedures established in other jurisdictions, "to the tee:" packaged needles; equipment kept under wrap; gloves and masks; first aid, fire and related health, hygiene and safety equipment close at hand; a "surgical" workspace segregated from the retail portion of the shop; etc. The back of his business card lists steps that should be taken by recipients of tattoos from the moment they leave the studio, to reduce and hopefully eliminate the risk of infection or other complication. Other tatuadores hand out leaflets listing the same or similar precautions that should be observed.

According to Tuna, in Mexico City one can take courses in tattooing and body piercing at a couple of different institutions. But they are for learning the trade, and are not government regulated. Tuna views an inconsistency between government treatment of dental offices and tattoo and piercing studios, and unfairness: "There are a lot of dental offices around which are much less clean than our studios, and whose staff do not follow the most sanitary of practices; and yet the dentists are not subjected to the suspicion and innuendo that we are." [At least dentists are required to have a minimum level of training regarding matters of health, safety and hygiene.]

Kai, for one, is clearly an expert at his trade. From the outset, dating to his high school days, he would invariably read and otherwise learn before starting to work on someone. He would always work in consultation with a doctor, a relative of the family. The doctor was a most valuable resource for Kai in terms of guiding him through all the appropriate health and hygiene procedures, for every step. Kai has never worked on anyone without approaching the task with a high level of confidence. But, he acknowledges, "you never stop learning."

The Economics of Tattoos and Body Piercing in Oaxaca

Angy is working at the counter, doing a pencil drawing of a 1950s pin-up - with a twist. A young woman had come into the studio the day before, wanting a tattoo on her leg of a vintage pin-up girl, but part of the body to be non-traditional, as in one leg and half the head perhaps with skeletal bone exposed, the rest shapely and feminine; as in a Mexican catrina, as Angy puts it, "but with a bit of flesh on her body." The customer is due back today at 4 p.m.

Two men in their twenties come in to look at tattoo samples. They sit down and browse through two albums for about 40 minutes, then arrange for one of them to come back the next day for a fairly large black tattoo of the Pumas Mexican soccer team logo. Then two younger girls come in looking for eyebrow rings or other similar adornments, in the 250 - 300 peso range.

Kai's studio does a brisk business. He charges a minimum fee of 400 pesos for a simple tattoo, a tribal, literally "tribal," as they're known, or perhaps a letter. It was the same minimum charge at the Tattoo Fest: "Sure, some tatuadores will do a tattoo for 150 - 200 pesos, but most of us prefer to start with prices where we can take our time to do quality work that the customer will definitively appreciate, and therefore want to come back, show off to friends, and so on. I've been doing tattoos long enough, and my quality is such that I should command that kind of price, and the customer is more than satisfied."

Kai and Tuna charge within the same range. They both are happy to work by the job, or per daily session. Kai charges 1,000 - 1,500 pesos per session, which can result in a fairly substantial, detailed, color image. Tuna will do a full back for 10,000 - 15,000 pesos. Each has done large, complex multi-color tattoos for as much as 20,000 pesos. That seems to be the top price in Oaxaca.

There appears to be a desire to reinvest profit into securing a better work environment, and higher end equipment. Regarding the latter, in most cases it's simply a matter of imported machinery and supplies commanding a higher price, and the fact that the options for Mexican-made equipment and supplies are much more limited. Hence the desire to search abroad for more diverse product lines. "Don't get me wrong," Tuna cautions, "there is high quality equipment manufactured here in Mexico, but we lack the range in products, and of course everything imported is perceived as better and therefore fetches a higher price."

Continuing education also seems to be a priority for tatuadores. A few years ago Kai traveled to Guadalajara to take an intensive course. According to Angy, sometimes tatuadores will take a brief, area-specific art or drawing course to enable them to keep up with market demand. Most tatuadores do not have training in fine arts, so seizing the opportunity to learn is something to which many aspire. In some cases rather than turn away a prospective customer for lack of particular expertise, it's better to invest in learning a new aspect of the trade through training.

It's rare for a tatuador to turn away business, but it does happen. It's usually a result of the artist not being able to do quality work based upon the requested design, than finding it repugnant. Perhaps it's simply that tatuadores do not often encounter someone who wants, for example, a swastika on the forearm. "Usually what happens is someone comes in and wants a small tattoo, of whatever, on a finger or arm, and I know that I cannot do a good job given the requested size, or that after a short period of time the quality will diminish," Kai admits. "So I suggest something different, something larger or with a different color scheme, or for a different part of the body. Sometimes the customer agrees, sometimes he leaves, and sometimes he insist, in which case I decline the job."

"We can all use more business, but it's a skilled trade which we want to elevate in terms of its reputation, so we must all strive to maintain standards, as well as our personal integrity;" Kai asserts.

The main reasons that customers do not return is lack of funds for either additional tattoos or to continue with the same project, or pain. "Different people have different pain thresholds," Tuna advises. "The sex of the customer sometimes is a determinant of the pain one can expect will be felt, depending on the particular part of the body. Working on the same part of the body can affect men differently than women." Only 50% of Tuna's work is repeat business.

Kai has a preference in favor of working on men rather than women. Why men? Men tend to want larger tattoos, which translates to more artistic license and a greater ability to produce a true masterpiece. "But don't get me wrong," Kai adds defensively, "I love working on women, and do just as high quality work, always."

Customers in their twenties make up the largest age group. Otherwise, occasionally a teen comes in with a parent, perhaps 20% of tattoo-seekers are in their thirties, and a much small percentage comprises an older clientele.

