I PASS BY, I WALK AND DANCE GUIDED BY HARMONIOUS COUNTING Mathematical theory of the Universe origin and the order of the corn account, within the Dance of the Anahuac Nation.

Everardo Lara González

FOREWORD

This work continues the first research initiated in 1987 and published in 1993, under the name Mathematics and Symbolism in the Native dance of Mexico. I consider that, since that year, I was involved in the very first intuition of math within the traditional dance of the Anahuac. This mathematical intuition arose through the teachings generously transmitted by two persons, outstanding in their own specific areas of study: Engineer David Esparza Hidalgo, with regard to the mathematical knowledge of the Nepohualtzintzin, who devoted himself for more than thirty years of his life to the research of the Mesoamerican calculating system, as well as the contribution of the general captain of the Mesoamerican Dance, Ignacio Cortés, founder of the Tenoch group and one of the sponsors of the process for getting away from syncretism within this discipline and who, within his rehearsals of the traditional dance, suggested the presence of numbers within the rhythmic process. Afterwards, Master Cruz Hernández Ibarra, captain of the traditional dance belonging to the Mesa del Santo Niño de Atocha, kindly accepted to give information by means of interviews which were videotaped; in those interviews he teaches us about the symbolisms of certain steps within the different dances. Hernández Ibarra learned directly from Captains Gabriel Osorio and Carmelo Morales, from the zone of Guanajuato. Master Cruz’ trajectory in the traditional dance dates back to 1946 and he considers that nobody is the exclusive owner of knowledge; therefore, this must be spread towards childhood and youth as well. The intuition of the symbolism which is implicit in the dancing steps is completed thanks to the teachings received from Professor Encarnación Martínez who was, respectively, disciple of the illustrious Professor Marcelo Torreblanca. Gabriel Hernández Ramos, captain of dance in the Volcanoes Zone, provides the compilation of the Half Sun and Xochitl dances,

1 With regard to the Dance of the Half Sun, David Mazatl Velázquez refers that this one belongs to the Guanajuato Zone, where he saw it with the dancers belonging to the word of the maximum dance chief of that zone: Natividad Reyna.

Brother, Sister, dance and dance without rest, do not let fatigue nor pain exist in your legs, in your heart or your thought; today, more than ever, we do need your harmony.

Dance and dance without rest, make your body and your feather whirl turning your energy around touching the four corners of the infinite and the bowels of our Mother Earth.

Brother, Sister, dance and dance without rest, teach your people, your children above all, how to love Nature, as well as the Universe and the remembrance of the origin of Creation.

Brother, Sister, dance and dance without rest…

Everardo Lara González.

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General Index

PROLOGUE...... 3 REFLEXION...... 13 The Dance among the Aztekatl…………………………………………..15 The dancing warrior…………………………………………………… 15 INTRODUCTION…………………………………………………… 19 FIRST CHAPTER Mathematical founding of quality………………………………………..23 1.1 Numeric symbols in Mesoamerica……………………………………25 1.2 Metaphoric symbolism of the numbers……………………………….25 1.2.1 Symbolism of the zero…………………………………………..26 1.2.2 Symbolism of the zero within the Dance………………………..27 1.2.3 Symbolism of number two……………………………………….28 1.2.4 Symbolism of number two within the Dance……………………...29 1.2.5 Symbolism of number four……………………………………… 30 1.2.6 Symbolism of number four within the Dance…………………….31 1.2.7 Symbolism of number seven………………………………………32 1.2.8 Symbolism of number sever within the Dance……………………34 1.2.9 Symbolism of number thirteen…………………………………….34 1.2.10 Number 13, as a symbol of expansion and simplicity of harmony..35 1.2.11 Symbolism of number 13 within the Dance………………………38 1.2.12 Symbolism of number twenty…………………………………… 39 1.2.13 Symbolism of number 20 within the Dance………………………41

1.3 Theory of the mathematical metaphor of the nahuatl language about the origin of the Universe…………………………………………….43 1.3.1 Theory of the Big Explosion……………………………………….43 1.3.2 Mathematical metaphor of the nahuatl language…………………..43 1.3.3 Supreme Geometry……………………………………………… 44 1.4. Numeric association…………………………………………...... 46 1.4.1 Number four association…………………………………………..46 1.4.2 Number seven association…………………………………………46 1.4.3 Number thirteen association……………………………………….46 1.5 Calendars…………………………………………………………...47 1.5.1 Calendar of the human beings’ destinies……………………………47 1.5.2 Astronomic calendars………………………………………………48 1.5.3 Association of number 73…………………………………………..48 1.5.4 Sublime numeric association of number 52………………………..49 1.5.5 Sublime numeric association of number 104………………………50

3 1.6 Numeric association within the Dance……………………………….50 1.6.1 Association between the solar calendar and the sidereal calendar…50 1.6.2 Association between the solar calendar and the calendar of Venus..51 1.6.3 Association of the Great ceremony of the New Fire………………51 1.7 The square root within the Dance…………………………………..53

SECOND CHAPTER 2. Mathematical founding in the education……………………………...55 “Heart and rostrum”, mathematical metaphor in the education………57 2.1 The rostrum in the ceremonies and within the Dance………………...58 2.2 Metals and precious stones within the Dance………………………..61

THIRD CHAPTER

The myths in the mathematical origin of the Universe…………………..63 3.1 The magical world of the Anahuac gods…………………………….64 The god looks for his woman…………………………………………64 The Omeyocan, place of duality………………………………………65 The sons of the Divine Couple………………………………………..66 The four sons ask their father for a knack…………………………….67 Quetzalcoatl and Huitzilopochtli, the creators of fire…………………68 Chantico, goddess of the volcanic fire……………………………… 70 The half sun…………………………………………………………..71 The half sun is placed…………………………………………………72 The first man…………………………………………………………..73 Oxomo…………………………………………………………………75 The meeting……………………………………………………………77 Riddles and sorceries…………………………………………………..77 The calendar……………………………………………………………79 3.2. Legend of the suns in the Nahuatl language………………………….82 First Sun. Version of the Chimalpopoca Codex………………………..82 First Sun. Version of the Aztec myths and legends……………………82 This was the end of the first sun, called the Jaguar Sun……………….83 Second Sun. Version of the Chimalpopoca Codex…………………….83 Second Sun. Version of the Aztec myths and legends…………………84 Third Sun. Version of the Chimalpopoca Codex………………………84 Third Sun. Version of the Aztec myths and legends…………………..85 Fourth Sun. Version of the Chimalpopoca Codex…………………….85 Fourth Sun. Version of the Aztec myths and legends…………………88 The true maize…………………………………………………………90 Fifth Sun, version of the Chimalpopoca Codex……………………….91 Fifth Sun……………………………………………………………….92

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FOURTH CHAPTER

The ancestral Dance……………………………………………………97 4.1 Maceualiztli. Dance of the cosmic harmony…………………….102 4.2 Netotiliztli. Dance of the pleasure in private events……………..103 4.3 Calendar in the ancestral dance…………………………………..103 4.3.1 Xiuhpohualli, solar calendar……………………………………103 4.3.2 Tonalpohualli, ritual calendar…………………………………..104 4.3.3 Symbolic relationship between the Tonalpohualli and features of the person……………………………………………105 4.3.4 Deities of the Tonalpohualli…………………………………….108 4.4 Chronicles about the ancestral dance……………………………...108 4.4.1 Fray Bernardino de Sahagún…………………………………….109 4.4.2 Fray Toribio de Benavente or “Motolinía” *…………………..114 Attitude in the Maceualiztli dance………………………………119 Attires…………………………………………………………….119 Calendar………………………………………………………….120 4.4.3 Fray Diego Durán………………………………………………..120 Dance of the Permission…………………………………………121 Flyers’ dance……………………………………………………..121 Divine chants……………………………………………………..122 About the attire: ………………………………………………….122 Mayahuel dance…………………………………………………..122 Special attire………………………………………………………122 4.4.4 Fray José de Acosta……………………………………………….130 Dance and games…………………………………………………131 The order within the Dance: ………………………………….131 In the ceremonial centers the use of luxurious attires was common 131 4.4.5 Father Francisco Javier Clavijero……………………………… 132 The order within the Dance: ……………………………………132 The chants and the music within the Dance: ……………………132 Presence of buffoons: ……………………………………………132 Representations of the Dance: …………………………………...133

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FIFTH CHAPTER

The music………………………………………………………………..134

SIXTH CHAPTER

The chanting…………………………………………………………….136 Words used for the chanting…………………………………………….138

SEVENTH CHAPTER

Offerings………………………………………………………139 7.1 Offering of fire…………………………………………………….139 7.2 Burning of incense of the earth……………………………………140 7.3 Casting food and libation…………………………………………..140 7.4 General awaked night or vigil……………………………………...140 7.5 Penitential abstinence………………………………………………140 7.6 Swallowing snakes…………………………………………………141 7.7 Making birds fly…………………………………………………….141 7.8 Processions………………………………………………………….141 7.9 Woman like falsetto singing………………………………………..141 7.10 Zigzagging…………………………………………………………141 7.11 Striping…………………………………………………………….142 7.12 How the incense was offered………………………………………142

EIGHTH CHAPTER

The attire 8.1 The masculine attire…………………………………………………143 8.2 The feminine attire………………………………………………….147

NINTH CHAPTER

The traditional dance since the beginning of the Colonial period……….148 9.1 Syncretism within dance begins……………………………………..148 “The battle of the Saint Gremal’s Hill”……………………………..149 Symbol of the Dance, ozomatli the monkey……………………….151 Presence of four captains and the sortilege couple, Cipactli and Oxomo 152 Presence of number 13, Captain in the middle and woman-man couple 152 Presence of numbers 20 and 13, steps crossing…………………………152

6 Probable dance which represents Mixcoatl……………………………..153 9.1.1 The phrase “He is god”…………………………………………...153 9.1.2 Geometric forms in the traditional dance…………………………154 Crossings in the salute step……………………………………………..154 The winds, ritual, obligation……………………………………………157 9.1.3 Mathematics in the vigil ceremonies……………………………..159 The corn shell guitar, symbol of the resistance………………………..161 TENTH CHAPTER

Mathematic relation within the Dance…………………………………164 Dance of the origin remembrance………………………………………165 Tezcatlipoca, (Black and Smoking Mirror)…………………………….166 Quetzalcoatl, (feathered Serpent)……………………………………….166 Tonantzin, (Mother Earth)………………………………………………167 Tonatiuh, (Sun)………………………………………………………….167 Tlaloc, (water)………………………………………………………….168 Mazatl Dance, (deer)……………………………………………………168 Xiuhtl, (fire)…………………………………………………………….169 Xipetotec, (fertility)……………………………………………………..169 Iztlacuautli, (white eagle)……………………………………………….170 Tonantzin, (Mother Earth)………………………………………………171 Chicomecoatl, (seven serpent)…………………………………………..171 Ehecatl, (wind)…………………………………………………………..171

ELEVENTH CHAPTER

Symbolism of the steps within the Dance……………………………….172 Ritual of the expansion circle formation………………………………..173 Step of the path within the Dance……………………………………….173 Dance of the origin remembrance……………………………………….175 Reverential steps…………………………………………………………176 Tezcatlipoca Dance, remembrance of the Creation…………………178 Attire…………………………………………………………………180 Limping dance and backwards dance………………………………..181 Symbolism of the Huexolotl (turkey) dance………………………...182 Dance to Quetzalcoatl…………………………………………………...182 Attire…………………………………………………………………183 Xipetotec dance………………………………………………………….184 Chants to Xipetotec………………………………………………….186 Attire…………………………………………………………………186 Ritual dance with a phalic character…………………………………187 Dance and chanting to Huitzilopochtli, as the hummingbird………..187 Fire Dance…………………………………………………………...187

7 Dance of the half sun………………………………………………...188 The half sun is placed………………………………………………..190 Dance of the Legend of the Suns…………………………………….192 The second Sun……………………………………………………..192 The third Sun………………………………………………………. 192 The fourth Sun………………………………………………………193 The Fifth Sun………………………………………………………..193 Dance of giants in the first Sun…………………………………….195 Dance which shows the equilibrium in the Fifth Sun……………...196 Dance of the Wind, Ehecatl………………………………………..196 Dance of the Sun, Tonatiuh………………………………………...197 Dance to the Sun……………………………………………………199 Dance to Tlaloc, “the one who makes spring up”…………………..200 Tlaloc, the small toad……………………………………………….201 Dance of the dove…………………………………………………..202 First version……………………………………………………………202 Second version…………………………………………………………203 Dance to Tonantzin (Mother Earth)…………………………………204 Dance of the offering………………………………………………..206 Dance of women, Tetelcingo, Morelos……………………………..207 Dance to Chicomecoatl……………………………………………..207 Dance of the small corn, tender Corn, Xilonen……………………..209 Dance of the sowing man or sowing woman………………………..210 Dance of the Ozomatli, the monkey…………………………………211 Dance to Xochiquetzal……………………………………………….212 Dance of Malinalli……………………………………………………213 Dance of Mayahuel…………………………………………………..215 First version……………………………………………………………..216 Second version………………………………………………………….217 Tochtli Dance, rabbit…………………………………………………217 Woman rabbit………………………………………………………...218 Man rabbit………………………………………………………….218 Mazatl dance, the deer……………………………………………….220 Dance of the moon or the foundation of Tenochtitlan………………221 Dance of the death…………………………………………………...223 Xochitl dance, Flower……………………………………………….225 Dance of women, Tetelcingo, Morelos……………………………...226

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TWELFTH CHAPTER

Analysis of the set logics………………………………………………...227 12.1 Mathematical theory of the origin of the Universe………………..227 Relation of the numeric metaphor of the Nahuatl language with the theory of the Big Explosion of the Universe……………………………227 Supreme Geometry…………………………………………………….228 Relationship of the myth with the numeric metaphor of the Nahuatl language and the theory of the Big Explosion of the Universe…………228 Nahuatl metaphor and theory of the Big Explosion………………….229 12.2 Relationship of the ritual of the formation of the expansion circle with number thirteen (13), representative of the expansion of any being…232 12.3 Relationship of the dance of the remembrance of the origin with the pulses in the Dance and the ascending number thirteen which is found in the tzacualli………………………………………………………...... 233 Dance of the remembrance of the origin…………………………..233

12.4 Relationship of the myth with the Tonalpohualli, the Dance and its pulses………………………………………………………………235

THIRTEENTH CHAPTER

The order of the corn account and its relationship with the account of the energy of the human being………………………………………………237 Perfecting process of Humankind and the Corn………………………...239 The corn…………………………………………………………….240 Mathematical analysis in the ritual account of the corn gestation with the one belonging to the Human Being……………………….241 Conciliation of the ritual period of the Corn gestation and the Tonalpohualli, with the human physical gestation period……….....241 Analysis of the calendar of the Xiuhpohualli celebrations, account of the Solar Calendar………………………………………242 First twenty: Atlacuallo……………………………………………..260 Second twenty: Hueytozoztli……………………………………….261 Third twenty: Xocotlhuetzi-huey miccaihuitl………………………262 Fourth twenty: Tepeilhuitl………………………………………….262

CONCLUSIONS

Verticality of the human being……………………………………..268

BIBLIOGRAPHY…………………………………………………….271

9

REFLEXION

PREFACE

It was in Tetelcingo, Morelos, a beautiful Mexican town, where the fascination was born upon watching and imagining those beings that, placed as stars, move in total harmony in the horizon; they dance, weaving their energy along with time…, where each move bears the purpose to conserve the sublime lessons that they left to us, the narration of the ages of the world, about the origin and fate of humankind, all of them associated with the ritual calendar of the corn seed in its path and flowering… Where the sound of the huéhuetl refers us towards that first cosmic heart beat of the beloved creation of the Universe and of our own self being as well which, in conjunction with the other wind and percussion instruments, make up a heavenly symphony, where ancient essences, now dancing among the dimensional ascending levels, come up, joyfully, to share the motion circle. Where the contact with the seashell reproduces, in a delicious way, the first divine breath and, upon closing our eyes, all of us together expand, in a spiral vibration, our energy like a beautiful ancient dream. Where each step is a stroke of a paintbrush which transforms the spirit, in a refined way, into moving poetry, thus creating a range of beautiful colors that intertwine and expand like flowers with the harmonious union of the whole… Where each step represents our walk which accompanies, within the ocean of the heaven pilgrimage, the memory, the intelligence and the will of maintaining the equilibrium, may it be in the warm springtime, or in the reflexive winter; thus demonstrating that each movement performed has a symbolism; each jump, each gesture, each bodily contortion, flakes off sweat pearls that, as a sacred liquid, amalgamate with our Mother Earth. Where the image of Huehuecóyotl remains captured in the attire as a first energy and the pectoral shows the mirror of the path towards our inner self which gives off a light aura that spreads throughout the sky; the ayoyotes and bells vibrate due to the earthly energy whereas the feather, our aspiration, vibrates like the glance and attitude of Macuilxóchitl’s spiritual and corporal discipline, a desire of vertical ascension which is only attained through wisdom. Thus, the essence of dance is a harmonious motion dream in conjunction with the Universe, one that longs for the highest ancestral knowledge, where each macehualli or lofty practitioner of the dance joins the universal search of men and women to reach perfection, to the sublime alchemy where art and science unite within a spiritual development that

10 excels with a sole goal: to remind us of the harmonious origin of the supreme energy. The former belongs to the rendezvous of my conscience with our identity. That is why I dance and walk; I shall dance and I shall walk dreaming to reach the spiritual desire: the pilgrimage with the stars…

INTRODUCTION

Dance is a human expression that has been practiced universally throughout time and space, as it has been evident in all ages and cultures of the world, in which permanent scientific and artistic creation about mythic and mystical conceptions derived from the observations of the natural and astronomic phenomena, can be shown; it also depicts the mathematical vocation and development of the different peoples, conceptions translated by means of body motion messages, which form a real codex or language that foretells humanity’s path and behavior. In our ancestors’ dance, some expressions with a connotation pertaining to a mathematical and geometric order linked to the count of time are manifested; as such, they illustrate both the origin and order of the creation, as well as the movement of the stars, like the sun, the enigmatic planet Venus or the shining Moon; also the flux of the humankind eras along time, this precious time which, in the past, holds a sense and a distance: the presence of the corn in our existence, as well as its periods of sowing and harvest, the calendar counts of the solar orbit, the one referred to destinies and, of course, human being’s gestation itself. So, dance is born out of men and women’s aspiration of revealing their feelings through body language, which is necessarily joined to rhythm and harmony, as well as with singing and music. Dance in Ancient Mexico takes part as one of the most vigorous and popular expressions; according to what chroniclers say, dexterity, grace and agility are praised and its organization and performance are also extolled; as such, they are transmitted in the institutional schools, each one of them called Milky Way House (Mixcoacalli), by teachers specialized in social and cultural organization. With regard to this question, it is evident that our peoples were worried to reach the highest levels of physical, mental and spiritual development through education, where the relevant discipline is dance, and whose mathematical vocation shows a concept of exactness belonging to human being’s quality.

11 At the same time, human body, in harmony with spirit is, within dance, an instrument which generates energy through thermodynamics charge that creates a rotation field with apparent opposite turns around the body movement, which attempts to rearrange the electromagnetic field in order to synchronize it with the cosmic hierarchy related to our Mother Earth and all other creatures dwelling in it. Therefore, the proposal is to reestablish the sublime order by means of a mathematical codex of quality steps and rhythms which may expose the message of living behavior through dance. Due to the fact that dances, as part of the ceremonies and celebrations, used to be realized with a strict attachment to a schedule which was integrated to natural and astronomical events, their relationship with mathematical knowledge is enhanced. Both the metaphor of numbers in the nahuatl language and the theory of the Great Explosion, proposed as a mathematical model originated from Albert Einstein’s formulas, suggest the interpretation of the origin of the universe; the myth that, through its stories marks, as a historical fact, the origin of the creation, as well as the different ages of the world and which, at the same time, is interrelated with the theory of the origin of the Universe proposed by the mathematical metaphor and the scientific model of the Great Explosion. The present work pretends to contribute with sufficient analytic elements to configure a set logics where, through mathematics, as well as with the metaphor of the numbers, the Great Explosion theory, the myth and the ritual corn calendar, we shall be able to prove that the traditional dance from the Anahuac is a mathematical theory of the Universe origin, associated with the corn’s ritual, beginning with the selection of the seeds and ending with the blooming of the corn, through the Cosmo vision of the messages issued by the body and the choreographies along with their rhythmic pace. The interpretation of dances has limits, due to the segmentation of the symbols exposed within them and derived from the focus changes presented throughout the different epochs; that is why it is difficult to identify the body messages from the ceremonial forms, as well as the deformation transmitted by oral tradition. But, even so, this lets me sense and reason about the symbolization issued by the body movements and the one supported by the interviews to the living sources of the oral tradition.

Interpretation sources:

– Narrative of mythic thought. —Compilation of ancient dances in their visual and rhythmic representation as well as with regard to its verbal transmission. —Metaphor of the Nahuatl language with regard to mathematics.

12 —Theory of the Great Explosion. –Corn’s ritual count.

The consecution of this set logics allows us to suggest that the traditional dance of the Anahuac has several coincidental points with the rest of Mexico and, therefore, with the continent as a whole; this presupposes a grade of unity that makes us notice its universal hierarchy and, thus, we shall be able to restore the message, the discipline, the science and the art of traditional dance, in such a manner that the appearance of a pleasant chaos may be turned into the purpose of coming back to the origin of order.

Dance among the Aztecs

The Dancing Warrior

The dancing warrior practices the softness and the rhythm of ( the air The sweetness of water singing the strength of cold and heat and he applies the energy of the essences

To start with, it is fundamental to ask ourselves if the dance that we know today is the same “real and original one” from our ancestors or, otherwise, which one would be the dance of our own? Dance, among our ancestral brothers and sisters, is far from being exclusively an expression just for fun and cheer; it also contains deep concepts. It is a dual interpretation that shows the natural art of the Universe, in which all of us are wholly immerse; to understand and have the comprehension of the dance accurately, it is necessary to get inside the language belonging to its world, because language is the key to get into the immensity of its philosophy. Dance is the essence of the movement in our Universe, the energy that awakes energy in motion; it is the manifestation of pure energy in the refuge of our essence. In our ancestors’ ancient and sacred language, dance means what we say, what we express with the rhythmic movements of our body. Let’s make an analysis of its etymological roots:

13 Ihtotiliztli, to dance, this is a Nahuatl word which comes from two etymological roots: Ihtoa, translated as says and tia or tiya, it is the past absolute of the verb, meaning, when we match both parts, as “that who used to say” or “that who used to say something”. In other words: everything in Nature reveals something and, in this case, the translation leads to the human acts. Dancing in our Aztec-nahuatl language is translated into the third person, that is to say dances, and it is written ihitotia; and in noun form it is ihtotiliztli, and it still has the same meaning. At present, the possessive prefix mo is used; meaning yours and it has a grammatical change when it is joined with the verb and the noun, so it is pronounced like this: M’ihtotia and M’ihtotiliztli, and it means their dance.

The whole meaning is:

What the body says or shows with its performance.

Thus, the dual concept of the dance is confirmed and it means: the physical form is not enough to understand, in a precise way, the meaning of it, it is also the relationship with the human being what is required; therefore, an appropriate formation is necessary and I am making the reference about the fact that we must get the knowledge from the original roots; from people who master the language; from tatas, from medicine men and women, from herbalists who speak our language and, this way, we shall avoid false and deformed information, given by those who invent concepts and symbols. When we get in touch with people who have the knowledge, the founding about the development of art is direct. They generally inform us about the agronomical cycle, about the art of medicine plants, about the solar movements, about water motion and also about air and about heat and cold; they teach us that the dancer is a warrior too. Since men and women are born, they are considered as warriors and what each one of them learns in life is only for becoming a real tekuhtli, guide of life and humankind. Elements, as well as natural phenomena, will be the preceptors of man, from Nature he will learn the cycles, when they start and when they finish, as well as how they affect human beings and animals. He will get to know all the movements of the stars and also how our Mother Earth and our Father Sun affects us. By means of the accumulation of knowledge through time, man will be a real master; however, just by learning how to manage that knowledge as part of himself, he will be able to get the title of:

14 M’ihtotiyaotzin, venerable Dancing Warrior

As time has gone by, this name has been disappearing and just very few of those who speak the language remember its meaning. The dancing warrior knows the cycles as well as the astronomic motions and their natural effects over our Mother Earth; therefore he is in charge of making the movements of cause and effect within the dancers’ evolutions. He is the one who knows the language of secret ceremonies which allow the accomplishment of lunar, solar and astronomic ties. He also generates the ceremonial and ritual dance; he applies the effects of the elements at precise moments, taking profit of natural phenomena and performing sacred symbolic movements. At present, they are known as healers, herbalists, grail callers, sorcerers or, simply, bewitching men or women. In our nahuatl language, we know them as tlachixqui, naualli, tepatiqui, chaneh, tahta, mayezo… and they are who, since they are physically and mentally prepared, offer themselves when they are anointed with the sacred symbols of our writing, thus representing, at the appropriate moments, the energy invoked from the natural phenomena. The dancing warrior practices the softness and rhythm of the wind the sweetness and the chant of water, the strength of cold and heat and he applies the energy of the essences. In our language, the knows the essences of the Atl (water), of the Ehecatl (wind), Yollotl (heart), Teotl (divine creation), Zotl (essence of things) and the Lotl (essence of the living beings). Similarly, the dancing warrior knows the secret and sacred names of our personifications within the sacred rites and he utilizes the essence of the herbs in conjunction with Mother Earth. After they attain this grade of knowledge, the dancing warriors are profiled to be the great guides called Tlamacasqui, “those who offer themselves”, as such, they are in charge of creating the beginning of the splendor of new towns and they exercise their knowledge with new Tlamacasqueh, sages of the great schools called Ilhuicalyocan. The students in these great schools are first taught to convoke and invoke the natural elements; with that purpose, each one of them is guided. He observes the rhythmic movements of the heavenly bodies, as well as their position and life forms, therefore he can see what there is in those heavenly bodies; that makes him wake up and dance and, in the practice of his own learning, he wakes up towards the dream of life, which is manifested in health and also in sadness, social life and this even forms a personal ethics and behavior faced to society. Within the knowledge ensemble, he assumes that universal dance is energy, it generates energy and it is the fuel of the heart, which

15 accumulates and produces pleasure and joy of life, he profits all that in his rites and ceremonies and he identifies himself with the heavenly bodies, causing phenomena with the natural phenomena, thus observing that, the Sun, our father, is the most sacred within the eternal manifestation of Nature and, therefore, it is the manifestation of the eternal energy. For that reason, the Tlamacasqui, in this practices, generates dimensional levels of energy and produces communication with the essences which can only be perceived with other senses developed by a human being. That is why, within dancing practice, heat energy, which helps to clean and purify the body, is produced. Previously to the degrees of levels of dimensional conduction, this enhances on the dancing warrior a personality, as well as a clean body development and positive ness in his energy, where the body acts like a magnet. The sage Tlamacasqui verses like this in his precepts:

Human bodies should be like heavenly bodies, clean and rhythmic in life; those heavenly bodies, on their path, never crash or provoke harm in their trajectories.

Aztecatl or Chichimecatl dance is still found in the towns where the language is spoken and in the groups, men, as well as women, elderly people and children dance. Their attires come from an inspiration, in which bright colors are not necessarily predominant; these groups are composed of different jobs or functions, which do not always indicate hierarchies and they are only understood according to the interpretation of their proper names in the different languages: astecatl, mihtotiqui, tlayecanqui, mayezio and so on, where the conceptualizations of dances are laid.

One of the features that a dancer must have before he is initiated in this knowledge, is centered in the warrior discipline, which is now unknown and from the only ones there is a reference of their existence—with names in Spanish only—we have the ones belonging to Cuauhyaotl, the eagle warrior and Ozeloyaotl, the jaguar warrior, but the discipline to control their exercises is ignored. Knowing that this teaching has not been proportioned, it is quite illogical to see that, in our days, aztecatl dance may be taught, and it is even more illogical that many dancers use eagle feathers in their attires, since the use of these feathers in the days of the Aztecah was sacred and only one was given as an anointment to those who attained, according to their merits, a feather from the sacred animal: Cuauhtli (eagle). Such features describe these persons, therefore:

16

That who is not a dancer, is not a warrior and, consequently, in a lesser manner, will be a Dancing Warrior. Lucio Carpanta Barón Tlanextik

CHAPTER ONE

MATHEMATICAL QUALITY FOUNDING

Every month, every sun, every spirit walks and passes by when it has completed its just measurement

Chilam Balam from Chumayel

Transcendent within human evolution has been to discover mathematical knowledge in which the value of the supreme computing system is found in a hierarchic order; this one describes, with wisdom, the divine qualities of harmonious simplicity. Science shows us that there are mathematic laws whose postulates reveal the existence of a superior harmony beyond reason, in spite of world’s complexity: mathematical ideas and shapes are the wholeness model of perfection, conception which is clearly illustrated within geometric forms. Throughout history, many countries have been worried for the mathematical studies, thus creating and developing different symbols to depict the ideas and shapes described. Writing is thus created and, therefore, numerals that represent ideas, forms, messages or, once on a while, just ciphers, appear. Thus, human beings learned how to register the ordered behavior that they had discovered in the heaven as well as in Nature; this has allowed them, throughout history, to predict events which benefit or affect our survival, in order to maintain a balance with the environmental wholeness. The ancient inhabitants of the Anahuac, mainly the tlamatinime, were especially outstanding because they devoted themselves, in a deep manner, to observe the phenomena which were manifested in Nature, since they saw that the stars in the firmament always move conserving a fixed order; they also observed that the sun appeared on one side and hid on another and that this apparent translation movement was repeated within a time space that they called semilhuitl (day). Thanks to these observations, time measurement began, with the aim to reach enough exactness to satisfy their basic mental necessities with

17 relation to land work, such as observing the best days to select seeds, as well as for preparing the terrains, the sowing and its trajectory, until the harvest could be obtained. All of this was made with the aim of reaching harmony, mainly with the sun and moon cycles. When they got to know that their own existence developed through time span, they measured, also, both the natural and cosmic phenomena until they shaped the calendars which, even though they still keep mysteries, are admirable. They observed their own beings; they heard and felt their breathing compass as well as the repetition and tone of their heart beatings. Their mathematical vocation for rhythm was thus born. Even more, by means of their knowledge of time computing, they could predict and establish the season for sowing, fishing and hunting, as well as the calculation of the arrival of snow and rain, as well as the absence of the latter and, therefore, its benefits or harmful consequences. Thus, they were able to know the balance between the light and the shade throughout the season of the year (equinoxes and solstices), the moon phases or stages, the eclipses and the planet conjunctions, besides other cosmic phenomena, like the planet and zodiacal ortos or, since those days, the movements of the constellations that populate heavens. Within the context of what has been exposed, men and women noticed that their existence comes from the harmonic computing and which is involved, strictly, with natural and cosmic events; thus, rituals and feasts were conceived to relate and incorporate their energy, both to the Universe as a whole and to Mother Earth, with Dance as the most relevant manifestation. These ceremonies were structured and developed strictly according to calendars which were incorporated ritually to the activity of corn gestation within agronomy; they were oriented towards obtaining ground fertility, as well as an abundance of hunting and fishing in order to obtain well being for the communities.

Numeric Symbols in Mesoamerica

The numerals which were created in Mexico and Central America have been considered throughout the world as the other great system of superior rationalization, with its quantity value as outstanding; however, the quantity value from the metaphoric message acquires a relevant reasoning, thus enjoying a life of ascending plenitude, with the supreme conscience of our harmonic existence. The twentieth conception with positional values as well as the application of the zero is mentioned. The principal feature indicates that the symbols which are utilized have an intrinsic value; that is to say that, within them, each symbol has the multiplicity that it describes, in such a

18 way that one point represents the unit, and two points, number two; thus, four points, represent number four. It is evident that the system which is used by the Mayans was more advanced than the one utilized by others, since they solved space situations with big ciphers; this allowed them to recognize, at once, the magnitude of the ciphers that were expressed and, thus, optimize the thought process. With regard to the conception of the zero and the positional value, it is convenient to point out that the most ancient evidences are the ones belonging to the Mayan culture. The Nahuatl people also used the twentieth system, probably learned from the Toltecs and, at the same time, through the Mayan influence. Everything coincides until number nineteen, from number twenty and beyond, they used signs which show the message of the transcending path.

1.2 Metaphoric Symbolism of Numbers

From the historical narrations about the origin of the Universe, with regard to the observations made by human beings about themselves and about the natural and astronomic phenomena, the concepts of order appeared; over there, numerals which set precisely the symbols with a deep and singular interpretation of the mathematic metaphor, are designed. Considering the importance that the knowledge about this mathematic metaphor has for the interpretation of the dance symbolism, I am further retaking part of the book My transcending by means of the Count and the game as well as the definition of the nepohualtzintzin, both with the objective of giving an interpretation of the dance.

Ne, the person Pohualli, count Tzintzin, transcend

Thus, the substantial idea is: the person who dances has the knowledge of counting, within harmony simplicity, to transcend towards the origin of creation.

1.2.1 Symbolism of the Zero

The symbolism of the zero represents the plenitude within the mathematic thought of the ancient inhabitants of this continent.

The symbol of the zero is an empty seashell.

19 When the mollusk dies within, the shell remains outside, this is the announcement of the end of a cycle or a life count; however, this also remarks that one can transcend to a new cycle. With regard to the shell, it is evident to observe the figure of a spiral, which makes us think about transcending, of evolving towards higher levels in the Universe. Thus, the spiral of the mathematic seashell is bound for the cosmic goal of an intelligent life span; it represents a being in expansion who seeks for the desired liberty, total freedom.

The Milky Way is a spiral

According to geometrical as well as philosophical observation, the zero is symbolized with the elements of a spiral, taking into account that this one comes from the indigenous concept of the square. This idea of transcending by means of a spiral is perceived through the different manifestation of our ancestral culture.

1.2.2. Symbolism of the Zero within Dance.

During the ceremonies of the traditional dance, the seashell is blown to favor the spiritual approach of the dancer with the infinite. It also refers to the earth cultivation by means of the remembrance, in the mythological conception, in which the bees, along with the wind, spread out the germ of the new culture, through the perforated seashell as the symbol of the seed and the wind which is in charge of spreading it.

In the incense burner the copalli forms a smoke spiral which makes the prayers ascend

The dancer performs with his body, elevation movements that suggest the spiral already mentioned.

1.2.3. Number Two Symbolism

In our nahuatl language, number two is translated as ome; within the metaphoric interpretation of the mathematic nahuatl language, ome is confirmed as the essence of balance, by the moment that part of the energy turns into matter.

