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Centro Cultural la Azotea

The Centro Cultural la Azotea ("La Azotea" Cultural Center) is a cultural center and museum complex, located in the township and municipality of Jocotenango in Guatemala's Sacatepéquez Department. It lies some 2 kilometres (1.2 mi) north of the department's capital Antigua Guatemala in the city's modern outskirts, and is approximately 43 kilometres (27 mi) from the national capital, Guatemala City.

The center comprises three separate museums, on the grounds of a coffee-growing estate or finca. The center contains a coffee museum, which illustrates the history of processing and marketing Coffee production in Guatemala, the Mayan Music Museum, also known as Casa K'ojom which houses Mayan musical instruments from pre-Columbian times, and the Rincon de Sacatepéquez Museum which has items related to traditional Guatemalan dress. The center also offers horse riding facilities and tours of the small coffee estate.

Centro Cultural la Azotea.

La Azotea map.

Entering the coffee museum.
Coffee is a beverage prepared from roasted coffee beans. Darkly colored, bitter, and slightly acidic, coffee has a stimulating effect on humans, primarily due to its caffeine content.

  • It has the highest sales in the world market for hot drinks.

Coffee tree nursery.
Most well-established coffee plantations contain a nursery where seedlings are raised before being planted on the farm for production.

  • The coffee beans are initially planted in fertile soil, where they will germinate quickly.
  • The developing stalk then lifts the bean out of the ground, and they are referred to as soldiers at this time.
  • They resemble a roasted coffee bean linked to the top of a thin green stem in appearance.
  • The bean bursts open soon after, revealing the first leaves.
  • Coffee plants develop quickly and can be transplanted from the nursery into production after 6–12 months.

Preprocessing.
Coffee berries are traditionally selectively picked by hand, which is labor-intensive as it involves the selection of only the berries at the peak of ripeness.

  • More commonly, crops are strip picked, where all berries are harvested simultaneously regardless of ripeness by person or machine.
  • After picking, green coffee is processed by one of two types of method — a dry process method which is often simpler and less labor-intensive, and a wet process method, which incorporates batch fermentation, uses larger amounts of water in the process, and often yields a milder coffee.

Delivery for processing.
Then they are sorted by ripeness and color, and most often the flesh of the berry is removed, usually by machine, and the seeds are fermented to remove the slimy layer of mucilage still present on the seed.


Wastewater.
When the fermentation is finished, the seeds are washed with large quantities of fresh water to remove the fermentation residue, which generates massive amounts of coffee wastewater.

  • Coffee wastewater, also known as coffee effluent, is a byproduct of coffee processing. Its treatment and disposal is an important environmental consideration for coffee processing as wastewater is a form of industrial water pollution.
  • The amount of water used in processing depends strongly on the type of processing. Wet fully washed processing of the coffee cherries requires the most fresh water, dry processing the least.
  • See more at Coffee wastewater - Wikipedia.

Seed drying.
Finally, the seeds are dried.

  • Coffee drying is a post-harvest process that generally preserves coffee quality rather than improving it. Washed, natural, and honey processed coffees must all be dried at some stage of processing.
  • There are two main factors that contribute to how a coffee dries: temperature and airflow. Over time, these reduce the moisture within the green coffee.
  • When dried only in the sun, washed and semi-washed coffees will take less time to dry (six to nine days) while natural and honey processed coffees will take longer (10 to 14 days).

Coffee trees.
Coffea is a genus of flowering plants in the family Rubiaceae. Coffea species are shrubs or small trees native to tropical and southern Africa and tropical Asia.

  • The seeds of some species, called coffee beans, are used to flavor various beverages and products.
  • The coffee trade relies heavily on two of the over 120 species, Coffea arabica (commonly known simply as "Arabica"), which accounts for 60–80% of the world's coffee production, and Coffea canephora (known as "Robusta"), which accounts for about 20–40%.
  • See more at Coffea - Wikipedia.

Typical house by the lake.

Entering the music museum.
The Maya played instruments such as trumpets, flutes, whistles, and drums, and used music to accompany funerals, celebrations, and other rituals.

  • Although no written music has survived, archaeologists have excavated musical instruments and painted and carved depictions of the ancient Maya that show how music was a complex element of societal and religious structure.
  • Most of the music itself disappeared after the dissolution of the Maya courts following the Spanish Conquest. Some Mayan music has prevailed, however, and has been fused with Spanish influences.
  • See more at Maya music - Wikipedia.

Clay whistles.
Clay whistles were found in Jaina from burial sites. These whistles have mouthpieces in quadrangular, rectangular, ellipsoidal and conical shapes.

  • Several whistles are shaped like human faces, and some are shaped like animals representing Mayan deities.

Turtleshell drums.
Mayan percussion commonly consisted of drums and rattles. In addition there were tortoiseshell and turtleshell drums played with the hand, or with a stick such as a deer antler.

  • In the Classic and Late-Preclassic Periods, the Tonsured Maize God - another deity of the arts - is intimately connected to a small, portable turtle drum.

