Tuesday, August 19, 2025

Articulated buses to serve new Cancún-Tulum route

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Articulated buses will provide a new service in Quintana Roo.
Articulated buses will provide a new service in Quintana Roo.

Four urban transportation companies have announced a new bus route for the Riviera Maya in Quintana Roo, connecting Tulum and Cancún.

With an initial investment of 250 million pesos (US $13.3 million), Turicún, Autocar, Maya Caribe and Cooperativa Bonfil intend to start operating a fleet of 140 articulated buses later this year.

One hundred buses will be based in Cancún, while the remaining 40 will operate out of Tulum. Each will have a capacity of 160 passengers. Promoters of the new service expect to cater to an average of 50,000 users per day, both residents and tourists.

Expected to create 1,500 new jobs, the first service of its kind in Quintana Roo will also implement environmentally-friendly technologies.

The 16 to 18-meter-long, natural gas-powered buses will also be equipped with wifi and “top quality services” intended to provide modern, comfortable, safe and efficient service at a price that is accessible to local passengers and tourists, the companies said.

The 104-kilometer route starts in downtown Cancún and includes the hotel zone. Buses will make stops at cities along the way, including Puerto Morelos, Playa del Carmen and Akumal.

Source: El Universal (sp), Noticaribe (sp)

520-room hotel near Tulum turned down for environmental reasons

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Site plan for hotel development turned down by Semarnat.
Site plan for hotel development turned down by Semarnat.

The federal Secretariat of the Environment (Semarnat) has blocked the construction of a 520-room resort between Playa del Carmen and Tulum, Quintana Roo, due to ecological concerns.

The company Palmares del Country was planning to build a project known as La Calma on land fronting Xcacel-Xcaleito bay, located in the municipality of Tulum but just 25 kilometers south of Playa del Carmen.

The 26-hectare development was to feature 520 rooms spread across 23 buildings as well as an artificial lake, its own network of roads, a parking lot, a lobby and a water treatment plant.

But Semarnat denied the required environmental permits on the grounds that the project would place both land and marine ecosystems at risk and have a negative impact on three endangered species of sea turtles, which feed, breed and nest in the turtle sanctuary adjoining the proposed development.

Several citizens’ groups officially registered their opposition to the project as soon as they became aware of it, submitting a complaint to Semarnat’s environmental risk division on February 19, the newspaper El Universal reported.

The same groups held at least two protests against the project and created an online petition calling on President Enrique Peña Nieto to reject the environmental permission sought.

The federal department formally ruled against granting environmental permission to the project on August 31 and notified the applicant of its decision on September 11.

Semarnat previously refused to authorize a smaller 75-room development on the same site, also citing concerns about the impact on sea turtles.

The Xcacel-Xcaleito Sea Turtle Sanctuary has been designated as a natural protected area and is the largest observed turtle nesting area on the entire Yucatán Peninsula, receiving green, loggerhead and hawksbill sea turtles.

Source: El Universal (sp) 

Forensic institute head dismissed over Jalisco’s ‘morgue-on-wheels’

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Morgue on the move: trailer carrying bodies was shuffled around a few times on the weekend.
Morgue on the move: trailer carrying bodies was shuffled around a few times on the weekend.

The head of the Jalisco Institute of Forensic Sciences has been dismissed for his role in the case of the refrigerated trailer carrying 157 bodies that was shuffled around the Guadalajara metropolitan area on the weekend.

There was no room for the semi-trailer’s cargo in overrun state morgues so it was first parked in a Tlaquepaque neighborhood until its foul odors triggered complaints that sent the trailer to another residential area in Tlajomulco de Zúñiga.

The offensive smells followed the trailer and its decomposing cargo, forcing authorities to send it to a warehouse in an industrial area of Guadalajara.

