The Jaguar and the rainy season

By Oscar Cortes Palma

Probably the Tecuan or Jaguar was the nagual of the god of rain and fertility to the Olmecs, and it also was for the Aztecs or Mexica, as the God of Rain "Tlaloc" had human-feline features.


To understand this we must first know two things about the naguals:
1. That the naguals for Mesoamerican peoples were wise priests believed they could predict the future, which could bring rain, and at night could turn into animals, plus they were intermediaries of the Gods with humans.
2. That they reached the "Christian" naguals accused of being people "demonic" because their gods to be "Idols" false.


But even before the Spaniards arrived in Mesoamerican religion about priests or Naguales called "Tecuan nahualli" in plural there, "Tecuan Nahuallique" they were called so because these priests preferred to transform into beasts, ie jaguars or cougars, and they abounded in Huaxtecan and in warm earth (the current states of Morelos, Guerrero, Michoacan, a little Edomex).


That's why when the natives saw a Jaguar or Puma on the hill, respected him because apart from fearsome, Jaguar could be the nagual of a powerful priest, or perhaps could be the nagual of a god, like Tezcatlipoca, God crippled with a black stripe on his face who used to become Jaguar since it was a night sorcerer.

But probably the Mesoamerican performed dances and rituals in which a sacrifice Jaguar Nagual was simulated to ask the "showers" and these pre-Hispanic dances are the antecedents of the current Jaguar hunting dances, among which is the Dance the Tecuan, which has very modern elements.

But certainly these dances down more ancient dances to go back to pre-Hispanic times, as we can see clearly that the current Tecuan Dance is an adaptation of an older dance, perhaps the Dance of the Zoyacapoteros extinct or perhaps comes Dance of Chilolos Juxtlahuaca that have traits that senior dance Tecuan or can even arise from the Dance of the Tlacololeros,

This because the Dance of the oldest elements Tlacololeros has, for example, in this dance the hunt of a Jaguar that the crops of peasants eat, something that in our Western mentality seems unlikely depicted as the Jaguars are Carnivores are not herbivores, but this thought is explicable if under another way of understanding the world.
For example, residents of Zitlala and Acatlan, Guerrero currently performed dance and fights Tecuanis, because they think it will be a better time and have a legend that supports this belief, and reads: "Long ago there were two governments in their people, one was a woman named Citlali and another was a man named Acatl, both became "Jaguars Naguales" to steal the seeds Tlaloc was in a giant ant hill and protected by tlaloques.

At that time Tlaloc was upset with humans and would not send the rain and not giving seeds to be born plants, so although the "Jaguars Naguales" managed to steal the seeds to Tlaloc, is the discovered time and as punishment, he became so permanent in Jaguars, and then with lightning and rain made to plunge the hill, and falling to the bottom, the Jaguars watered the seeds that would give humans, then angry and blaming each other for the failure of the mission naguals Jaguars began to fight fiercely and began to bleed heavily.
Human meanwhile, watched the fight closely and notice it was raining and sprouting plants, believed to be due to the fight of the "Jaguars Naguales" and blood pouring from them, then they began to imitate them, and thus year with year when the rainy season approaches, disguised as jaguars and make fights, since they believe that this is pleasing to Tlaloc, and the more blood there will be more rain on their land.

That is, the belief that "Tecuani" or "Jaguar" is the nagual of a ruler, priest or God who sacrifices himself for rain agrees with the ritual fights Tecuanis Zitlala and Acatlan Guerrero, and is also consistent with the Dance of the tlacololeros, because in this dance, the dancers represent growers and natural phenomena related to planting, for example, the characters involved are the "The Maizo" whose name may derive from the word "corn" this is the most senior figure in the dance and who kills the Jaguar or Tecuani; and is also the one who gives the orders to his assistant called "El Salvador" who transmits them to the other characters. "El Salvador" is the second in hierarchy after Maizo, he is the one that goes to Maizo and transmits the instructions and orders of this to "Tlacololero". Also participating:

· "The Tapachero". It is the top seed after the land.
· "The Tecorralero". It is responsible for making the stone corrals
· "The Teyolero". It is who snuggles stone for the Tecorralero build the tecorral.
· "The Jitomatero". It is the sower of tomato, or may represent the plant.
· "The Green Chile". It is the sower of green chile, or may represent the plant.
· "The Gale". It represents the wind that brings rain.
· "The Lightning Dry". It represents the lightning that precedes the rain.
· "The Colmenero". He is collecting honey from the hives.
· "The Frijolero" It is the sower of bean or can represent the plant.
· "The wonder". This character represents the dog accompanying the "Tlacololero" to keep track of the Jaguar.
· "The Tecuani". Jaguar is the harvests of the peasants eat.

All these characters dance so that there is good harvest, as we can see we have the land, represented by "Tlacololero" have land workers represented by the "Tecorralero" we have natural phenomena that attract the rain as "The gale" or the "Lightning Dry" we even vegetables that are going to plant as "The Frijolero" "The Jitomatero", "El Chile Verde", ie everything is almost perfect for a good seed, just missing the main character "The water".




And just as we need the main character we spare a character which is curiously the central character of the dance, I mean the "Tecuani or Jaguar".

So it's not unreasonable to believe that the Jaguar represents the Tlacololeros rain. Because if the Jaguar is no rain, their participation in this Dance time is unclear, since the Jaguars eat meat do not eat crops. Jaguar is the herbivore is not carnivorous.



So if we know that the Dance of the Tlacololeros is to ask for a good harvest, but what role does the "Tecuani" or Jaguar in this dance?

