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 Moctezuma’s Table
Number Seventeen

rio grande/río bravo:

Borderlands Culture and Traditions

norma e. cantú, General Editor

Cantu_Book 1.indb 1 4/15/10 10:48:07 AM

 Moctezuma’s

Cantu_Book 1.indb 2 4/15/10 10:48:07 AM

 21211111111111

Table Rolando Briseño’s Mexican

and Chicano Tablescapes
Edited by Norma E. Cantú

texas a&m university press college station

Cantu_Book 1.indb 3 4/15/10 10:48:12 AM

 Copyright © 2010 by Texas A&M University Press
Art copyright © 2009 by Rolando Briseño
Manufactured in China by
Everbest Printing Co., Ltd. through
FCI Print Group
All rights reserved
First edition
This paper meets the requirements of ansi/niso z39.48-1992
(Permanence of Paper).
Binding materials have been chosen for durability.

L ibrary of Congress Cataloging- in-Publication Data

Moctezuma’s table : Rolando Briseño’s Mexican and Chicano tablescapes /

edited by Norma E. Cantú. — 1st ed.
p. cm. — (Rio Grande/Río Bravo: borderlands culture and traditions ; no. 17)
Briseño’s exhibit, La mesa de Moctezuma/Moctezumas’s table, was held at the
Instituto Cultural Mexicano, San Antonio, and later at the Instituto de México,
Montreal, Canada.
Includes bibliographical references.
ISBN-13: 978-1-60344-183-4 (cloth : alk. paper)
ISBN-10: 1-60344-183-2 (cloth : alk. paper)
1. Briseño, Rolando, 1952– Criticism and interpretation. 2. Briseño, Rolando,
1952– Exhibitions. 3. Food in art. 4. Food—Symbolic aspects—Mexico.
5. Food—Social aspects—Mexico. 6. Power (Social sciences) in art.
7. Mexicans—Food. 8. Mexican Americans—Food.
I. Briseño, Rolando, 1952– II. Cantú, Norma Elia, 1947–
III. Series: Rio Grande/Río Bravo ; no. 17.
N6537.B6952M63 2010
709.2—dc22
2009032869

Cantu_Book 1.indb 4 4/15/10 10:48:12 AM

 I dedicate this book to all Chicana and I dedicate this work to my mother,

Chicano artists whose work nourishes our who taught me to love México.

spirit, a nuestros artistas, compañeras —Rolando

en la lucha, and to all with whom I have

shared a meal . . . that too is art.

—Norma

Cantu_Book 1.indb 5 4/15/10 10:48:12 AM

Cantu_Book 1.indb 6 4/15/10 10:48:12 AM
 Color Plates ix
Foreword, “The Table of Baroque Feelings/Senses” xi
21211
Wilfrido Ávila García, editor’s translation Contents
Preface xv
Acknowledgments xix
Artist’s Statement xxi
Rolando Briseño

part 1. Botana/Cocktail Snack, Antojitos/Hors d’oeuvres,

and an Entremés/Appetizer
1. How We Got Our Buenos Fideos 3
John Phillip Santos
2. Moctezuma’s Table and Its Many Readings: Meal as Art, Art as Meal 7
Graciela Kartofel
3. Moctezuma’s First Dinner 12
Timothy J. Knab

part 2. Sopas Aguadas y Secas/Soups

4. Feeding the Soul 29
Daniel del Valle
5. Musings on Moctezuma’s Table 33
Isabel Rico
6. La Mesa de Moctezuma y la memoria/Moctezuma’s Table and Memory 35
Blanca Garduño Pulido

part 3. Platos Fuertes/Entrées

7. Of Moles and Maíz: Rehistorization of Mexican and Chicano Culture 55
Amalia Mesa-Bains
8. The Use of Aztec, Maya, and American Popular Sources in
the Work of Rolando Briseño 60
Jacinto Quirarte
9. Indigenous Heritage, Culinary Diaspora, and Globalization in
Rolando Briseño’s Moctezuma’s Table 69
Rubén C. Córdova
10. The Globalized Table 92
Kaytie Johnson

