From Piñata to Postage Stamp, US Celebrates Centuries-Old Hispanic Tradition

Arica Reed, owner of Big Daddy Pinatas, assembles a piñata at her home, Friday, Sept. 8, 2023, in Mesa, Ariz. (AP)
Arica Reed, owner of Big Daddy Pinatas, assembles a piñata at her home, Friday, Sept. 8, 2023, in Mesa, Ariz. (AP)
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From Piñata to Postage Stamp, US Celebrates Centuries-Old Hispanic Tradition

Arica Reed, owner of Big Daddy Pinatas, assembles a piñata at her home, Friday, Sept. 8, 2023, in Mesa, Ariz. (AP)
Arica Reed, owner of Big Daddy Pinatas, assembles a piñata at her home, Friday, Sept. 8, 2023, in Mesa, Ariz. (AP)

The US Postal Service on Friday rolled out its latest special edition postage stamps, paying homage to a tradition with global roots that has evolved over centuries to become a universal symbol of celebration.

The release of four new stamps featuring colorful piñatas coincides with a monthlong recognition of Hispanic heritage in the US and the start of an annual festival in New Mexico where the handmade party favorites are cracked open hourly and children can learn the art of pasting together their own creations.

Piñatas are synonymous with parties, although their history is layered and can be traced to 16th century trade routes between Latin America and Asia and the efforts of Spanish missionaries to convert Indigenous communities to Christianity. It was through dance, music and the arts — including the making of piñatas — that biblical stories were spread throughout the New World.

Piñatas became a key part of celebrating Las Posadas — the festivities held each December in Mexico and other Latin American countries to mark the birth of Christ. The religious origins are evident in the classic piñata designs of the seven-point star and the burro, or donkey, said Cesáreo Moreno, chief curator at the National Museum of Mexican Art in Chicago.

“Those early missionaries really were creative in the ways in which they wanted to teach the biblical stories to the Indigenous people,” Moreno said. “Nativity scenes, piñatas, posadas — all those things really worked well. They worked so well that they became a part of the popular culture of Mexico.”

And they still are part of the Mexican and larger Hispanic communities, whether it's in Chicago, San Antonio or Los Angeles, he said.

“Culture has no borders. Wherever community gathers, they have their culture with them. They bring it with them and so the piñata is no different,” he said.

Piñatas imported from Mexico line parts of Olympic Boulevard in Los Angeles. In Nevada, Arizona and New Mexico, people have turned their kitchen tables and garages into makeshift piñata factories, turning out custom shapes for birthday parties and special events.

Inside Casa de Piñatas in Albuquerque, giant characters hang from the ceiling and crowd the walls. For more than half his life, shop owner Francisco Rodríguez has been bringing to life super heroes, dinosaurs, sea creatures and other animals with strips of old newspaper and a simple paste of flour and water.

Some customers come from El Paso, Texas, and others from as far away as Michigan.

Rodríguez stared out the window, watching traffic zip by as he waited for his work to dry. With residue still on his apron and the fans blowing, he contemplated the future of the industry, hoping the next generation will take an interest in the craft.

He said many older piñata artists have retired or closed up their shops and he’s concerned the materials needed — like newspapers — will be harder to get as more things go digital.

It's likely piñatas will keep evolving as they have over the centuries. No longer are they made from clay ollas — used for hauling water or storing food — that would make a loud pop when cracked. Gone are the shards that would litter the ground as children scrambled for the tangerines, pieces of sugar cane and candy that poured out.

The stamps were inspired by the childhood memories of graphic designer Victor Meléndez, who grew up in Mexico City and remembers spending days with cousins and other relatives making piñatas to celebrate Las Posadas. His mother also would make piñatas for birthdays.

“That’s a dear, dear memory of just fun and happiness,” he told The Associated Press as he took a break from painting a mural in Seattle. “And I wanted to show a little bit of that and pay homage to some of those traditions.”

Meléndez's artwork also is influenced by the colors of homes in Mexico — bright pinks and deep blues, yellows and oranges.

This marks the third consecutive year the US Postal Service has issued a collection of stamps dedicated to Hispanic culture. Previous collections highlighted mariachi music and Day of the Dead.

Designing the stamps was certainly a dream project for Meléndez, who is known for his murals and design work for Starbucks. He's been a longtime fan of stamp work, having collected what he described as a ton of little bits of paper just because he likes the art.

Meléndez hopes the new stamps will ignite conversations and encourage people to learn about other cultures. They might discover they have more in common, he said.