Apparently, researchers on this topic not yet have a convincing answer, I suggest one, we take into account what the legend says about the relationship Zitlala "SACRIFICE" JAGUAR NAGUAL "= RAINS = good harvests." Because, if we find that the character representing a rain dance to ask for good harvest, and noticed the Jaguar appears to have no role in sowing, then why not believe that the Jaguar is the representative of lack "the rain "in the Dance of the Tlacololeros? because just as the rains are the essential part for the good seed, also the Jaguar is the essential character of the Dance of the Tlacololeros, and whether the Jaguar is sacrificed, in a dance that calls for good crops this coincides with the Chronicles of the first friars who arrived in Mesoamerica mentioning that naguales priests blood extracted for ofrendarla their gods, and also when native practiced human sacrifices, performed a ritual in which and sacrificed for a while was dressed as a God and so participating in a dance, as it was believed to be the personification of God.

 In addition, the sacrifice of the gods was nothing foreign to Mesoamerica, there is even a legend about the creation of the world which says that Tezcatlipoca, the mightiest of all God, cut his own foot to throw the sea as bait and lay a Cipactli ambushed a powerful and gigantic sea monster, and so helped by his brother Tezcatlipoca Quetzalcoatl, could eliminate Cipactli and create the world.


Finally, I want to mention that one of the naguales priests who survived the Spanish conquest was Martin Ocelotl, originally from Chinantla, was an influential nagual Tecuan why he was tried by the Inquisition and exiled to Spain but disappeared on the road.

© Oscar Cortes Palma Lic. UNAM and Research in Dance History of Tecuan of Morelos and history of the town of Axochiapan. Email axochiapancultural@hotmail.com; cami17_4@hotmail.com; Facebook: https://www.facebook.com/axochiapan Utilísese educational confines citing the author.

 BOOK OF DANCE Tecuanes

Information obtained from the book Dance of the Tecuanes.
If you wish to purchase this book, please call cel: (045) 735 190 67 62 or send an email to: cami17_4@hotmail.com; or www.facebook.com/OscarCortesPalma

It is a book very well done, has excellent design, finish and content, and very cheap too.

Dances hunt jaguar ". Characteristic of the identity of the "Cultural Suriano Territory".

By Oscar Cortes Palma

To define what it means to be Mexican or Mexican we have to take into account the common cultural behaviors of those who were born in this land we call Mexico.
There are many characteristics that identify us as Mexicans in the world, for example, the typical food, the beautiful costumes, the music of our people, dance and traditional theater and the whole culture we have built as time passes. In other words, we create our own history, our own Mexican identity.

 

But there are also features that have not taken into account, but that are present and differentiate us from the world. One of them, are the beautiful traditional dances representing a jaguar hunting. All these dances are about eight, I have listed under the name of "theatrical dances jaguar hunting," and are unique in the world. These dances are a symbol of Mexican culture not yet recognized in their proper perspective by intellectuals and by the authorities, but that has not made these dances disappear because it is the people who continues to perform these dances with their own.

The "Dance of the Jaguar hunting" are unique in the world, so they are a cultural characteristic that identifies Mexico from other countries. Because these dances abound in the "Cultural Suriano Territory" which covers the states of Guerrero, Morelos, Puebla and Southern part of the states of Mexico, Michoacan and Oaxaca. So I think that the "Dances hunt Jaguar" give us some elements to understand part of Mexican identity. It is very likely that on Earth there are many dances on the "hunt animals," but have not been studied or have not spread enough, and I must confess I do not know about the existence of "dances representing hunting animals "outside the American continent, but no doubt there are some in the other continents.

However, where we can find many "Dances on hunting animals" is on the American continent, for example in Mexico, in the states of Sonora and Sinaloa, we can find the "Deer Dance" in which hunting is represented a deer.



Further south of Mexico, are about 8 different dances on the "hunt jaguar" in the states of Mexico, Guerrero, Morelos, Puebla, Oaxaca and some in Michoacan. In total there are about 135 Mexican villages where some of the "Dance of the Jaguar hunting" danced. Also in this region are the Cowboys Dance, consisting of the bullfight and death of a bull. Also, a small region in the north between the states of Puebla and Veracruz, in the area was also inhabited by Nahua and tének find the Dance of the Tejoneros consisting of a badger hunting.

But besides Mexico, there are "Dances of hunting animals" in other countries of the American continent, although not as plentiful as in Mexico. For example, in Central America, in the town of San Juan Nonualco, the country of El Salvador, we find the "Dance of the Tiger and the Deer" consisting hunting tiger or jaguar. And in the country of Guatemala dance are dealing Deer hunting this animal.

In South America, there are also dances on hunting of animals such as tiger dance villages of Otare, Mompox and Rio de Oro in Colombia. And in Peru are dance Jaguar hunting in a town called Puerto Maldonado. Also in this country there is another dance called Choq'elas and deals hunting vicuna. In the neighboring country of Ecuador dance are dealing Deer hunting of the animal.

As we can conclude from the above information, the "dances on hunting animals" are not many, and we also realize that most danced in the "Cultural Territory Suriano" in Mexico, but still we have not given the importance to such dances as part of the national identity.

 In other words, dances on hunting animals but mainly the "Dances on the hunt Jaguar" are dances that identify Mexico in the world, in other words, "human-jaguar dancers" are a symbol of regional identity in the south-center of the country, as they are unique globally, so it is necessary to reassess these dances as an Intangible Cultural Heritage of Mexico and the world.