Cantu_Book 1.indb 7 4/15/10 10:48:12 AM

 viii : Contents

part 4. Frijoles/Beans—Side Dishes

11. Nopales, amor y corazón: Legacies of Food through Love 113
Josie Méndez-Negrete
12. El Pleito 125
Sandra Cisneros

part 5. Postres/Desserts
13. Precious Vessels:
Recipes Old and New for Chocolate and All Other Earthly
and Celestial Delights 141
Frances Treviño
14. Briseño 143
Roberto Santibañez
Epilogue: Rolando Briseño: An Artist’s Life 145
Bibliography 163
Contributors 167
Index 171

Cantu_Book 1.indb 8 4/15/10 10:48:12 AM

 ingredients diaspora
In gallery following page 17 In gallery following page 94 21211
Color Plates
Tomatl Fatso Watso Table
From Camotes to Sweet Potatoes Picnic: 2500 B.C.E.
Ahuacatl Piri-Piri
Maguey Glyph Tabasco
Lo Verde Mexican American Cuisine:
Las Frutas . . . y los Frutos California
Corazón de Chocolate New Mexico
El Gran Chile The No. 2 Dinner
Esquincle Chile Mandala
Corn Tortilla Twin Towers
recipes Tower of Life
In gallery following page 37 U.T. Austin Tortilla Tower
Guiso de Iguana Magnolia Tortilla Tower
Pescado en Chile Amarillo MasAlamo
Yellow Chile with Varied Fowl Pre-Columbian Corporate Logos
Tlacoyo
Mole Wheel inframundo
Tamales, Tamales, Tamales In gallery following page 127
Uacamolli Birth of the Tuna
Manjar Azteca La Mesa de Moctezuma
Conejo en Guajillo Prince of Flowers
Guiso de Venado Ofrendas para El Alimento
Camarón en Chile Cascabel Recipe for Human
Tadpoles in Piquin Sauce Verdeazul
Peces Blancos en Pipián The First Course of an Aztec Banquet
Guajolote en Mole Poblano Vasijas Preciosas
Tlaxcalli/Tortilla Feathered Serpent in Pan Fino and
Aztec Serpent in French Bread
Popcorn Masa Goddess
Eloquatecomame (3)

Cantu_Book 1.indb 9 4/15/10 10:48:12 AM

Cantu_Book 1.indb 10 4/15/10 10:48:12 AM
 A 21211
ll of these dishes in the exhibition La Mesa de Moctezuma, dishes
of history, marinated by mestizo ideas, began to “cook” in the city
of San Antonio. One evening, friends gathered around a table at
an ice house, El Acapulco Drive-In—artists, writers, and a devout Foreword
The Table of
follower of art, yours truly. It was there that I first conversed unre-
servedly with the freedom afforded by the feeling of being at home
with artists like Rolando Briseño, Ángel Rodríguez-Díaz, Terri Ybáñez, Peter Baroque Feelings/
Falcón, Sandra Cisneros, Ellen Riojas-Clark, Manuel Torres, Ann Wallace, Josie
Garza, and Debbie Reed. I so identified with them that as we ended our visit, Senses
we agreed to meet at another restaurant in the area, Rosario’s, just a few blocks
south from the ice house. With good will I invited Rolando and Ángel to come to 21211
Mexico, mainly to Cuernavaca. I thus offered them my home as a dessert to the
meal we consumed that night. Wilfrido Ávila García
Subsequently, my trips to Texas became infrequent; I spent various days with A translation by
Rolando and Ángel in Cuernavaca, thereby returning the hospitality they had
norma e. cantú
offered me in San Antonio. Here, I must confess to one of my “secrets,” perhaps
my favorite trick, what I call a sort of cultural “thermometer”—I take my guests
to visit the Cuernavaca marketplace where the odors, colors, and of course flavors
meld. According to how I see or feel my visiting friends are doing, I take them
up and down certain sections of the market; for example, if they are romantics,
I take them by the florists’ stands, clearly because of the beauty and as a way of
thanking them for their appreciation of Mexican culture. But at the first sign that
they think this is not as good as in their own country, then we start ambling down
the meat market section, by the butchers’ where one can find lamb’s heads, oxen,
huge pieces of raw meat suspended from above, hanging from overhead hooks.
Predictably, it grosses them out, and they are horrified. With that, our visit to the
market ends.
But, if they are interested and I see that they are enjoying the visit, I introduce
them to the secrets the Cuernavaca marketplace holds in terms of the indigenous
presence, the medicinal and artistic goods. Treasures. We appreciate how the
placement of fruit on green palm fronds, with the lineal and flexible background,
frames the fruit in a spatial way. The artistic placing of the fruit just so, a sculp-
tural form always with the aim of trying to make it look good; the eclectic nature
of its shape harmonizing with the sensual dimensions; the nature of smell, of
form, of color—all that emits a vital energy, combined and concomitant with the
cacophony of voices, the voices of las comadres discussing the day’s recipes while
at the same time focusing on making a sale. Voices of bartering are background