Yesterday Jalisco Governor Jorge Sandoval Díaz announced the dismissal of forensics chief Luis Octavio Cotero Bernal. He said the investigation into the morgue-on-wheels case was not closed and more dismissals could follow,

” . . . I understand and heartily regret the uncertainty caused by this kind of erratic action on the part of authorities,” the governor said.

He pledged that unidentified, unclaimed bodies would be treated with dignity at all times. “I promise to make up for this episode by providing an assurance that we will hire the best qualified staff . . . to avoid instances of negligence and indifference.”

The sanction imposed on Cotero should be an example for all public servants involved in the custody, transportation and handling of unreclaimed corpses, continued Sandoval, adding that he would not “tolerate dehumanizing treatment or alterations of established procedures.”

Source: El Financiero (sp)

Three more bureaucrats sanctioned for Paso Express errors

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The Paso Express between Mexico City and Cuernavaca.
The Paso Express between Mexico City and Cuernavaca.

Three more public officials involved in the construction of the 14.5-kilometer Paso Express highway have been sanctioned by the Secretariat of Public Administration (SFP).

The federal department has now identified 11 people who were responsible for errors and omissions that led to the formation of a sinkhole in the highway in July last year, killing a father and his son.

The SFP said yesterday that three personnel at the federal Secretariat of Communications and Transportation (SCT) “did not heed the warnings made by neighbors, a group of lawyers and local authorities about detected dangers in the public works project . . .”

The three former employees are barred from occupying a government position for 10 years.

Two months ago, the SFP imposed similar sanctions against seven SCT employees and one from the National Water Commission. It said they had “engaged in negligent and unlawful conduct during the construction of the public works project” and were guilty of “diverse administrative irregularities in the execution of the [highway’s] contracts.”

Source: Milenio (sp)

Design Week will put Mexican design and architecture on the world stage

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Mexican design stores like Happening are becoming popular In Mexico City.
Mexican design stores like Happening are becoming popular In Mexico City.

In just under one month Mexico will be celebrating its 10th annual Design Week, an event that carries extra weight this year because Mexico City has been named World Design Capital 2018.

The first city in the Americas (including the United States) to be awarded this prestigious title, Mexico’s capital is just bursting with world-class designers and architects doing new and innovative things. The designation illustrates that Mexican design is up there with the best.

Related events have been taking place all year and will culminate next month during Design Week Mexico, from October 10 to 14. Mexican designers are looking to place the country well and truly on the map when it comes to design and architecture, showing Mexican work to be new, fresh and truly inspiring. The city will come alive with events ranging from exhibitions, conferences, design tours, and even documentary film showings.

The World Design Capital award came about after years of preparation by the team at Design Week Mexico, led by some of the city’s leading architects and designers.

“We worked on this from 2015,” Design Week deputy director Carla Sofia Elizundia told Mexico News Daily, explaining that for the whole team it was a great accomplishment that has been “key to opening up collaborations” with the federal government and museums across the city and the country.

Design Week Mexico has helped to put Mexican design back on the map, in its own country. In 2011, the Fabrica Mexicana exhibition at the Museum of Modern Art was the first time an exhibition of entirely Mexican designers had been seen within Mexico for 40 years, Elizundia explained, showing that the country’s design scene is “mature and strong enough to stand on its own.”

She went on to describe how just seven years ago, design shops in Mexico such as Blend would stock 90% international designs. Now, however, people want Mexican-made options, and these stores now stock more local products than international.

In addition, Mexico City has seen design stores like Happening and Lago DF, which place an emphasis on Mexican design, popping up in various neighborhoods and competing with international design stores.

In addition, many of the city’s best bars, restaurants and hotels are being designed by local architects and are attracting design buffs from around the globe to check out these modern cutting-edge spaces in one of the world’s emerging capitals.

Mexico’s varied and beautiful handicraft tradition has long been admired globally. However, while “Mexico has a strong culture . . . many don’t imagine that we are as modern as we are,” said Andrea Cesarman, co-founder of Design Week Mexico. She hopes that this increased focus on Mexico will help to redress that balance.