But the "Dance-theater of the hunt Jaguar" also speak for themselves, I mean that if we analyze we offer elements to know as has been the Mexican identity throughout history, to prove this, I will make an example of these dances called "theatrical dance Tecuan". Within these dances are variants. I will analyze one of them: Dance Tecuan Coatetelco type, which is the most danced variant. First the word "Tecuan" or "Tecuani" is of Nahuatl origin and means "something you eat," but that also means fierce, lion, jaguar, tiger, etc.
In this dance involved, at least 17 characters distributed roughly as follows:
17.Pitero
16.Risueño


FILA "A"
FILA "B"
1. Mayeso
2. Salvadorchi
3. Creeping
4. John Shooter
5. Doctor
6. Doctor
7. Flechero
8. Spearman
9. Trapper
10. Yerbero
11.Venado
12. Bitch
13.Zopilote
14. Zopilote
15.Tecuani


As we can see, the characters dance to dance are placed in two parallel rows but three characters, or Pitero Musician, Laughing and Tecuani, who can be located wherever they want. Some of these characters represent trades that existed since colonial times, and some even earlier, and until the 1930s, when land reform was in Mexico. For instance:
1. Salvadorchi is the landowner who has a lot of land, money and cattle.
2. Mayeso Squire's assistant, which is transmitted orders Salvadorchi their workers.
3. John Puller is a person whose job is to hunt animals with their firearm.
4. Creeping is a person who is dedicated to track wild animals, for that accompany their dogs.
5. Doctors have as trade heal people

6. Flechero has as trade, engage in the hunt using bow and arrow
7. The Lancer has as trade, engage in the hunt using spears
8. Yerbero is a warlock magic frightened by the "evil".
9. The Trapper is a person skilled in setting traps.
10. The deer is a native animal of the Mexican fauna, relatively abundant and is hunted as food.
11. Bitches are very common animal in Mexico
12. Vultures are carrion birds originating from Mexico.

13. Laughing is a silent hermit walks laughing like crazy, thus the name, and lives in the mountains, but thanks to his knowledge of the hill to catch the Tecuani works.

These characters participate in traditional dance Tecuan, whose plot tells the struggle between a wealthy landowner against a jaguar that is threatening their cattle. Squire, orders his assistant to hunt for the beast, but as his assistant can not, then hire expert hunters hunt the jaguar finally called Tecuan or Tecuani.


This variant of the dance Tecuan is currently dancing in more than 45 villages, and through this dance we know a part of the "Mexican identity", for example thanks to this dance we know that in Mexico there existed and ranches and estates livestock; and there and there were jaguars. Likewise through this dance we know that in Mexico earlier in rural areas had some different trades today. For example there were shooters, trappers, trackers of wildlife. We also know that the bow and arrow with spear guns were used by our ancestors, like the grass to scare some "evil". We also know that deer, vultures and dogs are animals accompanied the Mexicans since ancient times.

In conclusion the "Dance of the Jaguar Hunt" are fundamental symbols of Mexican identity, that abound in this country and are old. They even have pre-Hispanic elements because animals originating involved; besides this traditional dance it has been dancing for over hundred years ago. Landowner tells the treasury and life, one of the most dominant economic activities during the colonial period and even years after the Mexican Revolution.

These "Dances theater Jaguar Hunt" our ancestors created them because they wanted to tell us something. They wanted to tell a story, and as they spoke Nahuatl, and most could not read or write, we told their story through dance and popular theater, and the message has reached our days.

Which is surprising because it's been almost 100 years since disappeared many of the elements that tells the theatrical dance Tecuan, for example, the "power relations" between the farmer and his workers to catch the Jaguar, and almost as There are no trades that describes this dance, which nevertheless remains traditionally represented at fairs around 77 Mexican towns.

So I think it is necessary that the "Dances hunt Jaguar" are taken into account as an important part of national identity. Al revalorarlas we know symbols of the current Mexican identity and how it has changed the Mexican identity throughout history, as the theatrical dance Tecuan tells us part of our history, plus the traditional theatrical dance has been making the Mexican settlers with their own economic and human resources and generally do not receive institutional support.


© Oscar Cortes Palma Lic. UNAM and Research in Dance History of Tecuan of Morelos and history of the town of Axochiapan. Email axochiapancultural@hotmail.com; cami17_4@hotmail.com; Facebook: https://www.facebook.com/oscarcortespalma


 BOOK OF DANCE Tecuanes

Information obtained from the book Dance of the Tecuanes.
If you wish to purchase this book, please call cel: (045) 735 190 67 62 or send an email to: cami17_4@hotmail.com; or www.facebook.com/OscarCortesPalma

It is a book very well done, has excellent design, finish and content, and very cheap too.

The jaguar s hunters (Tecuanes)

By Oscar Cortes Palma

Some of the characters in the comic theatrical dance Tecuan Coatetelco are a group of characters who have called together as "hunters".

These are usually six:

1. The Lancer

2. Flechero

3. The Trapper

4. Yerbero

5. The Creeping

6. The Marksman

And these hunters face the Tecuani, while pretending to fight, dance between the two parallel rows formed by the other characters who observe and after a few minutes the hunter is pulled down, implying that fell wounded and that's when doctors appear with an injection cure, which is obviously feigned or if they can not cure a lot of fun using other methods.

DRESS

The hunters wear varies in the different towns, for example in Tetelpa, characterized hunters are dressed in shirt and jeans, both full of patches, this is done to make it look hunters who are really walking in the saws and sometimes clothes breaks, while in other villages as Coatetelco, Tetecala, El Higuerón, hunters go with long sleeves and trouser color you want if they are bright and bold, the trouser usually carry hanging pombones and bells that sound to dance. In other towns like Alpuyeca, clothing colors are clear and traditionally defined. Usually the hunters usually wear sandals or hats.

Then I describe the characteristics of each of the six hunters Tecuan.