Drums.
Large vertical drums (which the Aztecs called huehuetl) were made of wood and did not survive. The much lower standing kettle drums that have been found - often shaped like a bulbous jar on a pedestal, single or double - are earthenware.

  • In depictions, the membrane is sometimes shown to consist of a jaguar pelt.

Rattles.
Pellet-bell rattles represented the god of death. The deity of the day Ik' (Wind) is sometimes shown as a musician shaking rattles.

  • The hundred golden pellet-bell rattles found in 1926 at the Sacred Well at Chichen-Itza were brought to the site from afar.

Trumpets.
There were several different types of Mayan trumpets. Some were made of clay and were relatively short, and wooden trumpets were much longer.

  • A wall painting dating from c. 775 CE found at the Bonampak ceremonial complex in the dense jungles of Chiapas depicts twin trumpeters standing side by side in a 12-man orchestra.
  • This, and other artistic depictions of Mayan trumpeters depict the lips of the players being held very tightly over the mouthpiece, suggesting that the wooden trumpets were used to blow higher overtones.
  • While the use of clay trumpets gradually diminished, the use of wooden trumpets persisted.

Skeletons playing on top of the roof.

Birdman costume.

Deer Man Costume.

  • The Dance of the Deer is of pre-Hispanic origin and refers to the ancient hunting ritual of deer, which was carried out as a method of sustenance for Aboriginal communities.
  • In this dance they participate a tiger and a lion that fight to hunt a deer. In the same way, a group of young men accompanied by dogs that persecute the deer in question is presented.
  • They complete the scene the old men in charge of that the ritual takes according to the pre-established norms and group of monkeys that adds humor to the dance. The dance is accompanied by a single musician who plays the marimba.
  • A month before presenting the dance, the participants should isolate themselves to purify their body and spirit, especially those who will represent lions, tigers and monkeys.
  • This dance, which involves 26 dancers, represents the struggle between humans and wild animals for venison. At the end, there is a feast in which meat is offered to all the guests.

Monkey man costume.

  • Like the Dance of the Deer, the Dance of the Monkeys is of prehispanic origin. This traditional dance refers to a myth belonging to the Popol Vuh, the sacred book of the Maya, which tells the story of two twin brothers who because of their envy were transformed into monkeys by their older brothers.
  • This dance involves the use of a 30 m (35 ft) high pole that stands in front of a church. Between the post and the church, a rope is placed in which one of the monkeys is balanced, while down another 23 people complete the dance.
  • The musical accompaniment is constituted by a marimba and a particular flute, called Ah Xul.

James the Great shrine.
The statue of James the Great is mounted on a shrine that will be carried on shoulders during processions. The porters, men and women, are represented on each side of the shrine in their traditional costumes.

  • James the Great, also known as James, son of Zebedee, Saint James the Great, Saint James the Greater, Saint James the Elder, or Saint Jacob (died AD 44), was one of the Twelve Apostles of Jesus.
  • In the Catholic tradition, Saint James is the patron saint of Spain and, according to legend, his remains are held in Santiago de Compostela in Galicia. The traditional pilgrimage to the grave of the saint, known as the "Way of St. James", has been the most popular pilgrimage for Western European Catholics from the Early Middle Ages onwards.
  • See more at James the Great - Wikipedia.

Spider man.

Maximon's Altar.
Maximon, also called San Simón, is a Mayan deity and folk saint represented in various forms by the Maya peoples of several towns in the Guatemalan Highlands.

  • Maximón is venerated in the form of an effigy or cult image. Worship varies greatly by location.
  • In Santiago Atitlán, Maximón's effigy resides in a different household every year. His image is normally only taken out of this house during Holy Week, whereafter it will change households, but is on display year-round due to the popularity of pilgrimages. The effigy has special attendants that stay by the altar year-round, drinking and smoking alongside it. They deliver offerings from the public to the image. Popular offerings include money, tobacco, and moonshine. See also Santiago Atitlan.
  • See more at Maximón - Wikipedia.

Home altar.
Several Catholic saints are on the table. Candles of various colors are being offered.

  • Notice the large drum under the table.

Dance of the Patzcarines of the village of Hope Totonicapán.
Annually, on Glory Saturday, Resurrection Sunday and Easter Monday, this community is the scene of a cultural activity that involves the traditional Patzcarines.