20 This is the duality principle, which is manifested in each individual, as well as in Nature and in the Universe as a whole. A human being, to exist, exclusively needs men-women dualism, as well as the one associated with life-death and matter-energy. Number two is constantly manifested in the body; thus, we have two brain hemispheres, two ears, two eyes, two nostrils, two arms, two hands, two legs. Within Nature, cold-heat, rain-drought, ice-fire, North Pole-South Pole, all of them coexist. In the Cosmos, day-night, rotation-translation, sun-moon, light- darkness, concur. We can say that a wholeness or plenitude is made up of two corresponding counterparts, opposite within them. Based on this principle, the nahuatl nation created the philosophic concept Omeyotl (ome-two, yotl-creation), the eternal duality of matter and energy, the genesis of the Universe as a whole. Outside this, nothing is possible, because one counterpart alone cannot conceive anything by itself. In this same sense or order of ideas, human beings have tried to decipher, through geometry, the enigma of the circle and the square, by means of the squaring of the circle, out of which the cross is born as the most important sign, due to the fact that the crossing will always represent a complete body, as the union of matter and energy. In equal form, the circle and the square will always exist, since inside each square there exists, in a latent way, a circle. When we measure the length of the circle after measuring the square, we find that this one is formed with the perimeters of polygons, giving the impression of being an infinite cipher, each time that the number of sides is duplicated.

1.2.3. Number Two Symbolism within Dance

At the beginning of the ceremony two columns, which later place crosswise to salute the four winds, are formed; immediately afterwards, they create the symbol of the expansion circle. In accordance with this precept the circle, as a symbol of infinite energy in expansion, is formed in the metaphoric geometry of the dance, starting with the superior extremities of the human being; others join afterwards until they make up a big circle, as it is shown in the following images from the Borgia Codex (dance performed between Heaven and Earth), as well as from the Durán Codex.

1.2.5. Number Four Symbolism

21

This number represents the formation of the Universe and the complete heavenly bodies that link with the whole. As the principle of Creation, duality is geometrically composed with two lines which, by the time they join together, constitute the crossing that shape the four points which, respectively, create the quadratic concept of the Universe practically all over the continent, as well as in the most ancient cultures of the world.

We may find this same exposition in the nepohualtzintzin when we make the square root mathematic operation, whose connotation gives its origin to the square: number two.

The four points, which create the fundamental direction in the space are the, so called, solstice or cardinal points. the man with his extremities forms a square.

1.2.6. Symbolism of Number Four within Dance

In the ceremonial formation, the crossing is made, by the time the salute to the four solstice or cardinal points is made. In the middle of the ceremonial circle, the symbols of the four elements: fire, wind, water and earth are placed.

In certain positions, our body symbolizes that square made of matter-spirit.

1.2.7. Number Seven Symbolism

This number represents synergy when the articulations belonging to the left side extremities get together. Seven is the left side route throughout human being’s articulation, where the vertical expansion flourishes within the heart (yollotl). Engineer David Esparza Hidalgo relates it with seven senses: sight, ear, touch, speech, taste, smell and sex. Doctor Alfonso Caso observes that, within the esoteric language that sorcerers and fortune tellers used to speak, those calendar names which contain number seven mean seeds. Therefore it represents:

22 Chicomecoatl, as the path that the corn seed takes before it blooms to become a corncob (ollotl) Chicomoztoc, as the origin of the human being’s seed who, by the time it is within Mother Earth’s cavity, formed as a seven petal flower, it is born to take the route as a pilgrimage searching for its blooming, that is to say, the well educated behavior or conduct that seeks the perfection of human being. This is the representation of the heart as that internal hidden and precious part belonging to every living being. When, in its external perimeter, a 7x7 square is formed, the result is 28, symbol of the moon account; whereas, in the internal perimeter, number 20 is formed: this is the representation of human being’s count of plenitude. When these perimeters are associated to number thirteen, the following quantities are obtained: 28 times 13 give 364 as a result, which indicates a moon or calculating calendar, essential for sowing. 20 times 13 give 260 as a result, which shows the ritual counting of the corn gestation, as well as the energy count also known as the human fates count which will be further approached.

external perimeter 28x13 = 364

internal perimeter 20x13 = 260

1.2.8. Number Seven Symbolism within Dance

The elevated position of the left foot represents the ascending aspiration path that flourishes within the heart. Number seven, as the symbol of the route taken by the seed, is appreciated in the ritual calendar of the corn gestation in the atlacuallo twentieth score, when corn is selected in order to start sowing it. It is found within the Chicomecoatl rhythmic dance, symbol of the awakening of the sleeping vegetation. By means of body movements, we can see the narration from the sowing period until blooming.

1.2.9. Number Thirteen Symbolism

It represents human being’s path, with an ascending vertical dimension, towards Supreme Energy, the energy ascending expansion throughout a whole life, built up with the accumulation of qualities.

23 Ancient Mexicans visualized the path of the expansion verticality, both within human beings and in the Universe as well. When this number is combined with number four and with number twenty, the sublime numeric association is propitiated. In the human being, this path is represented, structurally, with the thirteen great body articulations.

Supreme energy

Earth

Human being’s vertical ascending path is shown in the body my making a graded quality journey, starting in the ankles and ending in the region of the heart, thus representing a metaphor about the internal growth of the human being, like the flowering of the heart’s fortitude, thus transforming the face (itztli) into wisdom, which aspires to reach the Supreme Energy. In this manner, the word in our nahuatl language aztli ahmikiyan is accomplished: ascension attained through wisdom.

1.2.10. Number thirteen, as a symbol of expansion and harmony simplicity

It is represented, in a numeric way, when we join thirteen elements, which give 91 as a result.

1+2+3+4+5+6+7+8+9+10+11+12+13=91

When we combine 91 with numbers 2 and 3, this will show us the expansion process of corn as well as human being’s process upon its birth; the days are, respectively, 182 and 273, which pass since the placements within the mother’s womb until its blooming as complete beings, along with number four, a cycle of a calculus cycle is accomplished, in which ever ninety one days, the route for each season (spring, summer, autumn and winter) is initiated. As a result of its birth, human being sets out on the path of quality in which home education, as well as within educational centers, search the strengthening of the heart as the flourishing of a full being, through the merit of willpower, Huitzilopochtli’s representation. Artemio Solís, nahuatlato from the zone of Milpa Alta, tells us about the word ohctli as the path which represents number thirteen and also as a special vibration word that indicates the direction of what is sacred. The dimensional Universe plan is a course formed by thirteen skies upwards, conceived in cosmic regions superimposed and separated among them.

24 As follows, Codex Ríos version is shown, along with the metaphoric translation by Lucio Carpanta: 13th Omeyocan, in the place of the dual essence 12th Ometecuhtli, in the dual regency 11th Teotlauhco, in the place where energy burns 10th Teocozauhco, in the place where energy burns 9th Teoiztac, in the place of the energy whiteness 8th Iztapananazyan, in the place where whiteness is attracted 7th Xoxouhco, in the place where all is soft green 6th Yayauhco, the place to go 5th Mamaloaco, the place where water streams 4th Uitztuhtlan, in the south side place 3rd Tonatiuh, possesses the energy 2nd Tetlalicoc, where they mend 1st Tlalocaipan metztli, over the earth wine cycle

The Cosmic regions of the thirteen skies superimposed show us the vertical dimensional expansion path which, when satisfactorily walked, makes us come back to the divine origin of Creation: the Omeyocan. Another way of expressing the dimensional Universe plan is the one referred by León Portilla:

1st Ilhuicatl Metztli, the inferior sky, which we can all see, it is where the moon advances and where clouds are sustained. 2nd Citlalco, the place of the stars 3rd Ilhuicatl Tonatiuh, region of the sun, where it advances in its daily race from the place of the light until the West Point. 4th Ilhuicatl Huitztlan, place where Venus, the big star, is observed. 5th Citlalin Popoca, the place where comets, the smoking stars, used to be. 6th and 7th, Yayauhco-Xoxouhco, the night and day stars. 8th Atlacamanilistli, it is the storms place. 9th, 10th and 11th, Teteocan, it is the place where the Supreme Beings live. 12th and 13th, Omeyocan, this is the Mansion of Duality, sublime place of the Creation.

In this plane, it is observed that some of these thirteen skies get together: the sixth with the seventh(6), the ninth, tenth and eleventh (8), as well as the twelfth and the thirteenth (9), thus resulting only nine ascending levels. Therefore, number nine is the representation of the Invisible Whole, as its multiples demonstrate, since they always give nine as a result of any addition among them.

25 In the exposition about the rhythmic in the Dance, in the chapter “Mathematic relationship in the Dance”, both nine and thirteen may symbolize dimensional ascension.

Number 13 geometrical expression

The union of numbers 4 and 9 as square numbers give 13 as a result, that is the tzacualli or pyramidal ascending number.

Architectural representation of number 13 as the pyramidal ascending number in the zacualli of Chichén Itzá, which in its 91 steps for each side, shows the numeric association of expansion, as well as nine levels on the platforms:

1+2+3+4+5+6+7+8+9+10+11+12+13=91

Every two periods of 91 days (182), the spring equinoxes take place (March 20th or 21st) as well as autumn (September 22nd or 23rd), when the supreme energy of the sun descends to show the seven triangles path, as Chicomecoatl.

Number 13 Symbolism within the Dance

Every movement in the Dance starts on the left side and returns to the right, where:

Left: it reminds us of the expansion route.

Right: it reminds us of the way back to the origin of Creation. the elevation of the left foot formation of the expansion circle represents the aspirational rising path

1.2.12 Number Twenty Symbolism

Visualizing the verticality of the human being’s expanding dimension in ascension to the Universe, both fingers and toes represent the human being in total wholeness: complete and integrated. It may be said that excelling is reached when the factors that are translated into physical, mental, as well as spiritual life concur harmoniously. When this happens, one transcends to another functional hierarchy of total realization or plenitude.

26 In the nauatl language, it is expressed as cempohualli which, translated, means the count of a complete body. If dimensional horizontal lines of hands and feet are drawn, a human square of twenty elements is formed. For the nauatl people, human being’s plenitude number is a banner (pantli). The calpulli is the formation of twenty families. The family is the state of wholeness of a human being. The banner reproduces the oblong or square figure of the human being in plenitude. The mast or pole which holds up the banner represents the coupling of the earth with the sky in the human being’s path towards growth: number thirteen in expansion. Upon combining: 20x13=260. This expression represents the complete human being in scale towards the Infinite; the energy count of the humans as well as Mother Earth’s represented in the ritual count of the corn. It also means “complete” when families are joined, staying in harmony with the sky and the earth. In the ascending geometric scale of a square, number 400 appears (20x20 or square twenty). The complete physical count is elevated to another square level. The nauatl people represent this number with a feather: the bird, like the spirit, raises its plumage when it flies and so does the count.

In nauatl language, it is called cenzontli, which means one hair. In the same ascending scale, number 8000 (400x20) appears; the incalculable count in the celestial vault of the human mind ascends to the count of the infinite sky. In the nauatl language, chiquipilli: small basket, whose framework represents the crossing of the Universe.

This way, the framework of the basket or the mat keeps a symbolism linked to the supreme concept of the Universe, which we can see, for instance, in wedding ceremonies, where the petate or mat is used as a symbol for the rest of the divine duality which dwells within the Cosmic manifestation. This cipher is shown, in a graphic way, with a bag that contains copal, seeds or tobacco. In the nauatl language, it is called xiquipilli.

27 1.2.13. Number 20 Symbolism within the Dance.

The banner reproduces the square vertical figure of the human being in plenitude. The mast which holds it up represents the coupling of the count of Mother Earth’s energy with the sky along the path of the internal growth of the corn cane (Number 13). The dancer wears in his feather crust or copilli; the feather as a symbol of his way towards perfection, as well as a symbol of his flying path towards the infinite and like the incalculable count of the human thought of qualification accumulated in his head; his long hair (ce zentli) is the representative expansion of the celestial vault. The mat or petate is the representation of the infinite count (8000) it is used in the Dance Ceremony as the setting of the ritual elements.

1.3 Theory of the mathematical metaphor of the nahuatl language about the origin of the Universe.

1.3.1 Theory of the Great Explosion

In 1917, the first theoretical study of the Universe is born. Albert Einstein, in his Theory of the Relativity, proposed it as a mathematical model which is static, that is to say that it does not change as time goes by; it is constantly maintained; later on, different researchers have been perfecting this hypothesis about the origin of the Universe. The Theory of the Great Explosion points out that, for fifteen billion years, the components of the ordained union of the Whole keep on separating among them; this means that, in the past, they were closer and, if we could come back to former times, we would get to the conclusion that everything came out from a singularity; that is to say, it came out from a nucleus of energy which contained everything. During the first moments, part of that energy was transformed into matter which blew up and, afterwards, gave birth to the expansion process of the Universe. The nauatl language, within its mathematical metaphor, suggests the origin of the Supreme Creation, where the ordained union of the Whole is formed.

1.3.2. Mathematical Metaphor of the Nauatl language.

As follows, a translation obtained from the speakers who know the metaphor of the language, as wise speakers who know the metaphor of the language, as Lucio Carpanta from Guerrero State, as well as Antonio Solís, from Milpa Alta in the Federal District.

28

Number Nauatl Meaning

· 1 Ce Essence of the original seed · · 2 Ome Essence of duality or balance · · · 3 Yei Sacred liquid that binds · · · · 4 Naui A complete body

Interpretation of the Theory of the Great Explosion of Mathematical metaphor The Universe

· Essence of the original Origin: when there was seed Only a nucleus of energy which contained everything

· · Essence of balance or When part of the energy duality becomes matter · · · Sacred liquid which binds When the union process of energy and matter occurs · · · · A complete body Since there is a formation of a complete body, the expansion of the universal Whole occurs.

1.3.3. Supreme Geometry

Upon translating the nauatl mathematical metaphor about the theory of the origin of the Universe into the geometric forms as the mathematical model of the Wholeness perfection, we find that:

______

Ce is the essence of the original seed, when there was only a nucleus of energy which contained everything. ______

Ome is the essence of the equilibrium or balance. That is, when part of the energy is transformed into matter. Yei, is a sacred liquid which binds. It happens when there is a union process between energy and matter.

29 + Nahui, it is a complete body. It is the expansion of the Universe starting from the crossing which forms a complete body. This means that a crossing represents the union between matter and energy of a complete body, where the process of expansion begins. Therefore, a complete body is: a solar system, a planet like our Mother Earth or else, ourselves human beings who, upon joining, in a representative form, our extremities, form that square that comes out from the crossing.

1.4. Numeric Association

The numeric association was born from natural evolution, that is to say, when atoms unite, they make up molecules and when molecules associate, the form cells; when these ones get together, they form tissues, organs, plant bodies, animals and human beings. When stars associate, they make up constellations and when planets get together, they form solar systems. When human groups get to join fully, universal harmony will appear. As follows, some examples of numeric association are exposed as well as their symbolism.

1.4.1. Number four association

1+2+3+4=10

It represents the superior dimensional scale of the human being, the two hands that reach and get connected to the cosmic square.

1.4.2. Number seven association

1+2+3+4+5+6+7=28

It represents the seven articulations of the superior dimensional horizontal scale of the human being, as well as the numeric association of woman’s menstruation cycle related to the lunar cycle.

1.4.3. Number thirteen association

1+2+3+4+5+6+7+8+9+10+11+12+13=91

It symbolizes the dimensional scale of vertical ascending expansion of the energy, which is represented in the superior joints of the human being as

30 well as in the ascending skies upon combining with the numbers that form the nauatl mathematical metaphor of the origin of the Universe.

91 (Ce) It is equals to the ce expansion, it is the human being’s qualitative energy. Whenever the cipher is associated with number 2 (Ome): 91+91=182. It is the period of the sowing and harvest of maize in the ancient way. Whenever it is associated with number 3 (Yei): 91+91+91=273. Human being’s gestation period. Whenever it is associated with number 4 (Nahui): 91+91+91+91=364. It is the calculating or lunar year. Our ancient astronomers searched to associate human being’s calendar with the ritual calendar of maize as well as with the astronomic calendars and also among themselves.

1.5 Calendars 1.5.1 Calendar of human being’s destinies.

The nauatl culture calls it Tonalpohualli. It is formed by combining the dimensional square of both fingers and toes belonging to the four extremities (20) as well as the vertical scale of the upper articulations (13). 20x13=260. It is a complete human being on a scale towards the infinite like a Pantli (symbol of number twenty). In the ancestral cultures from the southern part of the continent, this cipher is mentioned when combining number 10 with number 26 (13+13)=260 in an apparent decimal system; the name given to the calendar of destinies in these places is still unknown. Human being’s calendar of destinies may be also formed from the following numeric association, which is increased every four numbers or every square: Association from 1 until 4 = 10 Association from 1 until 8 = 36 Association from 1 until 12 = 78 Association from 1 until 16 = 136 (Square of 4x4) ______260 Further on, we shall give a detailed description of this calendar of destinies and of its relationship with the ceremonial count of maize.

1.5.2 Astronomic calendars Solar calendar = 365 days

31 twentieth calendar 18x20 = 360 days calculating or lunar calendar 28x13 or 91x4 = 364 days sidereal calendar = 365.25 days Venus calendar = 584 days Mars calendar = 780 days

Number 73 is a determining factor within the association process. It results from the following combination: 20+20+20+13 = 73

1.5.3 Number 73 association 73x5 = 365: solar year. 73x8 = 584: Venus cycle. 73x40= 2920: association between the solar calendar and Venus calendar. 365x8= 2920 75x260= 18980: sublime numeric association. 1.5.4 Number 52 sublime numeric association Association of the human being’s account with the account of the Universe. 73 cycles of the human being’s calendar and the ceremonial corn account. (73x260) = 18980, which correspond to: 52 cycles of the solar calendar (52x365) = 18980.

Evoking the symbolism of the horizontal dimension square, the numbers four and twenty, as well as the vertical dimension scale belonging to number thirteen, the following interpretation is obtained:

Representative square of toes and fingers = 20 Ascending scale of the major body joints = 13 20x13 = 260 13 twenties of the ceremonial corn cycle Square which represents the Universe = 4 Number which represents the Universe expansion = 13 4x13 = 52 1.5.5 104 Sublime numeric association Called huehuetiliztli in the ancient age Solar agricultural calendar 365x104 = 37960 Tonalpohualli and ritual corn account 260 x 146 = 37960 Venus 584 x 65 = 37960

32 1.6 Numeric association within dance The solar calendar is associated with the sidereal calendar every four years. When this happened, the inhabitants of this continent made a ceremony which they called the stellar dance, also called the great circle dance, cyclic feast related to the beginning of a new calpulli; Sahagún narrates: “…Principal gentlemen, illustrated persons, as well as the tlahtoani himself, started a trajectory (ceremony which had a great solemnity and gravity, which was called netocuitotiliztli…” Three thousand or more individuals participated in the dance, placed in a stellar position, thus representing the paused and ordered movement of the stars around the polar star. 1.6.2 Association of the solar calendar and the Venus calendar Five cycles of the Venus orbit (5x584) = 2920 correspond to: eight cycles of the Earth’s orbit (8x365) = 2920. 5+8 = 13 Five plus eight equals thirteen. To commemorate this event, the Atamalcualistli feast took place; it started with a previous eight days fasting; during which they only consumed water, as well as tamales. To that respect, chronicler Fray Bernardino de Sahagún refers: “…In this feast, they said that all gods danced and, thus, all those who danced wore attires belonging to various characters; some of them dressed like birds and other animals, some transformed into tzintzones, others were butterflies, others were bumblebees; some others, flies, others were beetles; still others carried, on their backs, a man who was sleeping, whom they called the sleep…” If the celebrators dressed, most of them, flying animals’ attires, this could be interpreted as human being’s need to make the spirit fly away, to get in touch with the supreme energy of the Universe. 1.6.3 Association within the Great Ceremony of the New Fire Every fifty two years, the Pleiades passing on the zenith of the Tenayuca’s Pyramid, located to the north of Mexico City, is observed. The Pleiades is an association of stars which form an outstanding constellation in the boreal hemisphere, which is known as Taurus. To commemorate this event, the Great New Fire Ceremony is celebrated. The ambiance previous to this ceremony used to be full of uncertainty within the population, since it was considered that the world was passing through a moment so dangerous that it could come to an end. After this point was surpassed, and at the beginning of a new year, a great celebration was held which they called toxiuh molpilia, referred to the year binding: four bindings of thirteen years each (13x4 = 52).

33 In the following paragraph, which Sahagún narrates once again, the link that the human being seeks with the supreme energy is appreciated. A new fire was being lit, “…the priests dressed up with the ornaments of the gods and at dusk, they started walking; little by little, very slowly and with much gravity and silence; that is why they were called teonenemi, which means they walk like gods…” The uneasiness that our ancestors suffered with regard to the destruction of the world, was justified because during the four celebrations of the New Fire after Tenochtitlan’s foundation, four subsequent partial sun eclipses took place; they were in 1351, 1403, 1455 and 1507. The years in which this event should have been celebrated afterwards are: 1559, 1611, 1663, 1715, 1767, 1819 and 1923. In 1975, this celebration took place, made by groups belonging to the tradition, on the so called Cerro de la Estrella in Iztapalapa, in Mexico City; therefore, the next ceremony should be made in 2027. Another manifestation related to this ceremony is the Flyers’ dance, a solar, ceremonial and ritual dance which takes place during the cyclic feasts at the beginning of a new tlalpilli, and which should be made at noontime right after the celebration of the Great Ceremony of the New Fire. Chroniclers, such as Clavijero, describe that, in this ceremonial and ritual dance, a big post is placed; it represents the coupling of the earth and the sky; on the top of the post, there is a man waving a banner (20); afterwards, there is a square shaped frame, in whose vertexes the chords that support four men slip and they descend in thirteen rounds with their attires of eagles, macaws or butterflies, thus forming a pyramid. Mathematically, the descent of the four flyers that turn around thirteen times, gives number fifty two as a product: 13x4 = 52 When counting as a factor, along with the integer number five multiplied by the four who descend, we have as a result the value of twenty (5x4 = 20) and this one, multiplied by the thirteen rounds, gives as a product the count of the destinies, as well as the Ceremonial Corn Count.

1.7. Square Root within Dance

Considering the square as a basic element within the indigenous metaphysical conception, it is necessary to mention the symbolism, as well as the procedure for calculating the square root. Root means origin; therefore the complete meaning is the number that gives the origin in order to form a square. When calculating the square root of number four, we obtain the following symbolism:

34 4 = cosmic square which represents the union between matter and energy. The number that gives origin to this square is 2 = ome, matter and energy in equilibrium: duality. In a graphic way it is expressed: ٱ 2 That is why the square of number two represents the duality of the Universe which is raised to the square or matter, as well as the energy and which give shape to the crossing of the Universe formation as a whole heavenly body. As follows, we present, in a graphic way, the obtainment of the sides in order to form the squares of two, three and four sides, respectively: It is possible to observe that, in order to determine each side, a number of elements which will be, necessarily, odd ciphers, is required. This is because the square of a number is the addition of the impair numbers. These elements of odd or impair ciphers form the stepped figure; these elements are constantly represented in the pyramids, as well as in the dancers’ choreography, thus conforming the matter-spirit concept. In the case of numbers 4 and 9, as square numbers, its use turns number thirteen into tzacualli or pyramidal ascending number. When placing several squares in a successive way (2x2, 3x3, 4x4, 5x5, 6x6, 7x7 and so on) around the square of a unit per side and adding to the successive ones a unit per side, it results in the formation of a spiral.

CHAPTER TWO 2. Mathematic founding of Education “Mature man: firm heart as the stone resistant heart as the trunk of a tree; wise face, owner of a face and a heart able and comprehensive”.

The Anahuac peoples create a system of collectivist organization based on the mathematic and astronomic concept, that is to say, on the order, as well as on the origin of the Universe; that fact proportions a hierarchic principle which is reflected on the political, economic, scientific, philosophical and ceremonial thought of our peoples.

35 The conception of an order founded on the cosmic thought of the being’s verticality, allows our peoples to develop an extensive concept of education. Different cultures conceive it as: “an expression of a paramount willpower by means of which (each group) sculptures its fate”. This principle of order and verticality is manifested in the home warmness where first teachings are received: parents do not only bring up their children, taking care of the mere biological aspect, but they also have the mission of teaching and admonishing. There exist two fundamental principles that guide Nahuatl education: The first one is the education given at home: where the goal is to create the self control by means of a series of privative measures. In order to attain this, child must get accustomed to reach a self knowledge as well as to get to know what he will seek as a destiny; for that purpose, he will receive constant advice and exhortations from his parents. The second one is the collective and individual teaching; the former given by scientists and elderly people; the latter was made as a linking process from the eldest to the youngest student, that is to say: the one who is twenty years old teaches the nineteen year old one, that who is nineteen teaches the eighteen year old student and so on. The communal education was distributed in three great categories: Schools for men in each calpulli: Telpochcalli (youngsters’ house) and the one located in the holy enclosure (great youngsters’ house): these houses were adopted by Tezcatlipoca, symbol of youth, as well as of the good government and memory. From here, courageous men are brought up and emerge; this is where praying and penitence are necessary for the upbringing. Calmecac: Superior school in which the most elevated knowledge of the Nahuatl culture was transmitted. Ichpochcalli: Young women’s school. Nemachtiloyan: mixed schools for both men and women in which the supreme knowledge of the collectivity was obtained. This educational centre was called Cuicacalli (singing house) and the Mixcoacalli, where dance, singing, poetry and oratory were taught. Merging science and art represents an outstanding importance within Nahuatl education as a sample of the ideal in thought’s evolution; therefore dance, as well as singing accomplish this purpose satisfactorily, by means of a strict dedication and discipline of the students. This knowledge was given in the dance schools, where this discipline reaches foremost importance within the socio-cultural organization. Durán relates that there were schools especially devoted to dance in Tenochtitlan, Texcoco and Tlacopan. These academies had fixed schedules which were taken by the young students, both girls and boys, guided by tutors, elderly people of their own

36 sex, who picked them up at their houses in order to take them to school and whose main purpose was to take care of the youngsters’ good behavior. The academies, according to different authors, were called Mixcoacalli (Milky Way’s House) and within them, teaching was given with strict care. The Tlatoani, the highest leader, and his principals demonstrated to be very much concerned with the Mixcoacalli, where they frequently attended. Some of them intervened in the organization; others pointed out dance steps and dictated the themes of the chants. Xochipilli-Macuilxóchitl, representation of music, also represented dance; therefore its representation made on stone was placed, inside a niche, in the yard of the school. There it received flower offerings. Another representation of dance is Huehuecoyotl. Due to these evidences, Father José de Acosta expresses: “…I have not admired anything better and I have not considered anything more worthy of admiration and memory than the care and order that Mexicans have for raising their children. It will not be found without great difficulty, indeed, a nation that, in their epoch of paganism, had taken so much care in this foremost important article for the State”. “Heart and face: the mathematic metaphor in education”. Within number 13 mathematic interpretation of the nahuatl language metaphor, human being’s vertical ascent by means of body representation is shown, where the expansion of the inner energy of the being is indicated in a stepped route of quality from the ankles to the heart, thus representing a metaphor of the internal growth of the individual, as the flourishing of heart’s fortitude, thus transforming the face (itztli) into wisdom that aspires to the supreme energy. This collective aspiration of the peoples belonging to the Anahuac nation, is reflected in the educational pretension of the tlamatinime through the “humanism” which is remarked in the expression constantly repeated in the nahuatl language: “In ixtli, in yollotl”, which means “a face and a heart”. In the same way, the metaphoric symbol of the expression “oztli ahmikiyan” refers to the ascent that a human being reaches with the wisdom that the willpower, as well as the memory and the intelligence give within the qualitative conduction of life. The heart and the face are the main points where the inimical entities of the human beings concentrate. They are inimical centers where—specialists suppose—the inimical forces belonging to vital substances concentrate, and in which basic impulses are generated, giving movement and life to the organism, thus allowing psychic functions to be completed.

37 In order to attain this goal within the students, the figure of the nahuatl scients, the tlamatinime, stands out, as well as in his roll of teacher, temachtiani, and who will have to achieve two purposes: The first one: which refers to “have the students take a face, in order to develop it, get to know it and make it wise”. The second one: to develop a humanized being, dear to people, “strengthening his heart”. These purposes will offer the teaching that: “…how they will live, how they should obey the persons…how they should devote themselves to what is convenient, to the vertical and straight, a concept of moral behavior…” 2. Face in the ceremonies and within Dance

…it goes painting your heart with all coloured flowers you paint your chant, your words.. Romances, Nezahualcóyotl

When searching for the meanings and symbols which may represent the formation of “wise faces” through the strengthening of the heart, which flourishes for the internal growth, one of the art manifestations of our peoples is created: face painting, captured in silver-smith works, as well as in the use of masks or plumes as an extension of an ideal face. The nose ring is a symbol of a face that has reached the physical, mental and spiritual perfecting process; therefore, the one who ports it is a being that represents the tecuhtli’s ranking, that is to say, one who has the supreme knowledge of order, or the tlahtoani’s ranking who leads, in an ordered manner, his people through wise words. The colors which belong to the points of the Universe, as well as to the stars and the supreme place of duality, where the masculine and the feminine aspects of creation reside, are motifs to express the symbolism of an idealized face of the Universe which, throughout the ages, offer moments of dream. Within dance, as well as in the codices, the poems and chants, the sculptures and the mural paintings, in gold and silver smithery or in ceramics, it is evident that there is an aim to show the significance of a face which is seeking for wisdom. For the human being it is necessary to talk to himself, humanizing the physical cover that searches perfection aspiring to the supreme verticality. The mask is an artistic element which expresses the search of wisdom by means of the representation of deities, mythological characters

38 or animals’ symbolic qualities, thus creating that strange suggestion power over imagination. In the codices, tlamatinime sages are observed wearing masks and the chroniclers describe, in detailed form, the innumerable golden masks and other materials, plumes and garments which were worn in the dance ceremonies.

image of Moctezuma taken from the book Moctezuma the Magnificent written by Dr. Romero Vargas Iturbide.

In the colonial times, these masks suffered transformations due to obvious reasons of syncretism, as in the case of the sortilege couple Cipactli and Oxomo which we shall further depict in reference to the research made by Justino Fernández. Cipactli, Oxomo and the devil illustration Justino Fernández The mask continues being closely linked to dance, as it is evident to observe in the facial paintings or in the copilis-plumes within the traditional dance of the Anahuac, as well as in other regions of Mexico, where the syncretism is observed, as in the old men’s dance in Michoacan state; this mask is the representation of huehueteotl, first solar energy; or also the tlacololeros dance in Guerrero, where the long nosed represent Quetzalcóatl under the invocation of Ehecatl, the wind; or still others, as well, where the tiger, the eagle or the crocodile as cipactli remain, or the cora dance of the deer. Dance-mask and ceremonial rite keep on, fortunately, being linked until nowadays although most of the dancers had forgotten the original purpose: to represent a face seeking for perfection.

2.2 Metals and precious stones in Dance bracelets with fine stones precious jades, gold, the work smelt with it: thus I estimate your beautiful chants, your beautiful flowers Mexican chants The use of metals and precious stones, as well as the attire of the dance, are sacred objects of characters that show the search of their own being’s perfecting process, objects which express the symbolism of ancestral

39 thought about the most beautiful things on Earth, like the speech, the flowers, the chants, the music, the poetry and the dance. The one who organizes these precious metals is Xipe Totec. Teocuilatl, divine excrescence—precious metals are considered like this—are described as follows: Coztic teocuitlatl, gold, whose yellow color is associated to the excrescences of the Sun; that is why it was called divine yellow excrescence. Its color means to shine, to glitter as the expansion of the rays and the heat of the Sun. Iztac teocuitlatl, the Silver, its color corresponds to the “divine white excrescences” as a representative relation of the Moon’s fertility. The turquoise has a symbolic relation with the rain, the fertility, the count of the time, the wisdom, the word of the sacred speech, consequently, the hierarchy of the beings bound for the spiritual ascent. The obsidian, stone utilized in ancient times as an instrument of divination which, used as a mirror, represents the communication towards the inner self. The jade was the most appreciated stone in ancient Mexico, due to its resistance and durability. It represents the fertility, the divine breath, the life and the rank of magnificence of whom has reached the physical, as well as the mental and spiritual perfection and is the carrier of the most beautiful green color from the fields in plenitude. It has four major uses: ritual, funerary, ornamental and utilitarian. The ornamental use of the precious metals is applied, among others, on: Rings, as the lip ring for the Tecuhtli’s use, person who has the knowledge of the sublime order. Gold bells for dancing, looking for a sacred vibration and special regenerative sonority of the metal. nowadays, ayoyotes are used.

CHAPTER THREE Myths in the mathematical origin of the Universe Myths which, by means of their narration, mark as a historical fact of the origin of the Universe the different ages of the world, as well as the path of the human being as a result of the collective thought immense in the course of the years, constitute also the tradition, guide of behavior and expression of our communities. The myth is a narration with sacred features, which is developed in epochs previous to the present times; it provides one of the foundations to interpret the ceremonies that we know, where dance is, necessarily,

40 included. A good deal of the narrations has been transmitted through oral expression, generation after generation. Some of these narrations were dictated to the missionaries by our ancestors who lived in the Age of Ancient America. The constant relationship between the mathematical computing of time with the myths and legends of the Universe cosmic origin, as well as of human kind itself, make it necessary to present and to analyze the ciphers with the interpretation bases depicted here, taking into account the narrations along with the mathematical ciphers and the calendars. The mythical stories referred to the being and behavior of the deities within the time-space in the different pilgrimages to reach settlings and found ceremonial centers under divine designs which may form a mythic geography. As follows, I shall transcribe complete texts, as well as extracts from the mythology in which the body message is related to the traditional Anahuac dance: -The magic world of the Anahuac gods Doctor Otilia Meza -The legend of the suns Chimalpopoca Codex -The legend of the suns Aztec version, myths and legends -Origin of the fifth Sun in Teotihuacán Dr. Miguel León Portilla 3.1. The magic world of the Anahuac gods The god looks for a couple The god is lonesome, quite lonesome, nobody talks to him, and no one listens to his voice; he is alone, without company. Everything around him is beautiful: the blue ethereal immensity and always deserted; unending horizons, without shades, very intense light, diaphanous atmosphere, but with an unlimited, silent immensity. Ometeotl, even with his grandness, is lonely, quite lonely. One day, when he was consternated, utmost consternated because of his being all alone, a day full of sorrow, god Ometeotl told to himself: I’m tired up of being alone for an eternity! I am alone with my word, with my thought, all alone always! Why not looking for company? Why can’t I unfold myself, divide myself, thus creating another divinity? Being just one, we shall be two. Two beings made up of the same substance, identity, strength and innate divinity. “And so, I shall be named also Ometecutli, Lord Two, The Dual God and Supreme Principle”. Then, the Creator, the one who contains everything, closes his eyelids and from his body, an impalpable cloud is issued.