Cantu_Book 1.indb 11 4/15/10 10:48:12 AM

 xii : Foreword

for a world syncretized in history and traditions. This happens at the market,
in the tianguis, and that is what I use to gauge my guests’ sensitivities. When
Rolando visited Cuernavaca, I “tested” him as well.
Such an experience was an important event for Rolando as he began to recog-
nize the fusions of the past and the present, between the past and the contempo-
rary, as he learned the names of the chiles, fruit, herbs, and above all the women’s
traditional dress that transport us to a true marketplace, a traditional market-
place. This milieu is where works such as Camarón en Chile Cascabel, Tadpoles in
Piquin Sauce, and Las Frutas . . . y los Frutos were born. His sensual immersion
buttressed by the sound of spoken Nahuatl, as some of the women from Cuent-
epec, who keep their traditional ways and language as part of their very being
as if it were something that belonged to them as their skin, kept a running com-
mentary. Such linguistic repartee becomes part of their body, a bodily conversa-
tion adorned with smiles and the coquettish flashing black eyes. As they offer
their fresh produce, bright yellow lemons or dark-skinned avocados, Rolando is
inspired to create the piece, Ahuacatl.
As we continue ambling through the market, we come upon the women from
Puente de Ixtla who are always seated at the doors of the marketplace offering
jumiles, to season the salsas with papalos or with quelites, another inspiration for
the piece Lo verde. Papalos, a wild herb that grows around certain plants, is used
in tacos along with other greens that are rich in iron and thereby help liver func-
tion. Jumiles, insects also rich in phosphorous and iron, have been used as an aid
to circulation and to season sauces since pre-Conquest days. The women from
Puente de Ixtla also offer ocote so that a hearth is never without fire. These sounds,
smells, and tastes, complemented with the tlacoyos that appear in Briseño’s piece
Tlacoyos, are offered alongside the grasshoppers, which the women ritually offer
with the refrain: Una probadita, marchantita? (a small taste, little customer?).
Thus awakening the pleasure of eating and of feeling deep in Mexico.
Daily, with joy, the women offer a part of themselves as they prepare and offer
their products to passing customers; in selling their produce, they share that part
of their world. And so we continue through the marketplace, deepening the plea-
sure of those inciting moles (red chile pastes) piled high along braided columns
shining temptation to sin; the names of the moles: peanut, pipián, almond, chile
mulato, from Teloloapan, from Oaxaca, from Michoacán, from all places one wants
to taste. At last, that is the baroque world, constructed of chiles, but always with
mother or grandmother’s recipe competing from one stall to the next. Always
asking: Which is better? And that is how Rolando shaped his idea of creating a
personalized world of flavor and tradition.

