Made in Mexico: Tradition, Tourism, and Political Ferment in Oaxaca examines the close relationship between tourism and traditional arts in the southern Mexico state of Oaxaca with particular consideration of the ways political turmoil is impacted by and has an impact on the flow of tourists to the region. Goertzen has been visiting Oaxaca on short trips for decades, and the majority of images and examples used in the book are from the mid-1990s through 2007. He argues that perceived authenticity of tradition in Oaxaca has strengthened its draw to tourists and that the influx of those tourists has resulted in folkloric intensification in traditional arts. In his view it is possible for tradition to be sold without being irrevocably damaged. In fact, Goertzen shows that certain aspects of traditional life have been preserved because of, not in spite of, the flow of tourists to the state. Goertzen examines why the tourist industry was a major target of political action and how the industry declined as a result of those protests. He concludes that outsider perception of “untouched” traditional cultures results from the economic and political marginalization of states like Oaxaca which were responsible for the protests.
Goertzen takes as his starting point a series of protests and small outbreaks of violence that led to a disruption in the social status quo, and in turn in the flow of tourists to the area, in Oaxaca in 2007. This becomes a vehicle for examining the interrelated nature of tourism and political events throughout the book. The first chapter is actually an examination of a pillowcase bearing traditional motifs that Goertzen purchased in Chiapas. He uses this object to compare the neighboring states of Chiapas and Oaxaca, seeking to discover why the political situation in Chiapas erupted in a much more violent manner than in Oaxaca, ultimately concluding that the difference between the two states is merely one of degree, not significant structural differences. The next chapter explores the history of traditional crafts in Oaxaca, particularly as they have evolved due to the tourist industry. The third chapter discusses the Guelaguetza festival, a showcase of traditional dance and indigenous culture which has been a major tourist draw. In the fourth chapter Goertzen compares aspects of traditional culture from the region which are not significantly impacted by tourism, such as plastic shopping baskets used by women in Oaxacan markets and a common carnival game. The fifth chapter returns to the outbreak of violent protest in the summer of 2007, examining the deliberate disruption it caused to the tourism industry and positing the possibilities for the industry and the economy of the region to recover.
Throughout the book Goertzen begins by discussing broad themes and issues and then personalizes them with examples from specific informants or experiences he had visiting the region. His diction is clear and straightforward. He uses a number of tables to illustrate arguments, show the program for the Guelaguetza as it evolved, and to break down data; these are helpful for summarizing examples and showing changes. The book includes a sizable number of photographs, primarily of traditional crafts, but also of his informants and of political protest signs. These visual aids are extremely helpful, but unfortunately the majority of them are in black and white (likely due to printing costs) and the text and captions frequently reference the use of color in a pictured item without clearly identifying where and how that color is used.
Overall, the book is a compelling look at how traditional culture, tourism, and politics are interconnected in Oaxaca. The author’s use of “folkloric intensification” rather than a term like “distortion” or “alteration” to describe changes in traditional arts provides a value-neutral means of examining the evolution of these crafts and helps to provide agency to the traditional artists. He shows how they use astute observation of tourist preference to make marketable items without losing traditional content altogether. His examination of plastic shopping baskets and aprons provides a useful “control group” to compare with arts marketed to tourists and is a fascinating analysis of items in daily use which rarely attract the attention of such study. Though Goertzen’s arguments are clearly centered on Oaxaca, many of the themes could easily be applied to understanding other cases.
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[Review length: 709 words • Review posted on August 25, 2011]