41 It is something to see how another body emerges from his substance. Another body, finally modeled, provided with soft gestures and rhythmic walking. It is the woman, the goddess, the god’s mate. Ometecutli contemplates his work; everything in her is grace and shape, and in her eyes there is splendor. Ometecutli names her caressingly and the infinite as a whole is filled up with rumors and echoes. Omecihuatl, that is how you will be called, Madame Number Two, the wife with whom I shall share my joys, my thoughts and my words as well. I shall not be alone anymore and, soon, love will bloom. Thus was the genesis of all what was going to come; within this foreboding word there was the portent of all what is prophetic versus the Arcane. Omecihuatl, the newly created madam, saw him in a sweet way: “Lord, husband of mine, your words are pleasant to hear! From this moment on, I am your mate, what can I offer to you, my Lord? Being one, we shall be two!” Ometecutli answers: ! You are the light that illuminates my mind, the light that should be reflected in my heart! The eternal secret dwells within you; you are half of my being. I have made you for the peace, for the poetry and the tranquility! Within you, all the talents reside, because you are the blooming that adorns the Infinite! … The Omeyocan, the place of duality The god Ometecutli and his wife, Madame Omecihuatl, one in two and two in one, dwelled in the highest point of the heavens, within that mysterious dwelling called Omeyocan, the place of duality. The divine couple, origin of everything, hid their happiness in that place of delights, promenading their serenity under an arbor made of branches. The Lord of Time and Space had the four basic elements buried in there: earth, air, fire and water and, due to that fact, it was a place provided with a breath dyed with flower and aroma. Within that paradise there existed trees with seasoned fruits, nopales with fresh prickly pears, ripe cornfields, aromatic roses and scented cacao, because that heaven was “a heaven of supplies”; besides all that, in the creator gods’ kingdom there were birds of royal feathers, precious stones camps, mountains of gold, silver lakes, rock crystal grottos, jade forests as well as tecali and obsidian jungles; everything was very beautiful because the parents of life lived over there, water with the color of “the blue bird’s color” flowed and there was a “seclusion or retreat of clouds” and, above all, in the Omeyocan the force

42 of the generation was generated by those who were tied to his will; fight, age, cataclysms, evolutions as well as the special orientation of times. Colors over there, that were a magic symbol, glittered everywhere: Red, color of blood, symbol of life and strength, was the color devoted to the west. Black, the obsidian color, symbol of death and cleverness, belonged to the north. White, the color of purity, constituted the intelligence and corresponded to the east. Blue, splendor of the skies, was the symbol of will and the cardinal point to the south. All the paths of the Omeyocan had a color and marked the fate of things, because “the father and mother of our own”, “in tonan in tota” were the only ones who lived there. But if the riches of the great sacred place, where “the airs are cold, delicate, freezing” were amazing and from where all principles emanated, the mention of the in Xochitl in cuicatl, flower and chant, the essence of poetry, as well as of art and symbolism, constituted itself the sacred Neltiliztli, the truth, the root of everything. The children of the Divine Couple In a beautiful moment, Madame Omecihuatl went to seek for her mate and, full of joy and sweetness, told him: Twin of mine, omnipotent god, essence of my own being, your substance as well as mine, our dual existence has flourished four times, thus accomplishing the law of the eternal. And, facing the astonishment of god Ometecutli, Madame Omecihuatl, explained to him that her love, that love that would always glow in the space and in the infinite, had multiplied four times, thus generating four gods out of their substances. And the god was conduced to the place where, in a manger of light and blankets made of clouds, the four new gods of the Omeyocan rested. Upon contemplating them, Ometecutli said: These are my four beloved children, essence of my essence. The four of them will have a distinct lordship; I shall divide the world into four points, which I shall name cardinal, and they will be the gods of the central up-down direction. Everything made by my creative force will be organized into four groups or kingdoms, and they will take the names of the cardinal points: North, South, East and West. Each one of these kingdoms will be ruled by my sons and, also, in their honour, four different colours will be created: black, red, blue and white and my sons, divine essence, will be the lords of every one of them. And since Madame Omecihuatl asked about their names, the creative god attested:

43 This is the first of my sons; he will be called Tezcatlipoca, smoking mirror, he will be a full powered god, multiformed and unique, a protective god, he will be both the good and the evil, the spirit as well as the matter, he will be the providing god, he will be like the impalpable air and he will be in all places; he will know the thoughts of all living beings. His color will be black and his cardinal point will be the North. He will constitute the cleverness of the world. Then, the creator approached the place where his second son rested and, when he stared at his red colour, the god called him Camaxtle (uncertain etymology). Camaxtle, naked man, will be courageous and will be the symbol of strength, his colour is red and his cardinal point is the West. This white son will be the representation of what is beautiful, everything which is precious, he will be the lord of life, as well as of wisdom, his name is Quetzalcoatl, which means feathered serpent, precious snake; his colour will be white and his cardinal point the East; he will represent the intelligence. Then, the creator god approached the cradle where his youngest child rested; he observed that, even though his other children had been born healthy and strong, this child had been born without a defined color and completely skinny. He is a skeleton, a small skeleton. The god remains silent by this weird being’s presence; however, at last, he exclaims: Omiteotl, is the god of the bones. This son of mine will be grand and glorious, he will be called Huitzilopochtli, which means left handed hummingbird, precious thing; he will be the strong man of our world, and he will be very husky, with great strength and full of bellicosity. This ugly and scrawny son will have a great deal of vigor as well as dexterity and his color will be blue. His cardinal point will be the South. He will be always frightful and he will constitute willpower. The four sons ask his father for a knack The divine husband and wife were sitting in the royal icpalli. Ometecutli and Omecihuatl, origin of everything, masculine and feminine duet, thought of their children in a severe way. The four beings, substance of their substances, had confessed that they felt lonesome, very lonesome in that immensity so full of light, but lacking echoes and emotionality. The divine couple had not finished thinking, when both were surrounded by their dear children. Father and Mother looked at them with love and tenderness. The four of them walked seriously and silently. They seemed to be bored. Lord Ometecutli and Madame Omecihuatl, wishing to dissipate that

44 melancholy, they proposed to make the Omeyocan more extensive so that they could go through it discovering its beautiful faces. However Tezcatlipoca who had kept silent, made himself heard: Oh, Father! Oh, Mother! Your sons are facing an interrogation. Is the knack of creation only reserved for you? Both of you have not thought that we are very annoyed to know that we lack such a special knack even though we are your sons, we are useless at the creative power. The dual gods, those who had their home at the highest point, looked at each other, amazed. They never felt that their children would ever feel to be left on one side with regard to the creative knack of their parents. For a moment, both remained silent, thoughtful. Their four sons were staring at them with their eyes showing anxiety, bewilderment, and almost imploring compassion. Madame Omecihuatl had listened attentively and she shared the feelings of their sons since she considered them to be just. Her sons were her essence, flesh of her flesh; they had the right to own the sacred attributes of their creators. And then, Ometecutli’s serene voice broke the silence: “Sons, thy mother and I have understood thy desires! As our sons, it is fair that thou have all our attributes. Therefore, we have decided to share with thou the divine grace you are asking for”… “To create is only a privilege of gods! To create is to take out something from nothing, it is an absolute work! If thy creation work has to be perfect, if at all possible, it will go beyond what your parents have created, then, thou can start, but now that we have conceded the divine gift of creation for thee, we wish from thee also a thought each time thou create a new being; it has to be endowed with attributes of goodness, in order to make good; thou should not forget, sons of mine, that in the same manner we have made love our religion, thou must never forget the good attributes of the clement gods”. And thus, the four gods remained satisfied. Now they really felt themselves as real sons of their father, Ometecutli,as well as of their mother, Omecihuatl

Quetzalcoatl and Huitzilopochtli, the creators of fire Six hundred years had passed since the upcoming of the gods: Tezcatlipoca, Camaxtle, Ometecutli, Quetzalcoatl and Huitzilopochtli, the dual god who, along with Madame Omecihuatl, substance of their substance, constituted the first creator couple. During those long years, the four gods, sons of the divine couple, felt lonesome, bored, isolated. Tezcatlipoca, always came from the north, wheareas Camaxtle surged from the west, Quetzalcoatl from the east and Huitzilopochtli from the south.

45 Each one in his field, without echoes, without words, existed in the Omeyocan, nothing else existed, only their parents and themselves. Because, inside the eternity span, the four of them got together to converse about what they had to order and about the laws that they had to impose over everything they created; after they got to an agreement, they commissioned Quetzalcoatl and Huitzilopochtli to proceed with the creation. Under their responsibility, the god of wisdom and beauty, as well as the god of strength and dexterity made their way to their parents’ mansion. Lord Ometecutli and Madame Omecihuatl had a place full of mystery, the tlacapillacihualoyan the sacred workshop where Ometecutli and Omecihuatl would create the first god, a god that would be respected, a primal god that would be called Tota, our father, since he was the first who had a divine essence and preside the creation. And both creator brothers made, within the Tlacapillacihualoyan, a Huehueteotl, the ancient god, the old god. In order to give him that respect and that supremacy over the gods who were creators after him, they made him with the aid of a brazier over his head, because the fire was to be fed by him. And the god was naked, as if he were tired of living. And after the supplication of the gods, the sons of the divine couple, something marvelous rose from the brazier which flung from the god’s head. It was the fire. Quetzalcoatl and his brother Huitzilopochtli remained amazed at their creation. There was the miracle that both had gotten: the matter that would be braze and flame, heat and light. That would cause surprise to their brothers Tezcatlipoca and Camaxtle. There was the fire as the owner of time, it would be like father and mother, since fire without a woman, was also called Ayamictlan, the one who looks; the one who never dies or the eternal one, the eternal within matter. And this lord would be considered, according to his effects, a great god, because the flame burns, lights up and makes everyone swelter, building up a luminous and heating fountain within the mist of the infinite.

Upon finishing his work, Quetzalcoatl remained impressed of the ancient god’s aspect, who was the first god created, supreme principle, and the one who, from the Omeyocan, would observe the creation of gods. And facing their creation, right there at the tlacapillacihualoyan, the ancient workshop of Ometeotl, the generating duality which stands by itself, they felt satisfied of their work, that very first creation which was made after their august parents gave them the divine grace.

46 Then they called their brothers, and the four gods gathered, who were the first gods, strength and tension without rest, said: This first god is less abstract than the others who will come. It is a god made for the necessity of love and perfection. It is the Tota, work made of goodness. The first mouthful of each foodstuff, as well as the first sip of any beverage, will be offered to him. This offering will be poured to him in the fire, and he will have honour. And the gods, those who created fire, will smile in full satisfaction. Chantico, goddess of the volcanic fire The Earth, which was just created, continued being covered by mist. Madame Omecihuatl felt sad and, because of that, she wished to divert herself within this world just created. Therefore, she called her sons, the creators, so they would think and light up the Earth. Huitzilopochtli and Quetzalcoatl did not take a long time to get by her side. Where is Camaxtle? said Quetzalcoatl; he is a whirl which is always after the jaguar and since he wished to traverse it with his arrows, he does not have time to look at the flowers which open up their corollas; he does not look at the herbs either, the weeds, full of dew, that tremble on the ridge of the path; neither he listens to the chant of the sparrow. And the Mother Goddess, in order to apologize her son, affirmed that he was young and his blood was vigorous, a sortilege of braveness; it was enough for him to run after the deer which ran away through the forest or the jungle and she was fascinated when she saw him trap and discover, in his hunter’s net, a heron looking like a precious flower. Afterwards, she asked her dear sons to place, on the highest part of the hills, a fire to tear up the obscurity which covered the Earth. The gods, who were quite solicitous, searched Huehueteotl, to whom they asked to place fire on the highest point of the mountains, as Madame Omecihuatl wished; however, the god was amazed over that request, since he confessed his fear with regard to the possibility of the land being burnt, since his fire was a force, a force which is sometimes good, and some other times, destructive. Those are not my mother’s wishes—the white god assured—she does not wish the nests to be destroyed neither she wants the death of the woods, she does not either wish that the feathers of the singing birds and the fur of the jaguar to be burnt. Her desire is only to see flames appearing at the top of the hills so she can observe the beauty of the Earth. The old god understood, at last, the wish of such a notable madam, therefore the creation of a goddess with sparkling eyes and smoke like hair appeared; she is the one in charge of taking the fire to the Earth.

47 When the gods could take pleasure in the creation they had made, the god Huehueteotl, with a sweet voice, called her Chantico, who became, from that moment on, the goddess of the volcanic fire. Afterwards, the trembling hands of the fire god gave her the fire which would light up the top of the high mountains. Chantico, with firm hand, held the lit embers taken from the divine brazier and, caressing with her delicate hand the wrinkled forehead of the old god, she left forever the Teotleuhco. And she went downwards to the earth to deepen within the profundities. Then the goddess disappeared through the cavity of that mountain which was similar to a truncated pyramid. The opacities of the Earth still existed, but in the middle of that night, a colossal fire soon appeared over the mountains. The flames started to rise over the dimension of the mist kingdom ¡There was light already! ¡The gigantic flames seemed to be fire snakes! ¡The volcanic fire! Goddess Omecihuatl, satisfied, contemplated from the Omeyocan the grand show of the giant torches which came from the Earth’s light. The half sun The four sons of the divine couple, the black god, as well as the red, white and blue ones are the lords of the four directions of the space: the north, the east, the west and the south. The four dynamic factors which are linked and which are implied by the cosmic character, felt satisfied, very satisfied with the shining creation of the fire. When the god Huehuetecutli, the old lord, the gods who were commissioned, Quetzalcoatl and Huitzilopochtli, felt proud with the knacks of creators belonged by their brothers, who still thought of following with their creative task. Thus, the commissioned gods, Quetzalcoatl and Huitzilopochtli, gathered again in the sacred Tlacapillacihualoyan and both of them agreed to create a sun which would tear the dark mist of the Omeyocan, since the fire only illuminated a minimal portion of the extensive region of the gods. Huitzilopochtli, convinced in this necessity, took a little portion of the fire that burnt in the brazier placed over the head of the god Tota, thus making a half sun with it. Quetzalcoatl, who observed him, told him that fire without the divine blow would never become a sun. Huitzilopochtli, upon hearing his brother, understood that it was necessary to knead the fire with substance, with that divine essence, but which god would be capable of such a grand merit? Quetzalcoatl, who guessed his thoughts, told him:

48 I shall be that god, take the fire, I shall give part of my essence and my substance, that half sun will be the first bright light of the sky. The creative gods took within their hands an abundance of shining and unquiet flames, the gods formed a ball of fire and, after that, the supreme instant of the unfolding, which was promised by Quetzalcoatl, the precious serpent, followed. The white god, the god of knowledge and goodness, closed his eyelids while the fervor of his heart rose so that his essence could come off in that apotheosis of unfolding from his august divinity and his essence was like a tenuous and transparent small cloud that started mingling with the burning matter. And finally, the prodigy came out, the miracle surged at last, along with that prodigious mixture, a half sun appeared, it was an incomplete sun; however, it possessed the substance, as well as the essence of the god Quetzalcoatl and it surged beautiful and incomparable. The destiny of the infinite would be already, a fate of light? Would that half sun extinguish the mist? And the dual god, Ometecutli and Omecihuatl, as well as its sons Tezcatlipoca and Camaxtle, felt satisfied of the wise behavior of the commissioned gods so that hey would order what were going to do, and the law they should have. The half sun is set in its place Around Quetzalcoatl and Huitzilopochtli, Tezcatlipoca and Camaxtle had gathered, as well as the renowned Ometecutli and his wife Omecihuatl, father and mother of the Creation, who had over their foreheads the sign of the light, emblem of the intelligence and the creative fire. In the Tlacapillacihualoyan, the sacred workshop, the gods observed silently the new creation. However, after the silence, words came out: Quetzalcoatl and Huitzilopochtli, my sons. It had been, since long, that within my thoughts, the idea of a new concept of light flowed, Six hundred years have passed since the four of you, have lived in the Omeyocan; until now, the infinite extension has been sunken within an ocean of tenebrous darkness. But the time for light is here; light sprouts! That is why the Omeyocan, the place of duality, is feasting! The feast of light! Because, at this moment, thy brother Huitzilopochtli is supporting, in his hands, that marvelous half sun, a half sun made of fire with the divine essence belonging to his brother Quetzalcoatl; it is beautiful, but oh gods! How will this be? Where will thee place it so it accomplishes its lighting mission? And Huitzilopochtli, instantly, told his august father that this half sun would be at the highest point of the Omeyocan so it would sparkle from the sky and the mist would be scared away.

49 And the goddess Omecihuatl, with a new light in the pupils of her eyes, fully moved, assured: Quetzalcoatl, delicate son of mine, this half sun is beautiful! What a portentous thought this creation conceived and how great is the glory of its fate! And what a great donation, as well, was your essence mixed with the embers of the divine brazier, since with it, your brother Huitzilopochtli made the mixture of that half sun… The first man In the infinite extension of the Omeyocan, everything was quietness. The creative gods, astonished at the contemplation of the half sun, had almost forgotten the old god Huehuecoyotl but, in spite of the half sun, Huehueteotl, which was Quetzalcoatl’s substance, in spite of the vivifying fire, felt bored—each one of them—of their cardinal kingdom. They let their existence go by without any problem, but also without any joy; nobody intended anything. Nobody thought of anything. However, it happened that the gods Quetzalcoatl and Huitzilopochtli gathered again and, in complete agreement, addressed Tlacapillachiualoyan, the sacred workshop, which was seldom visited by their august parents and brothers and, over there, they thought that they should make a being which would not be a god, something like a demi-god who would cheer up, with his presence, the vast regions of the Omeyocan. And, such as they thought of it, they did it. Both of them made a beautiful being that would light up their eyes and to whom they could inoculate particles of the divine essence and keep them inside its body. And the gods started modeling a soft and malleable substance extracted from the confine blue; it was like one thousand particles which floated in the environment of the Omeyocan, particles which were miraculously converted by the gods into the first delicate and agreeable matter. And a little afterwards, the divine hands started molding the new being. Over hard figure, they placed the mysterious matter, which allowed them to give it a shape, a harmonious shape, with an agreeable presence and, since they observed that it was not complete, they modeled hands over it so it could work and so it could construct and create, as well as feet so it could take him everywhere, to all the paths left to walk. The gods observed it attentively, it was still uncompleted; then, they gave it eyes so it could contemplate everything around; such being would constitute the marvel among all marvels, since its eyes would be the mirror that would allow it to discover goodness and divine greatness. Afterwards, these gods themselves gave it the knack of listening to all rumors, as well as yells and echoes all around; then they offered this being the gift of tasting anything delightful within its reach, as well as smelling all odors, palpating all things and, even though this would seem

50 to be enough, they gave it a voice, that divine manifestation that could permit it manifest its sentiments; that being would have a beating heart, as well as a brain that would allow it to think, since everything inside it would be harmonious, as a privileged being; once this new being was made, the gods continued satisfying their work; over there, in front of them, it was erected and walked rhythmically. After they finished their work, they called their parents and brothers. Everyone was astonished at the work of the gods Quetzalcoatl and Huitzilopochtli. That divine creation was a miracle which, since it was made by creative gods and since it had a divine essence, it constituted the first real and true being in the Omeyocan. For Ometecutli and Omecihuatl, the dual god, such being was not complete yet; therefore, at the astonishment of their sons, they gave him an unlimited power, with infinite intelligence, and a supreme willpower. That being would talk, laugh, cry, and he would also get to know sadness and sorrow and its counterpart, joy, as well as cold and heat. That privileged being would have complex sensations like hunger and thirst; however, food itself would be sufficient to nourish its body; he needed to breathe as the first condition for his life and Ometecutli Omecihuatl, the omnipotent ones, created the air which flowed around him. Thus, the first man was endowed with a soul, heart and brain. This first man was named Cipactli, the light from above, the created light. Oxomo Cipactli, the demigod of the Omeyocan, walked up and down throughout the blue paths. His figure was beautiful, his walk was agile and the movement of his hands was gracious. Cipactli remained silent, Cipactli did not talk: to whom could he talk? Cipactli was all alone. Quetzalcoatl and Huitzilopochtli, his creators, kept silent. Would it be convenient for him to live alone like the old god? Since the old god would never have a couple, Tezcatlipoca and Camaxtle expressed their opinion: We have both father and mother, Lord and Madame Two, the Dual God; they created us, the four of us constitute their true sons, the principal gods. It is not fair that we give the first man a fate of solitude, who is a demigod; it is necessary to give him a couple. However, our parents fear that the new being, selfishly, will forget his humble condition, as a demigod, forged with matter and not with divine essence; they fear that, shadowed by the knacks that he has been given, he forgets to render reverence to us, Camaxtle assured. Nevertheless, Quetzalcoatl, the always good natured god, expressed his thought, emphasizing that this first man had the divine

51 essence, therefore, it was not fair that he would be condemned before he could act, since he was hardly starting to breathe. And Huitzilopochtli, according to his white brother, assured that the man created by them could not live isolated of the world, because if he were separated from it, he would never be able to use his human powers and, therefore, he would have to look, by nature, his couple, the kindred being, to whom he would pour out his feelings. Quetzalcoatl and Huitzilopochtli, convinced of these reasoning, returned to the sacred workshop, to the Tlacapillacihualoyan, and they devoted themselves to the task of creating Cipactli’s pair. Both got back to their work of giving life to matter, and they stayed perplexed when they began shaping the new being. Was it necessary for this being to have the same attributes that Cipactli had? Huitzilopochtli thought that it had to be the first man, with the same talents; on the contrary, Quetzalcoatl wished it to be different, more delicate, more beautiful, and more perfect. Afterwards, both of them, after the hard framework had been built and which would be covered with soft wood, got to an agreement with regard to the fact that differences were necessary, as well as contrasts, suitable for breaking the monotony of beings. Therefore, the creative gods, exquisitely, shaped, little by little, the feminine mate of Cipactli and, upon finishing her, both were satisfied. The silhouette of the new being was harmonious; she had smooth skin, and soft hair. Her pupils had more light and her fleshy lips knew how to smile; she was wholly perfect, rhythmic. The gods, agitated, immediately called their parents and their brothers, Cipactli already had a couple! Lord Ometecutli and Madame Omecihuatl, as well as god Tezcatlipoca and his brother Camaxtle, who were pleased with the new created being; after observing her figure and her measured movements, the supreme creative god talked: The new being will have to give what is alive within her: joy, comprehension, knowledge, sorrow; she will get to know that love is a power which generates love and also that giving is more pleasing than receiving. Madame Omecihuatl, Madame Two, assured: She will live in the fullness of her internal longings! as well as her spiritual efforts, doing everything with goodness and happiness, She will be strong against suffering and sorrow, she will have equilibrium in her actions, in her thoughts and, above all, she will be good-natured and creative.

52 The gods kept silence; through the possession of the divine particle, that new being would be comprehensive, expressive, with a diaphanous loving sense; she will be a refuge, help and stimulus. Within man’s couple, both soul and body had allied and she was called Oxomo, the night. And pleased with the perfect work of the gods, delicately placed her in the Omeyocan, close, quite close to Cipactli. The meeting Oxomo went walking down the extensive fields of the Omeyocan and she went thinking that everything around her was beautiful, the delicate of the clouds, the freshness of the air she breathed and, intoxicated with joy, she felt beautiful, she felt herself to be delicate. Suddenly, the clouds trembled; it was Cipactli, Oxomo appeared at his eyes and he remained astonished; then, he asked: The woman, your couple! --Woman, how beautiful you are! Your beauty is ethereal and almost transparent and, inside your soul, the flame burns! This is the miracle of the Creation. And I am the fountain in which you can calm down all the anguish and sweeten all pains. --In your body, all the reflections of fire are reflected! --Give me your hand. --Here it is. And both walked; the gods, expectant, contemplated them: Cipactli seemed to leave from a dream. How beautiful you are, first woman of the world! I feel attracted by you, I understand you and, however, it is difficult to express the sentiments I have towards you, I expected you before I knew about your existence. Riddles and Sorceries Quetzalcoatl and Huitzilopochtli, who passed all their lives taking care of Cipactli and Oxomo, work of their creative hands, observed, grieved, that it was the absence of hope and fear what made them live without anxiety, as well as without any worry and lacking any stimulus. Their existence was monotonous. Such thing alarmed the gods. Cipactli and Oxomo were not gods. Therefore, that sort of ease, that impertinence of being completely indifferent with regard to everything was not an attribute of demigods and such thing could not be approved by those who dwelled in the Omeyocan. That is why Huitzilopochtli told his brother Quetzalcoatl that they had to do something effective so that their protégés would not believe themselves gods neither privileged beings, masters of everything, therefore it was necessary to inculcate within their souls the curiosity for the unknown, for that world so far away from them.

53 Since they were created, they felt themselves as owners of the Omeyocan, but Cipactli and Oxama knew that it would not be long before the gods would give them another place where their descendants could live: therefore, for such a reason, the creative gods esteemed that it was necessary to start including them as the first inhabitants of the Universe, even though the gods, when they created them, allowed them to know a minimal part of this world. We have to make them understand—Huitzilopochtli said—that there is a profound mystery around them and also that the creative divinities cannot permit that such insignificant beings may know the mysteries hidden within the magic worlds of the gods. And both, convinced of the need to limit the knowledge in the kingdom of their parents, Lord and Madame of duality, went right to the place where Oxomo was. Oxomo, without any worry, looked as far as she could see. In the pupils of her eyes there was aither fear nor hope; anxiety and fright did not exist either; her life was uncolored, without wait. Upon seeing the gods Quetzalcoatl and Huitzilopochtli, she hardly moved. She did not know how to revere her creators yet, and the gods who, for that reason, considered her to be defective, approached her, offering some mysterious and unknown grains; white grains, as well as black, blue and red, which they placed in her hands by the time they told her: “Oxomo, first woman created, Cipactli’s mate, we have come to search for you in order to train you in the art of divination, which will help you to know and defend yourself because, since this moment on, you will fear the unexpected. We, the gods Quetzalcoatl and Huitzilopochtli, shall give you the precious knowledge that can help you to know the origin of yourself. All the paths that this new science takes will be the product of the curiosity to know what man is, what he can attain and how it can be done. These unknown grains will serve you to discover that there exist magical colors, as well as various means to influence the life of beings. With the knowledge of science that we shall transmit you, you will be able to predict future or, else, discover things by means of auguries and sortileges. You will have the divine knack of grasping future facts, you will be a fortune teller by means of drawing lots, you will dominate the spell and the curse, you will know how to do harm, and you will also know how to distinguish the damage caused by the bad spirits. You will charm the will and, by means of superstitious practices, you will dominate the elements.

54 You will predict the luck of man and with this science that we shall give you, you will mark the favorable or the adverse sign which will rule the diverse aspects of life, you will know how to read in the sky the destiny of beings, you will foretell, by means of drawing lots, if it would be possible to live with happiness or happiness will never be known. At last, Oxomo, work made by us, you will know how to foretell luck with the magic and mysterious grains that we have given you and you will be able to interpret the signals of the sky”. And the gods gave her certain grains of corn so that she could cure with them and she would use the riddles as well as the sorceries. The calendar Even though long ago the gods Quetzalcoatl and Huitzilopochtli had created the first beings of the Omeyocan, these one lived in disorder under the undecided light of the half sun. For them it was more natural that, under the command of their desires, they would sleep or wake up indiscriminately, without any rhythm or rule. For them there was no phenomenon that would make them rule their behavior. The active lapses as well as the passive lapses of their lives were irregular; by observing such thing, Quetzalcoatl, the god of intelligence, decided to help them to follow up rules to control their existence. Thus, he decided to teach them certain mysteries. Cipactli and Oxomo have just woken up, the Omeyaliztli had been held, the march of two, the marriage, the union of two persons. The pupils of their eyes were so full of light that they had not had any time to look upwards. For such a reason, after long, they discovered right there in the immensity a white and brilliant light and, in contrast, a dark cloud which was a total shadow. Cipactli, surprised, exclaimed: Oh, gods! Give me the necessary understanding in order to comprehend this mystery, unveil the significance of all this. And over there, like an echo, he discovered some voices: This is the light that, tearing the sky, spreads out and vibrates in the infinite! --I am the shadow, my color has no light, and I am black like the mouth of the abyss. The light and the shade have been born, after light, shade will follow. In the Omeyocan there will be cycles of light and shade. Oxomo kept silent, Cipactli, astonished, bowed his head feeling uproar of multiple interrogations. The fear got right into the heart of the first couple…what did that light mean? What did that shadow mean?

55 Oxomo took, silently, her acaptelatl or gourd, in which she kept the eight colored grains of corn that the god Quetzalcoatl gave her for her divination practices. And since she had been anointed with the divinatory art, she could foretell the future, she would tear up the mists of the past; thus, she would discover that secret which belonged only to the gods. However, when Oxomo was going to cast the magical grains to the wind, Quetzalcoatl appeared before them, and he made them know that the gods had sent him in order to unveil a great secret for them, but also that it was necessary that, first of all, he would teach them how to revere the gods. Thus, he taught them to pray and, afterwards, to make penitence. He made them discover that the blood that ran throughout their bodies was, for the gods, like divine liquor, and it constituted the best offering for the divinities. It did not last too long before Cipactli and Oxomo, humbly, offered the first sacrifice to the gods of the Omeyocan. Cipactli pricked his body and his legs; Oxomo, on the contrary, only pricked the lobe of her ears. Afterwards, the god led them towards a hidden place, something like a mysterious cave which the god named Coatlan, where Cipactli and Oxomo kneeled submissively before him. Over there, Quetzalcoatl made them know that with the consent of their powerful parents, the creative Lord and Madame, he would reveal the great secret to them. And, before the astonishment of the first demigods, Quetzalcoatl spoke before those in the Omeyocan, Cipactli, Oxomo, with the light and the shade, luminous arrow and black arrow, the gods have created the great mystery of time. The day that is light, in harmony with the night; the day, male, married with the night, female. “And out of that union of two, from this marriage, time will be born, just like thy marriage, Cipactli, the light and Oxomo, the night; out of those loves between the day light and the mists of the night, Piltzintecutli, the son called time will be born. And from that moment on, the place where you thee will dwell will be called Omeyocualiztli, the genesis of the light, the creation of time, the sacred path which is called eternity. The day will be named Tonalli and the night Yohualli; time will be called Cahuitl. Therefore, thee will be the first creatures who will take the count of the days. How? Due to the succession of light and shade, the principle of Tonalli, the day, will be called Iquiza and midday, Nepantla.

56 The principle of Yohualli, the night, will be named Onaqui, and midnight, Yohualnepantla. Morning will be divided into two times, the same as the night. Then, morning will be divided into eight times; night will also be divided into eight times. Those divided times will be called Izteotl-here is the god. With twenty days, a month will be formed and with thirteen months, a year of two hundred days; this one will be named Tonalamatl, the ritual year. Cipactli, and you Oxomo, to take the count of the day and of the night, you will mark with eight red stripes the day, with eight black stripes the night and the whole day with sixteen small balls. Then Quetzalcoatl, gathered with the gods, who agreed that it was necessary to instruct the demigods of the Omeyocualiztli, since they lacked the notion of light and shade; therefore, also the notion of time. This caused uncertainty within the two first created beings, who did not know when they should rest, as well as walk and revere; the gods also congratulated Quetzalcoatl, the creator, for his wisdom when he gave only the indispensable knowledge to the first inhabitants of the Omeyocan, because times will come when there would be the need to give them the perfect notion of the time division. What had been taught to them was quite a lot!... “Until here, the most exquisite form of treating mythology by Professor Otillia Meza has been presented...” this is what Engineer David Esparza Hidalgo refers in his unpublished work Pyramids. 3.2 Legend of the suns of the nahuatl language 1. Here are the resolutions of the wise talk: (1) It has been a long time since it formed the animals (2) and it started giving food to each one of them; (3) only because of those facts it is known that the Sun itself so many things begin, (4) two thousand five hundred and thirteen years ago, today, may 22nd, 1558. First Sun. Chimalpopoca Codex version “…This nahui ocelotl (four tiger) lasted six hundred and seventy six years. The ones who lived here (6) for the first time were devoured by the tigers (7) on the sun’s nahui ocelotl; they ate chicome malinalli (8) that was their food, with which they lived for six hundred and seventy six years, until they were devoured like a wild animal, (9) in three years, until they perished and extinguished; then, the Sun disappeared. Their year was ce acatl (1 cane); therefore, they started being devoured on a day of the nahui ocelotl, under the same sign in which they were over and perished…” First Sun. Aztec myths and legends version “…When land had spread over water, and mountains and valleys as well had been formed; the spirits began to collect light in order to make the sun.

57 While they were working, Tezcatlipoca thought: “I would have to be the Sun”. However, he was dark like a shadow. When work had been finished, everyone moved away to admire what they had done. “This is my opportunity”, Tezcatlipoca thought, holding the sun just created and tying it to his wrist. When he rose into the air, casting shadows and pieces of light, the other spirits stared at him and said: “Well, somebody had to be the sun. Let us permit him to do what he can”. Then they turned back and started to create the first town. However, the people they created were giants and when they started to walk over the land, the yells “Do not fall down!” “Do not fall down!” were constant. Every time a giant met another, his greeting was: “Do not fall down!”, because if someone would have fallen, it would have been impossible for him to rise again. When they wandered about from one place to another, fearing to lean over or bowing, the giants could only eat the fruit that they picked from the trees. Nevertheless, when the sun got to the highest point of the sky, all of a sudden the world darkened, because the sun which had made the spirits had only strength to last half of the day. Evidently, the spirits had committed a mistake. People were too big and the sun too small. After thirteen times 52 years, Quetzalcoatl, with a big stick, reached Tezcatlipoca and, hitting him, cast him away from the heaven. Tezcatlipoca fell to the ocean, thus changing his shape; then he left the water towards the land where he became a jaguar and ate all the people. This was the end of the first sun, called the Jaguar Sun. “As a remembrance of his fall, the Jaguar Constellation keeps on sinking within the ocean every night…” In this era or first sun, the existence of disproportioned giant beings is considered; humankind were fed with herbs and fruits they picked from the trees and they were destroyed by jaguars, which was the representation of Tezcatlipoca’s nahual as darkness and so, it took refuge within caves. Since darkness prevailed, there was no sufficient solar energy for Mother Earth to give the sustenance. Mathematic analysis: 676 years; it corresponds to thirteen cycles of 52 years. Second Sun. Chimalpopoca Codex version “...The name of this sun is nahuecatl (four wind); these ones, who for the second time lived, were taken by the wind, (10) was in nahuecatl from the Sun. Immediately after they disappeared, taken by the wind, became female monkeys; their houses as well as their trees, everything was taken by the wind; wind also took this sun. They ate matlactlomome

58 cohuatl (12 snake), (11) it was their food, with which they lived 364 years (13 x 28), until they disappeared on a day when they were taken along by the wind; until they died on a day marked by the sign nauhecatl. Their year was ce tecpatl (1 flint)…” Second Sun. Aztec myths and legends version “…When the first sun had fallen from heaven, Quetzalcoatl took its place and became the sun called Sun of Wind. There were persons under this second sun, but they only had pine nuts to eat. Year after year, they only ate pine nuts, but, at the end, Tezcatlipoca rose in a jaguar shape, he ran through the sky and he knocked with his feet behind the Sun of Wind. This one, upon falling, gained velocity and was transformed into a stormy wind, sweeping everything over the land. Trees and houses disappeared. All the persons were pulled by the wind, with the exception of some of them who stayed hanging on the air and who became monkeys. During this era or second sun, the unbalance continues and Quetzalcoatl who, in his wind form transforms humanity into monkeys, predominates.” Mathematic analysis 364 years; it corresponds to 13 cycles of 28 years. The first sun lasts 676 years, this cipher added to the 364 years which lasts he second sun, gives as a result: 1040 years. (676+364=1040) That is to say, 20 cycles of 52 years; (52+20=1040) Third sun. Chimalpopoca Codex Version This is the Sun nahui quiyahuitl (4 rain); and the ones who lived in the Sun nahui quiyahuitl, which was the third one, (12) until they were destroyed because fire rain was dropped over them (13) and they became hens. The sun also burnt and their houses burnt as well. Therefore, they lived 312 years, until they were destroyed in just one day when fire rained. They ate chicome tecpatl (7 flint), (14) which was their food. Their year is ce tecpatl (1 flint); and until they were destroyed on a day of the worthy nahui quiahuitl, they kept on being pipiltin (children); it is for that reason that today children are called pipilpipil (little boys and girls) (15). Third sun. Aztec myths and legends version When the second sun had disappeared, the spirit of rain went to heaven and was converted into the sun called Sun of the Rain. There were persons under that third sun, but, in order to eat, they could not find anything else but river maize. The true maize had not been discovered yet. Finally, Quetzalcoatl sent a rain of fire as well as hot stones; this rain burnt the land. The stones were so hot that the sun itself was flames.