Advice for Americans, Canadians, Europeans and Those from Further Abroad Wanting a Tattoo in Oaxaca

Tuna admits that in Mexico there are perhaps two high quality tattoo artists per 300 tatuadores, stating that in the US the numbers are very different, two per hundred. It's difficult to accept his figures, having seen several quality tattoos on the bodies of Oaxacans, and having had an opportunity to speak with many Oaxacan tatuadores and evaluate their dedication to the skill, and their desire to elevate its reputation through self-improvement. Tuna contends: "If someone wants a tattoo that I know another tatuador can do better, I refer him to a colleague. That builds public confidence. For me, I know that in black, I'm at the top of my game."

The triumvirate of tatuadores is ad idem when it comes to passing along advice for tourists visiting Oaxaca and wanting a tattoo:

• Don't rush; spend as long as required with the "tattoo artist," chatting, looking at his or her designs, and examining the surroundings of the studio
• Ascertain if the tatuador has a particular specialty, or higher level of competency in one area versus another (i.e. color as opposed to black)
• Address any health, hygiene and safety concerns, since while the ministry of health does have rules and regulations of general application, and spot checks of tattoo studios are conducted, no specific body exists for policing the tattoo industry
• Notwithstanding the foregoing, as indicated the lion's share of the tatuadores in Oaxaca do follow the American normas, those in the industry wanting to elevate their trade to having a more mainstream perception amongst the Oaxacan populace
• Look for instructions regarding how to care for a tatttoo, starting with the moment after leaving the studio, to reduce and hopefully eliminate the chance of complications - either on a flyer or on the back of a business card
• Ask questions, questions and more questions until satisfied that both the process and the end result will meet or exceed expectations

Tattoo Removal in Mexico

Tuna confirms some obvious reasons for seeking to have a tattoo removed:

• As required by an employer (i.e. change in job position)
• For the purpose of attempting to secure employment
• The individual was very young when he or she received the tattoo, and later had a different attitude towards this type of body adornment
• The quality of the tattoo was poor or questionable from the outset
• A change of mind regarding the image or towards body alteration, conceivably later perceived as adulteration

With the modest cost of quality plastic surgery in Oaxaca, tattoo removal in the state proves to be an attractive option for those wishing a return to a tattoo - free existence. In fact in Kai's studio on display there's a plexiglass stand filled with pamplets of a Oaxacan plastic surgeon, Dr. Filberto Fajardo, who specializes in laser tattoo removal.

Body painting project: art, fashion

Try searching the Americas to find creators of folk art with more form, symbolism and importance to the development and sustenance of their culture, than those of indigenous ancestry in Oaxaca (wa-HAW-ka), one of the southernmost Mexican states.

Many so-called experts in folk art have mistakenly written that the origins of Oaxaca's wood carving tradition date back fifty or sixty years, to a small number of carvers residing in one of the central valleys of Oaxaca, a few miles from the state capital of the same name. The error has consistently been equating the recent commercialization of the art-form with its origins, and ignoring its pre-Hispanic roots and subsequent development.

Jacobo Ángeles lives with his wife María and two children in San Martín Tilcajete, one of three main native Zapotec villages, where most residents earn a living from carving and painting colorful figures, often generically referred to as alebrijes. The others are Arrazola and La Unión Tejalapan.

At age 12 Jacobo began learning to carve from his father. Later on he was mentored by village elders. "Over the past few decades our craft has without a doubt changed dramatically," Jacobo explains, "with the use of more synthetic paints, a tremendous increase in the range of figures being carved, and with domestic and international demand for our carvings growing exponentially and affecting how and what we produce. But remember, my ancestors were carving animals right here in this region before the Spanish arrived in the 1500's. And we were using only natural paint colors which we derived from fruits and vegetables, plants and tree bark, clay, and even insects. In my family we still use what we find around us to make paint for our figures, and our wood of choice continues to be the branches of the copal tree."

San Martín Tilcajete is located about a 40 minute drive from the city of Oaxaca, along a highway leading to the state's Pacific resort towns, including one of the oldest ports, Puerto Escondido. Puerto Escondido was a hub for the export of coffee and other cash crops during colonial times, but is now a popular beach destination for Mexican and international vacationers alike. Many travelers combine their sun and sand vacation with a visit to Oaxaca, a UNESCO World Heritage Site, searching out unique pieces of folk art including dance masks, pottery and clay figures, rugs and tapestries, and antiques from the colonial period forward. And of course there are the pre-Hispanic ruins, galleries, impressive Dominican churches, museums, and renowned Oaxacan cuisine.

"My ancestors used a 20-day calendar," Jacobo continues, "and each day was represented by a different creature. So every Zapotec person had an animal with whom he had a connection, and each animal had certain characteristics which carried over to the individual. For example, the jaguar represents power and ultimate strength, the frog is characterized by honesty and openness, the coyote watchful observation, the turtle always a troublemaker prone to breaking the rules, the eagle technical and strategic power, and so on. My people used to carve figures of just these 20 animals. They started out as small whittlings for good luck that people would keep in a revered niche in the home, or wear around the neck as amulets. They also carved larger figures for their children to use as toys."

After much probing, an almost forgotten story emerges of the use of decoys of wood and other materials. Jacobo reveals: "My people used a variety of methods to attract different kinds of game, but for hunting birds of prey, rabbits, and deer, yes they at times used decoys. A painted wooden snake would be placed on the ground in an area where ants had trampled the grasses so the snake decoy would easily be seen by eagles. To hunt rabbit, my ancestors would attach a rabbit tail to one end of a straw hat, and at the other end another tail with a face painted on it. For deer, a crude wooden deer torso with real antlers would be placed in the tall brush. So carving was historically important to our people for not only totemic and related reasons, but it was directly related to our subsistence. All the written records from the period of the conquest, and not just local legend, confirm the importance of woodcarving."