  • These characters are played by young people dressed in comfortable, loose clothing, who wear a wooden mask, made by a village resident, and a wig made from sheep's wool. The attire is complemented with a chicote, a fundamental part of the dance they perform during their presentations.
  • Over the years, several generations have been part of this cultic group. It is a tradition that has passed from great-grandparents to grandparents, parents, children and even grandchildren, who have been involved in their respective times. This has made the group recognized and applauded by locals and visitors.
  • It begins on Glory Saturday and ends on Easter Monday.
  • The committee begins with the preparations from the beginning of Lent, when it visits the young people who have participated in previous years. During these meetings it is confirmed if they will participate again, to determine how many are counted for the new edition.
  • Upon confirming this, the author of the Brotherhood of the Image of Jesus of the Resurrection, together with the director of the Dance of the Patzcarines, arrives at the home of each of the participants and takes them honey and bread.
  • The big day for the group is Glory Saturday, since this tradition begins at 8:00 a.m. The dancers, already with their respective clothing, appear before the community authorities, who welcome them and make the pertinent recommendations so that the activity can develop calmly.
  • On Easter Monday morning, the image of Jesus of the Resurrection is under the responsibility of the current author, so there is a dance there.
  • Hours later, in the afternoon, the change of author of the brotherhood is made and one more presentation is made in his house.
  • The group of the Patzcarines represent the first father, second father and the mother, who are interpreted by the participants chosen for the purpose. The rest have the role of children.
  • The melodies are played from a simple marimba, which has been used for this dance for years. Before being used, the instrument is taken to a marimba factory, located in the Barreneché village. There it is reviewed and the necessary adjustments are made so that the days in which the activity will take place work perfectly.

Reconstruction of a traditional village.
Notice the Flying Pole (Palo Volador) in the village's central square.

  • The ritual consists of dance and the climbing of a 30-meter (98 ft 5 in) pole from which four of the five participants then launch themselves tied with ropes to descend to the ground. The fifth remains on top of the pole, dancing and playing a flute and drum. According to one myth, the ritual was created to ask the gods to end a severe drought. The Aztecs believed that Dance of the Flyers (Danza de los Voladores) was the symbol of their culture.
  • See more at Danza de los Voladores - Wikipedia.

Day of the Dead.
The tradition of releasing kites on All Souls' Day dates back to the medieval era, in Europe, more precisely in Spain in Seville, a tradition that originated with African peoples, who released kites made of straw and leaves, to connect with the gods and also their dead ancestors. This tradition, today revives in Spanish-speaking countries, and today has its peak in Guatemala, where the biggest demonstrations are held.

  • Guatemalan celebrations of the Day of the Dead, on November 1, are highlighted by the construction and flying of giant kites.
  • It is customary to fly kites to help the spirits find their way back to Earth. A few kites have notes for the dead attached to the strings of the kites. The kites are used as a kind of telecommunication to heaven.
  • A big event also is the consumption of fiambre, which is made only for this day during the year.
  • In addition to the traditional visits to grave sites of ancestors, the tombs and graves are decorated with flowers, candles, and food for the dead.
  • In a few towns, Guatemalans repair and repaint the cemetery with vibrant colors to bring the cemetery to life. They fix things that have gotten damaged over the years or just simply need a touch-up, such as wooden grave cross markers. They also lay flower wreaths on the graves. Some families have picnics in the cemetery.
  • See more at Day of the Dead - Wikipedia.

Back strap loom.
The back strap loom (also known as belt loom) is a simple loom that has its roots in ancient civilizations. Andean textiles, still made today with the back strap loom, originated thousands of years ago with the same back strap loom process.

  • It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.
  • Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom.

Grinding grain.
Several handfuls were place on a stone quern with a gently curve surface for milling. The upper surface is not perfectly smooth, but is kept somewhat roughed. A stone shaped like rolling pin with a curve to match the curvature of the grinding surface was rolled back and forth, grinding the grain into flour, which was caught in a container at one end of the quern. The miller kneeled over on the ground, grinding on the wide saddle quern.


Making tortillas.
A quesadilla is traditionally made from round, unleavened quick bread called tortillas, which are made from corn or flour. It is then filled with cheese and grilled. In four easy steps, you can make a tasty quesadilla anyone would enjoy.

  1. Preheat seasoned griddle until very hot (200º C / 400º F)
  2. Place a tortilla on the griddle.
  3. Cover the tortilla with cheese, sauce, and or meat, and then place another tortilla on top, like a sandwich.
  4. Cook the quesadilla for 2-3 minutes on one side, then flip it and do the same on the other side until it is nice and brown.

Bride and groom outside the church.
In Ojitlán, Oaxaca, Chinanteca women wear special huipils for their wedding, divided into three classes.

  • The first is called “gala” or “red” which used to be the traditional wedding dress. However, because of its cost, few families can afford it.
  • The second type is called “pavo” which is used for special occasions. It is similar to the first but with a less intense red and with smaller designs.
  • The third type, called “pájaros y palomas” (birds and doves) is the most economical of the three and can be found fairly easily in markets. It is white with figures of birds and other animals in vivid and contrasting colors. This used to be reserved for women of middle age or older but it has since been adopted by many.
  • See more at Huipil - Wikipedia.

Worry dolls.
Worry dolls (also named trouble dolls; Spanish Muñeca quitapena, Doll removes grief) are small, mostly hand-made dolls that originate from the highland indigenous people of Guatemala.

  • Worry dolls are mostly hand-made. In Guatemala, they are made of wire, wool and colorful textile leftovers. The dolls are then dressed in traditional Mayan style. The size of the doll can vary between 1 cm and 5 cm (½ inch and 2.0 inches).
  • See more at Worry doll - Wikipedia.

See also

Source

Location

Location: Antigua Guatemala, Guatemala