59 The few persons who had escaped were transformed and as soon as the fire had turned cold, they ran over the land with a blackish color and in the shape of turkeys. In those days, Tlaloc, as the representation of the ray and the thunder, appears; it is considered that the rain of fire corresponds to the volcanoes Xitle and Popocatepetl. Likewise, the corn, like humankind, continues in the process of search towards perfection. Mathematic analysis 312 years; it corresponds to 13 cycles of 24 years. Fourth sun. Chimalpopoca Codex version The name of this sun is nahui atl (4 water), because there was water during 52 years. These are the 676 years, until they were destroyed, they were flooded (16) and they became fish. The sky sank downwards and, in just one day, they were destroyed. They ate nahui xochitl (4 flower); it was their food. Their year was ce calli (1 house). On a day of the sign nahui atl, all the hills disappeared, because the rain had poured during 52 years. When their year finished, Titlacahuan (17) called the one whose name was tata (18) and her wife called Nene, (19) and he told them: “Do not want anything else; (20) perforate an extremely big Mexican coniferous tree (21); you will get in there by the time of the tococtli abstinence (22), then the sky will be sinking”. They entered over there; then he covered them and told them: “Just a corn cab (23) you will eat as well as you, woman”. When they stopped consuming the grains, (24) it was observed that water was diminishing; (25) the stick did not move any more. II. Then they uncovered and they saw a fish; they produced fire with the sticks (they threw the half burnt stick) and they roasted the fish for themselves. The gods Citlallinicue and Citlallatonac looked back and said: Gods! Who has made the fire? Who has smoked the sky? ; At that point, Titlacahuan, Tezcatlipoca descended, scolded them and said: what thou do, Dad? What all of you do?” then, he cut off their necks and he patched their heads in their buttocks, (2) with which they became dogs; (3) therefore, the sky smoked (4) in the year two acatl. The gods commented within them and said: “who will live since heaven came to a standstill and the Lord of the Earth stopped?, (7) who will live, oh, gods?; Citlalicue, Citlallotónac, Apanteucli, Tepanquizqui, Tlallamanqui, Huictlollinqui, Quezalcohuatl and Titlacahuan took care of the business (8); then Quetzalcoatl went to the hell (mictlan among the dead); he took Mictlantecutli and Mictlancihuatl and said: I have come in order to seek the precious bones (9) that you keep; and the former said: “What will you do, Quetzalcohuatl?”; and this one said once more: “The gods try to make them someone who may dwell over

60 the Earth”; Mictlantecutli again said: “Play my corn shell, it is the right time, and turn it around my seat covered with precious stones”, (11) that corn shell, however, does not have hand orifices; (12) then he called the worms so they would make holes; the big bees as well as the mountain ones entered in there and touched him; Mictlantecutli heard him; Mictlantecutli, once again, said: “It is all right, take them”; and Mictlantecutli told his messengers, the Mixtecas: (13) “Go and tell him, gods, that he should come to leave them here”, but Quetzalcoatl said, towards here, “No, I am taking them forever,” (14) and he told his nahuatl: (15) Go and tell him that I shall come to leave them here; and this one came to say, at full blast: “I shall come to leave them here”; he went up soon, (16) after he took the precious bones; they were together, the man’s bones on the one side (17) and also, together on the other side some woman’s bones; Quetzalcoatl took them as they were located, he made a tie with them and he brought them. (18). Once again, Mictlantecutli told his messengers: “Gods! Indeed, Quetzalcoatl took the precious bones, gods! Go and make a hole”, (19) they went to make it; and for that reason, he fell inside the hole, he hit himself (20) and he was scared of the quails; he fell dead and he spread the precious bones throughout the land, which were bit and nibbled by the quails. A little afterwards Quetzalcohuatl cried and told his nahual: How will all this be? (21) my nahual? And the nahual answered: How may it be, the business was spoiled, because it rained? (22) Then he gathered them and he made a tie, which he immediately took to Tamoanchan; after he made them arrive (23), the so called Quilachtli pounded them; this one is Cihuacohuatl, who, afterwards, kept them within a precious small book. Quetzalcohuatl bled his penis over it; all the above mentioned gods, Apanteuctli, Huictlolinqui, Tepan immediately made penitence. a. Quizqui, Tlallamánac, Tzontémoc, and the sixth one of them, (1) Quetzalcohuatl, then they said: the gods’ vassals have been born, therefore they made penitence over us, once agan they said: what will the gods eat? Now everyone seeks (2) the food, then the ant went to pick the shelled corn inside the Tonacatepetl (hill of the reaped corn). (3) Quetzalcohuatl found the ant and he told her: “Tell me where you went to pick it up? Many times he asks her; (4) but she did not want to say it. Then she tell him that over there (pointing to the place); and he accompanied her. Quetzalcohuatl became a black ant, he accompanied her, then they entered and both carried it; this is (5) Quetzalcohuatl accompanied the red ant to the deposit, (6) he arranged the corn and he immediately took it to Tamoanchan. The gods chewed it and they put it into our mouths to make us strong. Then they said: What shall we do with the Tonacatepetl? (8) Quetzalcohuatl went alone, he tied it with

61 ropes and he wanted to take it on his back, but he did not raise it. Afterwards Oxomoco drew lots with the corn; also Cipactonal predicted, Oxomoco’s wife, because Cipactonal is a woman, (9) then Oxomoco and Cipactonal said that only Nanáhuatl ( the one with bubo) would shell the Tonacatepetl with a stick, because they had predicted it. The Tlaloque (the rain gods), the blue tlaloque, the white tlaloque, the yellow tlaloque as well as the red tlaloque; and Nanahuatl shelled the corn with a stick. Then the food is snatched (10) by the tlaloque; the white, the black, the yellow, as well as the red corn, the bean, the blights, the chia, the michihuauhtli (sort of blights); all the food was snatched. Fourth Sun. Aztec myths and legends version Quetzalcoatl invited the spouse of the rain spirit to become the fourth sun and she accepted. During the time span of the fourth sun, called sun of Water, there were many persons, but they had nothing else to eat but herb corn. The real corn had not been discovered yet. Year after year they ate herb corn and remained sitting staring at rain. It rained all the time. Finally, there was a year when it rained so much that lakes and rivers raised over the mountains and all the persons became fishes. It rained so much that the sky itself fell over the Earth. At the end no rain existed. Then, Quetzalcoatl and Tezcatlipoca crawled under the edge of the sky, the former on one side and the latter on the other, thus transforming into trees; Quetzalcoatl the willow and Tezcatlipoca the Tezcatl tree. As each of the two trees grew, one over one side of the world and one over the other, the sky was pushed upwards until it reached the place where it had been before. Leaving the two trees on their places, both spirits hiked over the edge and both traveled through the sky. When they met in the centre, they stayed together and proclaimed themselves the governors of all what they saw. The path where they traveled is the White Path, which is still seen in the sky of the night. From the dead land. The deluge which had covered the land had disappeared. However, the spirits were worried. “Who are the persons? They asked themselves. “The land is dry and the skies are dry also. But, who may these persons be?”

62 While they thought about this, Quetzalcoatl descended over the Dead Land which was behind the world and, when he got before the Lord of the Dead Land and his wife, who kept the bones of the dead, he shouted: “Give me thy bones!” There was no answer. “I have come here to take those valuable bones that thou are keeping”. “What do thou want them for?” “The spirits are worried and they continually asked themselves: “Who may the persons be?” “Take my trumpet”, said the Lord of the Dead Land. “Thou will have the bones if thou can play my trumpet (seashell) and thou turn around my beautiful country four times” But the trumpet was not void. Then Quetzalcoatl whispered to the worms that lived in the Dead Land: “Worms: come and make a hole to this trumpet When they had done it, bees and hornets flew inside and started to buzz. Quetzalcoatl circled the Dead Land with the buzzing trumpet (seashell?; the Lord of the Dead Land listened to him and told him: “The bones are yours. Take them with you”. But then he told all the dead who were around him: “tell this spirit that he cannot take the bones forever. After sometime, he will have to get them back”. “Our Lord says that you have to get them back” everybody shouted. “No”, Quetzalcoatl answered. “They will live forever”. His internal thoughts, however, advised him: “Do not say that. Tell them that the bones will come back”. So he shouted: “I shall take them back”. And, rapidly, he took the men’s bones as well as the women’s, he wrapped them up and he ran away. “We do not believe him”, the Lord of the Dead Land shouted. If we let him take them, he will never get them back. “Cave a tomb for him!” The dead then caved a tomb for Quetzalcoatl. He tried to escape, but a flock of quails fell over him and he was injured, so he stripped and he fell unconscious in the tomb. When he recovered consciousness, he saw that the bones were scattered all around and the quails had bitten and nibbled them. Sweeping, he asked his internal thoughts: “How can this be? His internal thoughts responded him: “How can this be? The bones have been nibbled and after some time, they will putrefy. There will be death. It is something that can be changed”.

63 He felt very sad, but since he saw that he could not take the bones freely, he picked them up, he took them to a place above the sky and he gave them to a spirit called Snake Woman, who crushed them until they became powder; afterwards she put them in a bowl of jade. Then Quetzalcoatl spilled blood of his body in the bowl and the other spirits, as well, did the same. When the bones had life, the spirits shouted: “The persons have been born!” They will be our servants. We bleed for them and they will bleed for us”. The true maize “What will the persons eat?” asked the spirits. “May the corn be discovered” Right after the order was pronounced, Quetzalcoatl saw a red ant that was carrying a true corn seed. “Where did you find it?” he asked. But it did not answer. He kept on asking again and again until, at last, the ant said: “Follow me”. Quetzalcoatl then became a black ant and he followed the red ant until the edge of a mountain. It was the Food Mountain, where, since the beginning of the world, the corn, the beans, the peppers as well as the rest of the entire foodstuff had been hiding. “Come over here”, said the red ant, entering through a tunnel which led to the inside. With the aid of the red ant, the black one pulled corn seeds till the place of the spirits. When the corn came, the spirits chewed it for us and put it in our lips. In such manner, we got strength. “What shall we do now with the Food Mountain?—asked Quetzalcoatl. “Let us open up a crack so the persons can have all the food”—the spirits answered. While they talked like that, one so called Nanáhuatl opened up the mountain, thus unveiling what was in its inner part. But the rain felt envious, and along with her children, it poured towards the inside and stole the food before the other spirits could give it to the people. It stole everything, the corn, the beans, the peppers and the salvia. The spirits of rain still have the food which was in the Food Mountain. They only render a part of it each year, and some years less than others, exchanging it for human blood. Only one man an one woman survived and they were transformed into dogs by Tezcatlipoca. Mathematic analysis 312 years, sun of rain + 52 years, when there was water

64 676 years, sun of water = 1040 years =52x20 In this age, the beginning of harmony between humanity and corn as well as with the elements is represented by the bones of the beings in their evolution period during the preceding eras. The order through the calendar is initiated when the woman of the sortilege casts the corn seeds. Fifth Sun, Chimalpopoca Codex Version The name of this Sun is Naollin (four movement) this is already ours, it belongs to us, who are living now. This is his signal, the one which is here, because the Sun fell inside the fire, inside the divine oven of Teotihuacan. It was the same sun Topiltzin (our son) from Tollan, from Quetzalcohuatl. Before this Sun existed, its name was Nanáhuatl, which was from Tamoanchan, eagle, tiger, sparrow hawk, wolf; chicuacen ecatl (six wind) chicuacen xochitl (six flower); both are names of the the Sun. What there is over here is called Teotexcall (divine oven), which was burning during four years. Tonacateuctli (the Lord of our flesh) and Xiuhteuctli (the Lord of the Year) they called Nanáhuatl and they told him: “Now you will keep the heaven and the earth”. (11). I am a poor ill man. They also mention to Nahitécpatl over there: this is the Moon. This was mentioned by Tlalocanteuctli (the Lord of Paradise). Then Nanáhuatl fastened. He took his thorns and his bunch of wild laurels (acxóyatl); then he obtained a provision of thorns from the Moon. (13) First, Nanáhuatl extracted blood from his body in the sacrifice, (14) then the Moon sacrificed. Her laurel bunches are rich feathers (quetzal) and her thorns, chalchihuites, which she incensed. (15) When four days passed, they painted Nanáhuatl in white and covered him with feathers; then he fell into the fire. Nahuitécpatl, at the same time, gives him music with the cold shiver, (16) Nanáhuatl fell inside the fire and, immediately, the Moon fell in the ashes. When Nanáhuatl went, the eagle was able to grasp him (17) and take him. The tiger could not do it, but it leaped and stood over the fire and that is why he went away; (18) afterwards, the sparrow hawk was smoked and the wolf burned as well. The three of them were not able to take him. So, he got to the heaven and they made them, at once, honours (19) Tonacateuctli and Tonacacihuatl: they sat him in a throne made of quecholli feathers and they tied his head with a red band. (20) Then he stayed four days in heaven; thus he stopped in the (sign) naollin…

65 Fifth Sun With regard to the origin of the Fifth Sun in Teotihuacan, the text by Miguel León Portilla, obtained from Sahagún’s informers and called “Códice Matritense del Real Palacio”, is transcribed as follows. “Teotihuacan, where the marvel of the new sun origins occurred, was always a sacred place for the thought of ancient Mexicans. The words of the myth, taken by Sahagún thanks to the testimony of his informers, certainly reflect something about the significance that the City of the Gods had for the indigenous conscience. It is said that when it was still night, where there was no light yet, when dawn had not appeared, gods gathered and they called each other over there in Teotihuacan. They said, they told themselves: Come, oh gods! Who will take over them? Who will take over their shoulders, who will give the light and who will make the sunrise? At once, Tecuciztécatl spoke, he showed his face. He said: Oh, gods, I shall be indeed! Again, the gods said: Who else? They immediately looked at each other, they let themselves be observed by the others, they say: How will it be? How shall we do it? Nobody dared, no one else showed his face. Every one of them, great gentlemen, manifested their fear and they withdrew. Nobody made his body visible. Nanahuatzin, one of those gentlemen, was there close to them, he remained listening to all what was said. Then the gods told him: You, you will be, oh Nanahuatzin! He, then, hurried to pick up the word and he took it in a good mood. He said: --It is all right, oh gods; you have done well to me. At once, they started making penitence. They fastened during four days, both Nanahuatzin and Tecuciztécatl. At that moment the fire was also lighted. It burns now within the hearth. They thus named the hearth the divine rock. And all that with which that Tecuciztecatl made penitence was precious: his fir branches were quetzal feathers, his balls of grass were made of gold and his thorns were made of jade. Thus, the bled thorns, its bleedings were coral and the incense, was good copal.

66 However Nanahuatzin, his fir branches were all just green canes, new canes in bunches of three, and all of them, tied up in a whole set, were nine. With regard to the grass balls, they were only genuine beards of wood from the ocote tree. His thorns, as well, were just real maguey thorns. And what he bled with them was his real blood. His copal was, indeed, what laughed upon looking at his wounds. To both of them a mountain was made, where they remained making penitence during four nights. It is now said that these mountains are actually the pyramids; the pyramid of the sun and the pyramid of the moon. And when they finished making penitence during four nights, then they came to cast, to turn down, their fir branches and all what they had utilized to make penitence. This was done. Now it is the rising, when it is still night, for them to fulfill their work, for them to become gods. And when midnight is approaching, then they are burdened with their load, they attire them, they are ornamented. Tecuciztecatl was given a round a headdress made of heron feathers and a vest, also. Nanahuatzin was only given some paper, with that they crowned his head. His hair was crowned with that; it is called his paper headdress and paper attires as well, his paper breeches. And after this was made, when midnight approached, all the gods stayed, at last, around the hearth, which is called divine rock, where fire had burned during four days. In both parts the gods lined up. In the middle they placed. They left on foot the two named Tecuciztecatl and Nanahuatzin. They set them with their faces turned towards the hearth. At once, the gods spoke, they told Tecuciztecatl: “Be courageous, oh Tecuciztecatl, jump, throw into the fire!” Without delay, he went to throw into the fire. But, when the heat of the fire reached him, he could not resist it; it was not bearable for him, it was not tolerable. The hearth had been burning excessively, a fire that burnt had been made, the fire had burnt and burnt. Therefore, he just got to be scared, he got to stay standing, he got to turn back, he got to get back. (Step back and forth) Once again he went to try it; he took all his strength in order to jump, to render himself to the fire. But he could not dare to do it. When he approached the reverberating heat, he could just walk back, he could just flee, he had no courage. Four times, four times of daring, so he did it, he went to try it, but he just was not able to throw into the fire. The compromise was just to try it four times over there.

67 And when he had tried four times, the gods exclaimed, they told Nanahuatzin: Now you, now you already, let it be now! And Nanahuatzin, at once, started being courageous, he saw the conclusion of the matter, he strengthened his heart and closed his eyes to avoid being scared. He did not stop again and again. he did not hesitate, he did not come back. Soon he threw himself, he threw into the fire, went in there at once. His body burnt immediately, it made noise, it crackled when it burned. And when Tecuciztecatl saw this burning, at that very moment he also threw into the fire; quite soon he burnt also… And so it happened, when both threw into the fire, when they had burnt, the gods sat to wait and see where Nanahuatzin would appear since he was the first one who fell within the hearth to make the sunlight shine, to make the sunrise possible. When a long time passed after the gods started waiting, the dawn, the daylight started to get red, it started to surround everything. And as it is referred, the gods then kneeled to wait for the appearance of the sun and to guess from where it would appear. So it happened that they stared in all directions, they looked without a fixed direction, they were turning around. Neither their words not their knowledge agreed about a particular place. They could say nothing with coherence. Some of them thought that the sun would have to rise on the side of the dead, to the north; therefore they remained staring to that point. Others turned to the women’s direction, the west. Still others, towards the region of the thorns, the south, they remained staring to that direction. They thought it would be everywhere because the clearness of the light surrounded everything. But some of them stayed looking to that point, to the direction of the red color, the east. They said: Indeed, from there, from there the sun will come to rise. And the words of those who looked at that point was true, the ones who pointed in that direction. As it is said, those who were in that direction were Quetzalcoatl, the second one was named Ehécatl and Tótem, that is the Lord of the Anahuatl and the Red Tezcatlipoca as well. Also those who are called Mimixoa and who may not be counted, as well as the women named Tiacapan, Teicu, Tlacoiehua, Xocóiotl.

68 And when the sun rose, when it appeared, it appeared as if it were painted in red. His face could not be contemplated, it hurt the people’s eyes, it shone too much, it cast burning rays of light, and its rays reached everywhere, the irradiation of its heat got inside everywhere. Afterwards, Tecuciztecatl appeared who was chasing it; he also came from there, from the direction of the red color, the east, close to the sun it came to rise. In the same manner they fell into the fire, they came to appear, one following the other. As it is referred, as it is narrated, as the rumors say, the appearance of both was the same by the time they illuminated the objects. When the gods saw them, when they saw they were alike, gathered again, they were convoked and they said: --How will you be, oh gods? By any chance, both of you will follow your own path? By chance, both of you together will light the objects? But then, all the gods took a determination, they said: --So it will be, so it will be done. Then, one of those lords, one of the gods, appeared running. With a rabbit, he went to injure the face of that one Tecuciztecatl. Thus he darkened his face, thus he injured his face, as it is still observed. Now, while both continued appearing together, they could neither move, nor follow their path. They just stayed there, they remained without moving. The gods, upon seeing them, once again, said: --How shall we live? The sun does not move. --By any chance, shall we induce the macehuales, the human beings, the life without order? May the sun, through our behalf, be fortified! Let us all die! And, as it is referred, Xólotl did not want to die. He told the gods: --May I not die, oh gods! Thus he cried a lot, his eyes were swollen, his eyelids were swollen. Death was approaching him, he rose against her, and he ran away, he got inside the green corn land, his face lengthened, he transformed himself, he stayed in the shape of double corn cane, divided, like the one called Xolotl by the peasants. But he was seen right there in the corn fields. Once again he rose before them; he got inside a maguey field. He also transformed himself into a maguey, into the maguey which remains twice, the one called Xolotl’s maguey.

69 However, he was seen once again and he got into the water, and he came to become an axolotl. But, they came to trap him in there, thus he was killed. And it is said that, although all the gods died, he did not move with this, indeed, it was not for that reason that the sun could follow his path, the god Tonatiuh. Then, it was Ehécatl’s duty to make the wind stand, push a lot along with it, make the wind march on. Thus he could move the sun; this one, then, followed its path. And when this one was there already, the moon stayed right there only. When, at last, the sun came to enter to the place where it hides, then the moon also started to move. Then they separated, each one followed its path. The sun rises once and it accomplishes his task during the day. And the moon makes its nocturnal occupation, it passes by night, it accomplishes its labor during the night. As it may be seen through all of this, as it is said, that the sun could have been that one. It could have been Tecuciztecatl-the moon, if it had been thrown itself in the first place. Because it appeared in the first place in order to make penitence with all its precious things. I thus finish this narration, this tale, over here; from ancient times the elderly people, who were in change of conserving it, referred it once and once again.

CHAPTER FOUR

The ancestral dance

…dance is a replica of the harmonic movement in the Universe… Andrés Segura

As a background of dancing in the Anáhuac, five styles are recognized: Pre-Classic and Olmec: naked figures, filled with humanism and joy, the presence of acrobats and contortionists prevails; they made dances like the one over stilts or that of a man who danced carrying two individuals over his shoulders.

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Jade olmec figure Acrobatic dance Samuel Martí’s reference, Clavijero’s version

Teotihuacan: ritual dances or priests’ solemnities.

Teotihuacan dancer, Samuel Martí’s reference. Mayan: it represents the high ranked depurated, expressive and disciplined dance.

Mayan dancer, Samuel Martí’s reference. Totonacan: Dancers exalted by the joy of living. They show important details of humanism.

Veracruz totonacan dancers from Veracruz. Samuel Martí’s reference. Nahuas and Zapotec: with an extremely solemn and strong stylized character.

With regard to the Anahuac dance, the ritual ceremonies are outstanding, with their corresponding festivities. They were spectacular celebrations where dancing was included. The Tlamatinime scientists registered the astronomic phenomena and the mechanism of time; they also fixed and

71 announced the beginning of the celebrations, which were generally celebrated according to the calendar stipulations that marked their date and number. There were fixed and mobile celebrations, due to the fact that time was counted in two different forms that were intimately related: a ritual calendar called tonalpohualli, which had 260 days (13 cycles of 20 days), and a solar calendar of 360 days (18 cycles of 20 days). The festivities that were celebrated according to the Xiuhpohualli solar cycle were fixed; the ones signaled by the Tonalpohualli ritual calendar were mobile. The names of the twenties of the solar year were taken from the natural phenomena that could coincide with them; each twenty was devoted, at least, to a deity; however, occasionally, it was dedicated to a bigger number. Thus, the ritual tissue was created in harmony with the Universe and Nature; it spread all year round and it was connected from one celebration to the other. It may be affirmed that dance, as well as music and chanting, reached a great development in ancient Mexico. Actually, as it was said, all chroniclers coincide in affirming that dance in ancient America was one of the most vigorous and popular aspects where dexterity, grace and agility are shown. Thus, it is also observed that they are admired to have seen thousands of dancers performing several hours in total harmony and perfection without apparently showing any depletion; this was achieved due to the strict discipline and dedication of the performers, whose training was made in the dancing schools, which had a paramount importance within the mechanism of the social organization. Durán tells about the especially devoted to the dance in Tenochtitlan, Texcoco and Tlacopan. These academies had fixed schedules which were observed by the young students, boys and girls guided by “ayos”, old people of their same sex who picked young people from their houses in order to take them to the teaching centers, and whose main task was to watch out the behavior of the youngsters. The teaching centers, according to several authors, were called Mixcoacalli (house of the Milky Way, which was the metaphor of number zero) and a strictly neat teaching was given within them.

The tlatoani, highest leader, and his principals demonstrated great concern for the Mixcoacalli, where they frequently attended. Some of them intervened within the organization; others depicted some dancing steps and dictated the themes of the chants.

72 Xochipilli is the representation of dance, music and singing, where Xochiquetzal and Tezcatlipoca himself unite. Xochipilli contains two calendar symbols: Cexochitl and Macuilxochitl and, in its animal symbol, it is the coyote as huehuecoyotl; therefore its representation in stone was placed in a niche in the yard of the school, where it received flower offerings. All year round, governors, as well as specialized scientists, had the responsibility of preparing and organizing the ceremonies. Many of the ceremonies were made in the middle of the night; the ambiance was illuminated with torches and big fires or at the beginning of the sunrise, just before the Sun would emerge. The celebrations of the solar cult belonged to the governing class and to the warriors’ order; therefore, the richness of the attires was impressive: the use of gold was outstanding, as well as feathers and luxurious tissues with the background of the imposing architecture of the ceremonial centre of the Major Temple in Tenochtitlan. This solemn solar war ritual contained an ideological and political symbolism enshrined mainly for Huitzilopochtli, Xipetotec, Toxi, Mixcoatl and it was also related with Venus. In these commemorations, the historical mission of the Mexica people as lords of Mexico was confirmed on the Panquetzaliztli twenty, or our past as Chichimecas hunters and warriors was remembered ritually on the Quecholli twenty. The myth was present within a magic and theatrical ambiance which was involving and overwhelming. The socio-political organization of the State of Anahuac implied the active participation of the population; therefore the celebrations of the common people were developed according to the corn gestation ritual calendar and other agricultural processes, as well as handicrafts production processes. That is why the ritual was created within the country side environment and it includes numerous “sacred places” where the interrelation with Nature is foremost important, since the sacred mountains, the plantations and the lakes intervene.

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4.1 Maceualiztli. Dance of the Cosmic Harmony

I am the big headed papagayo. Take your flowers and your fan ¡Dance with them! You are Yoyontzin Take your cacao the cacao flower ¡ may it be a beverage now! ¡The dance be done! ¡The singing dialogues begin! Our home is not here We shall not live here You will, equally, have to go away… Nezahualcóyotl, Romances.

In the nahuatl language, dance is like a meritorious act to transcend; it is designed with two words to classify them: Maceualiztli, which means dancing for deserving, that is to say, those who offer themselves, along with the voluntary action to develop the internal growth (number thirteen metaphor) with physical effort, as well as mental and spiritual. That is to say, dance for deserving is the one in which the individual has a strict formation taught within the educational centers; over there, he is incorporated to the ritual ceremonies as well as to the corresponding celebrations that were made in the plazas of the ceremonial centers or ritual landscapes. These rituals or celebrations were made according to the calendar stipulations calculated, on a scientific basis, by the tlamatinime sages, who registered the astronomic phenomena and the mechanism of time. In these celebrations, as Motolinía says: “They did not only call, honored and praised their deities with vocal singings, but also with their hearts the body senses. They had and they used many manners, as well as head, arms and feet movements: with all their bodies they tried to serve the gods…”

74 4.2 Netotiliztli. Dance for amusement in private events.

Netotiliztli is a word in nahuatl language which is used to define the dance when it is made in enjoyment or pleasure acts, in private events like: marriages, baptisms and other private parties.

4.3 Calendar in the ancestral dance. The solar cycle calendar is shown underneath; with this calendar the ceremonies and principal feasts were ruled: 4.3.1 XiuhPohualli, solar calendar. Eighteen twenties calendar 18 x 20 = 360 Twenty Correlated date Nahuatl name Reference February 12th- Atlacuallo They leave water First March 3rd Second March 4th-23rd Tlacaxipehualiztli Transformation Third 24 march24th- Tozoztontli Short fasting or april 12th small vigil. Fourth April 13th- Hueytozoztli Long fasting or May2nd great vigil. Fifth May3rd-22nd Toxcatl Tezcatlipoca’s Feast Sixth 23 May23rd- Etzalcualiztli Tláloc’s Feast June 11th Eating etzalli, potage made with corn and cooked beans. Seventh June 12th-July Tecuilhuitontli Small Lords’ 1st Feast Eighth July 2nd-21st Hueytecuilhuitl Great Lords’ Feast Distribution of goods to the people Ninth July 22nd- Tlaxochimaco Flowers offering. August 10th They went to the countryside to pick up flowers; Huitzilopochtli’s temple was decorated with them. Joy,

75 banquets, great dances. Tenth Aug. 11th-20th Xocotlhuetzin When fruits fall. Fire celebration Eleventh Aug. 31st- Ochpaniztli Celebrations for Sept.19th Mother Earth and the vegetation; a bunch of herbs was taken in one hand in order to sweep or purify the path. Twelfth 20 Teotleco Return to September20th- Tezcatlipoca and October 9th the Deity of Fire’s Land. Thirteenth October 10th- Tepeihuitl Mountains Feast 19th Elaboration of huauhtli (amaranth) paste figures Fourteenth October 30th- Quecholli Name of a bird. November18th Mixcoatl’s feast. Hunting representation. Manufacture of arrows. Fifteenth November Panquetzaliztli Elevation of the 19th-December banners 8th (20) with quetzal feathers Great Huitzilopochtli’s Feast Sixteenth December 9th- Atemoztli When water falls. 28th Rain Feast. Fasting. Food and beverages offerings. Seventeenth December 29th- Tititl Shrinkage cold January17th period Eighteenth January 18th- Izcalli Growth. February 6th Resurgence. Feast

76 in honor to fire. Probable time adjustment every four years. Nineteenth February 7th- Nemontemi Complimentary 11th period.

4.3.2 Tonalpohualli, ritual calendar.

The human being has always worried for foreseeing future events, with the aim of planning life ahead. With this purpose, our forefathers created a 260 days calendar (20x13), based on the complete man’s account (20) and on the dimensional scale of number 13, which has received the name of tonalpohualli, among the nahuatl people. Even though its meaning refers to the “Count of the Suns” or “count of the days”, it is also known as ritual calendar, guessing calendar or count of the destinies. If we consider that, with regard to the latter, the individual may know the signs which have an influence in his destiny, since his day of birth until the end of his life and he gets conscience that the history of humankind starts with the first being of creation (cipactli) and ends with the supreme knowledge of his own life (flower), also with the ritual calendar it is possible to determine the period of the corn’s gestation. We shall describe below the created signs in order to determine its influence on our destiny according to the moment of birth. Therefore, it results foremost important to have a coherent and serious work about the determination of this calendar which guides the future life of the inhabitants of this continent. Alfonso Caso.

4.3.3 Symbolic relationship of the tonalpohualli and characteristics of the person

Náhuatl Symbol Characteristics of the name and person meaning

1. Cipactli First created being Spiritual. Seer. Entrepreneur. Lizard- Tenacious. fish With firm principles.

77 2. Ehecatl Life aliment. Air Spiritual. and vital blow. Strong and changing character. Viento With an agile mind. It may be manipulating. 3. Calli Night house and Creative, home loving, transformation. protective, studious, far sighting. House Moon Uterus Tomb 4. Cuetzpalin Life movement. Sincere, orderly, leader. Sexual symbol. Possessor Lizard of a great energy

5. Coatl With a rain charge. She practices justice and Vital force. sincerity. Serpent Sensible, detached, Athletic, with a privileged intelligence. 6. Miquiztli Transcendence Clarivident, reflexive Transformation in entepreneur, with an audacious Death the mill of existence will

7. Mazatl Animal in motion Unquiet, perceptive, good leader, lover of freedom, affective Deer 8. Tochtli Fertility and embryo Intuitive for love, of the Moon. Fertile, spiritual, creative Conejo innovative, lover of tranquility. 9. Atl Water in a container Great guides, warming, and uterus Strong, patient, adaptable, Water transparent in her actions.

1 Itzcuintli Comrade during Generous, friendly, above 0 lifetime and guide everything. Dog during death 1 Ozomatli Ancestor born again Cheerful, imaginative, 1 diverting, superfluous and, Monkey sometimes sensual

Artist, tenacious, harmony seeking 1 Malinalli Transitivity of Worried for internal knowledge

78 2 existence. Cut herb. and the healing Herb of the Human being. 1 Acatl Internal growth With sharp intelligence, analytic, 3 Cane in observer, not very emotive, the water frank, trusting. 1 Ocelotl Physical and mental With attractive personality, 4 power tenacious, calculator, Jaguar trusting, leadership owner.

1 Cuauhtli Solar action bird Intelligent, tenacious, kind, 5 Good strategist, decided, Eagle ambitious. 1 Cozcacua Destruction, life Skillful, analytic, sagacious, 6 uhtli born from death. . long living, devoted to teaching and preaching. Vulture 1 Ollin Interlaced opposites Active, entepreneur, 7 creative, with great personality. Movement Defender of justice 1 Tecpatl Force that cuts or Intelligent, studious, unquiet, 8 transforms warm, trusting, good healer. Obsidian Leader. knife 1 Quiahuitl Tláloc’s eye and Creative, with good character, 9 teeth. great will. Spiritual guide. Good Rain son and good father. Xochitl Creative. Firm. Subtle for reaching goals easily, as well as 2 Flower Life mastery for art. Spiritual. Possessor and 0 transmitter of knowledge.

The tonalpohualli (account of destinies) and the xiuhpohualli (solar year) should advance in a parallel form to create different combinations. Thus, by the age of fifty two, both must coincide, in order to reach its culmination in the great celebration of the New Fire.

Each day of the tonalpohualli was dedicated to a representation in the table presented as follows, in which the day ce xochitl, devoted to Huehuecoyotl is outstanding, thus this day is confirmed as the representative of dancing, music and singing.

4.3.4 Deities of theTonalpohualli

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Day Deity Ce Cipactli Tonacatecutli Ce Ocelotl Quetzacoatl Ce Mazatl Tepeyollotl Ce Xochitl Huehuecoyotl Ce Acatl Chalchihuitlicue Ce Miquiztli Tezcatlipoca Ce Quiahuitl Tlaloc Ce Malinalli Mayahuel Ce Cóatl Tlahuzcalpantecutli Ce Técpatl Tonatiuh Ce Ozomatli Pantecatl Ce Cuetzpallin Iztlacoliuhqui Ce Ollin Tlazolteotl Ce Itzcuintli Xipetotec Ce Calli Itzpapalotl Ce Cozcaquahhtli Xólotl Ce Atl Chalchiuhtotolin Ce Ehécatl Chantico Ce Cuauhtli Xochiquetzal Ce Tochtli Xiuhtecutli

4.4 Chronicles on the ancestral dance

In order to confirm that the ceremonies and dances are strictly made according to the astronomic phenomena, the solar calendar (xiuhpohualli), as well as the account of the destinies (tonalpohualli) and the choreographic and mathematical aspects for the analysis of the methodological proposal of the set logics, it will be shown, as follows, what some chroniclers mention with regard to it, even within their optics biased towards the catholic religion:

4.4.1 Fray Bernardino de Sahagún

He arrived in Mexico in 1529, when he was thirty years old. He made his first research works in Pepepulco, Texcoco, about: “Divine, human and natural things…” afterwards, he establishes contacts in Tenochtitlan, Tlalmanalco (Puebla), Xochimilco and, mainly, in Tlatelolco, where he establishes the Santa Cruz College, place where he was sent as a teacher for

80 youngsters, to whom he prepared as collaborators for his research work, activity he made during approximately sixty years. As follows, a calendared order of the feasts is presented, where the dances that were practiced can be appreciated:

Twenty: Atlacuallo

Ceremony devoted to Rain.

