Academia Cuauhtli and the Eagle: Danza Mexica and the Epistemology of the Circle

Angela Valenzuela, Emilio Zamora, and Brenda Rubio

An out-of-school program for fourth-grade English learners in Austin, Texas – jointly developed by the school district, the City of Austin and a local community group – has co-constructed a curriculum that incorporates the Aztec dance or ceremony Danza Mexica as a core component.

nglish learners are best support- and dual language teachers in our ed when they receive culturally community of Austin, Texas, have Erelevant content-area instruction called for curricular resources. In in their first language. Numerous response, a group of researchers, studies (e.g., Lindholm-Leary 2001) community advocates, and former support this approach, and bilingual public school teachers established

Angela Valenzuela is a professor in the Educational Policy and Planning Program, Department of Educational Administration, and the Cultural Studies in Education Program, Department of Curriculum & Instruction, at the University of Texas at Austin and is director of the University of Texas Center for Education Policy and of the National Latino/a Education Research and Policy Project. Emilio Zamora is a professor in the Department of History and faculty associate in the Center for Mexican American Studies at the University of Texas at Austin. Brenda Rubio is a doctoral student in the Educational Policy and Planning Program, Department of Educational Administration at the University of Texas at Austin.

46 Annenberg Institute for School Reform the community-based organization THE DANZA CURRICULUM Nuestro Grupo (“Our Group”) in EMERGES: DEEP LEARNING AND September 2013 to lead the effort. CONNECTION TO FAMILY AND Through a series of partnerships that COMMUNITY included Nuestro Grupo, the school We found that valuable learning often district, the City of Austin, university takes place while learners are doing faculty and students, Mexican things that might not have initially American scholars, civic and cultural occurred to us as we prepared the organizations, indigenous leaders, and curriculum on topics like danza. Danza many others, we co-constructed a is not a relic of a distant past nor Mexican American history curriculum simply a source for teaching a dance for fourth-grade Austin Independent and musical repertoire; it is a form of School District (AISD) students who cultural maintenance and survival with attend a Saturday morning school that a lineage that survived the genocide of we created and named Academia native people throughout what is Cuauhtli (“Eagle Academy”). In the known today as modern Mexico process, we – the researchers and (Aguilar 2009; Colín 2014). community leaders – were transformed, and the curriculum we developed These learnings have gradually come evolved into a deeper learning experi- into greater focus as we contemplate ence than we ever imagined. This the meaning of the circle as a funda- article explains how this happened. mental aspect of danza (Stone 1975; Colín 2014). Rather than simply a geometric symbol, the circle as con- HONORING THE CULTURAL veyed through the danza performance WEALTH OF OUR STUDENTS is powerful as an epistemology, or way of knowing, that simultaneously Rather than treating the symptoms expresses a host of communitarian and purporting to “fix” our children values and speaks to a potentially to make them higher achievers and deeply felt history among the mostly more engaged in school, we sought to Mexican children who are historically advance learning in our schools and connected to the Mesoamerican peoples district through an academy and that originated danza. curriculum project that values and honors the cultural wealth of our While introducing children to ancient participating students, parents, ways of knowing and experiencing life, teachers, and local arts institutions family, and community – some are in Austin (Yosso 2005). already familiar with danza through community and school events – the Our evolving curriculum includes dancing in circle form also reenacts a lessons on migration, civil rights, sense of unity that pulls the concentric indigenous heritage, cultural arts, and lines of formation into a sacred center local history within the broad context of spiritual oneness. This contrasts with of U.S., Mexican, and transnational more typical individualistic experiences history, but with a focus on Mexican- and feelings of isolation and estrange- origin people and other Latinas/os from ment from schools and society – and the Austin area. This article is informed perhaps especially so in a city that is by the more recent lesson plans on deeply stratified by race and class indigenous heritage, cultural arts, and (Weldon 2015). the Aztec dance or ceremony Danza Mexica, which we also sometimes simply refer to as danza.