The variety of design and architecture coming out of Mexico these days is as varied as any other capital on the world stage. Clothes designer 1/8 Takamura takes inspiration from Asia and parts of Mexico, while others draw influences from Europe, Africa and beyond. Mexican design doesn’t have to mean bright colors, cacti and Frida Kahlo prints; it is as vibrant and diverse as any of the other major players.

Young Mexico City designer Juskani Alonso put it well when he said “the only thing that Mexican designers have in common is that they are Mexican.” Clarifying further, he explains that “looking for a common language among Mexican designers is impossible since the cultural identity of Mexico is immense. Therefore the common ground among us all is ‘being Mexican’ — which is no small thing — and it has enabled us to create and grow the design scene in our country.”

Mexico’s incredibly deep roots in design traditions cannot and should not be ignored and one of the most exciting upcoming events is called Visión y Tradición, which will be held at the Museum of Anthropology.

It is a showcase of work produced as a collaboration between traditional artisans and modern designers. It is one of the events that Elizundia is most excited about since the aim is to generate a dialogue between traditional production and contemporary design.

The Rufino Tamayo Museum is hosting an event entitled, Inédito, a particular favorite of Andrea Cesarman. Out of 300 design proposals received from an open call to designers, 80 were picked and will be showcased. It is an exhibition of utilitarian design that will be judged, and the winner’s design will be produced.

Xavier Lorand is a designer to watch in this exhibition: his furniture designs won him an honorable mention in last year’s competition and this year he will be making furniture using coffee. The incorporation of recycled material in contemporary pieces is the kind of thing that is pushing boundaries on the Mexican design stage.

Design Week is also taking design and architecture beyond the walls of the capital’s museums. Parque Lincoln in the Polanco neighborhood will be part of an exhibition called Diseño Contenido, Contained Design, which will showcase the commercial design work of a number of creators across 20 shipping containers. Moving from container to container visitors will be able to access design in their local park. Ephemeral installations will also appear upon the water in the same green space during Design Week.

The Creativity and Change Program at the Museum of Anthropology is one for those who like to discover the concepts and theories behind the arts. Both Mexican and international designers and architects, like David Adjaye from the United Kingdom and Dror Benshetrit from the U.S., are in the line-up to talk about their work.

For those interested in buying design pieces or seeing many designers in one place, the Expo DW in Expo Reforma will be home to hundreds of stands selling goods. Look out for designers from Barcelona since Spain’s cultural capital is this year’s invited city at the event.

There will also be hop-on-hop-off bus tours around the Miguel Hidalgo neighborhood that take visitors to a number of different showrooms and galleries, and for those who enjoy design as the retaking or reactivating of urban spaces, Territorio Urbano will be showcasing experimental design across five central neighborhoods in the capital.

Behind the scenes, Design Week Mexico is also forging collaborations between universities in the city to bolster and inspire a new generation of emerging designers. Design students can attend talks and conferences at 10 different universities, and every Wednesday until the end of the year there will be talks at Espacio CDMX about responsible design.

There is no doubt that this year’s Design Week Mexico is going to be bigger, better and more exciting than ever and it is very likely that we will be seeing more and more emerging Mexican designers and architects taking their place on the global stage in the years to come.

Susannah Rigg is a freelance writer and Mexico specialist based in Mexico City. Her work has been published by BBC Travel, Condé Nast Traveler, CNN Travel and The Independent UK among others. Find out more about Susannah on her website.

Private sector challenges AMLO’s claim that Mexico is bankrupt

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Castañón and González: Mexico not bankrupt.
Castañón and González: Mexico not bankrupt.

Business leaders have challenged president-elect Andrés Manuel López Obrador’s claim that Mexico is bankrupt.

Speaking Sunday at a rally in Tepic, Nayarit, to launch his so-called “Thank You Tour” following his landslide victory in the July 1 election, López Obrador said the current state of the nation’s finances could limit what his government can accomplish but pledged that no campaign promises would be broken.