Hunter 1. The Lancer

The weapon is a spear Lancer 30 centimeters. Lancer clothing vary across villages, all dressed in Tetelpa of Mesclilla, and Alpuyeca Lancer is dressed in blue shirt and pants and lancita sky is painted colors.

REPRESENTATION

The Lancer is an expert on hunting with his "spear." Currently trying to hunt with a spear seems a very old way of hunting but in ancient times, the spear was a weapon used not only in hunting animals but even in war.

Undoubtedly the spear is an ancient weapon, but was still used in the struggle for independence from Mexico by insurgents.

One hundred years after the Mexican Revolution of 1910 and the launch was not used as a weapon, and preferably machetes and firearms were used. That is "The Spear" is a weapon that shows ancient dance Tecuan.

FUNCTION

The Lancer is the first of the hired hunters face the Tecuani but is defeated.

Hunter 2. Flechero

DRESS

The armament of Flechero is a bow and arrow. His clothing varies in different villages Tetelpa is dressed all in denim and Alpuyeca The Flechero is dressed in purple shirt and yellow trousers and wearing a colorful hat.

REPRESENTATION

The Flechero also called Archer or Tlaminque (Nahuatl word meaning Archer)

The Flechero is an expert hunter, who masterfully handles the "bow and arrow", so Mayeso, assistant Squire, come to hire him to hunt the mighty Jaguar Tecuani.

The Flechero go very lively but is defeated and doctors tend their wounds comically.

Currently trying to hunt with "Bow and Arrow" is a very efficient way to hunt, but in ancient times, "Bow and Arrow" were the most advanced and lethal weapons that were used in the hunt and in the war.

And they continued to use until 300 years later, since according to the chronicles of the Independence of Mexico, the insurgents had the support of many contingents of "Indian archers."

But the bow and arrow were already obsolete hundred years later, because during the Mexican Revolution of 1910, the bow and arrow are no longer registered as weapons Zapatista peasants, whose descendants now dance this dance Tecuan.

That is, the Arc gives us further evidence that Tecuan dance comes from very ancient times, or at least many decades before the Mexican Revolution.

FUNCTION

The Flechero is the second hired hunters face the Tecuani, but like the Lancer, the Flechero is defeated.

Hunter 3: Yerbero

DRESS

Yerbero armament consists of a bunch of herbs. The Yerbero also known as "Pascasio", dress varies in different villages.

Alpuyeca The Yerbero not appear but instead a new character who takes his place called "The Monterrey" who is dressed in trousers and pistachio green colored shirt, and is likely to do the same function Yerbero appears.

REPRESENTATION

The Yerbero also known as "Pascasio" is interesting because this is one of the five characters in this dance with personal name, the other 4 are Salvadorchi, Mayeso, John Shooter and Gervacio.

Instead the eleven remaining characters are unnamed person and these are: The Lancer, The Flechero, the trapper, deer, vultures, dogs and the Tecuani.

The Yerbero, is hired by the desperate Mayeso to try to catch the Tecuani with herbs, which allows us to understand that this character probably represents a "witch".

FUNCTION

The Yerbero also fails and like previous hunters injured to face the Tecuani, so too the doctors heal.

Hunter 4: Trapper

The armament of the Trapper is a few meters from rope. The Trapper is also known as "Changuasclero or Chaguasclero"

DRESS

His clothing varies in different villages. In her wardrobe is Tetelpa denim; The Trapper Alpuyeca and used long-sleeved shirt, pantalonera, socks, all pink; also he wears a hat and a rope both of many colors.

REPRESENTATION

The Trapper is an expert in setting traps, and capture wild, dangerous animal or not, knows the behavior of these animals that know what are the strategic places for setting traps.

However, this also fails hunter and like previous hunters injured to face the Tecuani, so too the doctors heal.

After being defeated Lancer, The Flechero, The Yerbero and Trapper. Squire very angry scolds them all, and decide to hire a team of creeping, the shooter and his dog, and the smiling quartet.

5. The Creeping hunter

DRESS

The Creeping costume varies in different villages in Tetelpa brings classical denim clothes as the other hunters. However, in Alpuyeca, creeping is dressed in pink shirt and green pantalonera and stockings also green; hat colors (red, yellow, blue and green).

Wears a mask with white beards. It is accompanied by one or many characters called "bitches", creeping he carries a stuffed animal, which can be a fox or a cat, or other.

REPRESENTATION

The Creeping represents a wildlife tracker knows to follow the tracks and traces left by animals, and may know that this animal has been in place and know how to interpret the signs of nature.

FUNCTION

 The Creeping, John Shooter, the Bitch and The Laughing fight fiercely against Tecuani for over half an hour while the "musician" enlivened the action with its melodies.

In the final part of Dance, The Creeping is leading a group of his "bitches" John Shooter and when Laughing and finally looks away to Tecuani, John Shooter whistles you to prepare your shotgun.

            6. John Hunter Shooter

DRESS:

The armament of John Shooter is a shotgun and a backpack.

In some villages like Alpuyeca, John Shooter wearing a long sleeve shirt and trouser-leading four bells hanging, hat and socks, all this costume is a red ignition which is very noticeable presence.; also he is wearing a white mask, sandals and was holding a shotgun cuaxtlera.

In Tetelpa clothing John Puller is denim, with some patches of fabric. In other towns like Ocotepec, Coatetelco, Tetecala and clothing Higuerón John Puller is different but in all his shotgun and wearing a hat in Ocotepec, Xoxocotla and Tetelpa wear a mask but in other towns as Tetecala and Coatetelco not wear mask .