Twenty: Tlacaxipehualiztli (I, II 2I) It was a ceremony of the gladiator rite. It was emotive. They fought versus captive warriors, two of them belonged to the order of the tiger warriors and two were from the eagle’s order, after a very solemn procession.

“…many priests came out from the highest part of the cu (Xipe’s adoratory), attired with ornaments, since each one of them represented one of the deities; as a procession and behind all of them, the four (4) advanced: two tigers, two eagles, who were strong men; they made fighting gestures with the sword and the shield like one who wields and, they got to the lowest part, they went to the site of the stone, they circled it – everyone of them—and they sat around it sitting on their icpales which they called quecho; they were all in order. The main priest in that feast was called loallaoa, he placed himself in the most honorable seat, and they started to play flutes, trumpets, shells and also to whistle and sing…” This great feast represented the inspiration of the agriculture as well as the masculine fertility.

Twenty: Tozoztontli

Fasting Period

Twenty: Hueytozoztli (I, II c 22) “…All the corn varieties, as well as all the bean varieties and any other edible legumes, and also all the forms of the chia, and because of this they made feast with offerings of food, with singing, dancing and with blood of quails; all their ornaments for adorning were red, curious and carved; in their hands they held canes of corn, thus was this dance devoted to Chicomecoatl. (Seven serpent) Twenty Tóxcatl

“…They prepared a youngster who would represent Tezcatlipoca; the most complete teaching was furnished to him with regard to dancing

81 and music. He also learned how to play the small clay flute special for this ceremony, whose sound was extremely sharp. During all this year he was treated like if he were the deity itself and he could do whatever he wished. The day of the feast everybody dressed their most luxurious attires and young women ornamented themselves with white flowers; everyone danced; the young Tezcatlipoca guided the dances; snaking, they also danced the tlanahua, “embraced dance”. This way he passed, dancing joyfully and playing his small flutes until the moment in which he devoted himself to the following ritual…”

Twenty: Etzalcualiztli

Dance of the rain, fertility rituals.

Twenty: Tecuilhuitontli (I, II c26)

Feast in honor to Huixtocíhuatl, deity of salt; the woman who represented her was richly attired and dressed. “…When she danced with these adornments, she was reclining a knee; about a palm or two on the high, she took a thick stick—thick as a palette and adorned with papers dropped with ulli—in her hand and three paper flowers full of incense in each third part of the stick; next to the flowers there were some quetzalli feathers, which were placed in cross or like sails; when she danced at the areito she went on with the stick rising it on the compass of the dance..”

Twenty: Huey Tecuilhuitl (I, II c27)

“…Ordered and singing and dancing, in pairs, men advanced, and in the middle of each two men, there was a woman. Those who made this areito were people chosen: captains and other courageous men exercised on the war; the ones who took women between them, took them by their hands…”

Dance in honor to Xilonen (Corn) “The woman who represented Xilonen was sumptuously attired and she was accompanied by vestals and women; she received great honors and, by the sunrise, all the men of account started to dance; all of them took some canes of corn like approaching to them; they called these canes Topanitl…”

82 Twenty: Tlaxochimaco (I, II c28) “…By midday, in the yard of the same temple, an areito commenced and it was very pompous; some women entered: they were public girls; holding hands, walked a woman between two men and a man between two women; they danced, celebrating and singing and those who made the music for the dance as well as those who directed the singing were together next to an round altar called momostli.” Twenty: Xocotlhuetzi (I, II c29)

“…Each one of those who went to the areito, attired as such, marched impaired with their captive; both were dancing in pairs. Also, after the offerings to Xiuhtecutli, lord of the fire; by midday they started dancing and singing, some women went in order among men; the whole yard crowded with people, there was no way to leave, since everyone were so tight… Twenty: Ochpaniztli (I, II c30)

“…Fifteen days before the feast, they started dancing; it was a dance which they called nematlaxo: this one lasted eight days. They were ordered into four rows and they danced, they did not sing during this dance; they went on marching, marching in silence and they took some flowers called cempoalxochitl in both hands.”

Twenty Teotleco (I, II c31)

“…They gathered in the town quarters and throughout streets and they danced holding their hands; they painted their arms and bodies with feathers of different colors, and they sticked them to the skin with resin…”

Twenty: Tepeilhuitl (I, II c32)

“…They sang and drank pulque to honor the gods and also their dead: poor people did nothing else but offer food to them, as it was described. The four (4) women they presented were Tepexoch, Matlalcue, Xochitecatl and Mayahuel, and the man who served as Milnáhuatl, image of the snakes…they were adorned, they were stained with melted ulle, and the man dressed the same attire… These women and this man were carried over couchettes; it was called the couchettes ride, they brought them like in a procession (4), they took them over their shoulders; men and women sang along with them…”

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Twenty: Quecholli

Name of a bird, manufacture of arrows for hunting

Twenty: Panquetzaliztli (I, II c34)

“…Then they started dancing and singing and they chanted what was called Tlaxotecayotl, which means singing to celebrate Huitzilopochtli; this chant started at dusk and ended at midnight when they called to matins. Women, mixed with men, also sang and danced during this chant…

Twenty: Atemoztli

Period of fasting Offering of food and drinks

Twenty: Tititl

The Motzontecomaitotia was a very solemn earth fecundation symbolic dance devoted to Illamatecuhtli, “elderly lady” or mother earth.

“…On the following day, everybody gathered for a solemn areito, which they started in the royal houses; they adorned themselves with all the attires or symbols, or rich feather garments which existed in the royal houses and they took in their hands, instead of flowers, all kinds of tamales and tortillas; they were ornamented with toasted corn which they called momochtli, they also took red blades made with red feathers as well as canes of corn with their corn cobs and, after noon time, the minstrels of the temple ceased the areito and all the principal lords came over and they set in order in front of the royal houses, everyone in groups of three; Moctecuzoma appeared also in the front row and, to the right of him, came the Lord of Tezcuco, to his left side, the Lord of Tacuba; a very solemn areito was made; this areito lasted until the afternoon time or at dusk…”

Twenty: Izcalli

This relevant dance of the “big circle” was made during the apogee of the Mexica nation and, still, some chroniclers got to see it, therefore

84 there are circumstance descriptions which reveal the brightness as well as the solemnity with which it was developed. “…It was celebrated every four (4) years on the tenth day of this month, to honor Xiuhtecutli, the lord of fire. On the same day, every fifty two years, the New Fire was lit; thus, it was an extraordinary cyclic celebration, related to the beginning of a new solar cycle of 360 days. Remember that the names of the years were four and their representations were devoted to the four parts of the world.” 4.4.2 Fray Toribio de Benavente or “Motolinía”

Motolinía was one of the Franciscan priests who came in 1524; he gave important data for the analysis of dance. As something outstanding, he left the terms that our ancestors used to name our ceremonies and dances:

Difference of meaning between Macehualiztli and Netotiliztli

… “In order to give solemnity to feasts, in which they honored the gods, and with such feasts they thought they made them great service…” called macehualiztli and which they made “…as joy and divertimenti of their own…” known as netotiliztli [1971:382]. “…maceuali deserving means to deserve; they had this dance as a praiseworthy deed, likewise we say we are praised for our labors of charity, penitence or any other virtues made with a good purpose. Derived of this verb maceualo, comes its compound tlamaceualo, for making penitence or confession, and these more solemn dances were made during the general feasts and also the private ones devoted for their gods and they made them in the squares. Netotiliztli “…means, properly, joyful dance, with which indians, in their own feasts, divert themselves and get pleasure, as well as lords and principals in their houses and their weddings, and when they have their balls and dance in such a way, they say: netotiliztli, ball or dance.” [loc. cit.] Through Motolinía, we know some terms used in the religious feast and in those of plain joy, such as: dance, ball, areito and mitote. Also, we can find one of the first evidences of dancing during the colonial stage, in the year 1526, in Texcoco, about which, Motolinía depicts as a joyful dance or Netotiliztli, as part of the festive events of the second marriage sacrament made in the Anáhuac.

“…among the “natives”. They took the bride and groom to the “…palace or principal lord’s house, and many went in front singing and dancing; after they ate, they made a very big netotiliztli or dance. In those

85 days, for one of these dances one or two thousand Indians gathered. After the wedding eves had been said, and coming out to the yard where they danced, there was a very well adorned thalamus and right in front of the bride and the groom they offered, in the Castilla style, the lords and the principal relatives of the groom, a house regalia and garments for their persons…” [History: 97]. In the chant dedicated to the wedding ceremonies made among the natives, Motolinía signals [Memorials: 316- 320] that when the bride arrived in the groom’s house, she was conducted to the marriage room, while those who were present danced and sang. The couple kept penitence during four days and they consummated their marriage until the fifth day; in that occasion and after they were bathed, they were dressed with feathers and everybody sang and danced. Besides what was formerly said, in Fray Toribio de Benavente or in Motolinía’s works, we may find several mentions with regard to the feasts in which dances were practiced, these mentions are scattered throughout their works; as follows, the synthesis of such information is presented, as it was made by Amparo Sevilla:

Name of the feast or twenty Dedication Features Source and page Tlacaxipeualiztli Huitzilopochtli and Mem. 63 “skinning…” Tezcatlipoca Hist. 33

Ochponiztli Mem. 63 “sweeping” Hist. 33

Etzalcoaliztli Tlaluc ...dressed with Mem. 64 Tlaloc and Hist. 33 “corn or bean Chalchiuhcueye’s food” garments and symbols respectively, they danced like that all day until midnight

Hueymiccailhuitl Mem.64 Hist. 33 They raised a big stick; on its top, they tied up an idol made with seeds and they danced around it

86 all day long

Yzcalli Huehueteotl Mem. 65 Hist. 34

They dressed a captive with the god of fire’s garments; after this one danced revering that god… During the vigil of the same feast, in Cuauhtitlan , two men danced with the attires “…they did nothing but dancing all day” In the eve of this same celebration, six war captives were taken; they shot arrows in that occasion; they made feast and “everyone danced with great joy.

Hueytozotli Mem. 68 Hist. 36 “great vigil” They gathered atulli, copalli and they “took all those who had power to create and keep the pauses, and they danced in front of them all that night so they might keep them and augment them”. Feast when “corn was They made an offering and they took it, grown up” in the afternoon, to the temples “and they danced in its dedication so it would keep the corn plantations for them”.

Tititlh Tititlh Mem. 68 Hist. 36 “…all the people danced during two days and two nights” “this day plus another one with its night everyone danced”.

Tititlh Tititlh “...all the people danced Mem. 68

87 two days with their nights “On this day along with its Hist.36 night, everyone danced”.

Tlaxuchimaco Mem. 68 In this feast, everybody looked for roses and they chose them, because it was the beginning of the summertime and the raining season.

Tecuilhuitoutli Salt goddesses Mem. 69 Hist. 38 The lords and principals gathered to dance; some women were dressed with the insignias of the salt goddess and they danced like that all night. That who was given the tittle over a lordship (in Tlaxcala, Huejotzingo and Cholula) Mem. 342 “they took him with very much joy of dances and chants” Afterwards they gave him his title “in the yard”; their dances and chants started accor- ding to the feast. Those who came from the pro- vince danced while the other lords who were the guests were sitting”.

People came out to receive, with chants and dances to those who brought the war Mem. 350 prisoner. They solem- Mem. 387 nized, with balls and dances, the books and writings where they narrated war victories.

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It is also important to observe, within the choreographic space, the hierarchic and mathematic placing, as well as the discipline, dexterity and quality of the dancers. “…The lord, along with the other principals and old men danced in front of the drums […] and with them another crowd which goes on widening and swelling the chorus. …all around, before a two order procession, very young male dancers, great dancers: the ones in front are two loosened men, from the best dancers, who guide the dance. In these two rows, during certain rounds and continence they make, at the same time they look at the dancer in front, which they have as a companion; in other dances, they do the same with the one who is behind. “…those two teachers give the beginning of the chant and then all the choir keeps on with the chant and the dance all together and the whole crowd, as well, have their feet so concentrated on the dance as if they were some very expert dancers from Spain; and, even more, all their bodies, both their heads and their arms and hands are so concentrated, measured and ordered, that none of them goes out, one from the other, half a compass, more than what one does with the right foot and also with the left one: everything is done, at the same time, by everyone. Therefore, the drums and the chant, as well as the dancer, all of them take their compass concentrated: everyone are conformed, they do not disagree, not a bit, one from the other. Good dancers from Spain, who see it, get scared, and they appreciate a lot these natives’ dances, as well as the great agreement and sentiment they have and keep in them. Those who remain farther away in those circles, we can affirm that they mark the two times compass, and they dance in a more lively way and they elaborate more in their dancing; and these ones, within the circle, are all in agreement one along with the others. Those who are in the middle of the chorus make the whole compass and their movements, both from their feet and their bodies, are made with more solemnity”. Attitude in the Maceualiztli Dance

…they did not only call and honor and praised their gods with chants made by their mouths, but also with their hearts and with the body senses, and for doing it well, they had and used many memoirs; like the head movements, and also from the arms and feet, as well as with all their bodies they made them work to call and serve the gods. …they are more than one thousand and, sometimes, more than two thousand…before the wars, when they celebrated their feasts with freedom, in the big towns, three or four thousand helped themselves to dance. After

89 the conquest, half that number, until the number was reducing and lessening. Some boys and little boys, the principals’ children, about seven and eight years old, go dancing; they chant and dance with their parents. Women who made penitence in certain temples danced right in front of the idols “very honestly” in some feasts [History: 43].---(See the preceding references where some dances in which men, men and women, as well as a lonesome woman participate, are mentioned).

Characters: probable Cipactonal and Oxomo.

…Besides all of those who represented the god or the goddess to whom they dedicated the celebration and the front dancers who were in charge of guiding the dances, some “thieves”, who were outstanding in the dance, participated “making one thousand rounds and telling one thousand graceful things that make everybody who see and hear them, laugh; some of them are dressed like old women, others, like silly men.

Attires

…roses and garlands they wear over their heads, thus they adorn them; besides their attires they have got in order to dance, made with rich coarse cloths and feathers and in their hands they bring small and beautiful feathers. In these dances they take many emblems and signals with which you can recognize those who have been courageous warriors… …When they had to dance, especially on the day of the demon, they put on charcoal in one thousand different ways, and for this purpose, during the morning of the day when there was dance, they came afterwards the male and female painters to the tianguis or market carrying many colors and paint brushes, they painted the faces, legs and arms of those who had to dance in the feast, the way they wanted and the solemnity demanded, and so they served the demon with these and other one thousand manners of services as well as sacrifices and, in the same way, they painted themselves to leave for the war” [Memorials: 74; History: 42]

90 Calendar Reference of twenties, places and schedules: “...Ordinarily, they sang and danced in the main feasts, which were spaced in periods of twenty days […] the principal dances were in the squares; other times, in the yard of the lord’s house […] also in the principal lords’ houses […] Sometimes the dances started in the morning and some other times, by the time of the major masses.

Remember the already signaled feasts and the several mentions about dances and balls made during all the night and the sunrise.

4.4.3 Fray Diego Durán He arrives in Mexico in the beginning of the year 1540.u In his book “Narration of the dancing god and the dancing schools that existed in Mexico in the temples for the service of the gods” [1967: 187- 196] the following information is found: In Mexico, in Texcoco and Tacuba there were teaching centers for dancing and singing called Cuicacalli. Ancient men, deputies and elected made that trade exclusively. Those who learned were boys and girls between twelve and fourteen years old. Durán gives other details about the form in which dancing and singing was taught, disciplines that always were developed together. With regard to the choreographic manner in which dances were made, Durán mentions that youngsters danced holding their hands, something that, occasionally propitiated the attraction between a girl and a boy; in that case, during the “areito”, the boy promised the girl that “when time passed by and it would be appropriate to get married, he would marry her”. Dance of Permission « …In the province of Tlalhuic, there was a god of the dances to whom, before starting to dance, they asked for license to be able to do it. That idol was made of stone and it had open arms like “a man who dances” and they adorned it with roses in its hands and its neck and with some feathers in its back “as Indians used to wear in their dances.” Xochiquetzal’s dance, one of the most solemn and favorite dances, it was made with adornments of roses. “… This nation had, and so, sometimes I see another one dancing if it is not because of a marvel”. “While they danced, some boys, attired as birds, descended while others, disguised as butterflies, very well adorned with rich feathers, green, blue, red and yellow. They climbed these trees and they passed from branch to branch swallowing the dew of the roses.

There was a dance and chant of thieves, in which a silly man was introduced, who pretended to understand the contrary of what his master

91 ordered him, changing his words. They joined, along with this dance, a thick stick with their feet, with so much dexterity, that the proofs and rounds that they made with it provoked admiration. As a result, some persons thought that it was brought by the demon and, if we consider it well, it nothing else but the hands game practiced in Spain and which could be called, over here, feet game”.

Flyers’ Dance

“They also used to dance around a high flyer; they were attired as birds and, sometimes, as monkeys. They flew from the top of it, coming down through some chords which were rolled on the top of this pole; they slid little by little by a square which it has got on the top, and some of them stay in there, sitting; and still others, on the top, sitting over a big wooden mortar that turns around, where the four chords are tied to the square, which turns around while the four are coming down, doing over there, sitting, a proof of very much courage and subtlety, without worrying and, many times, playing a trumpet…”

Durán refers about other dances: Chants of the Divine

“…These Indians had many other dances and joys for the solemnities of their gods.” There were also chants and dances which were very sad. “I have seen dances, occasionally, with chants to the divines, and it is so sad that I get involved into its sadness…” About the attires: “…they wore different suits and garments made of coarse cloth as well as feathers and wigs and masks, ruling themselves with the chants they composed and with those that dealt with the theme, conforming them with the solemnity and the feast, attiring themselves sometimes like eagles, others like tigers and lions, some other times as soldiers, others as huastecos, others like hunters, others like savages and like monkeys and dogs and other one thousand disguises […] Other times they made some dances in which they painted their bodies in black; some other times in white, others, in green…

Mayahuel Dance

…Simulating to be drunk, the men and the women took in their hands, small pots and cups, pretending to drink all the time.

92

Special attire

“…And the singers, as well as the dancers were wanted, because when they were dressed with the gods’ garments, and every time they performed them, they danced and chanted through the streets and the houses where they entered and in the temples and over the roofs of the royal houses and their masters’ houses also, furnishing them all the pleasures and joys of the world, food and beverages and feasting, as if they were the idol itself; thus, the merchants wanted them to be not only dancers and singers, but also healthy, without any defect or deformity. They should not have any contagious illness, like the bubbas, leprosy, scabies, coral drop, neither with heart illness, insane or fool, too thin, without teeth, one eyed, with their eyes full of sleep, neither one handed, limp or with any trace of ulcers or spots. For that purpose, they were undressed and observed from head to toe, in all their body members…”

As follows, a table with the main data is presented:

Name of the feast Dedication

Characteristics Page

Huitzilopochtli Name of the dance: (Vol. I) 18

Mitote.

Choreography. One or two persons, in front of everyone, dance with different counter- steps and, going and uniting towards those who guide the dance, do, once on a while, those who represented the gods, made “pleasant joyous manifestations”.

Huitzilopochtli …boys and girls set in order and in rows,

93 and who were in front of the others, danced 34 and chanted to the sound of the drum […]; the men, as well as the old men and the principal people responded, praying and dancing […] this way young girls and young boys stayed in the middle”.

Attire: Boys and girls, adorned with garlands and bunches in their necks.

Tezcatlipoca Choreography. “The dignitaries of the temple danced and chanted very well ordered next to the drum, advancing, in circle, all the lords”. Attire. The lords were “adorned and dressed with the emblems that the lads brought […] with strips on their heads…” One of them took the rope of toasted corn which used to be called toxcal.

Toxcatl Tezcatlipoca Name of the dance: Toz256 canetotiliztli, toxcatl’s dance”. Those who performed this dance were lords and principal people. Attire: all of them wore crowns or “untras” made with thin canes, painted and adorned; in the holes which remained between cane and

94 cane “they hung gold stamps or pebbles or one thousand curiosities” to these crowns they gave tzaltzaztli

Huitzilopochtli During this day, men and women 257 danced together. Women had to be maidens.

Tezcatlipoca Attire: Women wore red feathers 257 in their legs until their knees, Cihuacoatl as well as in their arms, until the elbows (it was a symbol of their being maidens)

Huey Tozoztli Tlaloc In the Tlallocan Mountain, “with all the lads and boys from the internments and colleges, “they made many dances”.

95 Naui Ollin Sol …a big areito was made, in which only the principal lords participated. Attire. Jewels, feathers, necklaces and the Gentle- men of the Sun showed the emblems: weapons of their Lord the Sun in the shields and feathers. Hueymiccailhuitl Xocotl Uetzi Choreography. Boys and girls, to the sound of the drum, danced the whole afternoon around a pole. This circle was in the

96 middle of another one which was bigger and was integrated by the lords. “They took, as a guide for their dances and right in front of them, an Indian who made so many dif- ferent movements, quite separated from the order and compass of the others”.

Attire. Girls: feathers on their heads, simulated fea- thers in their hands and gold bracelets. Boys: shaven and full colored faces, plumed arms

97 and feet; Lords: they took small idols, as well as “bunches made of the same dough with which the idol was made”. Everybody wore a black and white webbed coarse cloth, with feathers of the same colors over their heads. Guide: “He was attired as this idol […], as a bird or as a bat, with its wings and crest made of rich and big feathers. In the ankles, as well as on the wrist, they brought some golden bells,

98 […] and in both hands They wore rattles”

140 Xilonen …a woman who represented the already mentioned goddess,

with the purpose of honoring it, was skinned and one of the priests put on that skin and, over it, he put the clothes that the woman wore “with her crown on her head, her corn cabs around her neck and in her hands, dressed like that, he guided the dance. Ochpaniztli Toci

99 “heart of the She was sanctified like that earth” goddess and they consecrated her; after 20 days, they dressed her like the goddess; thus, she was shown to the people so they could see her and adore her and “they made her dance and take pleasure”. Seven days before the main celebration, they put her to rake, wash, thread and knit “nequén, in the meantime, many lads and girls danced in front of her, holding hands”. Xochilhuitl (Xochiquetzal Attire: “they did not take to the

100 roses feast) dances, on that day, any gala “roses feathers) adornment, nor gold, nor silver, nor stones, nor feathers, but just roses”. Huey Pochtli ( Xochiquetzal, Lords and dignataries 151 Twenty days from the latter came out from the temples dancing with some calabashes in front of the girls. Attire: Men, short shirts until the level of the waist as well as some short skirts and aprons painted with hearts and hands and “on their backs” they carried

101 big green and red calabashes as well as others painted. Dances in honor to Tezcatlipoca The silversmiths, and also the painters, carvers, embroiders and weavers took an Indian dressed like Xochi quetzalli to the temple. “While she simulated to be weaving, the already men- tioned officials, disguised as monkeys, cats, dogs, adives, lions, tigers; it was a high pleasure to dance where they took the emblems of each

102 trade of their own”. Huey Pachtli On that day, 154-155 they danced a very solemn dance: everyone danced dressed in white from head to toe”. […] painted and carved with hearts and palms of open hands, ciphers which meant that, with both heart and hands, they asked for a good harvest, since it was, already, its time. In their hands, they took more wooden trays and

103 good calabashes […] with which they asked for remedy and money for the idols. The Indian girls who danced together, had some revolt guts, to symbolize hunger or bellyful, whatever they expected. To the principals who died in the war Women of those (Vol.II) 288 who died in the war “set in rows, clapped very loudly and they swept bitter- ly; other times they danced, bowing towards the earth and thus, leaning, they marched

104 backwards.

444. Fray José de Acosta Father José de Acosta, who belonged to the Compañía de Jesús, tells about a relevant chapter that deals about the dances and the feasts [1940: 316-318]. As follows, we quote the most representative of this: Strategy of the church to begin the process of syncretism: “…Part of a good government is having in the republic its own recreations and pastimes, when it may be convenient […] From these dances (the native ones observed by him) most of them were superstitious and generators of idolatry, because that is how they adored their idols and guacas; therefore, the priests have aimed to avoid, as much as possible, such dances although, since most of them are just recreational, they leave the Indians still dance on their style […] Many of these dances used to be done in honor of their idols, however, this was not institutional, but, as it was said, it was a sort of recreation and joy for the people, and so, it is not well to take them away, but to try not to make a mixture with any superstition […] It seemed to me something good to entertain Indians during holidays, since they have the need of some recreation and, in that which is public and does not harm anyone, there are less inconveniences than in others they could do all alone if they were deprived of these ones. Generally, it is possible to admit that we can leave Indians follow their customs and habits (not being a mixture of their ancient errors). “…it is good to leave it and, according to Pope Saint Gregory’s council, to aim that feasts and joys are bound for the honor of God and the saints whose feasts they celebrate”.

105 Acosta remarks the importance of dancing: “…the recreational exercise most beloved by Mexicans is the solemn mitote, which is a dance they had, as authorized, that, sometimes, even kings entered to participate in its performance…”

Dance & Games Nowhere there used to be so much curiosity of games and dances as in the New Spain where, nowadays, it is possible to see turning Indians who may be admired over a string; others over a straight high pole, standing: they dance and make one thousand movements; others with the soles of their feet, as well as with the backs of their knees, they move and lift an extremely heavy trunk, such as it seems not possible to believe, unless one can see it…” The order of the dance “…Everyone went singing and dancing, in unison, with so much good idea, that they agreed perfectly one with the other, going on all at once, both with their voices as in moving their feet with such dexterity that it was something to admire. In these dances, two circles of people were made: in the middle, where the instruments were placed, the elderly people, the lords and more serious people were settled and who, almost on foot, slowly, they danced and chanted. Around them, well biased, in pairs, the others left dancing in chorus with more agility, and made various movements and certain jumps on purpose and, among them, they got to make a very wide and spacious circle. In the ceremonial centers, it was common to use luxurious attires: “…In these dances, they wore the most precious clothes they had, as well as different jewels, according to each one’s possibilities.”

106 At last, with respect to the place accustomed for the balls and dances, he remarks: “This ball or mitote was usually made in the yards of the temple and of the royal houses, which were the most spacious places.” 4.4.5 Father Francisco Javier Clavijero The order in the dance: “The big dance which was made in the main squares, or in the inferior atrium of the Major Temple, was different of the small one in its order, form and in the number of those who participated. This was so considerably extensive, that hundreds of persons used to dance together. About the music The music occupied the center of the atrium or of the square; joined in concentric circles, according to the number of persons who attended. At a short distance from them, other circlers of people, from an inferior class and, after a small space, other major ones made up of youngsters. All these circles had, as a center, a huehuetl or teponaztli. All the dancers described a circle dancing and none of them left their mark or line. Those who danced near the music moved slowly and with seriousness, due to the fact that the circle they had to make was smaller, that is why it was the place for the lords and most prospectus noblemen; however, those who formed the exterior circle, or farther away from the music, moved extremely fast, so as not to lose the straight line, and to avoid losing the compass that the lords made and directed”. Chant and music in the dance “…The dance was made, almost always, with the accompaniment of chants; but these ones, as well as the movements of those who danced, had to be according to the compass of the instruments. When chanting, they made two verses and, afterwards, everybody responded. Commonly, the music started in a low tuning, while singers chanted in a deep and low

107 voice. Progressively, they hurried the compass, they raised their voices and, at the same time, the movements of the dancers were more lively and the argument of the song was happier.

Presence of the buffoons In the space that the lines of dancers left, some buffoons used to appear, imitating other countries or nations in their costumes, or disguised as ferocious animals or other kinds of animals as well, trying to make people laugh with their buffooneries. When a comparsa or team of dancers was tired up, another one substituted it, and thus, the dance continued during six or eight hours…”

Dance representations

“Such were the modalities of the ordinary dance; however, there were others which were different, with regard to what they represented; they either represented a mystery of religion or a historical event, or any scene allusive to war, hunting or agriculture…”

108

Fray Bernardino de Sahagún, portrait by Cecil O’Gorman.

CHAPTER FIVE The music The music appears as the message of the creation through the harmony of rhythms and sounds which come from Nature and, in a cyclic way, it returns to it within the symbolism of the sacred rhythm of the Universe. The music that accompanied the dance shows the complexity of all that which its instruments suggest, even today and it consisted on choral ensembles with a rhythmic background as well as with an accompaniment of percussions, where a big vertical drum called huehuetl combined, plus the wooden two toned gong called teponaztli. According to the chroniclers, the huehuetl players started to play a slow and bass rhythm in order to mark the order and, during the development of the dance, the rhythm varied according to the features of the representation to which it was devoted to.

In ancient times, three types of musical drums predominated: single or double drumhead clay timbales; the panhuehuetl and the tlalpanhuehuetl used for signaling as well as for relevant ceremonies; the teponaztli, ritual drum made of cloven wood provided with two reeds which produce even four sounds. Sahagún refers that with a one reed teponaztli as well as with a resonator the women’s dance in honor to Xilonen was accompanied. The teponaztli implies an advanced knowledge of acoustics as well as a highly developed musical system. Other instruments were also utilized, such as seashells, ocarinas or whistles and reed, bone or clay flutes; some of them were simple, others were double and still others were made of four or more voices. The musical integration of these and other instruments in the desired shape according to each type of celebration, continues to reveal a high sense of the harmony, associated to Nature; it is thus shown by its sounds: The seashell to the wind as the breath of life; bells and, nowadays, ayoyotes to the snake as a symbol of fertility; the jingling rattle full of seeds and the rain stick. The music may be classified as follows:

109 --Ceremonial: it is the most develop music, utilized in the great feasts. --Ritual: it is the one consecrated to determinate rites, such as the ones devoted to fertility, the phallic ones, the puberty rites and the ones offered to the peyote. --Warrior: it is featured by the use of trumpets, drums, whistles and martial rhythmic effects. --Intimate: Contemplative music with a sentimental loving character, lullabies, chants for the death and for the games. --Hunting. It is used as a background for the dances devoted to animals which provide meat for the community. --Magic: the one utilized with healing or divinatory purposes with an esoteric character. --Erotic: sensual music, where young men and women participated. --Popular: Devoted to chants and dances of the community. --Humoristic: For theatre as well as pantomime performances. Musical instruments

Flute

Huehuetl Teponaztli

CHAPTER SIX The chanting I start singing, I am a singer: spread out, flowers, may there be pleasure with them may there be joy with them upon the Earth

I am coming to become sad:

110 just like a flower, man is appreciated upon Earth; !just for a brief instant we may borrow spring flowers! Enjoy yourselves, while I become sad… Mexican Chants In the representation shown within the different codices, it is revealed that in the ceremonies as well as in the feasts celebrated in all the twenties in the solar and ritual calendars, the integration which existed among the dance, the music and the chanting is evident. It is considered that, in order to reach the great mission as well as the sublimation of the dance, it used to be necessary to have a proficient leadership of the choral ensembles. Between the conjugation of science and the art of ceremonial and festive performance of dance and music, there was the ensemble of musicians, poets, singers and dancers. Durán tells us about the close relationship there used to be between dances and chants: “…Boys should forestall with regard to having a good knowledge of dancing and chanting as well as being guides of dancing. They were considered as good at dancing with rhythm and coordinating the body with the different shakes all in time as it was accustomed, as well as with the voice at the same time, because their dancing is not only ruled by the rhythm, but also by the high or low pitches of the chants, singing and dancing all together; with regard to the songs, there were among them poets who used to compose the words, thus giving each chant and dance a different sound…” “…So they had differences among their chants and dances, since some of them sang in a pacific and low voice, those were the lords who danced and sang in the grand solemnities of much authority, singing with measure and tranquility, whereas there were others, less serious, which were pleasure chants and dances…” The tlapizcatzin, which means the conservative, so called within the teaching centers, is the one in charge of giving lessons and lead the chanting, as well as taking care, with acuteness, of its conservation without any alteration. “…The conservative took care of the gods’ chants, of all the divine chants. With the aim of avoiding any mistake from anybody, he taught, with great care, all the people to sing the divine chants in all the quarters. He spoke out to call the people in the town to gather so they would learn well all the chants… Matritense Codex Sahagún refers about the Toltecs (I.X, c29):

111 “...They were good singers and while they sang or danced, they played drums and rattles made of wood and filled with seeds called ayacaxtli: they played and composed, and they ordered from their brains curious chants; they were very devote as well as great orators.”

Singer, dancer and musician Borgia Codex Clavijero observes that (p. 261): “…Their poetic language was pure, pleasant, bright, figurative and full of comparisons with regard to the most agreeable objects of Nature, such as the flowers, the trees and the brooks…” In the Florentino Codex (book II, folio 24 r.) he reveals: “…They start at once, the dance, as well as the chanting is made, the young warriors dance…” Words used for the chant: Cuicanocoa, dancing along with the chanting rhythm Cuicomana, making the offering of a chant Cuicoyanoa, to coordinate a chant with the dance It is considered that there existed different kinds of chants which were sung in the celebrations of macehualiztli or netotiliztli: Teocuicatl, which were divine chants. The Florentino Codex refers to twenty (20) sacred hymns Yaocuicatl, war chants Otoncuicatl, chants of sadness Tlahtocacuicatl, elegant or stately chants Teponazcuicatl, chants sung by the rhythm of the teponaztle Cococuicatl, turtledoves chants The xochicuicatl, the florid chants, are sometimes referred to the good things on Earth: friendship, love, the beauty of flowers, the birds, the symbols of the stones or the simple delight of poetry; some other times, they refer to the tones which evoke sadness and amertumes. The chanting was, generally, low and slow and what they sang was in prose; therefore there were very pacific and low chants, in which the great lords danced and sang with measure and tranquility in the solemn ceremonies.

