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Escuela Nacional De Antropología E Historia ESCUELA NACIONAL DE ANTROPOLOGÍA E HISTORIA INAH SEP La danza del sol en México. Adopción de una tradición lakota. TESIS QUE PARA OPTAR POR EL GRADO DE: MAESTRA EN ANTROPOLOGÍA SOCIAL PRESENTA Luz Consuelo Lozano Nathal DIRECTOR DE TESIS: Dr. Saúl Millán Valenzuela MEXICO, D.F. 2012 AGRADECIMIENTOS Por su cálida y amorosa presencia, que siempre se traduce en apoyo patente, a mis entrañables hermanos Gema Aurora y Carlos Fernando, a mi cuñada Ana Elena, a Rodrigo, Mariana, Carlos, Karina y Karla. En el Camino de las Estrellas: a mis papás, José Guillermo y Consuelo, a mi hermano Guillermo y a mi gran cuate Carlos Calderón, seguro que han participado aquí. A la Escuela Nacional de Antropología e Historia por haberme dado la oportunidad de cursar la Maestría en Antropología Social. Al Programa de Becas para Estudios de Posgrado de CONACyT. A mis maestros y a mis compañeros de generación. Al Seminario de Simbología y Cosmovisión en Regiones Indígenas, en particular al Dr. Saúl Millán Valenzuela por sus enseñanzas, su paciente conducción y sus agudos comentarios, tanto en los trabajos del seminario como para la elaboración del presente trabajo. Por su constante acompañamiento, a mis compañeros de línea: Yois Paniagua, Gabriela Guzmán, Jorge Cervantes, Juan José Atilano, Carlos Heiras y Carlos Hernández. A mis sinodales: Dra. Lina Odena Güemes Herrera, Dra. Xóchitl Ramírez Sánchez, Mtro. Esteban Ordiano Hernández y Mtra. Carmen Cuéllar Valcárcel, por sus atinadas observaciones. A mis amigos Víctor Acevedo, Gina Valdez, Laura Camacho, Citlalli López, Martha Torrecillas, Nélida Guzmán y David Terrazas, por su incondicional apoyo y aliento en esta jornada. Al abuelo Faustino Pérez y a Cristino Pérez; a mis compañeros de danza, con todo mi respeto y cariño: Ángel Wambli, Mazatzin, Alberto el Oso, a Martín, Lolita y Tunuwame, a Chon, Lety y Miguel, Ollinka, Mary, Felipe, Pilar y Cinthia, con quienes he compartido pláticas, reflexiones, cansancio, apuros y risas. A todo el círculo de danza del sol de Ocuilan. Al Chief Gilly Running, a Uncle Wally y Albine, a Uncle Larry, a Marie y Gina, quienes en los tres veranos que visité Ironwood Hilltop, en la reservación lakota de Rosebud, Dakota del Sur, E.U., siempre tuvieron paciencia, tiempo y buen humor durante mi participación en esa danza del sol. 2 INDICE Página I. INTRODUCCIÓN 5 II. LA DANZA DEL SOL LAKOTA 11 A. LA DANZA DEL SOL: DE LAS PLANICIES A LAS RESERVACIONES 17 a) Los señores de las praderas 17 b) El hombre blanco en territorio lakota 23 c) La más salvaje expresión de una religión salvaje 39 d) Un profeta y una masacre: 1890 43 e) La danza del sol en la memoria 47 f) El sol se oculta, pero no desaparece 66 B. LA DANZA DEL SOL: DE LAS CIUDADES A LAS RESERVACIONES 72 a) Reorganización de indios, de tierras y de cultos 72 b) Se asoma el sol: la danza resurge en las reservaciones 81 c) En las ciudades: dejan las corbatas y se ponen plumas 85 d) Ciudad y reservación 90 e) El cuidado de los ritos 94 III. ANTECEDENTES Y CONTEXTO PARA LA ADOPCIÓN DE LA DANZA 100 DEL SOL EN MÉXICO A. EL MOVIMIENTO DE LA MEXICANIDAD 100 a) La danza tradicional de concheros 101 b) El Movimiento Confederado por la Restauración de Anáhuac 104 B. LA CONSTRUCCIÓN DE LA IDENTIDAD DEL MOVIMIENTO DE LA 106 MEXICANIDAD C. ENTRECRUZAMIENTOS DE CAMINOS 110 D. FLOTAR EN LO GLOBAL, ARRAIGAR EN LO LOCAL 114 a) Globalización y nuevas espiritualidades 114 b) Los estereotipos en circulación 119 3 Página IV. LA DANZA DEL SOL EN MÉXICO, OCUILAN 129 A. TLACAELEL Y LA DANZA DEL SOL DE LEONARD CROW DOG 129 B. LAS PRIMERAS DANZAS DEL SOL EN MÉXICO 138 C. LA DANZA DEL SOL EN OCUILAN 141 a) El complejo espacio-temporal 142 b) Los actores 145 c) Preparación para la danza 149 Búsqueda de visión 149 Preparación del danzante 152 d) Danzar mirando al sol 155 Ceremonia del árbol 155 Los cuatro días de danza 157 V. CONCLUSIONES 171 VI. BIBLIOGRAFÍA Y OTRAS FUENTES 184 4 I. INTRODUCCIÓN Conocí el círculo de danza del sol de Ocuilan en 1999 y, como la mayoría, llegué por invitación de algún integrante y sin tener certeza alguna de qué se trataba. La danza, los cantos y un paisaje cultural fuera de toda expectativa, me impactaron. Mi primer interés se centró en los cantos y participé en ese círculo durante cuatro años para después incorporarme al círculo de danza. Tratar de entender lo que sucede en ella, conocer sus orígenes, comprender los símbolos que contiene y las motivaciones de los participantes, ha sido una constante para mí desde entonces. Mi primer acercamiento desde el punto de vista de la antropología fue e través del artículo “El simbolismo animal de la danza del sol” de Elizabeth Atwood (1993), veterinaria y antropóloga