Angela Valenzuela, Emilio Zamora, and Brenda Rubio VUE 2015, no. 41 47 Guided by the idea of revitalizing the TCEP invited two speakers to the Spanish language and Mexican September 20 meeting: Armando American culture in our school district Rendón, a Latino children’s book and city, Nuestro Grupo entered into author; and Oralia Garza de Cortés, a legal partnership in December 2014 a renowned children’s book advocate, with AISD and the City of Austin to founder of the national Pura Belpré house Academia Cuauhtli on the Children’s Book Award, and now a beautiful grounds of the city’s Emma S. Nuestro Grupo member. Before an Barrientos Mexican American Cultural audience of Mexican American Center (ESB-MACC). The ESB-MACC historians, archivists, librarians, is a community-based cultural arts scholars, local leaders, elders, and institution located along the Colorado teachers within the district’s dual River in the heart of downtown Austin language program, Garza de Cortés and directly across the highway from offered the following critical commen- historic East Austin, where a low- tary with respect to children’s book income, segregated, Mexican American publishers located in the Northeast: community has resided for decades, They do not seek to publish our but which is currently undergoing a work because they see [Mexican contentious process of gentrification Americans] as a regional minority, (Ward 2015). Academia Cuauhtli and whenever they do publish us, opened its doors on January 17, 2015 they either portray us in ways that to predominantly Mexican-origin, reinforce negative stereotypes or fourth-grade children and their parents narrowly – always as immigrants from three nearby elementary schools. embarking on citizenship. They fail to acknowledge that we have a “THEY FAIL TO ACKNOWLEDGE history. THAT WE HAVE A HISTORY”: In reference to books in English and NUESTRO GRUPO IS BORN Spanish, Garza de Cortés added that The decision to establish Academia these publishers overwhelmingly Cuauhtli occurred when a group of get the language and, frequently, the seasoned community leaders convened aesthetics wrong, too. . . . They will at the ESB-MACC on September 20, contract out with a translator from 2013. The University of Texas at Argentina, and their Spanish is Austin’s Texas Center for Education different from ours, making the Policy (TCEP), headed by co-author readings of these texts stilted. Yet Angela Valenzuela, organized the the problem overall, literally for meeting to discuss the issues of literacy, more than thirty years, is a sheer curriculum, and Austin’s Mexican- lack of books for our children. origin community. The event took place against the backdrop of a The dual language teachers in the growing statewide, grassroots move- audience supported Garza de Cortés’ ment to develop Mexican American commentary, saying that despite the studies in Texas (Diaz 2014, 2015), as district’s claim to be a “dual language well as major critiques leveled at the school district,” there are a lack of Texas State Board of Education, books and other curricula available to legendary for its conservative defense them. In this vein, another teacher of a statewide curricula that systemati- offered, “We may as well be in the cally excludes historical content related 1940s. All we have is what we develop to Mexican American, African Ameri- for our children in our classrooms.” can, and indigenous heritage (Erekson The teachers added that in instances 2012; Zamora 2012a, 2012b). where such materials are present, they