112

CHAPTER SEVEN Offerings As an act of gratitude for the foodstuff receive and with the aim of receiving the future well-being, the offering is an important ceremony of the sortilege conception, such as Sahagún describes it in his research. They were made: “…With foodstuff and blankets, with any small animal, may there be turkeys or birds; may there be with blankets or anything new which was produced; may there be with corncobs, or with chia, with flowers or anything else. “…the little women were woken by their mothers and fathers so they would make some offerings, taking the gifts in their hands, which were very small tortillas. They went quite early to offer their offering; right in front of the god, they took the offerings in casseroles…” 7.1. Fire Offerings “…The offering was made with an incense container, tlemaitl (hand for the fire), made of clay, playing rattles.” Over there, they placed embers; in the incense container they accommodated the embers, they immediately placed some copal and then they appeared before the god’s statue, afterwards they marked the four directions of the Universe; they offered the incense, which started spreading its smoke. And, after they made their offering towards the four directions, then they placed the embers in the incense containers. There it stayed the copal, smoking. And it was made as follows: At dusk they woke up their children, both men and women; their parents woke them up, so they would offer the fire, they were woken very fast; therefore, due to this, they did not become lazy, this was made within all the people’s house.” 7.2. Burning of the land’s incense “…Thus,The copal was burnt; when any speech has to be made, or any real sentence should be pronounced, first they burnt copal within the fire. The copal is set inside a large cup. Anyone who is at the point of speaking, or else the singer who is about to sing, right before starting, previously burns copal in the incense burner and then, he starts singing.” 7.3. Throwing foodstuff and drinking

113 “…when they were about to eat something…when they drank fermented liquor or they inaugurated a pulque liquor inauguration…” A small portion of the foodstuff is cast or it may be a small spout of water to the fire directed to the four directions of the Universe. 7.4. General Vigil “…Thus were Vigils made: when it was night, those who permanently lived within the god’s house, those who were on watch at night, remained alert, so they would not avoid doing something due to the desire of dozing. Thus, they stayed awake all night until it was dusk; and the reason why they did this was that something had to be made during midnight or when this one was very strong, or else when daylight was going to break. That is why they were on watch during the night and they took care of the fire.” 7.5. Penitential Abstinence “…during the day, they did not eat, not only that, no one washed with soap, neither anybody bathed in the temascal, nor slept with any woman. Only when the Panquetzaliztli (banners rising) Feast was celebrated, they could eat while the sun was out, during seven days.” 7.6. Swallowing snakes “…It was thus made: they swallowed snakes when they celebrated the feast of the atamalqualiztli (eating water tamales).” 7.7. Making birds fly “…It was thus carried out: they made some birds fly in the Etzalqualiztli (mixed bean and corn foodstuff). Boys tied the birds to a stick. They marched like this while they made the procession.” 7.8. Processions “…thus were processions made: they were made within the feast where they were determined. All the people went out marching on procession, very early in the morning, or else at sunset. Then they spread out. 7.9. Falsetto voice in the woman’s mood “…And the woman’s chant was made as follows: when, for instance, it was the god’s birth or when everybody danced, women everywhere as well as men, also in the feast of Tlaloc.” 7.10. Zigzagging “…Zigzagging, within the Acomiztli Feast, was made as follows: small children were dressed up and trimmed with feathers, colored feathers, in the whole body. The adults were only adorned on their chests over their hearts, as well as over their backs, combining the feathers with which they adorned themselves. They said that they made this so that Acomiztli would not eat up their hearts.” 7.11. Striping “…thus it was made what was called the action of striping: when one was ornamented with the war attires, he took the shield in his hands, as

114 well as his wooden sword, however, this one was not provided with obsidian.” 7.12. How the incense was offered “…four times during the day and five times during the night. The first time was when the sun had risen. The second one, when it is time to eat. The third time was when the sun is in the middle. The fourth is when the sun is near its setting. During the night, the offering of the incense was made as follows: the first time when night came; the second one, by the time of going to bed; the third, when the flute sounded; the fourth, at midnight and the fifth one, near the sunrise.

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CHAPTER EIGHT THE ATTIRE 8.1. The masculine attire In the ancient Mexico, the attire accomplishes the primeval goal of shelter to become afterwards into a distinctive element of the hierarchy which every individual accomplishes in the socio-cultural organization of the Anáhuac. It was difficult to conserve the ancient attires due to the climate conditions, as well as the mourning ceremonial custums. Therefore, its reconstruction has been possible through representations in codices, sculptures, murals, ceramics or oral tradition. As follows, the attire is briefly described: Maxtla, loincloth: It is considered as the basic masculine attire; it consists on a piece of cloth which covers the genitalia, it passes through the legs and is tied to the waist; most of the times, the extremes of the cloth hang in front or behind the body. The hanger represents the phallic part.

Ixtlixochitl Codex Mendocino Codex

116

Masculine tie: It is used in a complimentary form along with the maxtla or loincloth, and it consists on a square or oblong piece of cloth which is folded and is fixed to the waist.

Mendocino Codex

Ixtlixochitl Codex Tilmatli, cape This cloth indicates hierarchy in the socio-cultural organization, the chronichler Durán says that the fiber, the decoration, as well as the length of the tilmas were strictly controlled by sever sumptuary laws.

Xicolli

117 This attire has a military character; it is a short shirt, without sleeves, with a band in the inferior extreme as an ornament.

Mendocino Codex

Masculine short skirt Attire used exclusively by a Tlatoani, tecuhtli, tlamatinie or deities.

Ixtlixochitl Codex

Quilt Armor It corresponds to an attire of protective armor belonging to the warriors; it consisted on a short shirt, without sleeves, filled with raw stuffed cotton.

118 Mendocino Codex

Complete Attire This cloth corresponds to a special warrior costume, like the one belonging to the jaguar, the eagle or the coyote.

Mendocino Codex

8.2. The feminine attire The basic cloth for the woman was the involving cloth. The torso is covered with two pieces. The huipil: A loose tunic without sleeves, made up with two or more added clothes. The quechquemitl: a piece formed by two oblongs united with a hang in front and behind.

Vatican A Codex

CHAPTER NINE The traditional dance since Colonial times It was already in the colonial epoch when Motolinía describes a joyful dance, in which it is known as Netotiliztli, performed in Texcoco in 1526, still having original features: “…Among the “natives”. They took both the groom and the bride to the “…real house or palace of the Lord Principal, with many people dancing and singing; and after they had dinner, they made a very big netotiliztli or ball dance. In those days, in this sort of ball dances, one or two thousand Indians gathered. After the vespers had been told, and outside

119 in the yard where they danced, there was a nuptial bed, well ornamented, and right there, in front of the bride and groom they offered, as it is the custom in Castilla, furnishings as well as wearing apparels for their persons…” [History: 97]. In the chanting to the ceremonies of the marriage made among the natives, Motolinía points out [Memorials: 316-320] that when the bride got to the groom’s house, she was conduced to the marriage room, while those who were present danced and sang. The couple did penitence during four days and they consumed the matrimony not until the fifth day, and in that occasion, after they were bathed, they were dressed with feathers, and there were chants and dances…” 9.1. The dance is taken into a syncretism The Spanish invasion provoked the collapse of our socio-cultural organization, due to the inhuman exploiting in the mines and in the edification of Colonial Mexico. Killings, epidemics and famine were the cause of the destruction of millions within the ancient population. Fray Bartolomé de las Casas described the crimes of the invaders and it is considered that between 1519 and 1531, approximately eight million of our ancestors had died. A similar mortality affected the economical development of the Colony when the labor (manpower) in slavery conditions was scarce. While in a great part of the continent the conquest was consolidated, the chichimeca group continued opposing resistance to the Spanish dominion and this represented for the Spanish Crown an investment of economical resources, death of soldiers and more time to consolidate the triumph, and therefore they had to appeal to the services of the religious missionaries in order to set the peace through the design of the concealing of credence called syncretism. This process is parallel to the syncretism of dancing. The event, which is considered by different authors as the initiation of what exists until nowadays as traditional dance is: “The Battle of Saint Gremal’s Hill” About the battle in “San Gremal”, Justino Fernández describes it as a particular and concrete fact. “…the installation of the Holy Cross on the Saint Gremal’s Hill in the City of Querétaro, after the chichimeca herds were defeated by the Christian caciques during the definitive battle that they held in that place, on july 25, 1531, and where, thanks to the miraculous appearance of the Holy Cross, the uncivil Indians were converted into the Christian faith thus becoming great devotees of the sacred symbol. “…Years after the conquest of the Great Tenochtitlan, Hernán Cortés sent some captains to pacify the towns which throughout the remote regions in the North were known as the barbarian lands, under the generic

120 name of chichimecas, and one of the first provinces subdued was Xilotepec”. “The Indians were horrified with the Spanish weapons and they got shelter in the mountain ranges near Querétaro”. “However, it was necessary to widen the conquest in that place and, actually—according to what Beaumont states—it was approximately in the year 1528 when the cacique Don Nicolás de San Luis Montañés, descendant of the sovereigns of Tula and Xilotepec, along with other captains—among them, in the first place, Don Fernando de Tapia (Conín) the pacification, as well as the conquest of Querétaro started, although there had been some previous arrivals”. “Both caciques were good Christians and they were very much concerned with spreading Christ’s faith; they got together with other caciques as well as with other otomí Indians who were warriors and they started their venture making a scale in the town which is now known as San Juan del Río, where they defeated the Indians without any bloodshed, thanks to the words pronounced by the Franciscan priest whom they had brought from Xilotepec and also thanks to the persuasion of the caciques themselves”. “And in each town they conquered and populated, they gave four chivalries with the highest grade for each cardinal point: North, South, East and West”. “On July 25, 1531 (that same year the image of the Guadalupe Virgin appeared in the Tepeyac Hill) Christians and pagans fought over a hill near Querétaro (Otomí Indian town founded near the year 1445), where both armies agreed to fight without weapons; both parts had a hard fought; they even “kicked, used their fists, and they bit, just like roosters”, and they were fighting when they saw up above in the sky, floating in the air, a shining cross and, beside it, the image of the Apostle Santiago was depicted, and it was its anniversary, and it was him to whom the Christians had invoked so he would come and help them stop the sun, since the night was near. “When they saw that prodigy, the fight was pacified, the Indians shed tears abundantly and they calmed down; they accepted, joyfully, the light of the Evangel. “They remained in a sorry state and blooded; it was not possible to make a difference between the Christians and the Chichimecan Barbarians, at that moment, the Indians asked to have a cross placed in the middle of the hill, exactly where the war had been held, so it would be a landmark “forever and ever” and they stated that the hill would be named Saint Gremal, to the memory of the blood spilled by Christians and Chichimecan barbarians.

121 “This is the place that the convent of the Cross has at present in the city of Querétaro; through its fences the republican army broke the site against the last redoubt of Maximilian…” Since the syncretism in the dance initiated, a new form of organization surged, as it is described by Justino Fernández: Organization (p. 11) “…The military organization of the different groups which integrate the dances, made up of men and women who, without any difference occupy some category, is as follows: “general captains”, “captains”, “second lieutenant”, as well as simple dancers, who are the equivalent of the soldiers; the former and the latter are distinguished because the former dance with “batons de commando” in their hands or fixed on their left arms; those categories are transmitted from the parents to their children, with the duty of accomplishing each year with the organization of the group, which has to be done and, principally, to dance and for that purpose, occasionally, they have to come from afar…” “… “conformidades” (conformities or resignations) is the name given to the organized groups of dancers which are affiliated with the same goal and which agree with the others…” “…Several groups, with their “captains” may get together under the command of a “general captain” thus forming a big dancers’ ensemble; however, the different units may dance independently…” “…The “baton de commando” consists on a small cylindrical stick, adorned with ribbons on its upper tip…” “…The banners add up a processional and religious sense to the dances and, partially, they are signals or points of reference, just like the flags…” Symbol of the dance, ozomatli the monkey. Feasts, ceremonies and dances (pg. 13) “…The events which precede the dances which we shall describe, take place eight days before the festivity of Saint Michael Archangel. Very early, at dusk, the next day, they offer an “alborada” to the Patron Saint; they gather in different places carrying big torches that light up the path and give a fantastic aspect to the procession which present, also, the novelty of conducting the “monkeys”. These “monkeys” are taken by some dancers who deposit them in the plaza, right in front of the church, where, at two p.m. on the same day, they are burnt and with their rockets and fire crackers they announce that the festivities will start taking force…” There was a presence of four captains and the couple of sortilege, Cipactli and Oxomo. The parade (pg. 17) “…The order that the caravans conserve is perfect: the one which arrives is preceded by four captains, playing their “armadillo shells”, like

122 the rest of the dancers; out of any fixed place, but also in front, the couple of wizards –man and woman—she covers her face with a mask of a feminine devil and she wears ixtle plaits; she is wearing black rags and she is taking a basket; both she (who is actually a man dressed like a woman) and her companion, another masked one, sort of an old man with hair all around his face, make gestures and jokes…” There is a presence of number 13, Captain in the middle and a man and woman couple. Major dance of Concheros (pg. 18) “...For more clearness we have numbered the variants of the different dance steps that we could distinguish in this dance, 13 on the whole, which repeat and alternate during its long development…” “…6. A captain gets into the middle of the circle in order to set and fix the dance step; there is also a man and woman couple…” “Everyone mark the rhythm from the front side to the back side and they finish with a sandal strong step; they leap on one foot and the other and they turn around, like this, always leaping…” There is a presence of numbers twenty and thirteen, crossing in the steps. Minor dance of Concheros (p. 27) “…Twenty (20) dancers, out of which only thirteen (13) take “conchas” (armadillo shell guitars); six banners are distributed…” “…3 crossing their feet in the air…” Probable dance which represents Mixcoatl Warrior dance of the “striped” (p. 33) “…They put layers of soot as make up on their faces, with silver stripes over their cheeks, that is why they receive the name of “striped”. 9.1.1. The word “he is God” Gabriel Moedano, in his work The dance of Concheros inQuerétaro, offers for us one of the different versions about the word “he is god”: “…On July 25, 1531, before Guadalupe, our Holy Mother appeared, the “Cross of the Miracles” appeared, that is what a general of ancient lineage from the San Francisquito quarter in this city tells us.” And he goes on. “They say that on the San Gremal little hill some pagans were fighting versus the Spaniards and then they had showed off their courage. They said that if the Spaniards won everyone would have to adopt our holy faith and if, on the contrary, the pagans won, then everyone would convert into the idolatry; however, it did not happen, our religion triumphed because the Holy Cross was formed in the sky and, since then, the chichimecas Indians started to dance for it”. He affirms, like other old generals from Querétaro, to be descendant of those who danced for the first time.

123 When the cross appeared, everybody said: “He is god, miracle, let us adore him”. Since then, it was accustomed to say this within the dance as a salute”. Since then, the colonial period, the dancers had to adapt themselves to the circumstances in order to survive; since then, different names and styles have existed: “In ancient times, in the Bajío region it was called the Brotherhood of the holy count, which surges as a consequence of a conscious and organized effort to perpetuate and defend select and mathematical aspects of the indigenous culture of the zone in which it appeared…” Afterwards, it was known as the “dance of conquest” or “concheros dance”, “toltec dance”, “corporation of concheros”, “independent dance”. 9.1.2. Geometric forms in the traditional dance Crossing in the salute dance step Justino Fernandez, in the theme of the major dance of Concheros, describes the salute at the beginning of the dance (p. 20): “…1. The music starts and all the dancers, obeying a captain who is in the middle of the circle, in front of Saint Michael’s banner, mark the compass with a crossed step, to the front as well as to the rear, leaning their body in a way that they seem to make a sort of repeated genuflections giving the image of a salute, varying this rhythm with some turns…” “…2.The rhythm starts with some turns in time with the music and then, another captain in the middle of the circle sets the step that everyone will follow and which consists on leaping lightly, marking the rhythm in their places and ending with a kick on the floor. Then, supported by one foot and with the other one they make the signal of the cross on the air, they turn once and they take another rhythm crossing their feet and finishing with a sandal beat…”

Anáhuac González in his work “Los Concheros; la (re)conquista de México” describes “The ritual process in the patron feast of Saint Marcos Mexicaltzingo”, situated between the boulevards Ermita Iztapalapa and La Viga in Mexico City in this contemporary era.

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Such work allows us to observe several changes in the geometric forms related to the visualization of the dance in the forties during the last century depicted within Justino Fernández work, where the mythic and mathematical goal is transformed:

“…Properly, the dance starts since the moment in which they leave, already attired, from the house of the person in charge. “They start to parade; they go dancing with the so called step of initial dance or marching step…which is maintained until they arrive to the church. “They enter conserving the same formation and the same dancing step, already in front of the altar, they kneel down and chant the responsorial praise which the group choirs in each verse: Permission Hail, pure Holy Mary, Refuge Virgin Let us thank God because He came. With the license of God Father, with the license of God Son, with the license of God and the Holy Spirit. Holy Trinity, of God Father and God Son, glory to the Spirit: Holy, Holy, Holy… They retire of the temple in the same order; but walking backwards, until all the dancers stay outside, in the atrium”. Out there, with the marching step, the salute to the “four winds”, group choreography which consists in signaling the cardinal points in the following order: South, North, West and East.

125 Afterwards, with the same step, they draw one circle, two columns advance one after the other, while the Malintzin is translated to the center of the circle and the Dance of the Sun begins to initiate the dancing process per se. Each dancer has the right of “casting his dance” in the centre of the circle when the Third Word indicates it. This way, many melodies, as many as dancers integrate the choreography, are heard during the day. They start with a dancing “prologue” which consists on marking the signal of the cross with their feet, in a solemn tone, with the aim of asking permission to the “four winds” in order to begin and to offer their execution to the catholic saints, to continue with the steps belonging to the final dance, when the rhythm augments and the emotion rises. It ends with a genuflection, which gives place to a pause so the next dancer may continue… The Winds, ritual, obligation: Within the contemporary “Conchera” tradition, the ritual is named “obligation”, and this one is made in five different places considered sacred winds according to what, in ancient times, was the conception of the Universe; nowadays, its geometry is limited to determine the directions in which the catholic sanctuaries are situated; as follows, we shall describe them with their correspondent syncretism: The first obligation is the Sacromonte (the Holy Mountain), in Amecameca, to the east of Tenochtitlan, in the months of February or March, previous to the beginning of the spring as well as the initiation of the rains when, originally, Tlaloc was venerated; the present church is located over the ancient cave. The second obligation is Chalma, to the south of Tenochtitlan, in the month of May, where a church was also built over a cave where Tezcatlipoca was revered. The third obligation is Tlatelolco, during the month of July; it was the most important commercial centre of the ancient Mexico, where the calendared ceremonial centre is located; it has the symbols of the ritual calendar in its façade; a mural painting, in which Cipactonal and Oxomo the creative couple who made the time count is depicted, was discovered over there. At present, it is considered as the centre of the four winds. The fourth obligation is Los Remedios, to the west of Tenochtitlan, during the month of September; in the ancient codices it is represented in the middle of a maguey. The fifth obligation is the Villa de Guadalupe Shrine, in the central area of the Tepeyac, to the north of Tenochtitlan, during the month of December. It was originally the feminine centre of veneration to our mother Earth, Tonantzin, as well as to Meztli, the moon.

126 As it is observed, the elementary crossing of the ancestral forms is not made at any moment throughout this journey.

1. East, Amecameca, February 2. South, Chalma, May 3. Centre, Tlaltelolco, July 4. West, Los Remedios, September 5. North, La Villa, December

9.1.3. Mathematics within a Vigil.

In all the vigil ceremonies, there is a ritual which is known as “the count” where the light of the candles intervenes as an important element and it is what is considered, within the tradition, as the laid out of the “holy form”, which is the cross of flowers. As follows, the mathematic aspects implicit within this ceremony are mentioned, described by José Antonio Cruz “Tlacuilo”, dance captain of the group “Tlalpapalotl”. In the year 1987, when he was the captain of the group Ollin Ayacaxtli, makes conformity with the captain general, Andrés Segura, and he learns from them the forms to set the light candles as well as the “Xochitl”, the laid out of the flowers. Altar, in front; Right after that, thirteen light candles are set in “half moon”. Afterwards thirteen light candles in spiral shape are accommodated; the first square in the middle stands out, where five elements, as if it were the representation of Venus, are observed, augmenting in the external phase in series of four until they withstand, in ascending form, the numbers nine and thirteen.

127 In front, to the left, the “holy xochitl” appears; this consists on a wooden frame in the shape of a cross with its rays and which symbolizes the sun. In the middle of the crossing a circle of twenty red flowers is formed and, from each one of the four angles, four rays covered by seven white flowers each one are emanated, hence: 4 times 7=28, lunar count

With regard to the “Xochitl”, Justino Fernández advices: “…those light structured tables are made by the Indians, as well as geometric figures of different manners and also human figures too and even images, San Miguel, or the Crucified, combining the “cuchaeilla”, which is always as a background, with yellow flowers, quite alive (sempasúchiles”, girasols as well as other flowers of the season; they add to this decoration big corn tortillas painted different colors, especially purple and all are crowned with a cross in the upper part. The aspect of these “súchiles” is really grandiose, however joyful; but, on the whole, they set a note of dramatics to the dances, just standing there, a little wilted, a little biased, among a carnival-like background and the ensemble of dancers…”

The armadillo shell, symbol of the resistance

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After the battle of the Saint Gremal’s Hill, it is considered that the traditional dance started, that is when the dancers get the name of “concheros”, groups in which the tradition of the ancestral dance is conserved, in a syncretism with the Christian Catholic religion. The name “conchero” comes from the chorded musical instrument called “shell”, which is a laud or mandolin covered with the carapace of the armadillo, which is in itself, a sacred symbol; when it is used, it is said: “…because it receives protection from this animal”. In all the vigil ceremonies, only this musical instrument, the shell, is able to transmit “the passion”, when the dancing performer gets in touch with the “souls” of the ancient captains and dancers, who are spiritually present and they are asked for protection, as well as for their benediction and spiritual force. In Colonial times, after the conquest, the ceremonies in which the dance was included, they were persecuted because they were considered as an antagonistic ritual with regard to the new religion; afterwards, when it was allowed to reinitiate the dances in the atriums, under the shelter of the Church, the Spaniards forbid the use of the ancient instruments like the huehuetl, which represents the first beat of the heart of the Creation, as well as the teponaztle, the flutes and the rattles. That is why our ancestors the dancers had the only resource of using the mandolin which, in a certain way, has complicity with the armadillo, according to the following myth that explains the origin of the shells of the armadillos; it is a chinanteca version, referred by López Austin, in the “Myths of the tlacuache”: “…Woman was named like that in ancient times. The armadillo was knitting a huipil with the intention of wearing it by sunrise; however, it could not finish it because it was very laborious; the armadillo was making it wonderfully and it had several sections. When the sun was about to rise, the tepezcuintli went to see the armadillo. It asked: --Haven’t you finished your huipil? --No, not yet. It still lacks…--answered the armadillo. --I have finished mine—the tepezcuintli commented—it has very pretty flowers. When the armadillo listened to this, it answered: --I think I shall not finish mine because sunrise is about to come. When the sun had risen, the huipil of the armadillo was not finish- ed yet and the armadillo did not know what to do. Finally it put on the huipil like that, half finished, with all the sticks with which it knitted; that is the reason why it has got a carapace. The tepezcuintli put on his complete huipil, because it was com- pleted; that is why the tepezcuintli is pinto. It still wears, on its

129 skin, those pretty flowers…” López Austin continues: “From this myth, the myth of the man changed into a monkey because he produced smoke when the deluge finished; and the one about the men who, the sun had risen, hid in caves and were transformed into edible animals and about a generalized reason, which was that the world was marked with a benediction… …The fusion of the original benediction of the world with the principle of Christianity and the myth of the man who was changed into monkey because he produced smoke, comes the myth of the men who changed into monkeys because they did not accept to make the sign of the cross over; when the sun rose, they went away to the mountains and they remained over there. When the myth combined with the myth of the men who hid by the time the sun rose and were converted into edible animals, there is another idea added: those who did not accept to see the sun light nor listen to the bell, neither did they want to know anything about the priest nor making the sign of the cross; they went to the mountains and became impudent monkeys who serve as food. Thus, our ancient dancers, who did not accept to make the sign of the cross, like the female armadillo’s unfinished huipil, they had to take shelter in caves when they suffered persecutions for making ceremonies of a scientific conception according to the origin of the Universe. The shell is also called the “count”, let us remind that the shell is the symbol of the zero within the Mayan numbers and it indi- cates that it is possible to transcend to another ascending level; José Antonio Cruz “Tlacuilo” says that, probably, it is called the “count” because the original laud has eighteen frets and the arma dillo shell was modified so it would have thirteen frets. Today, the essence of those ancient and courageous dancers, like that of the armadillo shell itself, who resisted against the Chris- tian principle, contrasts with the present vision: The “conchero dancer”, accepts the Christian principle, within a syncretism of our ceremonies, some of them promote the re- colonization of our dances by Spanish groups and others accept them. Groups of the mexicanity as well as some cultural groups depreciate the symbol of the “armadillo shell” as a musical instrument in the dance, since it is linked to the Catholic Church.

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CHAPTER TEN

Mathematic relationship within dance Piz ok’ot (el que danza con medida) Tradición oral maya According to what has been exposed in the preceding chapters, the importance of math in the development of the astronomy as well as in the calendars is confirmed; the relevance of the metaphor of the numbers within the nahuatl language with regard to the philosophic interpretation of our ancient ceremonies and dances as well as in the percussive rhythmic of the dance is also relevant; thus, the numbers which surge out of that are basic for the creation of computing harmonies, and they are the following: 1,2,3,4,5, 6,7,8,9,13 and 20. It is also evident, within the dancing field, that all the ceremonies with their dances were ruled by a solar calendar and when it came to mention the dances that were made every four and eight years in the month of Izcalli, it was possible to appreciate, in a clearer way, the relationship between them and astronomy. At present, in the dances which are still conserved and which are practiced within the traditional groups, it has been possible to observe that, in several of them, there still exist some evidences of rhythms in which, the ancient basic mathematical numbers and, when these ones combine harmoniously, the application of the computing webs are actually taken into practice. As follows, the implicit numbers are exposed in the mathematical harmony of the rhythmic of some dances still in use nowadays: Dance of the remembrance of the origin It is named dance of the permission to the four winds Upon initiating each dance, the one which brings us back to the remembrance of the origin of the Universe is performed; this dance is still named “the permission to the four winds”. The rhythmic of the dance is the following: --4 rhythms in a circle towards the left (counterclockwise). --4 rhythms in a circle towards the right (clockwise). --The right foot over the land marks the four (4) cardinal points. --The left foot marks 8 rhythms over the land (4+4). --The left foot in a rising attitude marks the four (4) cardinal points. --The right foot marks 8 rhythms: --Touching the land: 7 rhythms --In elevation: 1 rhythm --And it ends in a ceremonial attitude

131 Sum of the rhythms: 4+4+4+4+4+4+4+4+4+3+1 Totals: forty (40) rhythms. Representative of the union of the human duality: 20: complete count of a male human being Plus: 20: complete count of a female human being Video image Tezcatlipoca (black and smoking mirror) Rhythmic: Number in the basic step as well as in the shift step: 4 Sequence in basic steps: 4+4+4+4=16 Sequence shift steps: 4+4+4+4=16 Analysis of mathematic harmony: Number 4 symbolizes the crossing between matter and energy, where four points, which also represent the four Tezcatlipocas within the myth of the origin of Creation, are formed. Video image Quetzalcoatl (feathered serpent) Rhythmic: Number in the basic step: 9 Basic steps: 9+9+9+9=36 Number in the shift step: 7 shift steps (1): 7+7+7+7=28 Number in shift step. Analysis of mathematic harmony: Number 9 symbolizes the agglutination of number 13, the number of expansion, is also the indestructible number. Number 7 symbolizes the trajectory of a seed until its blossom. Number 28 a lunar count Video image Tonantzin (Mother Earth) Rhythmic: Number in the basic step: 9 Basic steps: 9+9+9+9=36 Analysis of mathematic harmony: Number 9 symbolizes the agglutination of number 13, the expansion number, which is also the indestructible number. Video image

Tonatiuh (The Sun) Rhythms:

132 Number in basic step. Basic steps: 5+5+5+5=20 Number in basic step and in the shift step: 4 Shift steps: 5+5+5+3=18 Video image Tláloc (water) Rhythms: Number in basic step: 4 Basic steps: 4+4=8 Number in basic step and in the shift step: 4 Shift steps: 4+4= 8 Mazatl Dance, the venison Rhythmic: Number in basic step: 5 Sequence of basic steps: 5+5+5+5=20 Number in basic step and in shift step: 4 Sequence of shift steps: 7+7+7+7=28 Analysis of mathematic harmony: When the sequence of basic steps is made 13 times: 13x20=260 When the sequence of shift steps is made 13 times: 13x28=364 Out of which: 1) 20= 1 count of the solar year (18x20) 2) 28= Lunar count 3) 260= Calendar of destinies, Tonalpohualli and the ceremonial count of maize, 4) 364= Lunar calendar or 13 cycles of 28 Video image Xihuitl (fire) Rhythms: Number in basic step and shift step: 4 Basic steps: 4+4+4+2= 14 Number in basic step and shift step: 4 Shift steps: (1): 4+4+4+5 = 15 Shift steps: (2): 5+4+5= 16 Video image

Xipetotec (fertility)

133 This dance was made in ancient times, during the second twenty Tlacaxipehualiztli, which is dedicated to the fecundity of humanity as well as the fecundity of the Earth, nowadays it has the following rhythmic: Rhythmic: Number in the basic step: 5 Sequence in the basic steps: 5+5+5+ 6 = 21 Number in the shift step: 4 and 3 Sequence in the shift steps: 4+4+3+3= 14 Analysis of mathematic harmony: Rhythms: When the sequence of basic steps is made 13 times: 13x21 = 273 When the sequence of shift steps is made 13 times: 13x14 = 182 Results: 273 = period of a human being’s gestation 182 = Period of sowing and crop of maize in ancient times Video image Iztlacuauhtli (white eagle) Rhythms: Base: 4+3 = 7 Shift: 4+5 = 9 Analysis of mathematic harmony: Mathematic harmony in the rhythms of the present day dances. Tonatiuh (The Sun) Rhythms: Basic steps: 5+5+5+5 =20 Shift steps: 5+5+5+3 = 18 Dance of the sun When the basic step is made nine (9) times: 9x20 = 180 When the shift step is made ten (10) times: 10x18 = 180 Therefore: 9x20 = 180 10x18 = 180 360 = solar year Tonantzin (Mother Earth) Rhythms: Basic step: 9+9+9+9 = 36 Shift steps: 9+9+9+9 = 36 When the basic step is made (5) times: 5x36 = 180 When the shift step is made (5) times: 5x36 = 180

134 360 = as it is observed, the translation period of the Earth around the Sun under the SOLAR YEAR is repeated. Chicomecoatl There are seven rhythms which represent the trajectory of the seed until it blooms. Video image Ehecatl, the wind Rhythms: Number in the basic step as well as in the shift step: 4 Sequence: Basic steps: 4+4+4+4 = 16 Sequence: Shift steps: 4+4+4+4 = 16 Analysis of mathematic harmony: Number 4 symbolizes the memory of the wind sun Video image

CHAPTER ELEVEN

Symbolism of the steps within the Dance The Dance is the narration of the acts performed by Humankind by means of harmonious movements of our body. Translation by Mihtotiliztli Lucio Carpanta, Tlanextik THE DANCE, as a human expression as well as a natural art, has universal features in time and space which are shown in the performance of mankind; its practice is manifested in all cultures throughout history and also within different kinds of expressions: ritual, social, erotic or magic. The ancestral dance is the search of perfection of the human being in which there is coordination among the body, the mind and the soul or spirit, interrelation that surges from a strict and careful integral preparation of the individuals in their educative process. Thus, the ancestral dance is a psychophysical expression which becomes a linking means of the sentiment of the soul belonging to the macehualli—through the harmonic movement of his body—with the Universe, by means of the celebration of astronomic events, as well as with Nature, when he blesses the selected seeds; in the fields, in the sowing process, during the growth of the plants and at the celebration of the lifted crops, also when he links with the spiritual qualities of the animals as a link between the community and Nature; and finally in the

135 fecundation, when he projects sexual attraction and when he convokes or rejects natural forces. The Dance is an ordered rhythmic movement, full of grace and joy, as well as dexterity, agility and vigor, where the breath, the heart beats and the equilibrium conjugate with the aesthetic art. But in all those manifestations, the messages are transmitted invariably by means of specific symbols, created and perfected with the harmonic movement of the human body, with its mental and spiritual force and which are compassed by the harmony of rhythm. Even though we know that the original features of the dances have been distorted, it is still possible to find part of the original essence through the direct observation of documentary evidences as well as those transmitted by oral tradition and which were made by means of interviews; that is how it is possible to start an analysis of the symbolism in some choreographies and dance steps practiced nowadays and in which we can still appreciate that this the narration of the acts of mankind throughout the rhythmic and harmonic movement of our body. Ritual for the formation of the expansion circle Before initiating the dance, a ritual for the formation of the circle is made; it is indicated as follows: 1. Two columns are formed; in front of each one of them there will be the elements of fire (incense recipient), wind (seashell), water and earth, as well as the captains and all hierarchies in descending order. 2. The columns march towards each one of the four (4) cardinal points, marking the paso camino (marching step). 3. The expansion circle is formed to initiate the dance. During all the trajectory, the marching pass is performed, in the shape of a snake. Video image Marching step in the Dance The traditional starting point in the immigrations, where the expansion way is begun, is Chicomoztoc, place of the seven caves, legendary point in time and space, path of the seven groups which leave, originally, from the mythical Aztlan. That is where several of our ancient peoples of Mesoamerica start their pilgrimage, inspired by the movement of the sun which guides humankind to move or peregrinate in harmony, like the Universe does. This is where the chichimecas’ evolution as hunters and collectors surges, to become agricultural workers who, with their hands, perfect the harvesting of corn. This is where pyramids or tzacuallis are built over a cave to show the ascending path of humanity.

136 The cave is the place of origin where the most ancient bones of humankind exist; humanity should have evolved in a parallel way with regard to our principal physical and spiritual food that is corn. Another name assigned to the primeval place, besides Chicomoztoc, is: “the passing place” This is the place where the marching step begins. The step, of the go forth and come back path. In the Chicomoztoc myth, as a theory of the evolution, humanity surges from the womb of Mother Earth to return, afterwards, to her. The path of humankind goes from being a conduction or behavior of vertical quality to come back in favorable conditions au lieu of the initial place of evolution. Video image Within the Dance, the “marching step” indicates this journey of the search for perfecting the human being: Step 1. It starts, initially, on the left side. Step 2. The foot indicates that the human being must put aside all what can affect his vertical behavior. Step 3. Over the right side, he gets back to the place of the supreme creation.

Dance of the remembrance of the origin It is called the dance of the permission to the four winds. Before each dance, the one which represents the remembrance of the origin of the Universe is performed; it has been called the permission to the four winds and, after its deformation, simply the signature.

137 In ancient times, it was represented as the demand of permission to the Earth as well as to the Universe in order to be able to initiate it; the demand of permission is executed as follows: Four rhythms are made in circumference to the left. Four rhythms are performed in circumference to the right. A step to the front is made, marking the centre. The right foot over the land marks the four (4) cardinal points. The left foot marks eight rhythms (4x4) over the land. The left foot, in elevation, marks towards the four (4) cardinal points. The right foot marks 8 rhythms: On the land; 7 rhythms In elevation: 1 rhythm And it ends with a ceremonial attitude. Video image With regard to this dance, the chronicler Durán refers (1.227): …From there I had the relation about the existence of a good of dances, to whom they asked permission to dance before starting their ball, and, first, they arranged the idol in the same way as they disguised and they put roses in its hand and on its neck and also some feathers on its back as they were accustomed to wear themselves during their balls…” Reverential Steps

Ritual dance, Vatican Codex B.

Ballerinas in a ritual attitude, referred by Samuel Martí (observe the hands)

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Mayan Ballerina

Ballerina from the Gulf of Mexico cultures Video image

Energetic whirls made to attract rain.

