Drawing on Chocolate: How Society Displays its Values on its Favorite Food

From the earliest of its history, chocolate has been tied to the value systems of the people that consumed it. As cacao products and recipes traveled around the world, the decorations and designs that people have chosen to use on containers give us insight into the value systems of their cultures.

Mezo-American Values

Relics of Meso-American pottery date to the same place and timeframe as the archeological record of chocolate–with the Olmec people. (Rose) Chemical analysis of pottery shards shows that the Olmec culture made cacao pulp into an intoxicating beer-type drink at least 1000 years before the current era. Eventually the cacao bean byproduct fermented into its own food source and began to resemble chocolate–at least in its crudest liquid form. (Henderson)

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The Mayan drinking vase on display in the permanent collection of the Boston Museum of Fine Arts is an example of documentation of ceremony, politics, and the importance of chocolate in their society. Slightly larger than a modern quart jar, the drinking vase has a wrap-around visual narrative that details a ritual, specifically noting out that kakaw (cacao) was one of the stimulating substances used in this event.

Our first pictorial record of the original bitter drink begins with the wealthiest of the Mayan society. These colorful jewels of Western Hemisphere art document the details about ritual life by describing events, attendees, and even the ingredients of the beverage. Documenting their religion and political record onto the containers from which they drank chocolate shows the importance of the beverage in their society.

The Aztec created rounded bowls from the calabash gourds which the local populace used to prepare their daily cacao. The society elite commissioned ceremonial pottery that took the same shape and name as the gourd vessels–jícara. Vessels like this were documented in the first Spanish histories, with descriptions of cacao preparation being poured from bowl to bowl to create a frothy top. (Presilla 32)

By the time the Spanish arrived, Aztec decorations were becoming less literal than the Mayans’ had been, and were more symbolic of the gods’ earthy powers. Geometric representation of forces such as lightening and serpents were replacing the drawings of the gods themselves. As colonization progressed, the strong geometric symbolism was married with the Spanich-Islamic influences and techniques–showing up in the hybridization of cuisines, ingredients (Lauden) as well as in the art motifs.

The ultimate reason for the Spanish colonization the Americas was to extract the wealth from the natural resources of the new world. Although the Spanish government justified their version of slavery with the religious conversion of the Native Americans, in the end the colonization effort needed to be a wealth-producing enterprise. Along with agricultural products such as chocolate and sugar, metals were of great value in the European market. Native cultures shared the affinity for gold, silver and copper and used them as ornament and decorative items for the elite, but they had not perfected many techniques to create items for utilitarian purposes. The Spanish brought the knowledge of metallurgy which led to the local creation of copper chocolate pots for drink preparation. They also used silver to create handles and feet on the local cups made from coconut, literally wrapping the drink in wealth.

This video of a Filipino chocolate preparation shows the use of a copper chocolate pot and a molinillo stick to stir the chocolate into a froth. This is how the Spanish modified the native Nahuatl method of pouring the chocolate from bowl to bowl to produce a froth. (Coe 156), (Presilla 20)

After the Spanish arrival, pottery designs started showing stronger geometric divisions and flowery natural imagery moving away from the stylization of the Aztec and becoming more reminiscent of the designs that were slathered on mother Spain’s 12th century Moorish architecture. Images of upper-class colonial life, replaced the Native American depictions of myths and ceremonies. Plantation life was becoming more important than the natural forces and religions of Mexico. The sgrafitto, or incised pottery techniques that the Spaniards brought with them, married well with the engraved and carved techniques that had been in Meso-America since the Olmecs, but allowed for a more refined hand to carve into gourds and coconuts as well as pottery. (Presilla 32)

jicara
Jícara such as this one from Peru uses the sgrafitto technique to create a delicate designs that bring to mind the Spanish homeland.

The gourd-bowl shape has become synonymous with colorful, modern Mexican tourist-style pottery in the shape of flowerpots and salad bowls. Calabash gourds are still grown, dried, carved and sold today in the markets of Tabasco. Grown from a native American tree that is remarkably similar to cacao in habit and form–modern uses for the gourds can be anything from drinking, to measuring, to display.

The influence and pottery technology of the Olmecs had moved northward with trade routes to the Pueblo people. Gas chromatography analysis of North American artifacts has shown that long before the Aztecs had usurped the regional market on cacao, the trade routes of the Mayans had extended northward to canyons of New Mexico. (Mozdy) The Anasazi cultures created tall, vessels reminiscent of the Mayan vase shape, decorated with extremely stylized iconography that represented the common Meso-American pantheon.

anasazi2
These examples from Chaco Canyon are covered with lightening bolts that reflect the Pueblo’s interpretation of the imported Mezoamerican rain god, Quetzocoatle and display the reverence to the forces of nature that the local culture held. (Eaton 38)