Cantu_Book 1.indb 12 4/15/10 10:48:12 AM

 Foreword : xiii

In Cuernavaca, in that unique marketplace, Rolando recovered part of his life,

insofar as he recovered and re-formed his ancestral memory that is in the blood
that courses through his veins; he recovered the sensibilities that make him a
Mexican. It all made him feel that he was part of the essential life that Cuerna-
vaca offered him. Awakening his creative interest, visualizing and recuperating
his natural gift, he proceeded to create, and it all gave birth to his marvelous work,
La Mesa de Moctezuma.
In the marketplace, in the vertiginous goings and comings of this confluence
between the two worlds, he became aware of the permanence of our indigenous
roots. I quickly found that my “thermometer” worked on Rolando. He had passed
the test.
Through food adorned with our pre-Hispanic origin, we proudly keep our cul-
ture. I believe we began with pulque, as we felt that our ancestors were shaped
by the sun and the moon, by the very cactus with its leaves perennially pointing
toward heaven and offering us their blood, the agua miel. Through the cuisine,
around the table that Rolando rightly interprets as the cultural center of family
and life, we find meaning. This interpretation of our cuisine is what gives vigor
to its cultural continuity as it presents a multicultural relationship that is cur-
rently influencing other cultures, other nations. This sentiment is what Rolando
has demonstrated in his deep and tireless search for the historical and traditional
origins of each and every natural product necessary to understand pre-Conquest
cooking.
Being before anything else a lover of history and good food, Rolando discov-
ered, too, the ecological underpinnings inherent in the regional foodways, this in
turn helped him step by step to know how corn and the cornfield and all aspects
of space were used. It was not just corn that could be planted, but also beans,
chile, tomato, jitomate, and quelites, or greens. For corn, it is in the cooking of
tamales, the corn stalk, and the corn meal and corn dough as a thickener of atoles,
and the chilatoles seasoned with axiote, and epazote, as well; yet, all come from the
one substance, corn. His knowledge then goes to the wild meats, including birds
like pheasant and hens, and in the collection of insects, all foodstuffs that formed
the base of indigenous cuisine.
In describing Rolando’s work, we can point to how he discerns such intense
transformations, and how he fuses history and cuisine in each one of his works.
Not just with color, but flavor, the history that Sahagún narrated finds its way into
Rolando’s work, inspired by such texts read with passion and hunger to under-
stand. Despite his internal anxieties, the wanting to personally know each family,
each tribe, each city from where it all comes led him to follow the paths of the

Cantu_Book 1.indb 13 4/15/10 10:48:12 AM

 xiv : Foreword

flavors; he climbed the hills and came down to the valleys through the center of
the Republic (Mexico). In his work, we find images and the pleasures of our his-
tory; we caress constructions full of tradition and culture, power, remembrances
of life. All this is offered in pyramids that refuse to disappear. On the contrary,
they resurface, peeking through the hills, the forests, and the fields; we discover
everything bit by bit. Finally we discover that we, Mexicans, persist and that we
are still here. What gives Rolando the strength to present his magnificent work
and what leads us to understand that we are still standing, still here, ultimately
lies in our history and in our community.
As I began this brief rumination, I recalled sitting around a table, always with
good friends so that as the saying goes, “Bread and salt are never denied.” Shared,
touched and reaffirmed. Finally, the presentation of his work, work that for me
is a great help as it reaffirms me to myself, makes me proud of being and feeling
Mexican. Thus I call the table, this table that has been set for such a purpose, a
table of the senses, the table of baroque senses, of baroque feelings.