"But look at what we now carve. While in my family we still use natural paints, and still carve our totems, we've transformed a simple yet important and symbolic tradition into something very different. In our villages we now carve many more than those 20 animals because of collector demand. More importantly, we're able to make our heritage better understood and appreciated by the world. In our own workshop, our painting depicts designs and representations of our culture ... friezes from the ancient ruin at Mitla, symbols representing waves, mountains and fertility, the totems, and other metaphors for our culture, past and present."

Indeed the world has taken notice. Jacobo's work is prominently displayed in The Smithsonian Institute, Chicago's National Museum of Mexican Art, and elsewhere throughout the continent and further abroad, in museums, art colleges and galleries. Jacobo regularly traverses the U.S. promoting Oaxacan folk art and his Zapotec heritage, teaching in a diversity of educational venues ranging from junior schools to university departments of fine art, and as honored speaker at art exhibition openings.

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A visit to the Ángeles workshop, accessed by a heavily pot-holed narrow dirt road towards one end of the village, affords an opportunity to learn about this extraordinary skill-set, from Jacobo, Maria --- an excellent painter in her own right --- and some two dozen other members of their family who produce some of the finest quality carvings found anywhere on the continent.

The men do most of the carving, while women do most of the painting, but the tasks are definitely not exclusively based on gender lines. Carving is done with non - mechanical hand-tools such as machetes, chisels and knives. The only time a more sophisticated tool is used is when a chain saw is employed to cut off a branch and level a base for a proposed figure.

Except when a special order is received, the woodworkers in the family are given artistic license to carve whatever figure they wish. A piece of tree trunk will "speak" to one of these specialists, and be the inspiration for creating a particular animal: the shape, thickness, and bends and twists in the piece come alive. After the bark is removed, a detailed outline is drawn, defining the image with greater clarity and detail. The sculpting in earnest then begins.

"From the female copal tree we are able to make figures out of one piece of wood, often very large and intricate. This wood is soft and easy to work with. The male tree is harder, and branches tend to be smaller and somewhat delicate, so we use it to make animals which we assemble in the process."

The carving alone takes up to a month, at times longer. The figure is then left to dry for up to 10 months, depending on its overall size and thickness. Because of the properties of copal, and Oaxaca's semi-tropical climate, the wood is susceptible to termite infestation. Accordingly, during the drying process the piece is soaked in a gasoline / insecticide mixture for several hours. As an added assurance, it's then placed in an oven, just in case eggs have evaded extermination. "All of our pieces are guaranteed to never have a termite problem," Jacobo assures.

Since the figures are fashioned while the wood is green and more easily workable, the wood separates while drying. "There are a couple of members of my family whose main job is to fill the cracks before the painting begins." For this remedial work they use wood shims as well as a sawdust-glue mixture. But even these slivers of wood and the sawdust have been cured. "We're proud of our work, and never want to have any problems with any of our buyers, whether someone is spending $20 or $2,000."

In almost all cases in the Ángeles workshop, one person carves and another paints. Once a figure has left the hands of the carver, all proprietary rights are released, and another member of the family is entrusted with the painting. Nephew Magdaleno explains: "Occasionally one of my cousins will come up to me and say 'what do you think about these colors or this kind of design concept for this coyote,' and I'll give my feedback, but it doesn't happen very often, and I'm invariably pleased with the result. For me it's the form that's most important, and for whoever's painting, it's the imagery it captures."

One cannot help but gasp at the sculpting genius which goes into each piece: A starving dog scratching fleas, a bear with its paw in a honey pot, a snake constricting a wincing jaguar, a winged horse on its hinds, a woman with long braided locks and the body of an armadillo, or a deer, life-size by Mexican standards. There's something particularly arresting about each creation: the ever-so-flowing and realistic movement, a fanciful stance, or a familiar pose striking a chord with our popular characterization. However the painting is anything but familiar. No color goes untested and the intricacy of and variation in design is remarkable.

Theories abound regarding the beginning of the modern-day manifestation of the tradition. Some say that because hallucinogenic mushrooms are native to this part of Mexico, drug induced revelations caused the imaginations of some to wander, ultimately becoming expressed in their carvings. The better explanation is that knowledge of colorful, large, papier maché alebrijes or dragon-like forms which originated in the State of Mexico, eventually filtered down to Oaxaca, and were the inspiration for the fathers of contemporary painted wooden carvings. "You know, it's not accurate to refer to what we create as alebrijes, because to the older generation of Mexicans, and to true folk art collectors, alebrijes were developed near D.F. (Distrito Federal, or Mexico City, the nation's capital), and what we do is completely different."

Jacobo demonstrates how his ancestors created natural paints, historically utilized for dying clothing, painting buildings, and ceremonially as face and body decoration used for rites of passage, fiestas, prayer and other important occasions. Today their primary use, at least in Jacobo's family, is for painting the carvings. He explains with the assistance of his machete and a tree trunk how he cuts away the reddish inside part of the bark of the male copal, allows it to dry, then toasts and grinds it: "This is a primary base that we use, which allows us to create a range of colors, tones and shades. Just watch."

Using his hands as palettes, Jacobo begins by placing a small amount of the powdered bark in one hand, squeezes juice from a lime, creating a brown, which he then places on an unpainted wooden owl. "Yes the owl is also one of our sacred creatures, the great healer, quiet and humble." He reveals: "Now over time, and in the sun, this color will change or fade and be absorbed into the wood. So what our ancestors learned to do was take the dried sap from the copal tree and heat it up with honey. The resulting liquid is then mixed with the paint, changing the color a little; see, it becomes a deep orange ... but most importantly it acts as a mordent making the color permanent, and a little shiny." He adds powdered limestone, and the color changes to black. With the addition of baking soda and more lime juice it becomes a deep yellow, and with more chemical it miraculously becomes magenta. A new base is then started, with crushed pomegranate seeds. Magically the pulverized pink is transformed into green with the addition of limestone powder. Mixed with the magenta, it becomes navy blue. With the addition of zinc it becomes grey, and with more zinc, white. Blue from the añil tree, indigo, is altered with the addition of bicarbonate, zinc, lime juice or the powdered lime mineral. Corn mold, a black gooey culinary delicacy known as huitlacoche, when fermented and then powdered, yields ochre. The red of the dried and then crushed minute insect, the cochineal, which feeds off its host nopal cactus, becomes orange with the addition of the juice of any of a number of acidic fruits.

