2,501 Migrants by Alejandro Santiago Ramirez
A Brief Comment on the Significance of the Project

by Jorge Pech Casanova

San Pedro Teococuilco is a farming community in the Ixtlán district. In pre-Columbian times, it was a Zapotec kingdom with political ties to Zaachila. Both opposed the Aztec attempt to conquer them and take control of the area that currently comprises Oaxaca. When the Spanish seized the region in the 16th century, Teococuilco’s rulers converted to Catholicism in exchange for the community receiving a substantial quantity of wheat grain and of becoming the county seat, a position it held for more than two centuries. In addition to these former glories, Marcos Perez, the 19th century leader of Oaxaca’s liberal community, and a teacher, came from the region. One of his most outstanding students was Benito Juarez.

Alejandro Santiago, one of Oaxaca’s leading artists who as received critical acclaim in Mexico, the United States, and Europe, was born in Teococuilco in 1964. His family moved to Oaxaca City in 1972, where he eventually made painting his career. Santiago, however, has never forgotten his hometown and he returns there on a regular basis.

When he last returned to Teococuilco, he was shocked to find that 2,500 souls – more than half the population – had left the community for other parts of Mexico or the United States. Such mass migrations had become common in the region due to acute poverty and chronic unemployment. In fact, villages throughout Mexico have been emptying out for sometime now, for the same reasons. Entire male populations of villages have left in search of work. Women, children, and the elderly were left behind and awaited the migrant’s funds.

In the midst of this desolation, a fortuitous event happened. In a dream, a vision of re-populating his community arose. When Alejandro awoke, a plan for re-population took hold. He would embark on the monumental task of inhabiting Teococuilco with 2,500 ceramic figures representing 2,500 of the absent villagers. One additional sculpture would be of Santiago, himself, at testament to his return. The project would be called “2,501 Migrants.”

Neither discouraged nor distressed, Santiago continues with his plan. He trusts that the clay people will draw back the former inhabitants. In his view, it is not only economic problems that make people leave their land. Residents are also discouraged by the lack of schools and social development. This too drives them away to places where they hope to find better living conditions. “A project like this,” Santiago continues, “can motivate people to stay in the community. It creates jobs and tasks that are creative and challenging, not just ways of making money.” He dreams that the endeavor will one day lead to a foundry for bronze sculptures, which he will donate to the people of the region.

Despite the enormous migration of Teococuilco’s male population, hopelessness has not completely engulfed the village. Absent inhabitants return to the village for the patron saint festival, during which they celebrate their saints and virgins. On such days, the shrunken community is re-populated by returnees. Trucks bear license plates from Wisconsin, California and Philadelphia. In this way, children and adolescents born on the other side of the border learn to love the land of their parents. Though the loss of identity is a risk for many migrants, the people of Teococuilco, who have migrated, maintain their spiritual ties, despite the foreign symbols and customs that now mark their lives.
 
2,501 Migrants has become an endeavor that adds a new dimension to Oaxacan art. In every piece that emerges from the Teococuilco kiln, the artist attempts to integrate art with the names and faces of daily life, in a manner deeply infused with human solidarity. Talismaen that struggle against dispossession, these clay sculptures may represent the opportunity for the Teococuilco community to hold onto its connection to the Oaxacan mountains – a link that has nurtured it’s children for many generations.
 
After the first exhibition in Santiago’s home village, all 2501 ceramic figures will be moved to a location in the desert between Mexico and the USA.  Here they will be lined up representing the path of the Oaxacan migrant.  Finally they will go back to Qaxaca to a permanent outdoor museum.
 
Any donations to complete this project may be paid directly to The Alejandro Santiago Foundation.