REPRESENTATION:

John Puller is a hunter, carrying a shotgun, the latest weapon used in this dance that contrasts with bow and arrows Flechero, Spear Lancer, the string of Changuasclero (Trapper), herbs of Yerbero (Pascasio) and the stick or baton Risueño.

John Puller is the human who overcomes the Jaguar, he is brave and uses the latest technology weapons, if the Jaguar is evil then John Shooter represents the annihilation of evil.

If the dance comes from colonial times, John Shooter may represent a Spanish hunter carries a gun, symbol of Spanish power and to annihilate the Jaguar is killing an animal that represented much for Mesoamerican Jaguar was almost a god.

If the dance is of Mesoamerican origin Tecuan John Shooter and the other hunters may represent young people become adults, but they are only assumptions because there may be many more meanings, perhaps the only Tecuan Dance represents a parody of an event maybe that was common in colonial times and until the Mexican Revolution, as the attack cougars and jaguars livestock of the Hacienda.

FUNCTION:

The role of John Shooter is finally catch the Jaguar-Tecuani for this goes hunting accompanied by creeping and his dog; and she Is laughing; Alpuyeca in some villages as the struggle between these four characters against Tecuani Jaguar takes about an hour. The handle is armed with shotgun Cuaxtlera, wearing a mask barbona, His office is hunting since formerly there were few experienced hunters of wild animals and so, being a hunter was a paid job.

These are the characters representing hunters Tecuan dance, as we can see, all these people were part of the "Mexican identity" colonial era to the Reparto Agrario of 1920 and 1930. With this we can conclude Mexican identity that is something that is built and transformed over the years.

© Oscar Cortes Palma Lic. UNAM and Research in Dance History of Tecuan of Morelos and history of the town of Axochiapan. Email axochiapancultural@hotmail.com; cami17_4@hotmail.com; Facebook: https://www.facebook.com/axochiapan

BOOK OF DANCE Tecuanes

Information obtained from the book Dance of the Tecuanes.

If you wish to purchase this book, please call cel: (045) 735 190 67 62 or send an email to: cami17_4@hotmail.com; or www.facebook.com/OscarCortesPalma

It is a book very well done, has excellent design, finish and content, and very cheap too.

The first twenty days of the revolution of Zapata -From the 2nd Friday of Lent March 29, 1911.

By Oscar Cortes Palma


Amid Fair Second Friday of Lent in Cuautla, a group of people who had come from Villa de Ayala, chatted cheerfully. No one suspected that platicaran beyond what they usually talk friends, but yes, they brought something in hand, one of them said:

I have-and the appointment is time we started the Revolution

 Later, they said goodbye and walked away, blending into the crowd of people, but the next day met again in Villa de Ayala, but now they were alone but were accompanied by relatives and friends more.

'Today is the day of no return,' said the one who seemed to be the leader.

Indeed, in the evening, these mysterious subjects disarmed the local police, and called a meeting in the town square, there a speaker read the Plan of San Luis summoning up arms, ignoring the dictator Porfirio Diaz .

Sixty people of those present decided to join the insurgents and together they set out for a nearby village called San Rafael Zaragoza, where Catarino Perdomo was waiting and more followers.

From there the insurgents peasants continued their journey, always marching southward, abetted by Pablo Torres Burgos, who was the visible leader of the group, went through the foothills of Huautla to penetrate deep into the mountains, where they set up camp, and there they waited a week, hidden in reinforcements arrived to join his guerrilla.

But this group of insurgents peasants was not alone in the region, there were groups of peasants who were already up in arms, such as Lucio Moreno, who had revolted in Tepoztlan, Gabriel Tepepa who had his guerrilla in Tlaquiltenango, Ambrosio Figueroa who he was revolted in Huitzuco; and Isidro Alejandro Casales who had revolted by Tilapa and Chietla.

Well, what concerns us is the guerrilla Pablo Torres Burgos, this after a week of being hidden in the hills south of Huautla, within the limits of the states of Morelos and Puebla, decided to act, then commanding his guerrillas who had already increased to about 150 people, they go to San Pablo Hidalgo, a town near Tlaltizapan. Here in the home of a rancher named Jose Rodriguez, met on Monday, March 20, 1911, at the meeting agree Jojutla attack the city and also add more fighters to the cause.

After that meeting Rafael Merino and Emiliano Zapata, jefaturando its guerrillas maneuvered by the first region and the second Porla Jonacatepec Jolalpan-Axochiapan region, was part of the plan, while they distract federal forces and Gabriel Torres Burgos Tepepase preparon to fall on Jojutla before they passed Tlaquiltenango, a distance of only 3 kilometers from its target populated, there was no resistance, and the settlement was made without using a single bullet, was on March 23, 1911.


This unnerved the governor of Morelos, who had arrived the day before in support of the city of Jojutla with a handful of cottages, despised the enemy and then reconsidered, seeing his diminished forces, he decided to flee to take refuge in the state capital .

That is when the revolutionary storm Jojutla City, who was completely helpless. With no enemy to chase Tepepa Gabriel forces, robbed stores, that did not like Pablo Torres Burgos who was the commander in chief of the movement. So grumpy Tepepa told to put in order their people, they argued among themselves.

After Zapata and Merino arrived, and before them and others, Torres Burgos gave the command of movement and went, he argued that violence and shocked him that his orders were not respected. The others watched as Pablo Torres Burgos he walked away, and they realized they needed a new boss.

So while they went into the Puebla mountains that lie to the south of the state of Morelos. And they began to raid villages there are, Huachinantla, Mitepec, Jolalpan, Tlaucingo, Teotlalco up to Axochiapan, Morelos.