Cantu_Book 1.indb 14 4/15/10 10:48:12 AM

 R
olando Briseño, like many other Chicana and Chicano artists, has
a long trajectory of work; his spans over thirty years. Although I 21211
have known Rolando for many years, I was not aware of various
biographical details or of the breadth of his work. Well known in Preface
Texas and in Chicano art circles, he is also widely recognized in the
larger art world. Perhaps because he lived in New York for fifteen
years and undoubtedly because of the recognized value of his work, his pieces are
in collections in venues such as the Brooklyn Museum, the Bronx Museum of the
Arts, Queens Community College, and the New York National Bank. Addition-
ally, his work is in two museums in Puerto Rico. His work is also in the collection
of the Corcoran Gallery in Washington D.C., and in many university gallery col-
lections across the country. He also has work in the San Antonio Museum of Art
(SAMA) and the Museum of South Texas in Corpus Christi.
While the artist’s statement describes and clarifies the elements of the struc-
ture of the exhibit, La Mesa de Moctezuma, and the artist’s conceptual framework,
I would like in this brief preface to contextualize the larger book project and my
involvement in it by offering my views on how the book evolved and how we
ordered the essays and poems. First, after recognizing that Rolando’s work was
the subject of essays, some translated or written in Italian, Spanish, Japanese,
and Polish, I felt the need to collect unpublished essays on his work. Initially, we
discussed a joint project tied to the scheduled opening of La Mesa de Moctezuma
in Mexico in the late 1990s. Due to circumstances beyond our control, mostly
political, the plan was scrapped and the show never opened and our book didn’t
happen either. My interest in his work, however, never waned, partly due to vari-
ous factors that resonate with my own work. For me, the most compelling attrac-
tion is the nature of his transcultural depictions. His transnational work remains
an important cultural expression for those of us who work in the area of border
studies, for it is firmly rooted in the traditional culture of Mexico and the United
States, and is especially meaningful in the context of the Tejano world of South
Texas. Like the work of Santa Barraza, Rolando’s work is art born of a place and a
culture, work that bridges even as it delineates boundaries.
This book brings together artists, writers, poets, and scholars who know
Rolando’s work and who agreed to reflect, in writing, on one particular exhibit,
La Mesa de Moctezuma/Moctezuma’s Table. As art often does, La Mesa de Moct-
ezuma elicited strong reactions when it first opened in San Antonio at the Insti-
tuto de México gallery; soon scholars, artists, and friends mused in writing. Over
a period of ten years, from the time the exhibition first opened, the writers used
some of the art pieces as a focal point to write about food, about transborder

Cantu_Book 1.indb 15 4/15/10 10:48:12 AM

 xvi : Preface

relationships between food and art, about personal connections to food, about
individual works within the exhibition, and the memories and visceral connec-
tions to culture provided by food that the works provide for the viewer. Each of
the scholars, artists, poets, and culinary experts adds her or his granito de arena to
make the book an interdisciplinary fusion of approaches to experiencing one par-
ticular and, I believe, significant exhibition, La Mesa de Moctezuma. At first, we
had gathered the essays and structured them around a chronological order; soon
we realized that would not work. We then decided to separate them into sections,
which soon evolved into the current structure: a multicourse meal. We decided
to “serve” the poetry as dessert and worked backward as we prepared the table of
contents into a menu framework. Beginning with botanas and entremeses, snack
and appetizers, and the very Mexican antojitos, literally translated as “little yearn-
ings” but more accurately “little whims” or “fancies,” we sought to introduce the
“meal.” These pieces pre­sent insights into the artistic work from various angles,
including the personal and historical. We then moved to the soups—in Mexican
cuisine they are either secas or aguadas; the latter is sometimes called caldo. We
placed pieces that highlight the curatorial view of the work and the eye of the col-
lector in assessing the pieces in La Mesa de Moctezuma. These pieces can amble
into the terrain of memory, of artistic traditions. Here, we grouped pieces we felt
center the series as a whole. Finally, the majority of the essays, those we deemed
provide a more substantive or academic view, we placed in the category of pla-
tos fuertes, or entrées. While the earlier pieces examine the series from various
approaches, the essays in the Plato Fuerte section go to the heart of the matter, as
it were, and explore how the series exemplifies Briseño’s view of food in culture.
Through rigorous processes of academic enterprise, they place the work within a
framework of the globalized table. We followed these with the side dish, frijoles,
beans, a mainstay of Mexican cuisine. In this section, we placed two personal
essays that offer stories inspired by Rolando’s passion for food, and Mexican food
in particular; we concluded this part of the book with the already mentioned
postres, desserts. The decision to order the pieces as the courses in a meal came
late as we struggled to shape the book around the essays and poems that had been
submitted in response to our call for work on La Mesa de Moctezuma. Structured
as an elegant repast—a meal of several courses and dishes—these essays com-
prise delicacies to be savored and talked about, even as they illuminate Rolando’s
work and this exhibition in particular.
I have sat at Rolando’s table and enjoyed the succulent dishes prepared with
love and with knowledge of color, texture, taste, and even touch, as the meal was
laid out on a table covered with an antique lace tablecloth that no doubt graced