“We’re going to honor our commitments and we’re not going to fail the people of Mexico. Possibly due to the circumstances, because the country is going through a very difficult economic and social situation, possibly due to the bankrupt situation the country finds itself in, we won’t be able to achieve everything that is being demanded but we are going to achieve, let it be clear, everything, everything that we proposed in the campaign,” he said.

The comment contrasts with the incoming president’s statement earlier this month that there is economic stability in the country.

Responding to the president-elect’s remarks, the president of the Business Coordinating Council (CCE) accepted that Mexico has to confront a range of challenges but rejected the bankruptcy label.

“We have enormous challenges: security, efficiency of spending, [the need] to invest in connectivity, [to develop] more talent, but the government has never stopped paying its international commitments and there is the possibility of growing at 4% if the right public policy is made. There are options to believe in a promising future,” Juan Pablo Castañón said.

Addressing the same business conference, the chairman of Kimberly-Clark de México, Claudio X. González, also contested the use of the word bankrupt.

“Mexico is not bankrupt . . . I’m very optimistic, if you read everything that he [López Obrador] said in this very dramatic comment, he is beginning to explain that he won’t be able to achieve everything because there is not enough money to do everything, there are not enough resources or time,” he said.

“I don’t agree with the use of this adjective, but I do agree with the fact that we have to be realistic that he will not be able to do everything . . .” González added.

“What I think he’s trying to point out is that there are very difficult situations, without a doubt, security is one of them, impunity is another, the energy situation . . . is something that he has to act on immediately . . .”

The business leader declared that López Obrador has to find a balance between “pragmatism and preaching” in order to stimulate confidence, which in turn will encourage investment.

“The balance will be crucial because we won’t be able to build the investment we need without confidence — the most important word for investment. We need pragmatism to drive investment,” González said.

Gabriela Siller, head of economic analysis at financial group Banco Base, said that government debt in Mexico currently stands at 44% of gross domestic product (GDP), which she described as high, but she added that the country isn’t bankrupt because it has the capacity to meet its financial obligations.

She interpreted López Obrador’s remark as a nod to the fact that the incoming government — which will take office on December 1 — will have limited resources to play with and will therefore need to carefully prioritize its spending.

“If he wants to do new projects, he will have to make cuts to government expenditure in some areas in order to be able to increase in others.”

Source: El Financiero (sp), El Universal (sp), Expansión (sp) 

Number of mezcal producers has nearly tripled in five years to 2017

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Production in millions of liters. A big increase has been predicted between 2017 and 2023.
Production in millions of liters. A big increase has been predicted between 2017 and 2023.

The number of mezcal producers in Mexico almost tripled between 2011 and 2017, statistics show, but makers warn that quality of the beverage will drop with the recent expansion of the designated denomination of origin areas.

There were 68 registered mezcal brands in 2011 but by last year that number had risen to 201.

Oaxaca dominates production of the spirit, with 87% of all mezcal made in the southern state followed by Puebla with 4.2%, Zacatecas with 2.8% and Guerrero with 2.5%, according to market analyst Iscam.

The remaining 3.5% comes from producers in San Luis Potosí, Tamaulipas, Michoacán, Durango and Guanajuato.

However, the percentages will likely change soon after certain municipalities in México state, Morelos and Aguascalientes were added last month to the list of authorized mezcal producing areas, a move that established makers described as a “bitter pill” to swallow.

They say that not only will the inevitable proliferation of producers lead to an influx of poor-quality mezcal on the market, it will also lead to lower prices for the distilled beverage, whose popularity is increasing both domestically and internationally.

Hipócrates Nolasco, president of the Mezcal Regulatory Council (CRM), said the ruling by the Mexican Institute of Industrial Property (IMPI) to grant new denomination of origins only took into account the natural presence of the maguey plant in the states that received the designation and not factors associated with its ancestral value.