The demonstration terminates with Jacobo asking, "what´s your favorite animal," following which he finger paints a rabbit from the rainbow of colors on his palms, as only Alice could have imagined.

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With approximately 150 families now producing painted wooden figures in these and a couple of other smaller villages, the questions left unanswered remain: What facilitated and drove more carvers to adopt the papier maché style of using brilliant color combinations, and how can everyone in these villages make a living from this solitary art-form?

As with other crafts in the central valleys of Oaxaca, their production wasn't always the primary means of sustenance for the populace. Traditionally, handicrafts were a hobby or part-time trade, beginning with very few items being sold to the odd passerby, adventurer or traveler. In the case of rugs from nearby Teotitlán del Valle, there were trade routes that producers followed in order to effect more sales in other regions of the state, and in some cases beyond. But the primary means of family survival was working the land and small-scale ranching. And in the case of the carving villages, there never was a broader market, although in San Martín Tilcajete embroidered shirts, blouses and dresses were an extremely well-received craft throughout the 1960's and into the 80's.

Dramatic change in production and marketing of wooden carvings had its genesis in the 1940's. The pan-American highway cut through the Sierra Madre del Sur mountains, reaching Oaxaca, opening up the region to the north, in particular Mexico City and the border states. Until then Oaxaca was relatively isolated notwithstanding a rail connection. By the 1950's and early 60's Americans and Canadians were prospering from the post-war boom, credit cards had been mailed to virtually everyone, and word spread of a new kind of vacation, in a third world country, Mexico. Jet air travel facilitated the transformation. The women's movement meant more two income families, resulting in more disposable income for traveling. Mexicana Airlines and Oaxacan travel agents partnered to begin offering tour packages, which further facilitated tourism to the region.

The hippie movement of the 1960's and early 70's brought Oaxaca to the forefront of the alternative lifestyle, with throngs of youth and their pop idols traveling to Huautla de Jiménez, then a tiny Oaxacan village, to eat hallucinogenic mushrooms with the now infamous healer María Sabina. North American youth saw and purchased the first generation of contemporary wood carvings.

By the 1980's, as a consequence of multiple factors, Oaxacan alebrijes had become well-established as folk art, with the market continuing to grow. The economic implication was that farmers and ranchers were able to spend more time carving and painting, and less time in the countryside and in marketplaces vending their produce and animals. With a new toll-road opening from Mexico City to Oaxaca in 1995, access to the southern state became even quicker and easier, and safe. In good conscience, travel writers were no longer able to warn tourists about driving the switchbacks, back-road banditos, or cars overheating on secondary roads without service stations.

The future market for the artistry? While the odd visitor to a Oaxacan coastal resort such as Puerto Escondido, or the more popular Huatulco, does visit the state capital and the workshops of carvers like Jacobo, most do not. Within the next four years a new highway to the coast will open, cutting road travel time by at least a third. Even more sun worshipers will visit Oaxaca, and marvel at the art of Jacobo and María Ángeles.

Since opening their family workshop in 1996, without a doubt Jacobo and María have singularly raised the quality bar for other villagers who aspire to mirror their success. With Oaxacan wood carvings of superior quality now well established on the world stage, and access no longer an impediment, the challenge for others in San Martín Tilcajete will be to achieve the success of the Ángeles family through production of like quality, until now eluding most.

European Body Painting Festival

European Body Painting Festival

European Body Painting Festival

Europe Masks can be traced back over several centuries. Our ancient ancestors seemed to know the power of disguise even before written history. These traditions and links to shamanism could possibly pre date all our knowledge of recorded history. Masks of one form or another can be found in our three most powerful historical cultural times and areas, Egypt, Greece and Rome

To access some of our earliest European mask we need to visit France. In France, at Trois Freres, the caves inhabited by Paleolithic people have hunting scenes painted on the walls showing masked dancers. The are believed to be at least 25,000 years old. The central figure of one of the scenes shows a shaman like character wearing the head and antlers of a stag in amongst the reindeer, bison, stag, horse and ibex. The link to masquerade traditions of today can be made through the use of horns, fur, feathers and the animal forms adopted.

In Greece the cult of Dionysius used masks to represent the spirits of nature and bestow these spirits upon the wearers. Gold sepulchral masks covering the faces of the dead have been excavated in Mycenae. In Greek theatre actors used masks to show different characters. This tradition was carried on in the Roman theatre. In medieval mystery plays masks were used to portray characters. Devil and other masks were used in carnivals, as they are today in Spain, France Italy and other countries.

In Britain there are traditional animal Masquerades which use various forms of the hobby horse as a focus. These are to be seen in Lands End, Bwca Lwyd in Wales, Thanet in Kent and between 30th April and 3rd May in Minehead in Somerset. Some of these festivals are linked to Morris dances. The Morris dance, in some versions, has a an animal-masked fool who entertains the spectators with tricks. The ghost like Mari Lwyd in Glamorganshire is in stark contrast to the other brightly coloured traditions. This ghostly hobby horse has been linked to the Irish horse of the feast of Samain where the ancient Celtic festival is led by a white robed man bearing a crude horses head.

An unusual event is the Horn Dance of Abbots Bromley in Staffordshire. Six pairs of dancers each carry a wooden deers head with a pair of antlers attached. A hobby horse and other characters support them.