48 Annenberg Institute for School Reform still do not feel confident using them. Latino. According to the AISD website, Lastly, they maintained that the Latinos constitute 60 percent of youth children are alienated from school in schools, as compared to 24 percent because of a lack of curriculum and Anglo and 9 percent African American teaching that speaks to their cultures, (AISD n.d.). A full 24 percent of AISD experiences, or history. students are English learners, a good number of whom are immigrants. The Elders from the community, including ESB-MACC was equally motivated due advocate – and now Nuestro Grupo to concerns that gentrification is member – Martha P. Cotera, responded impeding their efforts to optimize by pointing to the originating docu- audience participation at its events and ments of the ESB-MACC. Established programs, including its after-school in 2005, the idea of a Saturday school program put in place to ostensibly had always been envisioned. Expres- serve children attending nearby East sions of disparity and needs motivated Austin schools. In addition to support those present to form an organization, from the district and a welcoming, Nuestro Grupo, that would continue to accommodating space, our project work to address these problem areas. included faculty with expertise in The planners of the September 20 content and provided teachers with event expected a lively discussion on relevant professional development literacy, curriculum, children’s litera- and flexible schedules. ture, and the urgency for action, since The development of our curriculum our two major speakers – Garza de relied heavily on the efforts of Zamora, Cortéz and Rendón – and many a history professor at the University of members of the audience were known Texas at Austin. He had previously for their critical views on the subjects. initiated the one-year Tejano History But the meeting turned even more Curriculum Project as an extension of constructive when members of the the Tejano Monument project, which audience began to ask what we could erected a statue in 2012 at the Texas do. Co-author Emilio Zamora pointed State Capitol as a tribute to Tejano out that “we have so many persons contributions to Texas history and with the skills to offer solutions, all we culture (Zamora 2012a). In the district, need is to come together committed to we worked closely with the Office of creating change.” A group of us Academics, the Bilingual Education Of- decided to convene after the meeting fice, the Fine Arts Office, and the and prepare a plan for curriculum Curriculum Writer’s Cadre (CWC) of writing that would also attach to AISD teachers, which meets every June the teaching of Mexican American to develop curriculum for multiple history and culture in the context of subjects – increasingly in English and a Saturday school. Spanish for the district’s dual language program. Zamora, Valenzuela, THE PARTNERSHIP WIDENS co-author Brenda Rubio, members of the CWC, and the selected Academia Key to the success of Academia Cuauhtli teachers also offered profes- Cuauhtli were converging interests and sional development workshops for broad-based support. Our budding AISD teachers. project fell on fertile ground in two significant ways. First, district leader- Zamora, the project’s principal content ship – notably former Chief Academic specialist, developed the first iteration Officer Pauline Dow – wanted to of the curriculum, which the CWC expand curricula for a district subsequently aligned to state and demographic that is increasingly district standards. This process ensured

Angela Valenzuela, Emilio Zamora, and Brenda Rubio VUE 2015, no. 41 49

Oralia Garza de Cortés, as well as

former public school teachers like Modesta Treviño and Velia Sánchez A deep commitment by all of those involved Ruiz, who facilitate Nuestro Grupo’s access to Austin’s local Latino arts in Academia Cuauhtli to policy and political “ community and institutions. They also serve as our group’s deep institutional struggles related to identity, language, memory regarding the poor conditions of education for Mexican students in “community, and the importance of our our school district and the stories and histories of advocacy that, despite local history and institutions is foundational great hardship, created the political and policy space for bilingual to all our efforts. education in our schools. A deep commitment to policy and political struggles related to identity, language, community, and the importance of our local history and institutions on that the curriculum was appropriate the part of all of those involved in for each grade level and elaborated Academia Cuauhtli is foundational a curricular road map for Academia to all of our efforts. Cuauhtli teachers. Participating teachers rotated to avoid burnout, since all Cuauhtli teachers also THE NAMING OF teach full-time in their regular ACADEMIA CUAUHTLI AISD classrooms. A name like “Cuauhtli” is not auto- ESB-MACC staff worked hard matically part of the lexicon for most to make the space (two classrooms, a Mexican Americans, ourselves includ- parent classroom, theater, and outdoor ed. Very few of us speak Nahuatl, the space) as accommodating as possible. language of the Aztecs, much less We cross-promote and attend ESB- know about important symbols and MACC events, which are often free terms like cuauhtli. This name never- and open to the public. This increases theless came to us through a respected the number of opportunities for local leader in danza named Rosa Nuestro Grupo members, partners, Tupina Yaotonalcuauhtli. We were and Cuauhtli families to strengthen our receptive to the idea because of our bond and educational partnership. association with the Mexican Ameri- Other key partners that have provided can social cause for equal rights and resources to Academia Cuauhtli are the dignity, a movement that gives great Austin Area Association for Bilingual importance to indigenous symbols and Education, various sub-units within the concepts that harken back to Meso- AISD, and faculty, undergraduate, and american times and reinforce a sense graduate students from five central of collective identity. Texas universities: South University, According to the late Mexican anthro- St. Edwards University, Texas State pologist Guillermo Bonfil Batalla, University, Huston-Tillotson Univer- Mexicans who connect to this indig- sity, and the University of Texas at enous past constitute “el México Austin. Profundo,” or the Mexico that Nuestro Grupo also contributes to the continues to connect with ancient effort of highly respected community traditions and a concomitant life of advocates like Martha P. Cotera and social and cultural marginalization

