Celebrating the new year in Veracruz, is a time for young people in towns across the coastal Mexican state, to dress up as “viejitos“ or senior citizens, and take to the streets to ask for “aguinaldos” and celebrate a tradition called El Viejo (The Old Man), which is believed to date back to 1875. Here’ what the tradition is all about.
A lively end of year tradition, typical of Veracruz.
In the state capital, the youngsters parade through the streets to the sound of drums and trumpets to ask for money from drivers and pedestrians they pass along the way. In Veracruz’s Isthmus of Tehuantepec region, young men are the ones who don the costumes of both men and women to dance in the streets for a few coins.
Typical of ’El Istmo de Tehuantepec’ El Viejo started in 1875 in the Port of Veracruz as a social protest by workers.
It is said that that the tradition first startred when workers clanked cans and banged on loud drums, asking for Christmas bonuses, called “aguinaldos” in Mexico, outside the home of a rich factory owner who was celebrating his Christmas Eve dinner.
‘El viejo’ was originally inspired by a Korean immigrant who settled in Veracruz.
The tradition lost it’s political aspects and became more what it is today when a Korean man who lived in Veracruz dressed up like the ‘viejito’ representing the old year in a Japanese almanac that he had. He would parade through the streets on the last day of the year followed by a little child representing the New Year, along with a noisy group of people playing guitars and güiros, banging pans or setting off cohetes and singing the following verses asking for their aguinaldo:
Una limosna para este pobre viejo, una limosna para este pobre viejo, que ha dejado hijos, que ha dejado hijos, para este año nuevo.
An alm for this poor old man, An alm for this poor old man, who has left children, who has left children, for this New Year.
Nowadays, the Old Man is usually accompanied by an Old Woman.
The woman carries a baby doll—and the actors are usually university students dressed up with incredible masks and old clothes. They all stop by every store in downtown Xalapa asking for their aguinaldos. It’s a fun tradition where you gladly give your loose pesos and tostones (50 centavo coin) to this happy crowd ushering in the New Year.
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Netflix’s “Narcos: Mexico” Season 2 comes back to continue the story of enigmatic drug lord Miguel Ángel Félix Gallardo and the subsequent rise and fall of the Guadalajara cartel he founded in the 1970s, with Diego Luna reprising his role as the mysterious Félix Gallardo.
The show depicts how Félix Gallardo’s eloquence and strategic thinking helped him attain a swift rise to the apex of the Mexican drug cartels.
For a man of which not much is widely known about, Luna reveals in this exclusive interview with mitú how he was able to dive into his character.
When preparing for this role, Luna said there wasn’t as much research material about El Padrino(Félix Gallardo’s alias) compared to the personal stories of other real-life personalities, such as El Chapo.
“The good thing for me in playing this role is this man was a very discreet person, he understood the power of discretion,” Luna says.
It was important to see what people said about him—what people say or feel when they were around this character, this perception of him helps a lot. I had to do research and see what was a common answer—people talk about how intelligent and precise and strategic he was, and that’s how I wanted to portray and build this character,” Luna told mitú over the phone.
Season 2 picks up after the murder of DEA agent Kiki Camarena, with Félix Gallardo enjoying political protection at his palatial home in Mexico.
It’s evident in the beginning scenes of this second season that his rags-to-riches story is starting to unravel and a bit of paranoia is starting to set in that he may have a knife (or gun) at his back at any moment.
A running allegory used by the characters’ dialogues of the Roman Empire’s eventual collapse and Julius Caesar’s ultimate end foreshadows what we all know will happen to Félix Gallardo—his drug empire will eventually collapse in a smoke of cocaine dust.
From crooked Mexican politicians and cops to ranch hands trying to make extra money delivering cocaine across the border, the show demonstrates the complicity among the cartels and how far the cartels’ reach.
“Narcos: Mexico” attempts to show that good and evil isn’t always black and white. The story highlights the gray area where even those committing corrupt acts are victims, Luna explained.
“Some of the characters that take action are victims of the whole system,” Luna said in Spanish.
The side of Mexico shown in “Narcos: Mexico” has been criticized by some as a side of Mexico stereotypically seen in the media.
However, Luna sees it as a side of the country that is real and must be discussed in order to move forward.
“When this season ends, I was 10 to 11 years old [at the time.] That decade was actually ending. It’s interesting to revisit that decade as an adult and research that Mexico my father was trying to hide from me [as a child],” Luna explained.
Luna says that this type of storytelling is important to understanding the fuller picture of Mexico.
The need for this type of storytelling—the stories that put a mirror up to a country to see the darkest side of itself—is vital, regardless of how complex it is to write scripts about all the facets of a country marred by political and judicial corruption.
“In this case the story is very complex, it’s talking about a corrupt system that allows these stories to happen. We don’t tell stories like that—we simply everything. With this, I had a chance to understand that complexity. The journey of this character is a presentable journey. Power has a downside, and he gets there and he thinks he’s indispensable and clearly he is not,” Luna said.
Outside of his role on “Narcos,” Luna is a vocal activist and is constantly working to put Mexico’s art and talent on an international stage through his work, vigilantly reminding his audience that Mexico has culture waiting to be explored past the resort walls of Cancún and Cabo.
“The beauty of Mexico is that there are many Mexicos—it’s a very diverse country. You have the Pacific Coast that is beautiful and vibrant and really cool. By far my favorite beach spots in Mexico are in Oaxaca, and all the region of Baja California. You also have the desert and jungle and Veracruz and you have all the Caribbean coast and the city is to me a place I can’t really escape. Home is Mexico City, and it will always be where most of my love stories are and where I belong,” Luna said in a sort of love note aside to his home country.
As much as Luna can talk endlessly about his favorite tacos in Mexico City (Tacos El Güero for any inquiring minds) and the gastronomic wonders of its pocket neighborhoods such as la Condesa, he also wants the dialogue around Mexico’s violence to be shown under a spotlight, as searing as it may be.
“We can’t avoid talking about violence because if we stop, we normalize something that has to change,” Luna said.
Perhaps “Narcos: Mexico”can bring some introspection and change after all. Let’s hope the politicians are watching.
According to reports, Escamilla was found lifeless with her body skinned and many of her organs missing. At the scene, a 46-year-old man was also discovered alive. His body was covered in bloodstains and he was arrested.
As of this story wasn’t troubling enough, local tabloids and websites managed to bring more tragedy to the victim and her family by splashing leaked graphic photos and videos of the victim’s body. In a terribly crafted headline, one paper by the name of Pasala printed the photos on its front page with the headline “It was Cupid’s fault.” The headline is a reference to the fact that the man found at the scene was Escamilla’s husband.
According to leaked video footage from the arrest scene, Escamilla’s husband admitted to stabbing his wife after a heated argument in which she threatened to kill him. He then claimed to have skinned her body to eliminate evidence.
Mexic City’s mayor, Claudia Sheinbaum, revealed that prosecutors will demand the maximum sentence against the alleged perpetrator.
The publication of Escamilla’s mutilated body has sparked discussions regarding the way in which reports about violence against women are handled.
Women’s rights organizations have lambasted the papers that originally published photos of Escamilla’s body and Mexican President Andrés Manuel López Obrador also expressed criticism of the media’s response to the brutal slaying.
In a press conference on Thursday, President López Obrador expressed his determination to find and punish anyone responsible for the image leaks. “This is a crime, that needs to be punished, whoever it is,” he stated.
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