To reach every village, their behavior was the same, they were looking for weapons, horses, supporters of the cause, invited them to go with them, in these villages so remote and so poor, so sparsely populated, there was no fighting because there who had to fight, no military detachments in the area, there were only peasants who differed little from the rebel peasants.

Another thing that made the rebels in those towns, was that solicitabanpréstamos for rich people because delos people also altered the modified files and documents that seemed shameful, also destroyed the telegraph, so that nobody will communicate its movements and the government I did not know where they were and they did.

The villagers sympathized with the revolution, for example Jolalpan when the rebels arrived rang the church bells, rockets thundered, were to receive the music of wind, and shouted: 'Long live the revolution! abetting the rebels, therefore, the insurgents farmers decided to establish his camp there, it was a good place because it was surrounded by hills apart offered them protection.

And there they chose to Emiliano Zapata general, signed the Act, 14 revolutionary colonels: Rafael Merino, Próculo Capistran, Margarito Martinez Catarino Perdomo, Jesus Morales, Francisco Mendoza, Gabriel Tepepa, Catalino Vergara, Juan Sanchez, Amador Acevedo, Emigdio Marmolejo, Jesus Jauregui, and Maurilio Mejia.

Pablo Torres Burgoshabía dead, so that Zapata was already the new head, and had about 200 fighters under his command, as in Jolalpan had joined Franco Pliego more followers in Huachinantla Amador Acevedo had joined with two dozen supporters in Tlaucingo Miguel Cortes joined more recruits.


As such, in every town they passed supporters joined them, then continued to Axochiapan populated state of Morelos, there also were welcomed as liberators.

There it was, Octavio Paz Solórzano, father of Octavio Paz, the poet, and realized that Zapata talked with the Mayor and then the village priest called Prisciliano Spirit, who was a revolutionary priest who gave him a horse to Zapata , she advised him and gave him his blessing.

After his guerrillas retirócon Zapata, but not everyone left, a small group of revolutionaries led by Alejandro Casals, who came from Chietla and was said to have shot the Secretary and Mayor of Tilapa stayed.

So, when federal Axochiapan entered quickly captured, and immediately hanged on a tree Mesquite and then burned.


The news soon reached the ears of Zapata, who was lurking nearby. Until then Zapata had not participated in any combat, it is not secure their participation in decision-Jojutla because he had been sent to carry out diversionary maneuvers around Jolalpan to Axochiapan, but in the case if you have participated in that battle , participated as a junior as the commander in chief was Pablo Torres Burgos.

That's why this is the first battle of shoe, he planned, organized and executed the. The March 29, 1911, in Axochiapan Railway Station, fought the guerrillas led by Zapata already numbered several hundred people, against the soldiers of the 18th. Regimientoal command of Colonel Javier Rojas finally these retreated and fled, left arms and ammunition supplies reinforced revolutionaries.

That same day, Gabriel Tepepa attacked the Hacienda de Chinameca, and seized weapons and horses, but Gabriel Tepepa died in the following weeks, as also died Rafael Merino, which added to the deaths of the other revolutionary leaders like Pablo Torres Burgos Alejandro Casales, Zapata left as the undisputed leader of the revolutionary movement that was brewing in the South.

© 2015 Oscar Cortes Palma Lic. UNAM and Research in Dance History of Tecuanes (jaguares) of Morelos and history of the town of Axochiapan. Email oscarcortespalma@gmail.com; cami17_4@hotmail.com

Origem da dança Tecuanes digite Acatlan de Osorio
Texto: Oscar Cortes Palma
Fotografias: Ricardo Ricardo Martinez
Grupo Tecuanes "Raices del Pueblo Acatlan de Osorio, Puebla"

Tipo de Dança Tecuan Acatlán de Osorio, é muito semelhante à dança do tlacololeros por isso que eu compararam as duas danças para mostrar que a primeira é uma "reinvenção" ou uma adaptação do segundo, ou ambos de uma dança comum extintos.


Dança Tecuanes Acatlan de Osorio provavelmente surgiu entre os anos de 1840-1880, isso é muito engraçado porque quase coincide com o surgimento das danças dos chinelos, os tlacololeros, Tecuanes tipo de Coatetelco e muitas danças e teatros mais tradicional.


E coicide com a extinção das danças de mouros e cristãos em muitas aldeias como Arturo Warman mencionado em uma investigação conduzida nesta dança. O que nos leva a pensar que um acontecimento de importância transcendental aconteceu naqueles anos que levaram ao surgimento, expansão e dispersão de danças tradicionais que conhecemos hoje. Múltiplo incluindo "dança Jaguar caça" dos quais consideram que quase todos são uma "reinvenção" ou uma adaptação de outras danças extintos como os que dançaram em Zitlala.



Tendo sido dança inventada Tecuanes Acatlan de Osorio, dança se espalhou para aldeias vizinhas, sem sofrer muitas mudanças, por isso podemos dizer que ele dança actualmente é muito semelhante ao que dançaram atrás 100 anos.

Então eu mostrar as semelhanças entre as danças do tipo Acatlán de Osorio Tecuanes com o tlacololeros de Chilpancingo.

Primeiro semelhança. Costumes


Ambos dança há um uniforme para a maioria de seus personagens fantasias. Ao contrário de outras danças Tecuanes variantes, que são caracterizadas por seus personagens distintas usam fantasias, embora as exceções existem em pelo menos uma dúzia de aldeias onde uniformes também estão mudando.