50 Annenberg Institute for School Reform associated with the modern-day and abuelo are terms that convey vestiges of colonization (Bonfil Batalla special significance in the context of 1998; Colín 2014). Some Mexican Danza Mexica traditions, connoting people in the United States also identify elder, erudite status. Gonzales (2015) with a Mesoamerican past. The maintains that these terms also farmworker’s movement, for instance, reference what we might term an adopted the eagle on their union label, “elder epistemology,” whereby elders banners, leaflets, and correspondence are accorded great respect, a phenom- to signify the community’s history of enon frequently observed in Mexican prior occupancy and a longstanding American culture – assuming that connection to a distant Mesoamerican assimilation or subtractive schooling past that finds expression today in the (Valenzuela 1999) does not minimize form of danza and indigenous forms of or entirely erase this orientation. community organizing (Colín 2014). In great part due to my motivation to The danza tradition has therefore taken get to know Yaotonalcuauhtli, I found root in Mexican-origin communities in myself in the workshop that Abuela the United States, and the increasing Tonalmitl was delivering at Alma de numbers of danza groups are an artifact Mujer, a local retreat camp located on of migrations and transnational ties the outskirts of Austin. She spoke for with their counterparts in Mexico several days regarding ancient knowl- (Colín 2014; Aguilar 2009; Poveda edge that was at once expansive, 1981). complex, multi-layered, and complete. I A friend, Yvette Mendez, referred us to mistakenly had thought that this Rosa Tupina Yaotonalcuauhtli in July ancient knowledge was fragmentary 2014 so that she could advise us on and that most of what is known about how to inaugurate our Saturday the Mexica came from the work of academy – and specifically whether the archeologists, anthropologists, and danza group that she directs, el grupo scholars who study the ancient codices. de Danza Méxica Xochipilli, could While much knowlege has indeed been carry out this task. Yvette explained to lost as a result of conquest and coloni- me (Angela Valenzuela) that to make zaiton (Colín 2014), a significant this request, I needed to contact amount has been remarkably preserved. Yaotonalcuauhtli in person and that I This knowledge has been protected to should meet her with a gift of tobacco. the point of being concealed and All along, my intentions were for our passed on from generation to genera- inauguration to invoke through tion. Certain individuals, like Abuelas ceremony the spirit of hard work, Tonalmitl and Yaotonalcuauhtli, have reciprocity, and good intention that had dedicated their lives to its study, guided the partnership through the recovery, and promulgation throughout many months leading up to our opening the hemisphere. Aside from a deep oral ceremonies on January 17, 2015. and, to some extent, written tradition Mendez subsequently invited me to (Leon-Portilla 1963), such elders have join her at a workshop that was being encoded much of the ancient knowl- delivered on the meaning of the Aztec edge into danza and have helped to calendar by Abuela (“Grandmother”) preserve it over the centuries. A bit Tonalmitl, a keeper and elder of the overwhelmed by this discovery, I Mexica traditions for more than forty nevertheless made an important years, who also happened to be connection to Yaotonalcuauhtli, who Yaotonalcuauhtli’s teacher of many agreed to meet with me a few weeks years in Mexico City (see Círculo later to discuss the inauguration of our Indígena Tlahuicoatl 2015). Abuela Saturday academy.