“[Let’s be] careful with what we are showing the world, what could happen now is that wherever there is maguey could be considered as potential mezcal territory. In that case, Cuba, the United States, Guatemala, El Salvador and Colombia, among others, could request a permit to produce mezcal,” he said.

The group Nolasco heads is already looking at ways it can fight the IMPI decision while Oaxaca Governor Alejandro Murat has also pledged to fight the ruling and last month led a mezcaleros protest in Mexico City.

Established mezcal producers are aiming to defend what is an increasingly lucrative industry.

CRM data shows that the industry grew 32.8% last year to reach sales of almost 3.9 billion pesos (US $207 million), while production was up 26.6% to just under 4 million liters.

The growing market has attracted investment from large multinational beverage companies such as Bacardi, Jose Cuervo and Pernod Ricard.

Julián Luna, producer of the mezcal brand Cordón Cerrado, said that he expects the market to continue to grow, predicting that production will triple to 12 million liters by 2023 but he added that small-batch producers will retain their appeal.

“Consumers are looking for a connection to the land, a different beverage from small producers that is therefore exclusive and has undergone fewer industrial processes.”

Source: El Financiero (sp) 

Alfonso Cuarón’s Venice triumph highlights importance of Mexican filmmakers

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Cuarón and his Venice Film Festival award.
Cuarón and his Venice Film Festival award. EPA-EFE/Ettore Ferrari

Alfonso Cuarón has won the Golden Lion at the 2018 Venice International Film Festival for Roma, his most personal film. The win highlights the importance of Mexican filmmakers in a film culture that is usually dominated by Americans.

Cuarón and his colleagues, Guillermo del Toro and Alejandro González Iñárritu – or the “Three Amigos” as they are known – have become popular fixtures at the Venice festival. Jury president del Toro was the winner of the 2017 Golden Lion for The Shape of Water, while Iñárritu’s Birdman opened the festival in 2014 – an honour shared by Cuarón’s Gravity in 2013.

All three have won Oscars for best director at the Academy Awards – and Cuarón is now a serious contender for best director in 2019 for Roma to follow his award for Gravity in 2014.

Roma is a Mexican Spanish and indigenous language (Mixtec), black and white art film. It is a highly personal project by Cuarón that features the point of view of Cleo (Yalitza Aparicio), a domestic servant working for a middle-class family – a character based on the Cuarón’s family servant, Lobi. It is an intimate film of Cuarón’s youth in the hip Mexico City district of Colonia Roma which blends family history with the social and political Mexico of the early 1970s.

Another newsworthy element of Roma’s success is the way in which the story of the film, and its distribution and exhibition, folds into the developing story of Netflix. That Netflix has chosen Cuarón’s semi-autobiographical drama as the flagship production for its new distribution model reveals much about the streaming company and the way it is challenging existing screen culture.

It tells us that Netflix wants to work with the best directors in the world and that it will support high-quality, non-English language productions that are likely to win prestigious awards. It also tells us that Netflix will support a director-led model for films that avoid big stars and special effects – Roma’s protagonist Cleo is played by Yalitza Aparicio, a non-professional actor who is a teacher in real life.

Netflix offers an alternative to traditional models that restrict these art films to a limited festival run and restricted theatrical release with low box-office takings.

Netflix has used Roma to break a deadlock with festivals seen in Netflix’s previous refusal to agree to a theatrical release, and Cannes film festival’s resulting refusal to allow Roma and other Netflix productions to enter into competition if they aren’t slated for theatrical distribution in France. The new Netflix model introduced by Roma enters films in festival competition and agrees to limited theatrical distribution, but also bypasses lengthy delays between cinema and streaming release.

Following Venice, Roma is playing in competition at Telluride, Toronto, London, New York and Copenhagen. It will be followed by an (as yet unspecified) limited theatrical release, and a global release on the streaming site, scheduled for December 1, 2018. Cuarón has highlighted this as a principal attraction of working with Netflix.