This 1200-mile path between where the vessels were found (in the Pueblo Bonito of Chaco Canyon) and the nearest source of cacao would have required 600 hours of backpacking through rough country and sweltering heat. As one researcher phrased it “That’s a long way to go for something that you don’t need for survival”, [something] that’s more of a delicacy…” Whether the Anasazi acquired this cacao through dedicated treks south–which would have taken weeks–or their pueblo was the endpoint of an even slower hand-to-hand, village-to-village trade route. (Mozdy)

European Values

Soon after chocolate washed across the courts of Europe, trade with the east opened up, bringing with it tea, and a new the technology harder, refined pottery that we still refer to as “china”. Tea was not treated just as basic sustenance. Like the original chocolate beverage, there was ceremony attached to it that appealed to the idle wealthy who could afford these imported beverages. Tea was prepared in a fancy ceramic pot–separate from the kettle used to heat the water. Then it was decanted to a cup to delicately sip. The wealthy started applying the same approach their chocolate. Long gone was the habit of preparing and drinking chocolate out of the same vessel. The wealthy had even stopped decanting directly from a copper pot into a cup. Drinking chocolate now represented wealth and was given all the trappings to prove it. Chocolate was prepared in the kitchen and placed in the chocolate pot, or chocotalière, by servants, then brought to the public gathering of wealthy ladies, and delicately poured into cups and handed round by the magnanimous hostess. (Coe 156-159)

meissen
The best and most expensive chinoiserie hailed from Germany, where Johann Friedrich Böttger duplicated the art of Chinese fine porcelain making.

 

Chocolate pots were made from the most expensive of porcelain, and shaped in the fashion of teapots with some adjustments. Traditional teapots have a short, squat form into order to be able to keep heat in and extract the flavor from the swirling tea leaves that are actively stewing in the hot water. A low-seated spout is fixed with an interior strainer to keep the floating leaves in the pot once you are ready to pour the fully brewed beverage. Coffee pots, on the other hand, need a tall form and highly placed straining spout for the opposite reason. As it is basically a decanting mechanism for an already brewed beverage, the height of the coffee pot allows any grounds from the brew to settle to the bottom, or get caught in the strainer. (Righthand)

Chocolate pots can be hard to spot, as they often hybridize these two forms–typically tall, but often bulbous. Early European chocolate pots most always have a removable finial to allow for a mixing stick to create the desired froth and keep the chocolate mixed. As cocoa powder was developed and cocoa preparations replaced true hot chocolate, the stirring stick went by the wayside, and chocotalière became nearly indistinguishable from coffee pots. The last distinguishing characteristic of a coffee pot was the internal strainer where the spout and body meet, and a spout that lowered over time.

Drinking chocolate represented wealth, therefore decorations were those that affluent courtiers and nouveau-riche traders would value. Gone were the forces of Meso-American nature, or plantation life, and in came garden scene–often mimicking the exotic origins of the pot. Elaborately painted and gilt decorations brought the wealth of court on the surface of the chocolate pot. An 18th century fad called “Chinoiserie” depicted the European’s visions of Asian gardens with palm trees, umbrellas, and architecture that they imagined would be found in the gardens of the imperial court of China. As many of the traders were making fortunes off the new-found economy, the asian motifs became a temporary obsession throughout the continent and its colonies.

staffordshire
Pottery for the middle class living in British colonies was most often imported from Staffordshire England. Extremely fine china rarely made it across the Atlantic during the colonial period.

Chocolate drinkers in the British colonies of North America usually imported English middle-class pottery with basic garden motifs to take to their breakfast tables. Very little pottery was made in New England so imported china had a cache of wealth and the designs were reminiscent of the estate and gardens of England as colonists tried to keep up all the appearances of home. The wealthiest of families had their chocolate pots crafted by local silversmiths, and garnished with the family seal to tie their family names and crests directly with the wealth that the precious metal embodied.

 

Modern Global Values

bars

As solid chocolate became available and ubiquitous throughout western culture, the packaging of it has changed with the form, but the still conveyed the values of the local surroundings. To make chocolate appealing to a mass Victorian audience, purveyors wrapped it in the trappings of health and wholesomeness. As modern food science undermined the myth of “healthful chocolate” and the western world was coming out of a financial depression, the ideology of wealth returned. Silver wrappers, foil lettering on thick, glossy boxes, expansive packaging, and silky imagery are on all price-points of chocolate. Our favorite addiction is made more expensive by giving it the trappings of luxury: heart-shaped boxes and ribbons; gilded truffles and patisseries. Feeling rich makes many of us very happy.

The fact that cacao is grown as a third world agricultural product, but consumed almost exclusively in comfortable homes of first world economies has been coming to the attention of consumers over the last half a century. For the socially conscious consumer–those whose values do not hold with personal indulgence without consideration to the cost to others and the planet–a whole new branding for chocolate has developed.

