For years, like many non-natives, I drove straight through Guia de Isora. It’s main street is a part of the main highway from the west of Tenerife to the north, at least until, sometime in the mist of a long-promised future, the autopista circling the island is completed. Guia was just another mile marker along the way; nondescript, modern blocks of shops and apartments; the old folk sitting on the plastic chairs of roadside bars; glimpses of mountains above and ocean below. The town curves busily along the hillside, bland and unremarkable, en route to prettier destinations, Arguayo or Santiago del Teide and points north.
Over time, years, in fact, I got to know the town behind the concrete façade. It was slow, the grasping that this little community is not what it appears to be at a hurried glance. A visit to the high school revealed a vibrant, enquiring environment, far from the sleepy village school I’d imagined. A friend worked temporarily with the town hall on a special project, a documentary, which turned out to be a very professional testament to a facet of island history, capturing its essence whilst there were still folk alive to remember it. And then, of course, there is the MiradasDoc documentary film festival, an event which has been going on every Fall since 2006. Who would have thought – a full-blown international, intellectual festival, full of lively debates and workshops as well as the movies themselves in this quiet backwater? The place is a hotbed of creativity and communal artistic endeavor!
There is a splendid auditorium where the films are shown, and a shiny, modern town hall and civic buildings. Then there is the old heart of the village, which spirals out around the church square, an utter contrast. Doors, walls and windows cheerfully bright, and narrow roads so you can always walk on the shady side of the street.
Come Easter these historic thoroughfares blossom with a distinctive kind of art, dramatic pieces (because what is more dramatic than the Easter story, after all?) made from plants, flowers and natural materials, like wood and moss. According to the town hall it’s the only one of its kind in Spain, though there are other flower festivals, none revolve around the Easter story. It’s ambition and success seems typical of this surprising community.
And so, seeking, and finding, escape from the crowds on the beaches, at the passion play of Adeje or the sombre processions in La Laguna, I meandered my way up to Guia on Friday. Previously I’d been on Maundy Thursday, and I expected to meet more tourists this time, but it was as quiet as before, no problems in lingering around a favorite piece or taking snaps without folk photobombing, perhaps because they have extended the length of the exhibit from two days to four this year.
Although the pieces are designed by prestigious names in this world of floral artistry, unknown to those of us outside the sphere, groups of volunteers and civic staff help in the creation, making it a real community effort. Like the mandala of Buddhism or the flower carpets of the Catholic Corpus Christi, this art is a lesson in life as well as a celebration of beauty and a sharing of ideas. Come Monday it is gone, leaving behind the lesson that nothing lasts long in this world.
This is what I discovered as I ambled around, dodging the hot sun, but cursing the shadows on Friday.
I begin with my two favorites:
I like this for the design, for the beauty and simplicity, and because, try as you might, you can always see yourself in those mirrors. This is a powerful message, which haunted me the rest of the day.
The inscription reads:
“Pain is sometimes necessary to find inner peace in each one.
But if we see life with light and color, it is easier to find.“
I love the originality of this exhibit. This was one of the first pieces I saw and it struck me as apt, in a time when Spain is reeling from corruption scandal after corruption scandal. From the king (that is the father of the current king) down, the country is examining its collective conscience.
Third piece with more or less the same message – surely this can’t be a coincidence.
This minimalist piece is by Carlos Curbelo, who is municipal designer and expert from the Catalan School of Floral Art, and was responsible for the larger part of the exhibition. The plaque describes it as inspired by the Mount of Olives, where Jesus went to pray before his arrest.
I had intended to correct the English (old habits die hard!), but typing out these inscriptions now, I find the mistakes kind of charming, so I’m leaving them alone.
This was the only one with which I had a problem. Were those really chicken wings?
Lovely translation there.
Carlos Curbelo has a brilliant translator who conveys the meaning as well as the words.
Sitting now, writing this and editing the photos, it occurs to me that, although not Christian, I “get” the messages of Easter, and these works of art made me dwell on them far more than, well, other Easter manifestations I’ve attended in the past.