page_title: Alebrije
section_title: Copal wood
hierarchical_section_title: Alebrije / Carved wood alebrijes / Copal wood
caption_attribution_description: English: An Alebrije being carved from Copal wood in Arrazola, Oaxaca, Mexico. Español: Talla de Alebrijes en Arrazola, Oaxaca, Mexico.
context_page_description: Alebrijes are brightly colored Mexican folk art sculptures of fantastical creatures. The first alebrijes, along with invention of the term, originated with Mexico City cartonero Pedro Linares. Linares often told that in the 1930s, he fell very ill, and while he was in bed, unconscious, he dreamt of a strange place resembling a forest. There, he saw trees, animals, rocks, clouds that suddenly turned into something strange, some kind of animals, but, unknown animals. He saw a donkey with butterfly wings, a rooster with bull horns, a lion with an eagle head, and all of them were shouting one word, "¡Alebrijes!, ¡Alebrijes!". Upon recovery, he began recreating the creatures he saw in cartonería, a papercraft consisting of strips of paper and glue on an armature.
  His work caught the attention of a gallery owner in Cuernavaca, in the south of Mexico and later, of artists Diego Rivera and Frida Kahlo. In the 1980s, British filmmaker Judith Bronowski arranged an itinerant Mexican art craft demonstration workshop in the United States featuring Pedro Linares, Manuel Jiménez and a textile artisan Maria Sabina from Oaxaca.
context_section_description: Almost all alebrije carvers in Oaxaca use the wood of trees from the genus Bursera (Family Burseraceae), with a preference for the species B. glabrifolia, which is locally called copal or copalillo. This tree is typically found in dry tropical forests in Oaxaca and neighboring states. The exceptions are Isidro Cruz of Tilcajete, who uses "zompantle" (Erythrina coralloides) and the Manuel Jimenez family, which carves in tropical cedar (Cedrela odorata) imported from Guatemala.
  Originally, carvers obtained wood from the local forests on their own. Copal trees are short and squat and do not yield much wood; every piece is used. Despite this, the success of woodcarving caused an unsustainable drain on local wild copal, and nearly all of the trees near Tilcajete and Arrazola have disappeared. This localized depletion soon gave rise to a copal wood market in Oaxaca, even though many of the copal trees in other parts are of a different subspecies, which has more knots. Obtaining wood is a complex exercise because negotiating with other municipalities requires navigating complex social, legal and economic norms, and in many cases, state and federal environmental authorities have stepped in to try to preserve wild copal trees in a number of areas. Some communities have simply refused to sell their wood. These difficulties has led to a black market in copal wood, with carvers purchasing most of their supplies from venders called "copaleros." Harvesting copalillo is not a complex task; trees are relatively small and the wood is soft. Trees are felled using an axe or chainsaw. Branches are cut with machetes. Most harvesting occurs on ejidal (communal) lands. Legal or not, the purchase of copal wood from other parts of Oaxaca is putting unsustainable pressure on wild populations in a wider area, forcing copaleros to go further to obtain wood and often to deal with angry locals and police who alternately seek bribes and enforce the law. Eventually, this led to about only six copaleros which control most of the wood being sold, and these supplies' being unreliable. The federal government states that most of the figures are made with illegally obtained wood.
  Securing supplies of copal wood is a major concern for woodcarvers. Despite the fact that the cost of the wood is not particularly high, despite the effort, the main issue is reliability. Another issue for carvers is quality. Artisans will pay more for their wood only if they are sure they can pass the added cost onto their customers.  A number of attempts to grow the trees for woodcarving purpose have been undertaken. Copal is a native tree species to the area, so it grows readily without much care. It takes anywhere from five to ten years for a tree to grow big enough to be harvested (branches or entire tree). Some of the efforts include reforestation efforts sponsored by groups such as the Rodolfo Morales Foundation in Ocotlan, and a number of families spend time planting trees during the rainy season. Some have begun copal plantations. However, current needs for the wood far outweigh what these efforts have been able to produce.
  Another effort involves a program designed to manage wild copal supplies in a municipality called San Juan Bautista Jayacatlán. This arrangement has economic advantages for both the alebrije-makers and the owners of the forests where the wood is produced. It has not been developed sufficiently yet to affect the illegal harvest of wood, but its organizers hope that in time, it will become the more economical and preferred method. The difference between this program and others is that this works within the broader ethnobotanical context by promoting the management of the species within its native habitat. Jayacatlán is located next to the recently established biosphere reserve of Tehuacán-Cuicatlán. The benefit to Jayacatlán is to give the municipality a way to exploit its copal supplies and preserve its biodiversity at the same time. The benefit to carvers is to promote a reliable source of wood, as well as a trademark called "ecoalebrijes" to help them s
caption: An alebrije being carved from Copal wood in Arrazola.
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