Working as his own cinematographer as a result of the lack of availability of his longtime collaborator Emmanuel Lubezki, Cuarón made a film to be seen on the big screen. It has state-of-the-art sound design and was shot on 65mm using the Alexa65 digital camera. This resulted in a “really pristine, almost never-before-seen black and white”, according to David Linde, the film’s producer. But the filmmakers also wanted the film to be seen by a global audience, an ambition that can be realized by its release on the biggest streaming platform in the world.

The high level of backing for a Mexican art film may appear to be a risky move for Netflix, but it follows its approach of support for a certain type of auteurist filmmaker, those who have a track record of excellence and are embraced by both festival and global audiences. These are directors who can be trusted to create high-quality films or series (examples include the Coen brothers, Paul Greengrass, Martin Scorsese, Steven Soderbergh, and Lana and Lily Wachowski).

While Netflix has been celebrated for investing in new and exciting voices and embracing diversity, directors have to jump through many hoops to be rewarded with such a high-profile distribution and exhibition platform.

As a multi award-winning director, Cuarón belongs to a Netflix executive class of director. Cuarón had to achieve stratospheric brilliance with his award-winning Gravity to be given such first-class treatment for a film set in Mexico City. That he has been able to make his most personal film yet is due entirely to his profile and status secured largely in filmmaking outside of his home country (with the exception of his low-budget Y Tu Mamá También). Cuarón has, to his credit, used his privilege to make a Mexican film that has a focus on the sort of working-class character that is severely underrepresented in mainstream cinema.

But while Cuarón himself is a great cheerleader for Mexican cinema his success is unlikely to lead to a wider distribution and exposure of Mexican films in general. Some of the most talented voices of recent Mexican cinema find themselves restricted to the limited distributions of the festival and art cinema circuits.

There is a rich cinematic culture in Mexico – and there are a number of directors deserving of wider international acclaim. These include: Fernando Eimbcke, Amat Escalante, Michel Franco, Maya Goded, Tatiana Huezo, Issa López, María Novaro, Alonso Ruizpalacios, Juan Carlos Rulfo and Carlos Reygadas.

There is much to celebrate in Netflix’s new film production, exhibition and distribution model – and in Roma’s success, particularly in the wider distribution it offers to filmmakers and increased access to films for its subscribers. Nonetheless, this model is still reserved for filmmaking royalty, and the festival, theatrical release and streaming platforms afforded Roma is an exception.

Most high-quality non-English language films will, unfortunately, remain unseen by large audiences.The Conversation

Deborah Shaw is a reader in film studies at the University of Portsmouth. This article is republished from The Conversation under a Creative Commons license.

Mexican film Roma front-runner for Oscars after Toronto festival

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Roma director Cuarón.
Roma director Cuarón.

After winning the top award at the Venice Film Festival and receiving a rousing reception at the Toronto International Film Festival, Mexican director Alfonso Cuarón’s new film Roma has emerged as a clear front-runner for the next Academy Awards.

The film, according to The Washington Post, has all the characteristics of a strong contender, including “great reviews, sumptuous photography,” an Oscar-winning director, great performances by non-actors and “insights into race, class, feminism and United States-Mexican relations.”

But Roma also has one big problem, The Post said: Netflix, rather than a big established studio, is distributing it.

That fact provides Hollywood, which votes on the Oscars, with a conundrum: should it reward a deserving film regardless of where it appears, or should it favor a movie from a traditional distributor to cater to fears about its own obsolescence?

“This is a big moment — for Netflix but also for the film business,” an unidentified Hollywood agent told The Post. “If Roma can’t win, Netflix can never win.”

The global streaming service has a deep desire for industry recognition but paradoxically it opposes broad theatrical releases — the means via which that recognition traditionally comes.

Netflix appears set to only allow Roma to have a limited exclusive theatrical release, qualifying it for contention in the Oscars, before it will also be made available on its online platform.