Another variety of masked character common to British folk festivals is the one associated with agricultural cycles. Notable ones are the Bury man, in West Lothian, who wears a hat and a Balaclava planted with roses, and the straw clad man who appears in Whitby on the Saturday before Plough Monday. Similar straw clad figures are also known in Ireland. It is possible that The Green Man of ancient Britain is associated in some way with these celebrations.

Eastern Europe

Hungary, Rumania, Bulgaria and Poland each have masquerade traditions which use animalistic and figurative interpretations of faces.

Hideously masked characters blowing horns parading through the streets of Hungarian towns such as Fejer are not uncommon. This particular festival uses cloth masks with untidy beards and eyebrows worn beneath felt hats streaming with ribbons. Carved wooden female masks are also worn.

Similar festivities can be seen in Maramures where the noisy mid-winter parades are held in common with other towns and villages. Here shaggy devil masks with horns are worn along with some disguises such as Second World War gas masks.

In Poland, Turon is another winter festival which is celebrated by villagers in several areas. The festival is named after Turon, a fantastic creature from mythology, now displayed as a hobby horse with the wearer?s body covered by a cloth. The villagers revelry takes them from house to house singing carols and receiving refreshments. Other masks, depicting bears, goats and wolves, are common.

Bulgarian New Year festivities also have similar animal mask. One agricultural festival can be traced back to ancient Thrace. On the first Sunday before Lent large groups of men dressed as domestic and wild animals leap noisily trough the streets to scare away the old year and evil forces. The cloth masks are made from fur, hemp and feathers with small metal disks decorating them. Other masqueraders wear horned masks to represent oxen.

In Greece similar festivities can be seen in Thrace with the Kalogheroi dance.

Other European areas of note are the Schemenlaufen at Imst in Austria, where frightening masks and noisy bells are used to drive away evil spirits. Italy has several rural masquerades and is famous for the Commedia Dell Arte where Harlequin and the buffoon, Pulcinella, originated. There are also the Venetian masked carnivals which date back to the Seventeenth century, with links to earlier times. In Spain conical hoods are worn by penitents during Holy Week and the Morisca dance represents the battle between the Moors and the Christians. The Morisca has had an influence on the festivals of other areas notably where sword dances are performed.

World Body Painting Festival Asia 2010

SUMMARY
I enjoy traveling around West Africa, especially around culturally rich regions blending nature with modern infrastructural developments. Both my air and road travels around this ECOWAS subregion in the last 15 years has been both instructive and enriching for me. I have been culturally immersed with diversity in languages, religion, culture, food, architecture, climate, economic life, flora and fauna.

The knowledge acquired, cannot be quantified in monetary terms, and i will recommend this educational tours to our youths to enable them appreciate and tolerate other cultures, thus reducing conflicts and disputes among neighboring countries. Somewhere else, i have written and held several seminars on working and living in Ghana about 11 years ago.

Today, the success story of Ghana is evident to all and this country Ghana, has emerged as one of the best economies in the subregion. Again, i am introducing another emerging great economy to you, The Gambia.

Before the whole world flood here, and you'll be left out, why not take my advise seriously and invest, work, live or holiday in this beautiful country to experience what I'm talking about? I love this peaceful country blessed with hospitable people. Gambians welcome you with natural inspiring smiles. The Gambia is bounded round by an historical river, rich in natural resources of sea foods, animals and healing powers. Welcome to The Gambia, the smiling coast of West Africa.

From the natural beauty of Makasutu Village, historical sites of Kunta Kinteh village, James Island, Kachikally Crocodile pool, Kanilai Farm, and so many other sites to the beaches and people, you will hardly want to leave. Little wonder, there are so many repeat tourists coming to The Gambia for the past 10-15 years that I've met. They come from all over Europe, Americas, Asia and Africa. At the beach, the beauty of the Sea, the sand and sun will remind you of Mother Africa.

How about the investment climate, very favorable and investor friendly.With a stable economy with a single digit inflation rate and currency exchange of US$1.0= GMD26 (As at 9th April, 2010). The Gambia is a multicultural country with a lot of immigrants from West Africa, Europe, America, Middle East and Asia permanently living as investors, working with several NGOs, some retired investors while many others are engaged in importation businesses and owned several shopping malls.The Gambia is home to investors, volunteers, professionals pursuing their career, and holiday makers who has made this peaceful country their destination. Welcome to The Gambia, where there is no discrimination based on religion, creed, color, race, gender, social status, disability and with zero tolerance to corruption. Read on! Alsamadeh!

MARKET
The major markets are in Banjul, Serrekunda and Brikama. Here, you can shop for staple foods like fish, meat, vegetables, clothings, jeweleries and fashion accessories. The locals welcome people with natural smiles after exchanging the religious greetings: "Asalamalekun", meaning, peace be unto you. Traditionally, Gambian women go to market daily to buy what to cook.They can be seen with the plastic baskets with holders thronging to the busy markets to shop for fresh fish, meat, vegetables and take time to greet each other asking after each others' families, relations and get updated about current social events and other women gossips. Some of the elites, however, prefer to shop in shopping malls around Kairaba Avenue, and buy foods in large quantities to store at home.

Mini-markets, or what some call supermarkets are all over the Greater Banjul area competing with the traditional markets. There are also the neighborhood shops, called "Fulah Shops", owned mostly by Mauritanian citizens and in some cases by Guineans. This is the place to get the locally made bread called, "Tapalapa". This is usually a long banana shaped clay oven baked bread that is usually transported on bicycles by the suppliers early in the morning, mid-day and sunset time. I prefer buying this, when fresh, it's soft and more appealing than the stale hardened and uninviting ones. A full one goes for D5 and the half is D2.50. The bread is usually sold with a nice spread of butter, mayonnaises, egg, potato and spiced with jumbo or Maggi sauce depending on the buyer's preferences.