“In the end, I feel that there must be a connection and there must be some sort of mutual understanding,” he said. “That eventually leads to better relations and more people being happy without fighting.”



Warsaw Opens a New Modern Art Museum as It Tries to Leave Poland’s Communist Legacy Behind

The Museum of Modern Art in the Polish capital is seen on Thursday, Oct. 24, 2024, in Warsaw, Poland. (AP)
The Museum of Modern Art in the Polish capital is seen on Thursday, Oct. 24, 2024, in Warsaw, Poland. (AP)
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Warsaw Opens a New Modern Art Museum as It Tries to Leave Poland’s Communist Legacy Behind

The Museum of Modern Art in the Polish capital is seen on Thursday, Oct. 24, 2024, in Warsaw, Poland. (AP)
The Museum of Modern Art in the Polish capital is seen on Thursday, Oct. 24, 2024, in Warsaw, Poland. (AP)

A modern art museum designed by American architect Thomas Phifer opens its doors in the Polish capital Friday — a minimalist, light-filled structure that is meant to be a symbol of openness and tolerance as the city tries to free itself from its communist legacy.

The Museum of Modern Art in Warsaw sits like a bright white box on a major city street. Inside, a monumental staircase with geometric lines rises to upper floors, where large windows flood the gallery rooms with light.

City and museum officials say the light and open spaces are meant to attract meetings and debate — and become a symbol of the democratic era that Poland embraced when it threw off authoritarian communist rule 35 years ago.

Warsaw Mayor Rafał Trzaskowski said the museum's opening is a "historic moment for Warsaw" and that the project, which will later include a theater, will help to create a new city center no longer dominated by a communist symbol.

"This place will change beyond recognition, it will be a completely new center," he said Thursday. "There has not been a place like this in Warsaw for decades, a place that would be created from scratch precisely to promote Polish art, which is spectacular in itself."

Warsaw was turned to rubble by occupying German forces during World War II and was rebuilt in the gray, sometimes drab, style of communist regimes across Eastern Europe. But years of economic growth in the post-communist era have produced modern glass architecture, cutting-edge museums and revitalized historic buildings.

The museum was built on the site of a former parking lot near the Palace of Culture and Science, a dominating Stalinist skyscraper. Though long hated by many who saw in it as a symbol of Moscow's oppression, the ornate palace remains an icon of the city today — perhaps even the city's most recognized building.

The museum responds with its bright white minimalism and smaller scale.

"It is very important that this building is located opposite the Palace of Culture and Science and symbolically changes the center," museum director Joanna Mytkowska said. "This is a building dedicated to open, equal and democratic culture."

American and other Western architects are putting their mark on Warsaw. The city skyline includes a soaring luxury tower created by Daniel Libeskind, the renowned Polish American architect. The firm of British designer Norman Foster created the Varso Tower, which at 310 meters (1,017 feet) is the tallest skyscraper in the European Union. A Finnish architectural team designed the city's landmark Jewish history museum.

Phifer's New York-based practice is known in the United States for projects including the North Carolina Museum of Art, the Corning Museum of Glass and the Glenstone Museum expansion in Potomac, Maryland.

Asked by a reporter if he viewed the Warsaw museum as his masterpiece, the 71-year-old did not hesitate with his answer. "Of course," he said.

He said from the time he began working on the museum 10 years ago, he was aware that his work was part of Warsaw's "remarkable renaissance."

The city financed the 700,000 million zloty ($175 million) project. In the first weeks it will hold performances and present several large-scale sculptures and installation pieces by female artists, including Magdalena Abakanowicz, Alina Szapocznikow, Sandra Mujinga and Cecilia Vicuña. The full opening with its larger collection is scheduled for February.

The area around the building is still under construction and will eventually become what the architect calls a "forum space," including a garden and a theater with a black facade, also designed by Phifer.

Not everyone loves the new museum's austerity, and some residents have compared it to a concrete bunker.

Phifer said he believes the critics will feel differently when they enter the building and see its design and how the white background gives space for the art "to come alive."

"The museum is what I would call a magic box. There is a bit of mystery to it," he said. "You don't really understand this work until you come inside and experience it with the art."

Trzaskowski, the mayor, said all ambitious architectural projects are bound to stir up emotions.

"Every large project that has been built from scratch in the world, such as the Pompidou Centre in Paris, the Guggenheim in Bilbao or the pyramid in the Louvre, has stirred up controversy," Trzaskowski said. The real controversies, he added, are yet to come when the avant-garde museum starts staging its exhibitions.