Tezcatlipoca Dance, the remembrance of the Creation

Within mythology, he is the first son of the divine creation. Originally, he symbolizes the memory as the night energy of the creation; he is the first sun in the legend of the suns and he represents the northern direction. He also means the remembrance of the count of destinies. Quetzalcoatl and Tezcatlipoca represent the law of the opposites, that is to say, duality; both are associated to the wind as the divine breath. He is also related to the moon, the death and the negative energies which destroy the planet and our own being and which represent the internal part with its opposite forces, and whose control must be found by the human being in order to balance them and thus, avoid his auto destruction. It is related with the star constellations, symbolized with the jaguar, therefore it is the last star of the “tail” of the “Ursa Major”, which, in the latitude of Mexico, it disappeared under the horizon, that is why it is said that it is the foot amputated by the Earth. The smoking mirror, placed in substitution of the foot that was cut by the Earth means, within the myth that, sometimes, in more austral latitudes, one of the stars of the Ursa Major disappears of the sky because it remains under the horizon.

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In its representation, the jaguar with the amputated foot and Tezcatlipoca’s smoking mirror, it shows in its attire, the rain deity and it symbolizes the physical as well as the mental power. The obsidian smoking mirror which, usually, replaces the mutilated foot, is the representation of the north, of the night, the night wind and it is also, the patron of the young warriors. The roar of the jaguar as Tepeyolotl, heart of the mountain, is linked with the racket of the thunder announcing the rain; therefore it is associated to fertility. The presence of Tezcatlipoca as a jaguar in the jungle indicates the conservation and the health of the ecosystems. …From his mutilated foot, the first maize plant was born; whose divine fruit allows man to reach the creator…therefore the ceremony to Mother Earth must be made twice during the ritual year: The first in the Tlacaxipehualiztli twenty day period, as well as the second one in the Tititl twenty at the end of the winter, during the days before the beginning of springtime, when the land has to be transformed and removed. His facial color is black because it represents the sky of the night; it is the wind of darkness which blows in the middle of the tenebrous, it is the dark side of Nature, when only the moon illuminates as a symbol of fertility and abundance for the future. His face takes horizontal black and yellow stripes, characteristic of all the Tezcatlipoca; the red and yellow colors, in allusion to Xipe; as well as blue and yellow to represent Huitzilpochtli. Attire Over his head, headdress of flint stones; stripes on the level of his eyes; spiral shaped gold discs worn in the ears; he carries a pot made of quetzal feathers; flint stone bracelets; his legs have black stripes; he takes small shells on his legs; he wears black sandals like the obsidian; he wears a feathered rimmed shield over one of his arms and he carries a paper flag; in his hand he takes a golden round scepter which has a hole in the middle and it is called tlachialoni, meaning vantage point, since it served to hide the face and look through the hole as a symbol of looking into one’s being.

140 “Limping” dance and backwards dance Vicente T. Mendoza says that this dancing form which is performed by doing continence (the action of containing oneself) dancing backwards, advancing and coming back, as if they were limping, is called by specialists “lunar dances”, thus considering it as a fecundation ritual associated to the lunar cycle. Sahagún relates about this way of dancing: “…When the one who was adorned with the attires of the goddess Ilamantecuchtli danced, the dancers made a kind of continence, going back and forth, like if containing or repressing themselves, he took in one hand, as a pilgrim’s staff, a strong cane on which he leaned; this cane had three radishes and its stump; the former were upwards and the latter, as the point, downwards. This way of dancing was named “reverse”… The disguise of Tezcatlipoca as a jaguar is the bird called guajolote; such animal is considered parallel to the human being because there was a credence within the cosmogony that these birds were humans in ancient times. Thus, the ocelot guajolote indicates the protection of well-being and health within families. Video image Symbolism of the steps within Dance: Basic Step …From his mutilated foot, the first corn plant was born, whose divine fruit allows man to access the Creator… “Limping Dance”, dancing backwards, dancing back and forth, as if limping, all those are called “lunar dances”, thus considering them as a fecundation ritual associated to the lunar cycle. It is the last star of the “tail” of the “Ursa Major” which in the latitude of Mexico, disappears under the horizon and for that reason it is said that it is the foot mutilated by the Earth. The smoking mirror placed in substitution of the foot that the Earth pulled up, means within the myth that, sometimes, in more austral latitudes, one of the stars of the Ursa Major disappears from the sky because it remains under the horizon. The foot mutilated by the Earth is also the first corn seed. Switch step 1 It represents the effort of uprooting the foot so that the corn plant may be born. Switch step 2 It manifests the happiness to the Earth so it may propitiate the growth of corn. Switch step 3 The turn invokes the spiral shaped growth of the corn plant.

141 Turns associated to the wind which announce the rain and the wind which is representative of the divine breath. The round mirror, the memory; it is the scepter, made with plate of gold, rounded and with a hole in the middle, called tlachialoni meaning vantage point, because he hid his face with it and looked through the hole, thus symbolizing the observation of ones self. Switch step 4 He rises his foot to impel the growth of corn as the human being who must search the auto control of his negative forces to elevate the internal energy to guide the fate of humankind. Switch step 5 The kicking is related to the noise of the thunder as the roar of the jaguar as Tepeyolotl, heart of the mountain, which announces the rain, divine liquid which offers fertility. Video image Symbolism of the dance of Huexolotl, guajolote The guajolote spreads out its wings, thus representing the protection of the well being and health of the families.

Dance to Quetzalcoatl He is the white son of the divine creation, the representation of the most beautiful, the precious; he is the life as well as wisdom. His name means “feathered serpent”, precious snake; white is his color and his cardinal point is the west; he represents the intelligence. The most known representation is the image of the serpent covered with feathers; the serpent is associated to the reproductive force of the Earth as well as its fertility. It is the image of the resurrection since, each year, it changes its skin and it regenerated itself. Serpents and rain are tightly linked within mythology, the reptiles represent the ray; and the bird, the creative energy that, with its feathers, makes the ascent of the connection. Since it unites both the qualities of the bird and the snake, it symbolizes the divine germination of the Earth along with the energy of heaven. In Teotihuacan it represents vegetation and fertility; it is also revered as the wind. It is also related with wisdom, science and art; its color is white as the symbol of purity and moral highness; it is attributed to the invention of the sculpture; and it rules the calendar and the arts. Quetzalcoatl is also translated as the “precious twin”; he represents Venus in its morning rise as well as in its descent at dusk, when his twin brother Xolotl surges and who hides at sunrise himself.

142 Within the myth, Quetzalcoatl and his twin brother Xolotl descend to the Underworld to gather the bones of the human beings who died in the preceding eras (the sun of jaguar, wind, fire and water) to create the new humankind to whom the perfecting of corn is given in order to be fed. The struggle of Quetzalcoatl with his brother Tezcatlipoca represents the balance that the human being must have before the forces of quality opposed to his being, as well as for controlling the forces of darkness. In the dawn phase, Venusian’s light produces the colors and order, as well as time are born. Therefore, order, colors and time resume the symbolisms of the four points of the Universe. Attire It has, on his head, a diadem made with a black striped tiger fur over his face as well as over his body; it is the image of Ehecatl, covered with several clothes and wearing gold ear discs in a spiral shape; his necklace has the form of seashells made of gold; over his shoulders, he takes an ornament made of guacamaya feathers; a red belt over his hips; on his legs, bells tied with tiger leather; white sandals, a shield with the spiral jewel of the wind; over one hand, a half elbow baton. Symbolism of the steps within dance: Video image Basic step The serpentine path starts, symbolizing the flourishing of humankind as well as the flourishing of vegetation star. When the foot is risen, the qualities of the bird and the serpent are proposed, thus symbolizing the divine germination of the Earth with the energy of heaven. His presence as the “precious twin”, representing Venus in his morning rise as well as when he sets at dusk; when his twin brother Xolotl who, at his turn, hides at dawn. Switch step 1 It calls the Earth and represents his trajectory by showing his reproductive force of Nature and fertility. Switch step 2 Turns which announce rain, in his representation of the wind. Switch step 3 It invokes the energy of the sun towards the Earth. Switch step 4 Quetzalcoatl and his twin brother Xolotl descend to the Under World to gather the bones of the human beings who died in the preceding eras to create the new human kind to whom they give the task of perfecting the corn in order to be fed. Switch step 5

143 It makes energy turns which search the elevation of the internal human energy. Quetzalcoatl is related to wisdom, science and art, that is why he seeks to elevate himself as a symbol of purity and moral highness. It ends with gratitude for the knowledge received.

Xipetotec Dance Within the mythology, Xipetotec is the second son, the red colored one, who represents the strength and courage; his representative cardinal point is the east. Within the Dance, he is a warrior related to the sun, the moon and the maize, who symbolizes the preparation for sowing, which indicates the purification and rejuvenation of the land’s renaissance. It is a ritual dance with a phallic character, where the divine seed of corn is placed as well as the one belonging to the human being. It is the representation of the sexual union of the Sun with the Earth, where the solar ray strips, like the phallus, which makes its motion to penetrate and make well up the divine liquid which unites the masculine with the feminine.

Phallic dance. These are the figures of nine naked women embracing themselves; they are circling three men who take the symbolic batons in their hands. National Anthropology Museum. It comes from Colima.

The phallic cult animates the dances since very ancient times and it is associated to the fecundity and fertility rituals. The result of the union between the Sun and the Earth as well as the presence of rain as the divine liquid is the abundance of food stuff; thus, the corncob is the produce or son of that communion.

144 Xipetotec is also called Yoalli Tlahuana, the “night drinker”, the one who drinks pulque—liquor obtained from the maguey—during the night. He drinks at night and he wakes up in the morning, that is to say, in the winter water is kept so that during springtime the land may be transformed, since it is in the spring when the land is covered with new vegetation. In a manuscript by Sahagún, the figure of Xipetotec is accompanied with the phrase anáhuatl itec, which means “the lord of the coast”, therefore it may be interpreted that this ceremony was originated in the Hot Land. Thus it is understood why in Chiepetlan, Guerrero, it is the most transcendental ritual. Video image Chants to Xipetotec “…So that the thirsty land may change its fire disguise, xicoanahualli, for the quetzal-snake one, quetzalcoanahualli; may its precious stones water descend, so that Ziuacoatl, the fire snake, the drought, turns into Quetzalcoatl, the land covered with vegetation.” …Oh, night drinker! Why do you have to be coaxed? Put on your ceremonial robes, your golden attire. Put it on! Strophes which invoke the rain, so it won’t have to be coaxed when it does not fall down; with regard to the golden attires, that indicates a petition for the rain to come. Attire The face is painted with the color of the quail; scattered head of hair; ear discs made of gold, black color short skirt; small bells on his legs; shield with red circles; in his hand, he takes a stick with jingling metal disks. Symbolism of the steps within the Dance Basic step The dancer is a warrior linked with the sun, as well as with the moon and the corn; with his feet he caresses the land, thus symbolizing the preparation of sowing which indicates the purification and the rejuvenation of the land. Switch step 1 It talks to the land; it opens up the furrow and places the corn seed. Switch step 2 The dancer elevates his body, thus invoking that the energy of the sun gets to the land.

Switch step 3 The feet make a crossing which suggests the union between the Earth and the energy of the sun; the turn invokes the spiral growth of the corn. Switch step 4

145 The dancer, as a warrior, makes a kicking which is related to the roar of the thunder announcing the rain; his body bends down and his feet suggest that the divine liquid penetrates the land thus offering fertility. Gratefulness step Ritual Dance with a phallic character This is where the warrior dancer places the divine corn seed as well as the human being’s. It is the representation of the sexual union between the sun and the earth, in which the solar ray strips like the phallus when it makes its movements to penetrate and make spring up the divine liquid that unites the masculine with the feminine. Video image Dance and Chant to Huitzilopochtli, like the hummingbird In the mythology, he is Ometeotl, bones-god; his name means left handed hummingbird; with great strength and dexterity; blue is his color; his cardinal point is the left south and it represents the willpower. It is him who makes the exhortation to leave Aztlan and guides the pilgrimage to search for the lake where they would settle down; it is also him who leads, takes care of his people and organizes them. He is the solar symbol of the resurrection of the warrior who, in this way, comes down to suck the nectar of flowers. Video image Fire Dance The fire is the beginning and end of all within time; symbol of purification, it was devoted to Axcozauhqui and Xiuhtecuhtli as the representation of the year commencement; it is the dance of the candles or the New Year Dance; it is the purification which is associated to water within the ceremony of the first twenty of the atlacuallo year. A man and a woman invented the fire; for such a reason, there is no life without heat. Ritually, the human being is born within the fire of the hearth and dies in the cremation. It is also related with maize (cinteotl-iztlacoliuhqui) because sowing the seed is equivalent to the sun when it sets down in the horizon before being reborn, as sunrise; it is equivalent to the first time that corn surges over the surface of the land. In the legend of the suns, the world ends due to the fire, walking or putting a foot over the fire symbolizes that this was finishing with everybody. It is also linked to Venus as the first sparkling fire in the sky. Symbolisms of the steps within the Dance: Basic step The dancer makes the movement that suggests when the sun hides in the horizon before being reborn, like the sunrise, it is equivalent to the first

146 time that maize surges over the land’s surface. It also suggests the action of preparing the wind in order to revive the fire. Switch step 1 It represents the action of lighting up the fire by means of rubbing the sticks. Switch step 2 The feet make a crossing which suggests the union between the land and the energy of the sun. Switch step 3 The dancer walks offering the fire in the middle. Dance of the half sun Excerpt from the mythology “The magic world of the Anahuac gods” by Dr. Otilia Meza: …It was this way that the assigned gods, Quetzalcoatl and Huitzilopochtli gathered again in the sacred Tlacapillacihualoyan, and both, accordingly, thought about creating a sun which could tear the dark mists of the Omeyocan, since the fire only illuminated a minimal portion of the extensive region of the gods. Huitzilopochtli, convinced of this necessity, took a small amount of fire which burned in the brazier placed over the head of the god Tota and he made a half sun with it. Quetzalcoatl, who observed him, made him know that the fire without the divine blow would never become a sun. Huitzilopochtli, upon hearing his brother, understood that he had to mix the fire with substance, with that divine essence, but which god would be able to possess such a great merit? And Quetzalcoatl, who guessed his thought, told him: I shall be that god; take the fire, I shall give part of my essence and my substance: that half sun will be the first bright light in the sky. The creative gods took within their hands a great amount of flames from the divine brazier and, with such amount of shining and unquiet flames, the gods formed a fire ball and, after that, the supreme instant of the unfolding promised by Quetzalcoatl, the precious snake. The white god, the god of wisdom and goodness, closed his eyelids and elevated the fervor of his heart so that his essence could come off within that apotheosis of unfolding of their august divinity and their essence was like a tenuous and transparent cloud which mixed up with the matter which was on fire. And, finally, the prodigy rose, the miracle surged at the end; with that portentous mix the half sun surged, it was an uncompleted sun, but it possessed the substance as well as the essence of the god Quetzalcoatl who rose beautiful and incomparable. The fate of the Infinite would be, already, a destiny of light?

147 That half sun would distinguish the mist? And the dual god, Ometecutli and Omecihuatl, as well as their children Tezcatlipoca and Camaxtle, felt unsatisfied of the wise behavior of the gods who were commissioned so they would order what they had to do, as well as the law they should have. The half sun is placed Around Quetzalcoatl and Huitzilopochtli, had gathered Tezcatlipoca and Camaxtle, as well as the renowned Ometecutli and his couple Omecihuatl, father and mother of the Creation and who showed the sign of the light over their foreheads; this was the emblem of the intelligence and the creative fire. In the Tlacapillacihualoyan, the sacred workshop, the gods observed silently the new creation. However, after silence, the word came: Quetzalcoatl and Huitzilopochtli, my sons: it has been some time since within my thought, the idea of a new concept of light flowed. Six hundred years have passed since you, the four of you, have dwelled the Omeyocan; until now, the infinite extension has been sunken within an ocean of mist. But now, time has come for light. Light is sprouting today! Due to this the Omeyocan, the dual place, is feasting! The light feast! Because your brother Huitzilopochtli, at this moment, supports with his hands that marvelous half sun, a half sun made with the fire of the divine essence belonging to his brother Quetzalcoatl! It is beautiful! but, Oh gods! How will this be? Where will you place it so it may accomplish its mission which is lighting up? And Huitzilopochtli, instantly, told his august father that the half sun would be placed in the highest part of the Omeyocan, so it could shine from the sky so the mist would flee away. And the goddess Omecihuatl, with a new light in the pupils of her eyes, full of emotion, assured: Quetzalcoatl, delicate son of mine! This half sun is beautiful! What a portentous thought conceived this creation and how grand is the glory of its fate! And your essence, mixed with the embers of the divine incensory, was a grand donation since, with it, the hands of your brother Huitzilopochtli made the mixture of that half sun… Symbolism of the steps within Dance: Basic step Serpentine trajectory as a representation of Quetzalcoatl, creator of the half sun. “…I shall be that sun, take the fire, I shall give part of my essence and my substance, that half sun will be the first bright light of the sky. Switch step 1

148 It represents the divine liquid Chalchitlicue, which is the fire rain that is in the sky. “…Huitzilopochtli, convinced of this necessity, took a little of the fire that burned in the incensory placed over the head of the god Tota and he made a half sun with it. Switch step 2 The dancer shows the lack of equilibrium when there is only a half sun. …a half sun surged, it was an uncompleted sun, but it had the substance and the essence of the god Quetzalcoatl and it surged beautiful and incomparable. Switch step 3 It shows the separation of Quetzalcoatl’s essence. …the white god, the god of wisdom and goodness, closed his eyelids and the fervor of his heart rose so that his essence could be released in that unfolding apotheosis of his august divinity and his essence was like a tenuous small and transparent cloud that mingled, little by little, with the lit matter. Switch step 4 It asks for stability and strength of the light. Switch step 5 It is the movement of the wind which produces the divine blow as the substance of the fire, creator of the sun. Turn with elevated foot as a representation of placing the fire in the highest point of the Omeyocan, so that it may shine from the sky and thus, the mist would flee away. Switch step 6 The establishment of the light force over the Omeyocan is requested again. Dance of the Suns legend The first sun is born as follows: Tezcatlipoca, who represents the night, has the jaguar as a disguise, whose spotted skin is similar to the sky with its star tissue; it was the first era of humankind. The first beings were giants, who had been created but who did not sow nor cultivated the land, they survived only by eating acorns and other fruits and wild roots. As it has been referred, Tezcatlipoca is also the constellation of the Ursa Major, which seemed to have, for the ancient Mexicans, the shape of a jaguar. When Quetzalcoatl hit Tezcatlipoca with a baton, this god fell in the water and was transformed into a jaguar; then he ate the giants and thus, the earth remained unpopulated and the Universe without a sun. The absence of the light was a long eclipse which ended this era since it maintained it cold and misty.

149 This occurred during the day called “4 tiger”. The second Sun: Quetzalcoatl became a sun and he was like that until the tiger Tezcatlipoca knocked him down with a lash of a claw. Big whirlwinds rose and all the trees were torn down; most of the humankind died, only some people remained converted into monkeys; that is to say, diminished human beings. This happened on the day “4 wind”. The third Sun: Afterwards, the sun of the rain and the celestial fire, Tlaloc, surges. However, Quetzalcoatl caused a fire rain and thus, humanity died. Only some humans remained converted into birds. It is said that the end of the sacred place of Tamoanchan corresponds to the eruptions of the volcanoes Popocatepetl and Xitle. This happened during the day “4 rain”. The fourth Sun: Quetzalcoatl set Tlaloc’s sister, Chalchiuhtlicue, “the jade skirted woman”, goddess of water, within this sun, but Tezcatlipoca made the rain fall intensively, that is why the Earth was flooded and thus, men died and were transformed into fish. This happened during the day called “4 water”. The alternation of the four elements, in their respective eras, corresponds to the four cardinal points referring to the crossing which gives origin to the creation; therefore the fifth sun in which we are living at present is the most important one, due to the fact that it refers to the centre as an origin, since this is the perfecting process of the creation of an organized mechanism that precedes the destruction and evolutional transformation of human beings. With the aim of helping humanity, the elderly gods Cipactli and Oxomo invent the calendar that rules the daily life at work, in the spare time, production, commerce as well as in the leadership and spiritual development. The Fifth Sun To create humankind, Quetzalcoatl descended to the Mictlan, the “place of the dead” to seek the bones, representative of the ancient humanity, thus avoiding Mictlantecuhtli, “the lord of the death’s arrangement” and who ordered to cave a hole so that Quetzalcoatl would stumble, to take them; that is the reason why the new human beings are not perfect, since the broken bones created sickly and mortal beings. The human beings of the Fifth Sun are called macehualtin, that is to say those who were “deserved”, because they were born from the death, offering and evolution of preceding ages. The dance is called macehualiztli because the ancient inhabitants of this continent knew that they had to offer themselves with the effort of their

150 bodies, minds and spirits within a previous lofty development, when it is our duty to maintain the balance in a calendared rhythm, since the health of our planet and of us, the persons who dwell in it, depends of this harmony; therefore it is necessary to remember the wise Toltec teachings of our ancient origin. The dances persist because they still keep the message of the cosmogonic in which it is explained how the unified whole initiated as well as the vertical line of our behavior and the guide as a tradition of the behavior of each community. Symbolism of the steps within the Dance First part It is the journey, as an astronomic fact, which is made by the sun and the rotation in spiral that indicates the process of evolution of the four preceding suns, while the Fifth Sun waits for the arrival of the equilibrium. Second part The body of the dancers narrates when Tezcatlipoca was told to throw into the fire and she could not dare to do it because he felt scared. He had four chances, four times he could dare to do it, however he could not throw into the fire. Then, they told Nanahuatzin to do it instead. Nanahuatzin, at once, had the courage and he concluded the deed, he strengthened his heart, he closed his eyes to avoid being afraid. The kicking indicates that he ran, he did not even stop, he did not hesitate, nor did he come back. Soon he threw himself, he cast into the fire, and he went inside it all at once. His body immediately burnt, it made noise, and it crackled when it burned. And when Tecuciztecatl saw that Nanahuatzin burned already, he also threw into the fire. Very soon, he also burned. Third part Thus it happened, when both cast into the fire… The equilibrium starts; the sun that rises is born; four dancers represent the precedent eras which are offered, falling down so that the corn as well as the human beings of the Fifth sun surge as macehualtin, that is to say, those who were deserved, because they were born out of death, offering and evolution of the preceding eras. The dancer who represents the Fifth Sun turns, and this indicates that the daybreak, as well as the clearness of light, are everywhere. Fourth part A new journey of the sun in equilibrium is initiated; the group of dancers indicates, in its movements, the happiness as well as the evolution turns of the new humanity.

151 The stars of the galaxy turn around and, at the end, the components of our solar system remain; with their turns, they give strength to the new era of humanity and corn, which initiate their path towards maintaining the order and the equilibrium.

With gratitude to Creation…

Dance of Giants in the First Sun The first human beings were giants who had been created, but who did not sow nor cultivated the land; they just survived by eating acorns, fruits and wild roots. Tezcatlipoca is the darkness symbolized by the jaguars that ate the giants, whose action determined the Earth to e unpopulated. Supporting this tradition we have the fact that the giants, called quinametzin, are already mentioned in the historical chronicles, mainly in the Tlaxcala state region.

Francisco Xavier Clavijero illustrates in his work “Ancient History of Mexico”, page 288.

Dance which shows the equilibrium in the Fifth Sun

Father Acosta refers: …In no part was there so much curiosity with regard to the games and dances as in the New Spain where, since nowadays, we can see flying Indians who admire, flying over a rope; others, over a high and straight pole, standing, dance and make one thousand figures. Video image Dance of the wind, Ehecatl

152 The wind means the first breath, the food of life. The dancer, through the sound of the seashell, spreads the germ of our culture as a symbol of the seed of the origin of Creation and the wind which is in charge of spreading it. In the second Sun, Quetzalcoatl became a sun and he remained like that until the jaguar Tezcatlipoca knocked him down with a lash of a claw. Big wind whirls rose and all the trees were torn down; most of the humankind died; only some people remained converted into monkeys, that is to say, diminished human beings. This happened during the day “4 wind”. The wind takes everything away from the fields, previous to the beginning of the sowing of the corn and of the rainy season. Symbolism of the steps within the Dance Basic step 1 The creation of the wind which takes the seed is prepared. Switch step 1 Gusts, as the breath that fertilizes Mother Earth, are created. Switch step 2 Preparation leaps for the wind Basic step 2 The earth is told to prepare for the sowing. Switch step 3 Gusts to sweep the fields are created. Basic step 3 Wind whirls are created. Switch step 5 There is joy for having a wind in equilibrium for the next sowing. Basic step 4 The Second Sun wind is recalled. Switch step 6 The tornados of the second sun which swept away humanity are recalled. Switch step 7 There is gratefulness for the winds in equilibrium for the sowing and it is requested to avoid the ones occurred during the Second Sun. Dance of the Sun, Tonatiuh Huitzilopochtli is the Sun, the young warrior who is born every morning from the old deity of the Earth and dies every afternoon for lighting up, with its light out, the world of the dead. Every day this divine combat is carried out; however, so that the Sun may win, it should be strong and vigorous, since it has to fight versus the innumerable stars from the north and from the south and it has to scare all of them away with its lighting arrow.

153 Therefore, humans must feed the Sun; but with the fortitude of the heart; with his behavior of vertical quality, represented with the magic substance which exists within the man’s blood; it is the chalchihuatl, the “precious liquid”, the nectar that the dancer and the peasant offer with their perspiration as a divine liquid. When the sun gets to the middle of the sky, the warriors retrace their steps and go towards the east, so that it may be accompanied by a new journey until it reaches the west. The trajectory of the sun in the sky is of warriors in the morning and of divinized women in the afternoon. When the energy of the sun is at the zenith, it triumphs and dominates Nature and the living beings that dwell on it, because it is when its fire is spread throughout the whole planet.

Zigzag movements of the sun throughout the year according to the graph expressed by Anthony Aveni p. 77 Symbolism of the steps within the Dance Step 1 Journey made by Huitzilopochtli as the Sun like the young warrior who is born each morning from the womb of Mother Earth, and dies every afternoon to light up, with his unlit light, the world of the dead. Step 2 The dancer is grateful to the energy of the sun. Step 3 Zig Zag Journey of the sun as an astronomic event during the year. Step 4 The dancer makes a spiral turn, which indicates the growing of his vertical behavior that flourishes within his heart, where the magic substance flows; this substance is inside the human’s blood and it is called the chalchihuatl, the “precious liquid”, as the nectar offered by the dancer as well as by the peasant along with their sweat, divine liquid which fortifies the sun. Step 5 Turn with the foot raised; it represents the strength that the stars in the Universe send to our sun.

154 Step 6 The movement of the spiral turn is repeated. Step 7 This step shows when Nanahuatzin and Tecuciztecatl throw into the fire to make the light of the Fifth Sun shine and, thus, the new sunrise would come. Step 8 The movement of the spiral turn is repeated. Step 9 When the sun gets to the middle part of the sky, the warriors undo their journey and go towards the east, so that a new journey may go with it until it reaches the west. Dance to the sun Symbolism of the steps within the Dance Basic step The dancer shows that the energy of the sun in its trajectory triumphs and dominates, touching Nature, as well as the living beings that dwell in it, with his foot; this is because it is when he spreads fire throughout the planet by pointing to the four winds or cardinal points on the air. Switch step 2 The dancer, with his turns, represents the solar warrior who, in order to feed the sun, fortifies his heart with a vertical qualified behavior and he offers his sweat as a divine liquid to Mother Earth. Switch step 3 He offers the divine liquid of his quality in a spiral shape towards the Universe. Switch step 4 The solar warrior, strong and vigorous, has to fights against the innumerable stars of the north and from the south. Basic step 2 The warrior dancer shows that the triumph allows him to climb the infinite. Switch step 5 The solar warrior shows the potency of his energy. Switch step 6 The solar warrior, in order to fight and scare away the innumerable star of the north and the south, uses the arrow of his light. Dance to Tlaloc, “the one who makes sprout” It represents rain and the thunder which announces it. The rain symbolizes the divine liquid that unites and purifies; that is why he has Xochiquetzal, the representation of flowers, love and reborn vegetation which is reborn, as well as Matlalcueitl, the green sides of the mountain, as his couples.

155 Caves are the connection between Mother Earth and the sea, as well as the waters that were stored in the big caves which were inside the mountains and sprouted afterwards though the water sources. The sea, as the generator of the winds that precede the initiation of the rainy season; from inside the mountains, the energy of the water liberates the “hearts” of the plants or the essence of the dead vegetation in the preceding dry season. Dance of the man-woman natural couple, it represents the union with love: The body and the face are painted in black because it represents the stormy cloud of the rain and his mask is blue, because it symbolizes water. Another female companion is the sea, as well as the lakes. Symbolism of the steps within the Dance Tlaloc, the small toad Basic step It is the representative crossing of the divine liquid which is joined to Xochiquetzal, representation of flowers, love, as well as vegetation which is reborn and Matlalcueitl, the green sides of the mountain and the thunder step to call for the rain. Switch step 1 Rain Jump and backwards dance step, as a symbol of fecundation associated to the lunar cycle. Switch step 2 The sea is the generator of the winds that precede the initiation of the rainy season. Switch step 3 Step that calls inside the mountains, energy of water which liberates the essences of the dead vegetation in the preceding dried season. Switch step 4 It is the whirl which is the generator of the wind previous to rain. Switch step 5 Toad like jumps made to attract the rain. Grateful ceremony made for the rain. Dance of the Dove: For both man and woman, dancing represents the force of love within the couple as duality, just like the rain has Xochiquetzal as a couple, and both are tied with love. First Version Basic step It represents thunder, which announces the rain. Both feet cross; this suggests the connection between Mother Earth and the sea, as the generator of the winds which come before the initiation

156 of the rainy season. It is the divine liquid, previous to the union between matter and energy. Switch step 1 It is focused on the earth, with love. Switch step 2 Wind whirls previous to the rain. Switch step 3 It is the Circular movement that depicts the couple’s courting. Switch step 4 It represents the Approach movement of the couple. Switch step 5 Crossing of legs as the representation of the couple united with love. Switch step 6 After the union is made with love, the wind whirls are produced and these provoke, as a consequence, the rain indicated by the stamping. Switch step 7 Wind whirls and the penetration of the divine liquid to Mother Earth. Switch step 8 The dancer calls the earth so as to transmit his joy to it.

Switch step 9 The dancer elevates his foot to impulse the growth of the corn. The human being, who is naturally bond with love in the couple man- woman, elevates the internal energy as a being in plenitude. Switch step 10 The dancer is grateful to the wind and the rain Second Version Basic step It represents the thunder which announces the rain. The feet make a crossing which suggests the connection between Mother Earth and the sea as a generator of the winds that precede the beginning of the rainy season. Rain is the divine liquid previous to the union of matter and energy. Switch step 1 It suggests the preparation of the winds that announce the rain. Switch step 2 Wind whirls which announce the arrival of the rain. Switch step 3 It is the movement which shows the courting of the couple. Switch step 4 It is the movement that shows the courting of the couple. Switch step 5 It is an approach movement of the couple.

157 Switch step 6 It is the crossing of legs as a representation of the couple united through love. Switch step 7 It is a movement that shows the courting of the couple. Switch step 8 It is a movement which suggests the preparation of the winds announcing rain. Switch step 9 Wind whirls which propitiate rain. Switch step 10 There is joy due to the arrival of rain, for which everyone is grateful. Dance for Tonantzin (Mother Earth) Representation of the Supreme Feminine, energy which is receptive and linked to the hearth as well as to the nocturnal telluric energy of Mother Earth, owner of sexuality and fecundity; out of its body, the fruit sustaining humanity is born. As a feminine being, it is also called: Toci, “supreme mother”, Cihuacoatl, the feminine intelligence, Itzpapalotl, feminine seduction; Coyolxauhqui, the lunar energy; Xochiquetzal, the young feminine beauty; Tlazolteotl, the sexual earthly tissue. The path towards the west, Cihuatlampa, is the place of the divine women, representation of the most ancient generations; it has also got Izpapalotl as a symbol, which is the “obsidian butterfly”, linked to the north as the deity of the nine plains, where the most ancient past of our origin is located, it is the place where birth as well as death exist simultaneously, thus fecundity and fertility appear in the mountains, the dwelling of the dead. The ceremonial centre devoted to the supreme feminine energy, our Mother Earth, Tonantzin, is located in the Tepeyac hill, which is now the sanctuary devoted to the Guadalupe Virgin. Tonan (our mother) was worshipped and she was also known with the following names: Ilamatecuhtli, it is the most ancient feminine order of energy. Cozcamiauh, it is the ear or spike of corn or the corn in flower collar. The main celebration was made within the Tititl twenty day period, from December the 29th to January the 17th. According to the legend, Coatlicue, the old deity of Mother Earth, was a priestess in the temple and lived in retirement and chastity; after she had begotten the moon and the stars; but, one day, when she was sweeping, she found a ball made with feathers, which she kept over her womb. When she finished her home tasks, she looked for the ball of feathers but it had disappeared and, all at once, she fell herself pregnant.

158 When the Moon, calle Coyolxauhqui, as well as the stars, called Centzonhuitzahuac, knew about the news, were furious, just to the point of willing to kill their mother. Coatlicue cried upon knowing about her upcoming end, since the Moon and the stars were getting ready to kill her with weapons; however, the prodigy which was within her womb talked to her and consoled her, affirming that, at the proper time, it would defend her against everybody. When the enemies came over in order to scarify their mother, Huitzilopochtli was born and with the fire serpent, he cut the head of the Coyolxauhqui and made the Centzonhuitzahuac get away. It is for such a reason that, upon her birth, the deity has to fight against her brothers, the stars and the Moon, armed with the fire serpent. The solar ray, every day, makes them flee away and its triumph means a new day of life for human kind. Upon finishing his victory, Huitzilopochtli is taken on a portable platform by the souls of the warriors who have died in the war and, when the evening starts, he is taken by the souls of the women dead upon giving birth, they are alike the warriors, because they died when they took a human being, the newly born, as a prisoner. During the evening, the souls of the mothers conduct the Sun towards the sunset, where the stars die and where the Sun, which is compared to the eagle, falls down, dies and is picked again by the Earth. Within the dance, the step which depicts the sweeping of the land is the performance that precedes the sowing of the corn. The baton with jingling metal disks represents, as a symbol, the action of digging where the grains of corn are deposited, while the sound calls the clouds for the rain. Attire Facial chalk paint; headdress made with eagle feathers; white shirt; snakes skirt, small bells and white sandals; shield with mosaic of eagle feathers; snake shaped baton. Symbolism of the steps within the Dance Basic step In the Ochpanistli twenty day period, one is grateful to Mother Earth for the first fruits that maintain human kind, it is the period of the “sweeps” where there is no dance, there are only walks and pilgrimage in silence and reflection, holding cempaxochitl flowers or a bunch of herbs with which the path is swept or purified. The dancer symbolizes, with his back and forth walking, the representation of the supreme feminine, where the night energy of the earth is linked to the moon, both as owners of sexuality and fecundity. With his foot, he makes an “edge” movement (heel-forward) and, with this action, towards one side; this indicates sweeping the land as a previous

159 action to the sowing of corn and to the reflection that human beings make where they “sweep”, that is to say, they clean their internal energy which moves as a spiral. The foot indicates that human beings must get rid of all what may affect their vertical conduct. Captain of the Dance Cruz Hernández Ibarra relates that this walking action or pilgrimage used to be made over the present day called Misterios Street in order to get to the Tepeyac Hill, place of the ancient ceremonial centre devoted to Tonantzin. Switch step Within the shifts, it is depicted how the earth is called, as well as how the seed is accommodated and the joy produced by observing the fruit received, with much gratefulness at the end. Dance of the offering Basic step Upon the arrival to the Tonantzin ceremonial centre, the pilgrimage or reflection walking is over and the benefits received as a sustenance from Mother Earth are offered. Switch step In the shifts the dancer elevates his feet and makes turns indicating the divine germination of the earth with the supreme energy. It ends with gratefulness for the sustenance received. Dance of women, Tetelcingo Morelos This dance maintains the representation of the supreme feminine, the receptive energy linked to the hearth as well as the night telluric energy of Mother Earth, owner of sexuality and fecundity; from their bodies, the fruit sustenance which maintains human kind is born. Dance to Chicomecoatl The seed of the corn sown goes to the Tlallocan, place of the fertility, the abundance, as well as the resurrection. Chicomecoatl is the most important representation of vegetation, because it represents the maintenance that Mother Earth gives us. It is also called the seven corncobs. Number seven represents the seed which is expanded into a fruit. The sowing and harvest period has 182 days.