Cantu_Book 1.indb 16 4/15/10 10:48:12 AM

 Preface : xvii

his grandmother’s table. Those who gather to enjoy good company and good talk,
come ready to enjoy a good meal: Green mole. Black bean soup, con crema, of
course. Crispy fresh greens grown in his garden. All prefaced with the very best
tequila as an aperitif. It is a side I had not known of Rolando, the artist with
whom I have held long discussions about his artwork, about the role of art in our
community and in our city, and about the dearth of publications on our artistic
production.
I feel honored to have had the opportunity to read and reflect on these essays
and the art pieces. The strong artwork speaks for itself; viewing the pieces alone
provides an unforgettable experience, but the addition of written testimony of
its impact on individuals, or its inspiration for poets, or its value for Chicana/o
art history, I believe, adds to that experience. And it is not just the artwork, but
Rolando Briseño himself. I know that you who come to this book will dwell on the
images, think, reflect, and experience them. But it is my hope that you also read
the pieces and find joy, information, and experiences that resonate with your own
memories, your own recuerdos. That you find out something about yourself, en fin,
that the words and the images touch your hearts and minds.

Norma E. Cantú
San Antonio, Tejas

Cantu_Book 1.indb 17 4/15/10 10:48:12 AM

Cantu_Book 1.indb 18 4/15/10 10:48:12 AM
 Gracias to the many people who were instrumental in birthing this book. I
especially want to acknowledge the contribution of those who wrote these 21211
essays and those who read early versions. To my family, especially Elsa and
Elvia, gracias for understanding when the demands of editing this work took Acknowledgments
me away from our own dining room table. Muy sinceras gracias a Rolando for
creating the beautiful pieces y mil gracias to all our friends in Mexico and in the
States who fed our souls and our bodies during the making of this book. I also
acknowledge the incredible work of the staff at Texas A&M University Press,
and the wonderful “eye” of our copyeditor, Dawn Hall. A todas, mil gracias!
—Norma

I would like to thank Wili Ávila for the use of his home in Cuernavaca,
where many of the pieces were conceived and created. I also thank all the
illustrious guests at the “dinner table” that is this book, La Mesa de Moctezuma.
Primeramente, a Norma E. Cantú, our editor, thank you. And to the
contributors my friends and colleagues: John Phillip Santos, Graciela Kartofel,
Timothy J. Knab, Daniel del Valle, Isabel Rico, Blanca Garduño Pulido, Amalia
Mesa-Baines, Jacinto Quirarte, Rubén C. Córdova, Kaytie Johnson, Josie
Méndez-Negrete, Sandra Cisneros, Frances Treviño, and Roberto Santibañez.
¡Gracias!
—Rolando

Cantu_Book 1.indb 19 4/15/10 10:48:12 AM

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