Segundo semelhança. O chapéu


Ambos os tlacololeros como Tecuanes Acatlan de Osorio, carregam enormes chapéus Brimmed. Esse recurso também define variante Tecuanes de Acatlan de Osorio Tecuanes outras variantes que se caracterizam por diferentes tipos de chapéus tomar ou não pode tomar.
Terceiro similaridade. Máscaras


Embora máscaras não idênticos e tlacololeros Tecuanes Acatlan de Osorio, ambos são expressivos e são de madeira. Ao contrário de outras danças eles Tecuanes variantes, embora estas são muitas vezes usam máscaras de diferentes elementos.

Quarta semelhança. As personagens


Tanto a dança e dançam tlacololeros Tecuan Acatlán de Osorio caracteres de tipo têm os mesmos nomes:
1. Tlacololero
2. Gale
3. Xocoyote
4. grãos de plantação ou Frijolero
5. Maravilha
6. Tecuani ou Tigre





Os outros personagens também aparecem, embora não chamado como, alguns nomes se referem a atividades agrícolas. Também em ambos danças personagens tinham nomes em Nahuatl, mesmo provável que o nome Moranchi resulta da união de duas palavras "Mora" e "Tzin", resultando em "Morantzin" que levou à "Moranchi, algo semelhante aconteceu em Tecuanes outras variantes em que a palavra "Salvadortzin" resultou em "Salvadorchi".

 Então eu mencionar os personagens destas danças notar as semelhanças e diferenças.
Caráter tipo de dança Tecuanes Acatlán de Osorio
1. Old Moranchi ¿Moratzin? Old Lucas
2. O grande Salvador
3. Corte Plantando Lenha
4. Tlacololero Gale
5. Corte caça lebres Hobos
6. Armadillo Iguana
7. Cortar pitayas Olhar Logs
8. Sancudo Perico
9. Feijão Plantação Cuidar Chivos
10. Águia Zopilote
11. Cortar Cortar Mangos Jícaras
12. cervos Jabali
13. corte da cana Cow
14. Xocoyotzin Tetiaxca
15. tendendo Semear gado

Caráter Dança tlacololeros
1. Maizo Salvador
2. Tlacololero Tapachero
3. Tecorralero Teyolero
4. Green Chile Jitomatero
5. seco relâmpago Ventarron
6. Colmenero Frijolero
7. Xocoyotillo pergunto cadela


Tecuanes caráter de dança de Tetelpa
1. Mayeso Salvadorchi
2. Creeping John Shooter
3. Doctor Doctor
4. Flechero Lancer
5. Chaguastlero Yerbero
6. cervos cadela
7. Zopilote (Zopilotito) Zopilote (Zopilotito)
8. Rir Tecuani

Como podemos ver os personagens dançam Tecuanes Acatlan de Osorio têm mais semelhanças com a dança tlacololeros com danças tipo Coatetelco Tecuan.





Mas se compararmos os personagens dançam Tecuan Acatlan de Osorio com variantes Tecuan dançar essa dança nos estados de México, Morelos e Guerrero notou muitos personagens diferentes, o que nos leva a considerar dois cenários 1. -O Tecuanes dança tipo Acatlán de Osorio é uma reinvenção de tlacololeros dança ou 2. recebeu muita influência tlacololeros dança.

Quinta semelhança. Instrumentos Musicais

Ambos os tlacololeros de dança como o tipo Tecuanes de Acatlán de Osorio usar a música para produzir uma flauta de cana com três furos -dois e uma frente behind- e um tambor. No entanto outras variantes de danças Tecuanes usado principalmente reed flauta 4 furos, frente-três e um atrás dele.


Sexta semelhança. Screams


Os personagens das duas danças dar gritos guturais enquanto dança.

Semelhança sétimo. Diálogos



Os diálogos das danças dos tlacololeros e tipo Acatlan de Osorio Tecuanes estão em linha e são muito semelhantes.
Diálogos de Acatlan de Osorio Tecuanes
"Vamos, vamos pares é hora de trabalhar
Para aquelas montanhas e colinas, nós olhamos para esse animal,
Porque o bairro já chegou a reclamar
De todos os crimes de que besta de Satanás ".

Diálogos de Chilpancingo tlacololeros
"Vamos, vamos pares é hora de trabalhar
para as montanhas e colinas para olhar para esse animal.
Fabriqueros agricultores e eu vim para implorar
que quebrou suas peles, jogou-los mezcal e não mais deixá-los trabalhar ".

Diálogos de Acatlan de Osorio Tecuanes
 "Este é o famoso Tiger sob as trincheiras
Wine assustá-los para dar todas as lavadeiras. "

Diálogos de Chilpancingo tlacololeros
 "Este é o tigre, famoso Maizo, que sob naquele monte,
Ele foi o grande susto para bater o senhor do pequeno tambor ".


Semelhança oitavo. O bicho de pelúcia

Ambas as danças são personagens que carregam um bicho de pelúcia, que normalmente é uma raposa ou texugo.
Com esta informação, podemos concluir que tipo de dança Tecuan Acatlán de Osorio, com características que atualmente surgiu no final do século XIX, quando ela existia trajes charro você sabe. Além disso parlamentos estão em dança espanhola, e se dança tinha emergido nos parlamentos coloniais deve ser língua ou Mixtec Nahuatl, ou pelo menos idioma misto.



DIFERENÇAS

Com o acima Eu não quero dizer que não há diferenças entre as danças e Tecuanes tlacololeros Acatlan de Osorio. Se existirem tais diferenças de Acatlán de Osorio, o único personagem que veste chirrión é Tecuani, enquanto nos tlacololeros todos os personagens usam chirrión também alguns tlacololeros adornam seus enormes chapéus com malmequeres.