There is also "Senfu", which has a crumb nature and much cheaper, being sold for D3 for a full roll. However, i noticed the "Senfu" is not as filling as the "Tapalapa" that can keep me going for the whole day, like a bowl of "Fufu", which is the energiser for most Nigerians, Ghanaians and Sierra- Leoneans in The Gambia. The local "Fufu" unlike the ones found in Ghana and Nigeria are made from "Saddam Rice", as it is called locally, by milling it into powder and cooked into a solid paste in a pot. The most popular lunch meal, among Gambians, is the jollof rice, locally referred to as " Benechin". Different types of stew are prepared to eat the rice meal like"Plasas", "Super ganja", "Damoda",etc. I enjoy the Gambia breakfast meal of "Thura Girthe", which is very rich in protein. This is a mixture of well pounded rice cooked with milled groundnut and eaten with a spread of yogurt "Sour Milk".

Gambians eat together. Small groups of between 5-8 people are usually seen eating from the same bowl, and yet, when a visitor appears, he or she is beakoned to still join them and share out of it. This is the true love, i'm yet to see anywhere. If you think there is no free meal anywhere, you're wrong; come to The Gambia! This explain the reason for very low or non-existent crime rate. At least, a lunch meal is guaranteed for anyone living in The Gambia. Food is shared, no one goes home hungry. The women also waste a lot of food by always preparing a lot expecting visitors to join them when serving their meals. They package the rice meals in large wide bowls with a cover and wrap it in a traditional manner with cloth, that will secure the food from spilling and carry to their husbands at their respective working places for them to eat with colleagues. Sometimes, they go travel long distances, to deliver the foods, like a family living in Lamin and the husband working in Serrekunda.

WORK HOURS

The official working hours is 8am- 4pm from Monday to Thursday. Friday is half day. Most of Gambians are Muslims, and they go for the Friday Special prayers in the afternoon. Although, the "African time" concept is still prevalent among the people, this is common with the government workers, the private sector is better. Most serious business appointments start from 9am, even though, they are scheduled for 8am.

The major reason sometimes for arriving at work late, can be as a result of unavailability of commercial vehicles to transport workers to their respective places of work. Even, at places of work, Gambians do not forget to take their Chinese herbal tea called " Atire".

GAME OF FOOTBALL

A first time visitor, to The Gambia will think the game of football has it's origin from here, because of the love and passion attached to this game. There are quite a number of playgrounds that are never kept idle because of the teeming youths that religiously train and play daily matches, especially in the evenings after work or school. Similarly, on weekends, first thing in the morning, you will notice everyone exercising or playing the game they love most; football.

The discussions of most of these youths that constitute half of the country's population is centered on the European matches. Teams like Manchester United, Chelsea, Manchester City, Arsenal, Barcelona, Real Madrid, AC Milan and other big teams have passionate fans in The Gambia.

There are many Football Viewing centers that are making a fortune showing the live matches to most Gambian. Although, some of these youths might not know the capital of Nigeria, they often tell me it's Lagos, but they certainly know all the European Club Managers, first line ups and transfers of these key players, not to talk about the latest scores in the premiership or championship.

The Gambia's national team, called the "Scorpion" is adored and you dare not say anything bad against this team in order not to incur the wrath of my football lovers. A loss in game when "Scorpions" play, will turn the entire country into a grave yard, "a mourning period". But with a win; the Brazilian samba dancers will envy the dance steps of both the young boys and girls singing: "ho, ho ho ho, ha,ha,ha,ha..haleyomii". Therefore, to make friends with Gambians is so easy, just pick up a football topic!

BEACHES

The climatic conditions of The Gambia is slightly different from other ECOWAS countries. There is only one cycle of rainfall which starts around June and ends around October. It is usually hot during the raining periods, unlike other countries that experience cold periods.

The Hamattan period starts from November to February. However, the weather experiences erratic changes sometimes. The beaches are clean and provide succor to visiting tourists that want to experience the beauty of the sun, the sea and the sand of The Gambia.

There are several beaches to visit. From Banjul beach to Palma Rima, Senegambia and up to Sanyang. There are so many private beaches along this line. Most white tourists called "Toubabs" are usually welcome at these beaches that have attractive traditional bars with natural juice, canned drinks, barbecue and special packages for visitors.

The menace of "bumsters" have been curtailed and there are tourist police patrolling most of the busy beaches to deter the "unsolicited friends". The beaches are besieged by almost all Gambians during festive periods or during major musical concerts or shows.

FESTIVE PERIODS

A visitor arriving The Gambia around Easter or Christmas will think all Gambians are Christians, with the celebration and partying. Similarly, around the Muslim festivals of "Koriteh or Tobaski" will give one the impression that there is no single Christian in town.

This is the beauty and diversity of the Gambian hospitality and tolerance of other religions in The Gambia. The people enjoy good music. The local artists are adored, some of whom are Jalibah Kuyateh, Titi Kololi, Freakie Joe, Asan Njie, Olugander and Sambou to mention a few.

The women, both young and old, enjoy dancing. The very physical dances of jumping and kicking the air is common and i often wonder where the women get the extra energy and strength from. Some young men that are not used to these dances, dare not challenge these women in a dancing competition, if they do not want to be hospitalized.

The entertainment industry is therefore very vibrant. Most people relax by watching Nigerian, Senegalese and Ghanaian home videos. There are several video rental shops to pick the latest Nigerian films from. Most of the banks and hotels show foreign channels like DSTV, CNN, AlJAZEERA, EUROSPORT etc.

PAID WORK IN THE GAMBIA

Except for ECOWAS nationals, that are allowed to work freely in some key government sectors like Education and Judiciary, other nationals are only allowed to work as expatriate and have to go through a scrutiny and get approval from the immigration department, before they can be permitted to work with the government.