Angela Valenzuela, Emilio Zamora, and Brenda Rubio VUE 2015, no. 41 51 After giving Yaotonalcuauhtli the gift of the classroom. tobacco and explaining to her the kind With these things in mind, we initiated of school that we wanted to become, flor y canto, a philosophical statement she suggested the name “Cuauhtli,” of beauty and commitment to live life which means “eagle” in Nahuatl. She well, originating in Mexica tradition, saw that we wanted to cultivate in and that literally translates into “flower children critical capacities and analyti- and song.” At the beginning of every cal power through our curriculum in Nuestro Grupo meeting, someone order for them to effectively combat shares a thought, verse, or song that is injustice in their own lives, as well as personally inspiring together with an that of their communities. We discussed explanation of its significance to our the importance of a “bird’s-eye view” lives and work. This practice sets a that doesn’t get lost in the clouds, but cooperative tone for every meeting we rather is able to zero in on its prey with hold and by all accounts motivates a laser-like precision. “The águila positive, constructive energy and (“eagle”) is also a sign of rejuvenation thought process. and is revered across many cultures over time,” she said. Regarding the eagle’s 360-degree vision, we came to see Nuestro Grupo as its I took all of this back to Nuestro Grupo embodiment. Because of the intergen- in our first meeting in fall 2014, erational makeup of our group, which explaining to them what I had learned. consists of highly respected elders who Members of Nuestro Grupo had are not only deeply interconnected with previously drawn on Mexica symbol- the Austin community but also com- ogy by adopting the concha (“shell”) mand great knowledge, experience, as our organization’s symbol. We liked intelligence, and wisdom, we came to that it represented an ancient summon- realize our capacity as a group to carry ing of the community to forge common out the many tasks associated with this purpose. The symbol of the eagle work. In such a space, where each seemed a natural extension of that person holds distinct talents and where decision, and after voting, we chose the every talent counts for the overall name Cuauhtli. We were drawn to two initiative, the value of each individual aspects: the eagle’s capacity for rejuve- is affirmed. nation through the molting process, where they lose a third of their plum- age; and the eagle’s singular, 360-degree PREPARING CHILDREN vision capacity. FOR DANZA AND THE We, too, seek to be rejuvenated by our EPISTEMOLOGY OF THE CIRCLE curriculum so that children can experi- The idea of the 360-degree vision is key ence Academia Cuauhtli as a happy, to the epistemology of the circle as a inspiring place. We feared most the way of knowing and being in the possibility that the children would lose world: working together as a commu- interest or not find our curriculum to be nity, accompanied by the implicit engaging. Yet how could we accomplish protection and clear vision that the this if we ourselves were not also bird’s-eye view evokes. Danza came to motivated and inspired? We all hold find a home in our academy, curricu- full-time jobs, and the bulk of our lum, and praxis that we could not have efforts to date have been on a voluntary predicted beforehand. basis. The eagle’s capacity for rebirth has therefore had enduring meaning for At Academia Cuauhtli’s inaugural us as a symbol of recommitting and festivities, Grupo Xochipilli, with re-equipping ourselves for change in Yaotonalcuauhtli directing, performed a

52 Annenberg Institute for School Reform culminating ceremony to the aromatic borrows from other texts to flesh out smell of copal, burned incense that basic understandings of indigenous continues to be used today in a way ways of knowing – especially those that is little different from that of our related to the core concept of the circle pre-Columbian, Mesoamerican in indigenous scholarship and thought ancestors (Colín 2014). It followed (Gunn Allen 1986; Graham Crofoot & music and dance performances by Crofoot 2002; Klug & Whitfield legendary Tejano conjunto artist Joel 2003). Danza represents not only a Guzmán, adult and student mariachi form of dance that is integral to groups, and student folk dance ceremony but also a view that is rooted ensembles. The hour-long ceremony in ancient, Mesoamerican history. The transfixed the audience, particularly performance acquaints the danzante the fourth-grade children that we had with not only a different way of recruited. One of the parents com- knowing – because through danza and mented that he had participated in ritual, one enacts its coalescing, danza in his younger years, while egalitarian values – but also a different growing up in Mexico. way of being in the world through the tangible experience of connectedness to Some of us in Nuestro Grupo discussed others, as well as to something much the possibility of making danza a larger than all danzantes combined: a formal part of the curriculum and “moving habitat” that danza inspires invited Yaotonalcuauhtli to attend our (Colín 2014). Nuestro Grupo meeting. This overture turned out to be very emotional since According to Yaotonalcuauhtli (2015), the direction that we would be taking our abuelos and abuelas were very wise in the curriculum constituted, for some, and intelligent, and they created danza a privileging of an indigenous identity to acknowledge the importance of the from the central part of Mexico over circle and all that it teaches us in order other cultural expressions in Texas. to live our lives – harmoniously, The response represented a recognition peacefully, and in balance in every way. of a cultural affinity towards a shared The first, most inner circle is that of the ancient past, as well as the realization family. The second circle consists of the that we would be learning and sharing schools where students have their with the children meanings from this teachers, principals, and friends. The valued past. third and outermost circle is called the After a deep and frank discussion church or community and it includes about the personal and curricular our Academia Cuauhtli Saturday meaning of incorporating danza into school. the classroom and within Nuestro Circles are important to the natural Grupo, we have come to understand world: the sun, moon, and Earth are that the 360-degree vision of the eagle circles, with the Earth inside the circles not only brought Yaotonalcuauhtli into of the sun and the moon. In a circle, all our orbit, but also brought an entire can see each other. No one is greater or community of danzantes (“dancers”) lesser. All are equal. There is always an to Cuauhtli, who together with order. Danza requires discipline for Nuestro Grupo have strengthened entering into that order. If the circle our bonds of family and community, moves to the left, the danzante has which now finds expression in our to move to the left; if to the right, curriculum. the danzante must similarly follow. While this lesson plan draws organi- Danza is an implicit and explicit cally from the practice of danza, it also recognition of a divine order based