So if Roma is able to win the Academy Award for best picture, “it will show that many Oscar voters are willing to let the old ways die,” The Post said.

Cuarón, who won the best director Oscar for Gravity in 2013, pitched Roma to the production company Participant Media, which financed the film and later sold the worldwide distribution rights to Netflix.

Set in Mexico City in the 1970s, the Spanish-language black-and-white film explores Cuarón’s childhood memories and is centered around two indigenous domestic workers who take care of a small family in the middle-class neighborhood of Roma.

Film industry analysts quoted by The Post were skeptical about the chances of Roma winning an Oscar with only a token theatrical release.

One unidentified consultant said “oh, they care, believe me,” when asked if voters would opt against the film if it doesn’t have a substantive cinema run.

In turn, Cuarón said Netflix was being treated unfairly in the debate.

“Everyone focuses on Netflix but no one looks at the other side: the exhibitors [theater owners]” he said.

“They’re living in the ’90s. They need to be in the present.”

Source: The Washington Post (en) 

Too many bodies: stinky trailer containing 157 angers residents

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The smelly semi containing the unwelcome cargo.
The smelly semi containing the unwelcome cargo.

Finding a suitable place to park a trailer containing 157 unidentified bodies is proving to be a difficult task for authorities in Jalisco.

Due to a lack of space in state-run morgues, the Jalisco Institute of Forensic Sciences (IJCF) placed the corpses in a refrigerated trailer that until last Thursday was left in a warehouse in La Duraznera, a neighborhood in the municipality of Tlaquepaque.

But after residents complained of fetid odors, Mayor María Elena Limón ordered the state government to remove the trailer from Tlaquepaque, setting a period of 48 hours within which to do so.

Limón also said that municipal authorities were not notified by their state counterparts of the decision to store the corpse-filled container in Tlaquepaque, which is part of the Guadalajara metropolitan area.

The state government complied with the mayor’s order, moving the trailer to a litter-strewn property in the municipality of Tlajomulco de Zúñiga, where it was left outdoors directly behind the Paseos del Valle housing estate.

But that only achieved to transfer the same problem from one place to another.

Soon after the trailer’s relocation, Paseos del Valle residents also began to complain about offensive smells, some even claiming that blood was spilling out of the container. Some threatened to set it on fire.

Tlajomulco authorities, like those in Tlaquepaque, said they hadn’t been informed either of the plan to park the makeshift morgue within municipal limits. They too asked for it to be removed.

Consequently, on Saturday the state government once again relocated the morgue-on-wheels, this time leaving the 157 bodies in a warehouse belonging to the state Attorney General’s office (FGE) in an industrial area of Guadalajara.

In response to the situation, the Jalisco Human Rights Commission (CEDHJ) has initiated an investigation and reminded the IJCF that in accordance with established protocols it is required to establish a forensic cemetery where unclaimed bodies held by state authorities can be buried.

Before burial, DNA samples must be collected from all the victims, the CEDHJ said.

“The graves or burial niches must be marked using durable materials with the file number . . . that corresponds to the remains. All the information about the burials must be duly documented and added to both the State Bank of Forensic Data and the case file in the Attorney General’s office,” the organization said.

State authorities last month began the construction of a forensic cemetery on land donated by the municipality of Tonalá but work quickly stalled due to complaints by neighbors.

However, Jalisco Interior Secretary Roberto López Lara said the graveyard will be ready by the end of next month and will have the capacity for the burial of around 700 bodies in its first stage.

The 157 bodies currently stored in the refrigerated trailer are victims of violent crime presumably at the hands of members of organized crime groups.

There have been more than 1,500 homicides in Jalisco to date this year, a figure that has already exceeded the total number of murders in the state during all of last year.

The Jalisco New Generation Cartel, considered Mexico’s most powerful and dangerous criminal organization, is believed to be behind much of the violent crime committed in the state.

Source: El Universal (sp), El Financiero (sp)