However, investors are allowed to bring in their work force, provided they abide by the immigration laws of obtaining a work/residential permit. Openings exist all year round for qualified teachers in Senior secondary schools all over the country.

Most of the vacancies are usually filled by Nigerians, Ghanaians, Senegalese, Sierra-Leoneans, Liberians and a handful of other ECOWAS nationals. Openings also exist for lecturers in University of The Gambia, several professional training institutes and other tertiary institutes like Management Development Institute (MDI), Gambia College and Gambia Technical Training Institute (G.T.T.I).

Although, the private institutes remuneration is higher than the government pay scale. Most of the secondary schools in the provinces are in need of teachers, most teachers rather prefer to transfer to the urban cities leaving the rural villages without qualified teaching force.

Government subsidized schools remuneration package for non-Gambian teachers are between D3,500-D4,000 per shift (Morning or afternoon) depending on the entry level experience and qualification. The private schools pay between D4,500-D10,000, depending on the school and experience of the teacher.

Most schools prefer teachers that have gathered "Gambian experience", meaning, they must have taught in The Gambia for some years to understand the system. Combining both shifts means more income. Most government schools prefer to pay full salary for the morning shift and half salary for the afternoon shift. There are other several opportunities of income earning, by organizing study classes for the students after close of school by some teachers. Most teachers often change school to those paying more, and every term witnesses a mass drift of teachers around.

The coveted schools are: Marina International, SBEC, Zenith, SOS, Scanaid and West African International. Linguistics and sciences are the preferred subjects often in high demand. English language, English Literature, Mathematics, Further Maths, Physics, Chemistry, Biology, Agric Science, Applied Electricity etc, are "hot cake" subjects for most schools.
ECOWAS qualified teachers (M.Sc, B.Sc & HND holders in the subjects listed above) are usually being employed in secondary schools in The Gambia.

Other professionals needed to work in the private sectors are:

1. Lawyers with LL.b degree that have successfully completed Law school and called to Bar to work as
Magistrates/Judges with the Ministry of Justice.
2. Professional Graphic & Website Designers.
3. Professional Advertisers.
4. Desktop & Laptop Repair Technicians.
5. Automobile Technicians.
6. Theater Arts & Dramatic artists.
7. Film Directors & Producers.
8. Professional Actors & Actresses.
9. Radio & T.V Programme Presenters.
10. Fish Breeding & Farming
11. Aquarium Making & Gold Fish Rearing.
12. Leadership Development Trainers.
13. Trainers in unique skills & vocations.
14. Cottage Industry set-up trainers ( Body creams, soaps, cartons, shoe polish etc.)

The financial industry has witnessed a phenomenal growth with addition of more banks joining the league recently, bringing the total number of banks to fourteen in The Gambia. Most of these Nigerian banks are opening up branches and will need more staff.

Although, it is far cheaper to hire the locals than expatriate by the banks, because of the special tax paid for not hiring Gambians. The same rule applies to the Hotel and Tourism industry. The Non Governmental Organizations, NGOs are allowed to bring in their personnel.

Volunteers are also welcome in The Gambia. Volunteers can have a cultural immersion and gain international experience in this peaceful country. For holiday makers, i will recommend visiting this small but unique country for those in search of a Peaceful, Affordable and Memorable African Retreat (PAMAR!)

INVESTMENT OPPORTUNITIES

1. ECOWAS CITIZENS

The government welcome investment in all sectors, special attention is, however, given to Agriculture because of the importance of food security to any nation. Other sectors like Real Estate & Properties, Mining Industry, Hotel & Tourism, Health, Education, Manufacturing and Agro- allied Sectors are key areas to go into and get government incentive, in tax relief and total support.

ECOWAS citizens enjoy free movement of persons and goods within the 16 countries block, the required capital needed to re-locate to the Gambia to work, live, invest or holiday is far less than what is required to settle down in other ECOWAS countries. With the electricity tariffs coming down (thanks to the government initiative), NAWEC, the electricity company is doing her best to guarantee stable supply of electricity and many businesses solely rely on this stable electricity supply.

Incidences of armed robbery attack are very rare. I have not noticed or witness or hear about armed robbery attacks in the last six years. I only read in one of the newspapers, one or two times, about such attacks in the provinces some few years ago. People move about without fear of molestation or attack. Petty mobile phone theft are usually common.

The residential houses are affordable, and rents of one to three months advance payments, are demanded. The people are warm and hospitable. For as little as D500 per month, a room can be rented around the busy areas like Brikama, Latrikunda, Lamin,Tabokoto, Wellingara and Coastal road areas.

The 2-bed room apartments with all the conveniences goes for between D1,500-D2,500 per month in these areas depending on the finished taste and proximity to the busy highways. ECOWAS citizens can enter and settle in the country with opportunities to start small businesses.

For these wise residents in the country, there are several businesses to choose from and do effortlessly in this investment friendly country. Anyone coming to The Gambia for the first time, must first of all plan and prepare, knowing what to do and where to stay and having adequate information about the culture and business climate.

2. WORLDWIDE INVESTORS ( MEDIUM/ LARGE SCALE BUSINESSES)

The specific areas, wise investors, can rush into to invest presently, from our detailed research findings are:
A) Setting up a private University with residential campus to attract all ECOWAS citizens.
B) Eateries like MacDonald's, Chicken George, Mr. Briggs, Sweet Sensation, Tantalizers, TFC, etc
C) Botanical Garden/ Love Garden around the Tourist areas.
D) Building low Cost Homes to be sold or rented out to people.
E) Ground nut processing factory.
F) Feed Mill for Poultry, Rabbitry and Turkey Production.
G) Cashew Processing Factory (CNS Oil, brake oil, glue, rubber,electrical wires etc).
H) Natural Juice canning factory ( Fruits like mangoes, orange, lime etc abound).
I) Fresh Flower production and export.
J) Fish Canning/ Food packaging for export.