Da mesma forma muitos personagens são diferentes entre essas duas danças, também a música, que é muito mais rápido e mais nítida em tom Tecuanes Acatlan de Osorio, mas as semelhanças são muitos diálogos principalmente em verso, enquanto em Tecuanes outras variantes dos diálogos não estão em verso, por isso considero que Tecuanes Acatlan de Osorio são mais como a dança do tlacololeros do que as outras variantes Tecuanes danças dos estados de México, Morelos e Guerrero.

LIVRO    
DANÇA DO Tecuanes

As informações obtidas a partir do livro Dança dos Tecuanes.
Se você deseja comprar este livro, por favor ligue cel: (045) 735 190 67 62 ou envie um e-mail para: cami17_4@hotmail.com; ou www.facebook.com/OscarCortesPalma

É um livro muito bem feito, tem excelente design, acabamento e conteúdo, e muito barato também.

Dança e teatro terra quente: os Tecuanes
Por Oscar Cortes Palma

Como todos sabemos a dança do Tecuanes está caçando um jaguar. Alguém uma vez me disse que se você realmente caçado um Jaguar, disse ele, é óbvio que não.

Em Tecuanes dança é encenado, ele age, representando a caça de um dançarino, um dançarino vestido como um tigre ou dramatiza Jaguar.





Como isso é feito?

Bom com a participação de 17 bailarinos minimamente, que são chefiadas por fazendeiro e seu assistente, eles são os únicos que querem o Jaguar ou Tiger é caçado porque eles estão comendo os animais da sua fazenda, embora não haja nenhum ato nesta dança onde a caça destes animais é encenado.


Bem, a dança do Tecuanes, que poderia muito bem ser chamado, dança e teatro das Tecuanes porque, como mencionado em outros escritos, os participantes neste show folclórico tradicional, dança e ato representado um personagem diferente eo enredo é que , caçando o temido tecuani. O tecuani é o Jaguar, então quem vai representar este personagem ter que ser muito hábil.

Seguindo os passos de tecuani ou tigre, caminhar Mayeso Salvadorchi e nomes comuns do fazendeiro e seu capataz, respectivamente, mas como eles não podem caçar os caçadores alugado Jaguar. Primeiro você pagar um arqueiro, que é uma dançarina que exerce a sua volta um arco e flecha. Tudo isso é feito comicamente, não é preciso dizer isso, mas obviamente que é cômico toda essa dança, porque é para entreter as pessoas e nos divertir como eu disse Alicio Palacios, que anda muito ocupado com seu grupo Tecuanes Coatetelco, Morelos.


Bem, assim por diante, o fazendeiro contrata temporariamente turnadamente outros caçadores, mas todos falham. Até que, finalmente, o fazendeiro e assistente contratar caçadores capazes de fazer o trabalho, quero dizer um caçador chamado João, que vai armado com uma espingarda ome tiro fama cualli (dois tiros reputação) e é assistido por o Viejo rastejando, um cara barbudo que leva muito bravos cadelas e listas, eles ainda têm uma reputação de saber como tirar tortillas Comal.



Observe, então, que é claramente uma representação de uma caça real, porque, embora atualmente a caça eo tráfico de animais silvestres no México e no mundo é proibido porque muitas espécies estão se extinguindo. No passado, o osso mais de cem anos atrás, era permitida a caça.

Bem, esta é a dança eo teatro dos Tecuanes. Apesar de não parecer tão Tecuanes cada cidade dá o seu toque peculiar. Em si mesmo, pelo menos (96) noventa e seis aldeias é tradicionalmente dançada em feiras Tecuanes dança desta evidência para Tecuanes como uma dança regional e teatro.

A região onde Tecuanes dança é ampla e é caracterizada por um tempo quente ou quente um pouco devido a esta região que é chamado de "Terra Quente". E a vegetação é muito característica e corresponde à floresta decídua tropical, ou seja, eles não são tão altas árvores baixas, suas folhas expirar, chega decídua palavra na estação seca; e eles renascem e as folhas novas são plantas verdes na estação chuvosa, que abrange os meses de junho a novembro.


Finalmente, devo mencionar que a dança das Tecuanes não é uniforme em todas as aldeias e isto é tão óbvio que, quando houve reuniões Tecuanes é muito evidente variedade de trajes, máscaras, canções, performances e ações do os diferentes grupos participantes aldeias.

Muitos grupos, mas é que quase todos desconhecem a existência de danças Tecuanes em outras aldeias que não eram dele, por que são tão surpreso que não Tecuanes outras cidades e eles são tão diferentes das de suas comunidades.

Sem dúvida um dos lugares onde o mais abundante dança Tecuanes está em Acatlán de Osório, onde dois dançarinos chamados huehues velhos ou: Lucas e Moranchi (Morantzin) está requisitando seus filhos caçar o tigre temível ou tecuani porque eles estão comendo gado, como podemos ver se eles são diferentes personagens, diálogo, coreografia e figurinos, Tecuanes dança de Acatlan de Osorio, Puebla e aldeias do mesmo distrito consistem das mesmas danças de Tecuanes Huamuxtitlán distritos de Guerrero, Teloloapan, Taxco, Iguala, Chilapa, Tlapa, Arcelia, Coyuca de Catalán. E as cidades dos estados do oeste de Morelos e México, ou seja, a caça é um dançarino fantasiado de tecuani, tigre ou jaguar. É por isso que o Tecuanes é uma dança e teatro representante das cidades da terra quente.


  © Oscar Cortes Palma Lic. Em UNAM e História da Investigação e da história Tecuanes Axochiapan. Email: cami17_4@hotmail.com; Facebook: OscarCortesPalma.

Fotos: Tecuanes St. Nicholas Huamuxtitlán, Guerrero
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