Angela Valenzuela, Emilio Zamora, and Brenda Rubio VUE 2015, no. 41 53 on an understanding of cycles or A COMPELLING CONNECTION circles and the importance of these TO AN ANCIENT PAST to health and well-being. According to Yaotonalcuauhtli, When we first reached out to Rosa Tupina Yaotonalcuauhtli, we could not Our people loved metaphors and have predicted that she would gift us analogies, so the elders say that with our name and ultimately direct danza is itself a “living codice.” our fourth-grade children in danza We are emulating the movement of itself. We also could not have predicted the planets, stars, animals, and our own transformation that occurred humans. We are communicating through our deeper engagement with when we dance. And we aspire to danza. At least one member of our have order in movement.1 group is now a member of Grupo Xochipilli, and several among us This is a window to the indigenous participate in temazkales (“sweats”) component of the curriculum that was that are organized by Grupo Xochipi- taught to as many as thirty-three lli. In addition, Angela Valenzuela students (when all were in attendance) joined members of Grupo Xochipilli at nominated by the principals from a three-day danza ceremony in Mexico Metz, Sanchez, and Zavala elementary that takes place annually at Cuahte- schools. Except for holidays, they moc’s grave in Ixcateopan, Guerrero, attend for three hours every Saturday to celebrate his birthday. morning of the school year. Classes are in Spanish and include topics not often Our curriculum writers plan to taught in depth at the elementary level, incorporate this instruction into the such as the various indigenous groups road map for the coming year, while of Texas, the role of Tejanos in the others among us continue to study it. Texas revolution, the Chicano art Most of all, everyone is celebrating the movement, and the traditions and children’s and our community’s cultural heritage of their ancestors, of embrace of danza. Through the dance which this lesson on the circle is a part. steps, drumbeats, ceremonies, and the cleansing scent of the ever-present Members of Nuestro Grupo participate copal, what persists, if mysteriously so, in the learning process primarily with is the epistemological power of an discussions during two types of ineffable, heartfelt connection to an gatherings. They join in the weekly ancient past. This past not only planning meetings when the curriculum survives into the twenty-first century, writers and the teachers agree on the but retains a compelling beauty, classroom activities and their learning authority, and soulfulness to attract objectives. The curriculum writers, a new generation – just as it has teachers, and other members of for centuries. Nuestro Grupo also convene once a week to address logistical issues and to For more information about Academia share the meaning of the work that we Cuauhtli, see http://www.facebook. do, including the collective spirit com/AdacemiaCuauhtli. embodied in danza as a cultural practice and classroom activity.

1 Yaotonalcuauhtli, R. T. 2015. Personal communication.

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