There are other 90 businesses we have surveyed to be potential instant money earners for wise investors to take on. Kindly request for a detailed project profile on this. The Gambia Investment Promotion and Free Zones Agency, (GIPFZA) welcome investors with unique offers of tax relief, government support and non-bureaucratic processing of necessary documents to allow for quick set-up and investment in The Gambia.

To have a fair idea of the business climate, i recommend that all potential investors read the latest business directory (The Gambia Business Directory).

INFRASTRUCTURAL DEVELOPMENT & BUSINESS ENVIRONMENT

The Gambia, though small, but has a robust economy with fourteen commercial banks, four GSM companies, a good number of airlines plying the subregion and the outside world. There are more than five daily newspapers, around eight radio stations and many hotels of international standards including the 5-star Sheraton Hotel.

The major roads from the airport to most busy commercial centers like Kairaba, Brufut, West Field, Senegambia, Brikama, Latrikunda and Banjul are all tarred with well lighted street lights. Clean, fresh and treated pipe borne water is available to most homes 24hrs uninterrupted.

Communication and internet services are quite cheaper than most other countries. The cost of starting a business in The Gambia is far cheaper both in the short term and long term. The real estate business is enjoying a great boom with 30% return yearly on investments, and the Meltdown phenomenon is not easily noticeable in The Gambia.

The Gambia is a tourist destination and repeated visitors are common in this wonderful and peace loving smiling coast of The Gambia. Although, The Gambia is a tax based economy, the government makes substantial earnings from Tourism and exportation of agricultural commodities like Groundnut, Fishes, Cotton and solid minerals.

It is mandatory for every resident to have a TIN number(Tax Identification Number) before a bank account can be opened. New buildings are coming up daily and it is common sight,to see most of the property owners advertising their phone contacts for those interested in renting or leasing these properties from high rise buildings in Senegambia axis, Kairaba, Fajara, West Field, Tallinding, Tabokoto, Abuko, Lamin, Yundum etc.

Gambians in diaspora are rushing home to invest in this high yielding property sector. A visitor that last visited the country a year ago, will notice a remarkable difference in this infrastructural developments. The Gambia is a clean country, especially with the introduction of the monthly cleaning exercises, called "SETSETAL", which is a special cleaning day for everybody on the last Saturday of the month between the hours of 8-1pm and thereafter there is free movement.

Municipal officials go around to ensure the wastes are properly disposed and ensure compliance to the law, that all shops and businesses most be closed and no movement of commercial vehicles, until the end of the cleaning exercise.

Health wise, it is safe to live in The Gambia, because the health delivery system is very efficient and well equipped with the best medical personnel in The world. There are various health centers, well spread around the country with ambulances standing by to quickly evacuate emergencies to Royal Victoria Teaching Hospital, RVTH, Banjul where complicated cases are usually taken.

Visitors coming for the first time, therefore, are advised to take the appropriate vaccinations recommended. ECOWAS citizens must take vaccinations against yellow fever, meningitis, Polio etc and ensure these are stamped on their Yellow Card, this is even taken more seriously, when traveling by road through Benin, Togo, Ghana, Burkina Faso, Mali and Senegal to The Gambia. Not having a valid Yellow Card could cost you a fortune in fines you'll be asked to Pay!

Medical services is free to Gambians, except the registration card which is D5 only. ECOWAS citizens are, however, required to pay for cost of treatment and hospitalization, depending on the treatment. Tourist visiting The Gambia are advised to have a Travel Insurance when visiting

Transportation within the country is affordable. Moving from one location to another is quite easy. There are three categories of commercial road transportation. One, is the commercial Bus, that only allow maximum of three passengers on a row which is convenient, unlike four on a row in several other countries. This type of buses go around the major destinations like Banjul to Serrekunda (D6), Banjul to Tabokoto (D10), Banjul to Brikama (D15), Serrekunda to Senegambia (D5) etc.

The second category is the yellow and green painted taxis that take people for D5 a drop or chartered services for most tourists and locals, called "Town Trip". The last category, are the green painted and branded "Tourist Taxis" for tourists from and to the airport, hotel areas, most beaches and historical sites for new visitors. They are more expensive than the yellow painted ones.

Except when it is very important, first time visitors are, however, encouraged to avoid going out around the rush hours, like 7-8am and 4-6pm, especially when commuters are going to or returning from work. From Tabokoto, Lamin, West field, Serrekunda and Brikama in the morning to Banjul and returning back home in the evening is always very hectic and expensive to take a taxi. The bus-stops are usually congested and the traffic chaotic around these periods.

There are many well organized tour operators with luxurious air conditioned buses to pick from and to the airport all visitors and tourist that arrange their visits through them. They also partner with most hotels on tours to historical sites and around the cities.

There area ferry services available to transport people across the River Gambia. From Barra to Banjul is D25 only. Visitors can come in to the country either by land through The Gambian border with Senegal at Hamdallah, or from Guinea and Cassamace, Senegal through Basse. By air is through the only airport at Yundum. The Banjul International Airport, one of the best in the subregion with the longest run-way and modern radial facilities installed.

The airport is not always busy and travelers should always inform someone to pick them at the airport, especially during the weekends when commercial activities are low. However, tourist taxis are available at any time for between D500-D800 depending on the distance, usually between 15-30km from the airport.

There is a Bureau de Change at the airport to change money from other currencies like Euro, dollars, pounds and CFA to Dalaisi. For Visa Card carriers, there is ECO Bank ATM at the airport. Bank PHB and Trust bank also have their ATMs at the airport.

On arrival in the country, when you hear "Nagadef?", meaning how are you, just answer "Jamarek", meaning i'm fine. After a hand shake, say "Jerejef", meaning thank you.
Jerejef, Jarama, Baraka (meaning thank you in 3 different local languages)