These consumers feel better about buying chocolate that is emblazoned with the iconography of Fair Trade, organic, or direct trade certifications–even if the certification system is more of a seasonal band-aid than a true economic transformation. (Sylla) The sheer plethora of virtuous symbols appearing on labels in the chocolate isle work to the benefit of the marketing. The variety of symbols and levels of individual certification system adds layers of confusion to the real benefits. The level of confusion is so high, there is no way the average consumer can understand all the nuances and impacts. In the end buyers spend more for a product that has a “seal of approval,” and go on their merry way with the psychological satisfaction of having done something good for the “other.”  They get to feel good without ever looking for any proof of the benefit these programs have on the lives of the farmers.

Slapping a feel-good seal on a wrapper has become so successful as marketing, that major companies are eschewing certifications that are attached to bureaucratic oversight of bona fide good intent, and instead are working toward establishing their own brands’ seal of ethical approval and creating home-grown social initiatives that are much easier to operationalize and do not threaten profits in the way that transforming the cacao supply chain would. Adding these icons into the patchwork of other initiatives ensures that social initiative logos appear on more and more packaging. Buying products branded with one of the myriad of ethical icons assuages the consciences of most purchasers. (Martin) In this way, we ensure that imagery that conveys these values will keep on proliferating on the packaging of our chocolate.

Works Referenced:

Brigden, Zachariah. Chocolate Pot. 1755. Silver. Boston Museum of Fine Arts, Boston, Massachusetts.

Burt, Benjamin, and Nathaniel Hurd. Teapot. 1763. Silver. Boston Museum of Fine Arts, Boston, Massachusetts.

“Crescentia cujete.” Wikipedia. Wikimedia Foundation, 03 Apr. 2017. Web. 07 May 2017. <https://en.wikipedia.org/wiki/Crescentia_cujete>.

Coe, Sophie D., and Michael D. Coe. The True History of Chocolate. Third ed. New York: Thames and Hudson, 2013. Print.

Eaton, William M. Odyssey of the Pueblo Indians: an introduction to Pueblo Indian petroglyphs, pictographs, and kiva art murals in the Southwest. Paducah, KY: Turner Pub., 1999. Print.

Henderson, John S., et al. “Chemical and Archaeological Evidence for the Earliest Cacao Beverages.” Proceedings of the National Academy of Sciences, National Acad Sciences, 16 Nov. 2007, www.pnas.org/content/104/48/18937.full. Accessed 6 Mar. 2017.

Laudan, Rachel, and Ignacio Urquiza. “The Mexican Kitchen’s Islamic Connection.” Aramco World. Saudi Aramco Services Co, May 2004. http://archive.aramcoworld.com/issue/200403/the.mexican.kitchen.s.islamic.connection.htm. Accessed 3 Feb. 2017

Presilla, Maricel E. The New Taste of Chocolate: A Cultural and Natural History of Cacao with Recipes. Revised ed., Berkeley, NY, Ten Speed Press, 2009.

Martin, Carla D. “Alternative trade and virtuous localization/globalization.” 5 April 2017, Cambridge, Massachusetts, Chocolate, Culture, and the Politics of Food.

“Metallurgy in pre-Columbian America.” Wikipedia. Wikimedia Foundation, 02 May 2017. Web. 07 May 2017.

Mozdy, Michael. “Cacao in Chaco Canyon.” Natural History Museum of Utah, Natural History Museum of Utah, 4 Aug. 2017, nhmu.utah.edu/blog/2016/08/04/cacao-chaco-canyon. Accessed 6 Mar. 2017.

Righthand, Jess. “A Brief History of the Chocolate Pot .” Smithsonian.com. The Smithsonian Institution, 13 Feb. 2005. Web. 23 Feb. 2017. <http://www.smithsonianmag.com/smithsonian-institution/brief-history-chocolate-pot-180954241/>.

Rose, Mark. “Olmec People, Olmec Art.” Archeology. Archaeological Institute of America, n.d. Web. 23 Apr. 2017.

Sylla, Ndongo Samba., and David Clément Leye. The fair trade scandal marketing poverty to benefit the rich. Athens, OH: Ohio U Press, 2014. Print.

Unknown. Anasazi [Pueblo] pottery, Pueblo Bonito, Chaco Canyon, New MexicoAMNH Digital Special Collections, accessed March 06, 2017, lbry-web-007.amnh.org/digital/items/show/38991.

Unknown. Drinking Vase for “om kakaw”. Boston Museum of Fine Arts, Boston, Massachusetts, 2003.

Unknown. Gourd (jicara) with red figures. Circa 1700. Lacquered Gourd. Fine Arts Museum of San Francisco, San Francisco, California.

Unknown. Jícara. Boston Museum of Fine Arts, Boston, Massachusetts, 2003.

Image Citations:

Unless otherwise noted, drawings and photographs are works of the author and images may not be reused without attribution.

 

 

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