que promovió muchos de los trabajos iniciales de la etnoveterinaria, tema de mi interés. No escapé a las lecturas de Black Elk, Lame Deer y Fools Crow, referencias casi obligadas entre los danzantes del sol. Es hasta mi ingreso a la maestría en Antropología Social, en la Escuela Nacional de Antropología e Historia, cuando encontré una muy amplia gama de posibilidades para comprender mejor el ritual de la danza del sol. En el presente trabajo he tratado de dar un panorama de la historia de la danza del sol que se practicaba desde mucho tiempo atrás por varios pueblos nativos americanos, entre ellos los pueblos lakota en sus ramas oglala y sicangu, habitantes de las reservaciones de Pine Ridge y Rosebud, en Dakota del Sur, Estados Unidos. Para dar cuenta de ello me guié por las reflexiones que Clifford Geertz acerca de una forma de presentación de la historia que se enfoca en las fases generales del desarrollo sociocultural del grupo al que uno se refiere y toma en cuenta los posibles cambios de patrones en un modelo elegido, en nuestro caso la danza del sol, a lo largo de un continuum cultural (Geertz, 2000:18-19). Para responder a mis preguntas iniciales ¿de dónde viene la danza del sol? ¿quiénes la practican y en qué consiste?, recurrí a una investigación documental que me hizo posible ubicar dos grandes momentos de la danza del sol en esta continuidad histórica: primero, la transformación de la danza durante el cambio de 5 forma de vida del nomadismo al confinamiento en las reservaciones de los indios lakota de las planicies, y un segundo momento en el que los movimientos sociales y políticos en las urbes influyen en la danza del sol de las reservaciones. Fue un trabajo de conocimiento de los principales autores sobre el tema, de selección y de traducción para desembocar en un texto que si bien resultó extenso, su bondad es que no siempre se tiene a la mano y que pretende dar los elementos mínimos necesarios para que se pueda comprender a qué procesos sociales respondieron los cambios del ritual de la danza del sol para sobrevivir como práctica central de la espiritualidad lakota. ¿Cómo llega la danza del sol a México? ¿por qué encuentra un ambiente propicio para ser adoptada en México y cuál es ese entorno? En autores como Lina Odena Güemes, Francisco de la Peña, Yolotl González y Víctor Acevedo encontré las respuestas para comprender cómo en plena construcción del nacionalismo mexicano se forma el „movimiento de la mexicanidad‟ y confluye con la tradición de la danza conchera para emprender un proceso de reinvención de identidad que, a décadas de su formación, y por diversas afinidades con el movimiento chicano de Estados Unidos, facilita la incorporación de elementos de otras culturas. Otro componente del entorno para la adopción de la danza del sol es un difuso fenómeno social producto de la sobremodernidad: la neomexicanidad (un híbrido entre la mexicanidad y expresiones del movimiento new age), que se manifiesta en sujetos y pequeños grupos sociales que siguen una pauta de búsqueda de las formas tradicionales de espiritualidad para amalgamarlas eclécticamente. ¿Quiénes conforman los círculos de danza del sol en nuestro país y como van definiendo su identidad los danzantes del sol? La necesidad de pertenencia, la necesidad de creer y de construir un horizonte de vida, han dado lugar a nuevos tipos de comunidades, integradas por sujetos que de forma efímera y voluntaria se adscriben a nuevas formas de espiritualidad. Entre otros, Peter Berger, Thomas 6 Luckmann, Daniele Hervieu-Léger y Jacques Galinier fueron autores fundamentales para responder estas preguntas. Se entiende que dada la reciente aparición de la danza del sol en México, que se remonta a unos treinta años, las investigaciones sobre ella apenas inicien. Si bien varios autores hacen referencia a la danza, hasta donde pude detectar son dos las investigaciones que se centran en ella: la descripción exhaustiva que hacen Víctor Acevedo y Elizabeth González (2000) sobre la danza del sol como parte principal de las actividades del Kalpulli Koakalko, en el estado de México, y el trabajo de Daniel Arias Yerena (2011) sobre la danza del sol de Ajijic, Jalisco. En este trabajo he tratado de dar un panorama general de la danza del sol en México y de hacer referencia particular a la danza de Ocuilan. A la práctica del ritual le he llamado adopción de una tradición lakota. Los casos de adopción de creencias son comunes en la historia y ejemplos de ellos se mencionan en este trabajo, como la danza del espíritu llevada de la tribu payute a muchas de las naciones nativas americanas, entre ellas la lakota, y el uso ceremonial del peyote por la Iglesia Nativa Americana a partir de una tradición wirrárika.
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