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182 between 13 equals 14, number which represents the solar journey of number seven twice, that is to say in its cycle of initiation and return. This cycle means when life results from death and also when death is the product of life, just like the bones, mortal remains of living beings, as well as fruits, become seeds. Thus, dying is the act of feeding and fecundating Mother Earth. Chicomecoatl’s Attire Her face is dyed with red colour; with her paper headdress over her head; her necklace is made of jade. She wears a shirt with aquatic flowers, and her skirt also has aquatic flowers. She wears small bells on her legs; she wears sandals in her feet. Her shield has got the sign of the sun flower and she has got a bunch of corncobs in one of her hands. Basic step It means the serpentine path of the corn flourishing as well as the human kind flourishing. Switch step 1 The corn seed sowed is cast to the Tlallocan, place of the fertility, of the abundance and also of the resurrection. Switch step 2 It represents the spiral growth of the corn and Mother Earth is asked to give humanity food towards the four directions of the planet. Switch step 3 It represents the path of expansion of the fields, and the dancer is grateful for this. Switch step 4 The energy of the sun towards Mother Earth is invoked. Switch step 5 When the dancer lifts his foot, he proposes the qualities of the bird as well as of the snake, thus symbolizing the divine germination of the earth with the energy of the sky. Dance of the small corn, Tender Corn, Xilonen The grain of corn which is sowed is the daring introduction of that who cultivates the infra-world, where the permanence of the seeds inside the earth is transformed by the combined efforts of the sun, the wind, the water and the earth itself. From the infra-world it goes to the Tlallocan, region of the east as well as of the abundance and fertility. By the moment the corn plant sprouts over the earth surface, there is a reappearance of the supreme creation, which expresses the triumph over death, since it gives the food that assures the continuity of human kind.

161 The red color symbolizes the young corn, which means fertility, as well as the chanting, the flowers and the game. Xilonen represents the tender corncob, she is Chicomecoatl’s twin. After the greenness, the solar dominion comes; it is when the fruit of maize becomes a hard and yellow corncob with which the human being is fed as a benefit and enjoyment derived from his communal agricultural work. Attire Painted face, half red colored and half yellow colored; his paper cap with a quetzal feathered headdress; his jade necklace; blouse and skirt painted with water flowers; small bells, sandals, striped shield and holding a stick with jingle metal disks in one hand to attract the rain and the fertility. Symbolism of the steps within Dance: Basic step 1 With his feet he invokes and caresses the earth, to recall the preparation of the corn seed sowed. It is like that daring introduction of that who cultivates the infra-world, where the permanence of the seeds inside the earth is transformed by the combined action of the sun, the wind, the water and the earth itself. Switch step 1 The dancer makes a kicking movement which is related to the rain. Basic step 2 With his feet he accommodates the earth after having placed the grain of corn. Switch step 2 The turn represents the growing in spiral of the corn plant. Basic step 3 With his feet, he accommodates the earth. Switch step 3 The dancer takes the sown field of plagues and when he crosses his feet, he indicates that the first corncobs crop is picked; the raised foot suggests that the energy of the sun covers us. Basic step 4 When the dancer elevates his foot, he indicates that after picking up the crop… Switch step 4 …he shells the corncob. Basic step 5 In his joyful walking, he carries the sack of corncobs and grains of corn.

Switch step 5 He unloads the sack with corncobs as well as the sack full of grains of corn. At last, he remains kneeling, with gratitude for the crop just received.

162 The Sower‘s Dance Basic step The dancer makes the movement of the wind irruption which indicates the action of sweeping the earth previous to the sowing of the corn seeds. Switch step 1 With his feet, he talks lovingly to the earth. Switch step 2 With his feet, he accommodates the earth after placing the grain of corn. Switch step 3 He shells the corncob. Switch step 4 With a joyful walking, he carries the sack full of grains of corn. Switch step 5 He makes contact with the rain. Dance of Ozomatli, the monkey. The monkey is the nahual of Xochipilli, deity of vegetation, as well as of poetry, singing, music and dance. In the legend of the suns, human beings become monkeys when the era is over due to the strong wind gusts. The wind cleans up the fields, previously to the sowing of the corn and the rains.

On the corner of Pino Suarez and Fray Servando Streets, inside the station belonging to the Collective System Transportation Metro, this dancing sculpture is located in the circular temple.

Symbolism of the steps within the Dance

Basic step: It represents the roar of thunder that announces rains. Switch step 1 Dancing backwards, it is a variant of the lunar fecundation step; the dancer elevates his foot to invoke the growth of maize as the internal energy of the human being.

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Switch step 2 The dancer talks to the earth so it may be prepared for the sowing. He calls to the deepness of the earth, from where life emerges. Basic step 2 The roar of the wind which announces the rains and the pass of the wind that cleans up the fields, previous to the sowing of the corn. Switch step 3 Dancing backwards, variant of the lunar fecundation step, the dancer elevates his foot; invocation for the growth of corn. Basic step 3 The roar of the wind which announces the rains and the step of joy manifested towards the earth by propitiating the growth of corn. Switch step 4 The dancer talks to the earth to announce the pass of the wind that cleans up the fields, previous to the sowing of corn. Dance to Xochiquetzal t is the symbol of Omecihuatl as the representation of flowers, as well as of beauty and love. It is the vegetation that is reborn; Xochipilli, her companion and double masculine is who travels to the region of the dead during the winter when Xochiquetzal disappears, this is the period when the vegetation sleeps. Xochiquetzal is Tlaloc’s couple and she lives with him in the Tlallocan, she is devoted to take the flowers. Her creative task and entertainment is weaving and knitting precious blankets; therefore painters, designers, knitters, embroiderers, sculptors and silversmiths should make offerings to her. Symbolism of the steps within the Dance: Basic step There is joy because the vegetation is reborn in the springtime. Switch step 1 The herb is removed to pick up the flowers. Switch step 2 There is a reverence of gratitude for the beautiful flourishing of vegetation. Switch step 3 The dancer continues removing the herb to enjoy the flowers. Switch step 4 The beautiful flourishing of Nature is elevated in spiral. Switch step 5 The dancer bends down to pick up the flowers. Switch step 6 There is joy for receiving the beauty of flowers.

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Switch step 7 There is gratitude for the love that Xochiquetzal gives us. Dance for Malinalli This dance represents the twisted herb that expresses the spiral movement, proper of the divine forces which ascend vertically. It is also associated to Mayahuel as a maguey or pita plants which produce pulque, mescal or tequila. Some rays fell over the heart of these plants, thus burning them; this provoked that the cooking of the starches would become agave or pita juice, which is obtained from the heart of the plant which is similar to a pineapple; this is like the colostrums that cleans and prepares the stomach to receive foodstuff. Symbolism of the steps within dance: Basic step It is requested, through this step, to spread the seed sowed. Switch step 1 It represents the twisted herb which expresses the motion of the spiral shaped growth. Switch step 2 It is asked to extend the herb towards the four cardinal points of the earth. Switch step 3 It represents the cleaning of fields, with the action of retiring the useless herb, just like human beings do during the temporary pass through their existence when they retire what was useless during their past living with the aim of getting an evolution. Switch step 4 The dancer talks lovingly to the earth. Switch step 5 The crossed step symbolizes the union among the sun, the earth, the wind and the divine liquid which binds them. Switch step 6 It is a spiral motion proper of the divine forces in a vertical ascent. Dance of Mayahuel The pulque acts as a ritual and ceremonial beverage; therefore it was drunk in the offering celebrations because of the benefits received from Mother Earth’s sustenance. Drunkenness was severely reprehended, above all with regard to the principals, since this represents the terrible tzitzimimeh, dark celestial feminine forces which were a constant menace over humankind; they are the stars which, during nightfall, as well as during sunrise, fight against solar light.

165 The consumption of pulque or octli (fermented maguey juice) was only permitted to elder people, because if a young person was caught inebriated, was severely punished, even with death. Mythology points out, as translated by Elisa Ramirez: Even though men owned the grains which guaranteed sustenance, they lacked other products which would give them pleasure and joy. Gods agreed, then to give them something that would make them eager to sing and dance. Quetzalcoatl decided that an intoxicant beverage would give pleasure to their lives and he then recalled Mayahuel, the beautiful and young goddess of maguey and who lived in heaven with her dreadful grandmother, a tzitzimitl. Quetzalcoatl looked for her and he found her asleep; he convinced her to escape with him towards the Earth. Once on the Earth, they gather in an enormous tree full of leafy branches. They join there, Quetzalcoatl as a branch and Mayahuel as another one. When the grandmother wakes up and discovers that her grand daughter has disappeared, she get angry and calls the tzitzimimeh so that they can help her search the girl. The tzitzimimeh, who are furious, dive from the highest point of the heaven and fall over the tree where the fugitives hide and the collision breaks the tree into two parts; the branches where the lovers hide fall down. Grandmother Tzitzitmitl recognizes the branch where Mayahuel is hiding, breaks it violently, thus tearing her into pieces; then she gives the tzitzimimeh part of her grand daughter’s body so they can devour it. In the meantime, Quetzalcoatl’s branch remains intact. When the tzitzimimeh return to heaven, Quetzalcoatl recovers his shape and picks up the gnawed bones belonging to Mayahuel. With sorrow, he buries them and, out of them, the first maguey plant, the miraculous source of pulque, is born. Mayahuel, mother of four hundred rabbits, cenzon totochtin, which are the four hundred, also known as the innumerable count of the ceremonial inebriation in gratefulness for the harvest, where she feeds with her four hundred bosoms. Symbolism of the steps within the Dance First version Basic step The peasant, when walking, sips and enjoys the nectar of the maguey, within the celebrations offered for the benefits received from the sustenance of Mother Earth. Switch step 1 The dancer caresses the earth. Switch step 2 This step indicates the spiral shaped growth of the maguey.

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Switch step 3 The dancer accommodates the earth in its growing process. Switch step 4 It represents the gratitude to Mother Earth for the sustenance received. Switch step 5 It represents the joy for the flourishing of Nature. Switch step 6 Backwards step with the action of containing: it is considered as a ritual of fecundation associated to the lunar cycle. Switch step 7 This step is to recall the foot cut off by the earth, out of which the first corn seed is born. Switch step 8 This represents, again, the gratefulness towards Mother Earth for the food stuff received. Second version Basic step This step asks for the attention of the earth and recalls the reproductive force of Nature and its fertility. Switch step 1 In his walking path, the dancer drinks and enjoys the maguey nectar in the offering celebrations. Switch step 2 The dancer manifests the pleasure and the joy proportioned to him by the nectar absorbed from the chants and the dances, where he must take care of his equilibrium. Switch step 3 This step indicates the spiral shaped growth of the maguey. Switch step 4 It represents the joy for the flourishing of Nature. Switch step 5 It represents the joy for the flourishing of Nature and, especially, of the maguey.

Gratitude for the sustenance received.

Tochtli Dance, rabbit

167 It significance is referred to pulque, the divine inebriation to celebrate the crops, for such a reason a ceremony was offered to it every 260 days within the spiritual cycle of the Earth, through the count of the energy of corn. Cenzon totochtin, 400 rabbits, is the innumerable count of the ceremonial inebriation of abundance in gratitude for the harvest, in which Mayahuel feeds with her 400 bosoms. It represents the Moon as the fecundity. Symbolism of the steps within the Dance Female/woman rabbit The rabbit is closely related to the moon, which marks the rhythm of the feminine fertility. Basic step The dancer elevates his foot to ask for the energy of the moon, thus invoking the growth of maize as well as the inner force of the human being which may guide the equilibrium of humanity’s fate. Switch step 1 It represents the zigzag running of the rabbit, similar to the astronomic fact of the lunar journey. Switch step 2 It symbolizes the moment when the energy of the moon falls in order to fecundate the earth. Switch step 3 With this step it is asked for the growth of plants, which feed us. Switch step 4 Its meaning refers to the rabbit when it plays, as well as the process of sowing. Switch step 5 The spiral shaped growing turn of maize. Gratefulness. Male/man, rabbit It shows the behavior, without any inhibition, of inebriation, which man should control. Basic step It represents the rabbit’s running in an uninhibited attitude. Switch step 1 It suggests the zigzag running of the rabbit as the astronomic fact of the lunar journey. Switch step 2 Spiral shaped turn of the corn. Switch step 3 It invokes the fall of the lunar energy to fecundate on the earth. Switch step 4

168 Gratitude for the energy received. Switch step 5 This step asks for the growth of the corn plant.

Switch step 6 It seeks to get rid of the uninhibited attitude provoked by the inebriation. Switch step 7 It is a phallic step depicting the fertility of masculine energy. Switch step 8 Zigzag rabbit’s running as the lunar journey. Switch step 9 It indicates the ceremonial inebriation as a gratitude for the crop. Switch step 10 It is a phallic step depicting the fertility of masculine energy. Switch step 11 It represents the zigzag running of the rabbit, just like the astronomic fact of the circle shaped lunar journey. Switch step 12 Step to show gratefulness.

Dance of the Mazatl, the venison

It represents the feminine as well as the masculine origin of the creation: Ometecutli and Omecihuatl, the masculine and the feminine aspects of humankind, the sun which gives the fertility and the life by itself. In the celestial heights (a) the creative deity 1 venison, unfolded in its masculine (b) and feminine (c) aspects, grants symbolic powers to Ehecatl Quetzalcoatl (d), divinity arrived through an ascending path (e) which traverses the levels of the star-spangled sky. It means the stars which are blurred when the sun rises, the stars hunted by the light; the human beings hunted by death within the transience of their existence.

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Symbolism of the steps within the Dance: In the first step the dancer, when falling down, it means: The stars which are blurred when the sun rises; the energy of the sun when penetrating the earth, thus producing the fertility. Immediately after that, another venison surges to represent Ometecutli and Omecihuatl, the masculine and feminine origin of the creation, as well as Cipactli and Oxomo, the masculine and feminine aspects of humankind. Afterwards, during the dance: They make the feminine gracious walking of the deer. Steps, turns and jumps for the joy of being in freedom.

Dance of the moon or the founding of Tenochtitlan The moon symbolizes the celestial house of the night, it is the cosmic place of transformation and evolution, and it is the “uterus” within its terrestrial house. From an island of the Texcoco lake, four guides loom up, among them a woman, who witnessed the signal of the prophecy “…an eagle settled over a prickly pear plant devouring a snake…” Dr. Jesús Galindo Trejo When the Mexica people got to the Texcoco Lake in 1325, they were surprised by a sky phenomenon as unusual as it was meaningful: on April the 21st, during four minutes, the sun was totally eclipsed and night fell unexpectedly, in broad daylight, over the Anahuac Valley. That was Huitzilopochtli’s signal: the place where the eagle would settle over a prickly pear plant devouring a snake, such would be the place where Tenochtitlan had to be founded. The metaphor of the Nahuatl thought says: The eagle represents the sun, and the serpent is associated with water, with the Texcoco Lake itself, which, in the sources of the sixteenth century, was still designated as the lake of the moon. The moon, due to its phases where it appears and reappears, represents all what dies and is periodically reborn; the vegetation that dozes and wakes up according to each different season and also woman’s menstruation. Symbol of fecundity, fertility, as well as the vegetal

170 abundance related to Mayahuel, which is the representation of pulque celebrating abundance. On July the 26th, day of Tenochtitlan’s founding, the sun was in its highest point. In the year 1111, when searching the Promised Land, Huitzilopochtli—who, in some historical sources, receives the name of Mexi—gives the order to leave, by means of the chant of a bird which seemed to pronounce “tihui, tihui”, word that means “we are leaving, we are leaving”. Huitzilopochtli, (the will) guided his people; four wise-men, priests who were representative of the cosmologic geometry of the crossing which originates the expansion, turned themselves to carry his image and they heard, in dreams, his “orders”. The Mexicas, along with other eight people groups (1+8=9, number of the indivisible expansion) made the pilgrimage generation after generation. and, 210 years afterwards they got to the west part of the Texcoco Lake, where Huitzilopochtli where Huitzilopochtli or Mexi marked the place of settling. Mexi means navel or place where the seed of the origin initiates its expansion until it blooms.

Symbolism of the steps within the Dance

Basic step 1 It reminds us of walking, the pilgrimage that, generation after generation, the Mexicas made, along with other eight groups of people, until they got to the Texcoco Lake, also known as the lake of the moon. Upon getting to the lake of the moon, four guides loom up, among them a woman, and they witness the signal of the prophecy. Switch step 1 It is danced by making some backwards hesitations (the action of containing backwards) and then advancing al of this as part of the “lunar dances” from the fecundation ritual. Basic step 2 Crossed step like the cosmologic geometry of the crossing which originates expansion. It is the representation of the four wise priests who turned themselves to carry the image of Huitzilopochtli and heard—within their dreams—his “orders”. Switch step 2 Rotation turn that symbolizes the moon and its phases where it appears and reappears; it represents all what dies and is reborn periodically.

171 Switch step 3 This step calls the sleeping vegetation which dozes and wakes up according to the different seasons. Switch step 4 Crossed step as the cosmologic geometry of the crossing which is the origin of the expansion. Switch step 5 Zig zag movement as the astronomic fact of the lunar trajectory. Switch step 6 It symbolizes the energy which falls from the moon to fecundate the earth. Dance of the death For our ancient people, the death meant the desegregation as well as the dispersion of the components of the human body. A human being is formed by the matter of the body and also contains various soul invisible entities which are very light and which give the human beings individuality, sensorial faculties of mobility, sentiments and intellectual capacity that link them with their spiritual protector. Their soul entities are: Teyolia, the human entity of the heart, the vertical conduct that followed in life the most important of their mental faculties; upon dying, this energy travels to a place devoted for the dead. Tonalli, linked to the individuality and the personal fate, rests over the earth after death and is generally kept by the family of the deceased within a box that contains the ashes as well as two tufts of hair. Ihiyotl, engine of passions, spread over the earth’s surface and could become ghostly beings. Teyolia, has four different points of destination: The Mictlan, the place of the “dead” whose place was located in the deep parts of the earth, where those who die from a common death go. Ichan Tonatiuh Ilhuikatl, “the sky which is the dwelling of the sun” devoted to those fallen in combat, as well as to women dead in their first childbirth and to the merchants dead during their merchant expeditions. Tlallocan, “Tlaloc’s place” it is the vegetation paradise that gathers those who are knocked by the ray, those who are drowned or who die in the water. Chichihualcuauhco, “place of the wet nurse nourishing tree”, place where the children, dead during their lactation, expect a new opportunity to live.

Symbolism of the steps within the Dance

Manolo Sánchez tells us that this choreography was created for Polo Rojas’ show and it has got the following meaning:

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Polo Rojas and Rosita Bouchot

Step 1 It means the desegregation and the dispersion of the human being’s components. Step 2 The death travels throughout the four cardinal points of the planet. Step 3 To create humankind, Quetzalcoatl got down to the Mictlan the “place of the dead” to pick the representative bones of the ancient humanity and, thus, avoid that Mictlantecuhtli, “the lord of the death order”, could take them with him. Step 4 Representative turns of the evolution of the life-dead cycle which the humankind and the maize as well follow; both are born from death, as an offering of the preceding ages. Xochitl Dance, Flower. The flower symbolizes plenitude, truth, wisdom and beauty, when the seed of the origin makes an expansion tour until it blooms. The human being and the maize bloom in the representation of the heart, as the hidden internal force of all beings, when the excelling of quality is reached, when in a harmonious way, the factors which are translated into the physical, mental and spiritual life concur; when this happens, one transcends towards another functional hierarchy of total realization or plenitude. In the nahuatl language, Cempoaxochitl means flower of a whole count. It is the orange flower (combination of the primary colors red and yellow) which is used in the altar of the dead. It is also the flower which accompanies the matter when the spirit transcends. When the body dies, a count is completed metaphorically in order to transcend into a spiritual life.

173 Within the count of the human being’s fate, the last symbol is Xochitl, 20 flower, which means the supreme knowledge of life or the flower used to render accounts. The flowers appear in the virgule of the word which represents the flowered word provided with truth, the virgule in the peak of birds to symbolize the beautiful singing as well as the poetry, whose work is compared to the beauty of flowers. The flower is related with the caves in the myth of the origin of creation in the following cases: Four petals flower: it is under the Pyramid of the Sun in Teotihuacán and the already mentioned flower with seven petals is in Chicomoztoc, mythic place where the pilgrimage of the humankind’s expansion originated.

Symbolism of the steps within the Dance

Basic step It represents the serpentine path which indicates the search of the humankind’s blossom as well as the blossom of vegetation. When the foot is lifted in the basic step as well as in the shift step, the qualities of the bird and the snake are proposed, thus symbolizing the divine germination of maize as well as of the human being along with the supreme energy of the Infinite. Switch step 1 It calls the earth to demand the reproductive force of fertility. Switch step 2 The feet make a crossing which suggests the union of the earth and the energy of the sun, as well as the complete union that only a natural couple of a man and a woman, with love, can attain. Switch step 3 Spiral shaped motion, proper of the divine forces in vertical ascent; it invokes the growth of maize as well as the growth of humanity. Switch step 4 The kicking is linked with the divine liquid that offers fertility both for the earth and for humankind as well. Women’s dance, Tetelcingo Morelos video image

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CHAPTER TWELVE Analysis of the set logics 12.1 Mathematic theory of the origin of the Universe Metaphor of the numbers in the Nahuatl language Number Nahuatl Meaning

· 1 Ce Essence of the original seed ·· 2 Ome Essence of duality or balance ··· 3 Yei Sacred liquid that binds ···· 4 Nahui A whole body

Relation between the numeric metaphor of the Nahuatl language and the theory of the Great Explosion of the Universe and the supreme geometry:

Interpretation of the numeric Theory of the Great Explosion of metaphor the Universe

· Essence of the original Origin: when it was a seed nucleus of energy which contained all ·· Essence of the duality When part of the balance energy becomes matter ··· Sacred liquid that When the union binds process of energy and matter occurs ···· A whole body When the expansion of the universal whole occurs

Supreme Geometry

175 Translating the Theory of the Nahuatl mathematic metaphor about the origin of the Universe to the geometric forms as the mathematic model of the perfection of the whole, we find the following:

_____Ce Essence of the origin When there was only a nucleus of energy which contained everything.

▬▬▬▬ ▬▬▬▬ Ome, it is the Essence of balance.

When part of the energy becomes matter

Yei sacred liquid that binds

It is when the union process between energy and matter is given.

Nahui, Complete Body.

It is the expansion of the Universe as a complete body.

Relation of the myth with the numeric metaphor of the Nahuatl language and the theory of the Great Explosion of the Universe:

Myth: the magic world of the Anahuac gods

Author: Otilia Meza, doctor of Philosophy Nahuatl metaphor and theory of the Great Explosion: Ce, it is the essence of the original seed, when it was a nucleus that contained everything. Myth: the god looks for a mate. The god is alone, all alone, without anyone to talk with, and his voice cannot be heard, he is alone, without company. All around him is beautiful, it is the blue ethereal immensity, always deserted, with unending horizons, without shades, with an extremely intense light and a transparent atmosphere, but with an unlimited and silent immensity. Ometeotl, even with its greatness, is all alone. Nahuatl metaphor and theory of the Great Explosion Ome is the essence of the equilibrium or duality, when part of the energy becomes matter. Myth: the god creates his mate.

176 One day, when he was dismayed due to the fact that he was alone, the god Ometeotl said to himself: I am tired of eternity without any company, Am I always alone with my word, with my thought all the time? Why shall I not look for company? Why shouldn’t I unfold myself, divide myself, in order to create another divinity? Being just one we shall be two, two beings made of the same substance, with a unique and inborn divinity. For such a reason I shall also be called Ometecutli, Lord Two, the dual god, the supreme principle. The creator, the one who spans everything, closes his eyelids and, out of his body, a sort of impalpable cloud is released. It is something to see how another body of the same substance emerges. It is another finely modeled body, with soft gestures and rhythmic walking. It is the woman, the goddess, the god’s couple. Ometecutli contemplates his work: all within her is grace and shape, also in her splendorous pupils. Ometecutli names her caressingly and the whole Universe is filled with rumors and echoes. You will be called Omecihuatl, Madam Two, my couple with whom I shall share my joys, as well as my thoughts and my words. Nahuatl metaphor and theory of the Great Explosion Yei, it is the sacred liquid that binds, when the process of union between energy and matter is given. Myth, the couple unites. …I shall be alone no more and soon Love will emerge. …Companion of mine, omnipotent god, and essence of my own being, your substance and my substance, our duality… Nahuatl metaphor and theory of the Great Explosion Nahui, complete Body, The expansion of the Universe starting with a complete body. Myth: The children of the divine couple. Within a beautiful lapse of time, Madam Omecihuatl went to search for her couple and, full of joy and sweetness, she said: --My spouse, omnipotent god, essence of my being, your substance is my substance, our dual existence has flourished four times, thus accomplishing the law of all what is eternal! And, before the astonishment of the god Ometecutli Madam Omecihuatl, she explains to her love, the love that would enhance forever within the space and the infinite, (the expansion of every being represented by number thirteen) would have been multiplied four times, four gods from their substances.

177 And the god was conduced until the place where, in a manger of light and blankets made of clouds, the four new gods of the Omeyocan rested.

Upon contemplating them, Ometecutli said: These are my four beloved children, essence of my essence! The four of them will have their own different lordships; I shall divide the world into four points which I shall call cardinal, and they will be the gods of the central direction upwards- downwards. All what my creative strength builds up will be grouped into four groups or kingdoms, and each one of these kingdoms will be ruled by each one of my sons; also, in their honor, I shall create four different colors: black, red, blue and white and each one of my sons, divine essence, will be the lord of one of them. And, since Madam Omecihuatl asked how they would be named, the Creator affirmed: This is the first one of my sons; he will be called Tezcatlipoca, the smoking mirror. He will be all powerful, multi-shaped and unique, a protective god, he will be the good as well as the evil, the spirit and the matter; he will be the provident god, he will be as the impalpable air and he will be everywhere thus knowing the thought of all beings. Black will be his color and his cardinal point will be the north. He will be the cleverness of the world. Then, the Creator approached to where his second son was resting and, when he saw that his son was red, the god called him Camaxtle, naked man (uncertain etymology), he will be courageous and will symbolize the strength, his color, the red and his cardinal point, the East. With regard to his white son, he will be the representation of what is beautiful, all what is precious, he will be the lord of life and knowledge, his name: Quetzalcoatl , which means feathered serpent, precious snake; white will be his color, his cardinal point will be the west and he will represent the intelligence. Afterwards, the Creator god approached the crib where the last one of his sons rested; he observed that although his other sons had been born healthy and strong, this son had been born without a defined color and without flesh. It was all a skeleton, a tiny skeleton. The god doubts silently before the presence of such a strange being but, at last, he exclaims: !Ometeotl! God bones, God skeleton. This god will be grand and glorious, he will be called Huitzilopochtli, which means left handed hummingbird, as well as precious thing; he will be the strong man of our world; he will be very husky, with great strength and with a warlike attitude.

178 This un-fleshed and ugly son will have a strong complexion and dexterity and his color will be the blue. The South will be his world. He will always be feared and he will constitute the will. The myth and its relationship with the description of the Concheros’ Dance: Tezcatlipoca, Camaxtle, Quetzalcoatl and Huitzilopochtli.

Concheros’ Dance:

At the beginning of the dance, according to tradition, two columns are made and they represent the Ome or duality, matter and energy; such like Ometecutli and Omecihuatl. Justino Fernandez, in his book San Miguel Allende’s Concheros’ Dance, outstands on page 17, the following: The parade

…the order that the caravans conserve is perfect; the one which arrives is preceded by four captains who play their “concha” (armadillo corn shell guitar) like the rest of the dancers…

Therefore we can interpret that these four captains represent Tezcatlipoca, Camaxtle, Quetzalcoatl and Huitzilopochtli. 12.2 Relation of the ritual for the formation of the expansion circle with the number thirteen (13), representing the expansion of every being. Before initiating the dance, a ritual for the formation of the expansion circle is made, as indication herewith: Video image. 1.

1. Two (2) columns are formed; the elements of fire (incensory) will be right in front of each one of them, as well as the elements of wind (seashell), water and earth and the captains and hierarchies in descending form. 2. Each one of the columns go towards each one of the four (4) cardinal points, thus making the path step. 3 The expansion circle is formed to initiate the Dance ceremony.

During the entire trajectory, the path step is made in a serpentine form. Video image 2.

This step symbolizes that the dancer, in his path throughout life tears away all what may affect his or her expansion energy (arrogance, vices, envy, rancor, and so on).

179 12.3 Relation of the Dance which reminds the origin with its pulses and the ascending number 13 of the tzacualli.

Dance which reminds the origin Video image 3

It is called the dance of the permission to the four winds. Before the realization of each dance, another one is made; this one represents the remembrance of the way the Universe originated as well as our expansion path as the heart flourishing; in order to be able to initiate it, it is executed as follows: 4 rhythms, in circumference, to the left. 4 rhythms, in circumference, to the right. A step forward, marking the center. The right foot marks the four (4) cardinal points over the earth. The left foot marks 8 rhythms (4+4) over the earth. The left foot, in elevation, marks the four (4) cardinal points. The right foot marks 2 rhythms of four (4) On earth: 7 rhythms. In elevation: 1 rhythm . And it ends with a ceremonial attitude. Totals: forty (40) rhythms, which represent: 20: the complete count of a man Plus: 20: the complete count of a woman Video image It is observed first movement: turn to the left to remind us of the expansion path; second movement: inverse turn to the right, symbol of the return to the origin of Creation. The performance of the dance to remind the origin, gives as a result the obtaining of the number thirteen of the tzacualli or pyramidal, thus indicating the expansion path of the human being, which is geometrically obtained with the square root. When the square root of number four and nine is obtained, number thirteen is also obtained, as the number of the tzacualli or pyramidal ascending number.

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12.4 Relation of the myth with the tonalpohualli, the Dance and its pulses: The myth: the magic world of the Anahuac gods. Theme: The Calendar. Long time after the gods Quetzalcoatl and Huitzilopochtli had created the first beings of the Omeyocan, these ones lived disorderly under the undecided light of the half sun. For them, the most natural thing was to sleep or stay awake indistinctly according to their desires, without any rhythm or rule. For them there was no phenomenon which would make them rule their behavior. The active lapses of their lives, as well as the passive ones were irregular. When Quetzalcoatl, the god of intelligence, observed such things, he decided to help them to follow norms which would rule their existence; thus, he decided to teach them certain mysteries. We shall further refer to the “count of the destinies” or Tonalpohualli

Dance of the Concheros:

Justino Fernández, in his book Danza de los Concheros en San Miguel de Allende, points out, as something outstanding, on page seventeen, the following: …the order conserved by the caravans is perfect: the one which arrives is preceded by four captains, playing their conchas (armadillo corn-shell guitars), like the rest of the dancers; outside a fixed place, but also in front, the soothsayers couple—man and woman—advances, she covers her face with a she devil mask and wears also plaits made of ixtle, wears black rags and is carrying a basket; both her (who is actually a man dressed like a woman) and her companion, another masked character—sort of an old man with hair all around his face— make gestures and jokes. The soothsayers couple refers to Cipactli and Oxomo; therefore the masked one, sort of and old man, corresponds to the energy of the most ancient man.

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Pulses within the Dance: Mazatl Dance (Venison) Video image Symbol number 7 of the account of destinies or Tonalpohualli: Pulses: Base: 5+5+5+5 = 20 Shift: 7+7+7+7 = 28 When performing the basic step thirteen times: 13 x 20 = 260 When performing the shift step thirteen times: 13 x 28 = 364 Thus: 1) 20 = 1 month of the solar year (18 x 20) 2) 28 = moon account 3) 260 = count of destinies or Tonalpohualli, as well as the ceremonial count of corn 4) 364 = calculation or lunar cycle

CHAPTER THIRTEEN

The order of the corn account and its relationship with the account of human being’s energy.

Listen to the tonacayotl, the corn, our sustenance which is, for us, (the whole merit Who is the one who said, the one that

182 (named the corn our flesh and our bones? Because it is our sustenance, our life our being. It means, for us, to walk, to move, cheer up be joyful. Because, indeed, our sustenance is alive It is declared, as true, that it commands, rules, and conquers… Tonacayotl, the corn, the earth subsists, the world lives, we populate the world, Tonacayotl, the corn, is what is truly valuable in our being…

Florentine Codex

The corn is the sacred symbol of our continental culture; it is the foodstuff for the body as well as the main spiritual sustenance which inspires our path, even though it has been transformed into a catholic sanctorale calendar after the Colonization. Original from Mesoamerica, the corn has been named tlaolli, from tla; something, and olli; movement, that is to say “our foodstuff which comes from the movement of evolution of our Mother Earth”. It is also called tlayolli, from tla, something, yotl, essence, olli, movement, translated as “our foodstuff that surges from the essence of movement or evolution in our Mother Earth”. Within mythology, where it is explained how the Universal Whole started, the creation of the Human Being, as well as the creation of corn, surge together both as body and spirit. It is the most relevant and well known when Quetzalcoatl, the beautiful framework of matter and energy, travels towards the World of the Dead; the supreme energy of Creation takes from the Mictlan (place of the Death and the Evolution of Mankind) bones and ashes in order to scatter them around in the Tamoanchan (the divine place of Creation), with the blood he extracted from his own penis. It is also said that the divine couple, Ometecutli & Omecihuatl, send from the Tamoanchan the psychic germ of the child towards the womb of the mother, and it was over there where the supreme energy put the corn in the lips of the human being after the grains had been triturated by its own molar teeth. Thus humankind was originated and this is directly associated to both body and soul feeding, when the process of extraction or bearing of the

183 corn is initiated as the psychic germ of a child, considered as the most appreciated and which was kept within an impenetrable mountain. This action promoted by Quetzalcoatl caused that the corn had to initiate a cycle of life and death, since the grain, upon getting away from that impenetrable mountain of sustenance, is taken by the energy of the rain, that takes it to the bottom of the divine Under World, where the cycle of naissance and renaissance of crops, as well as of humanity itself, is initiated. The tzeltales say: “it is in the corn seed where everything begins and ends; it is the beginning and the end”. The origin of the corn is a common denominator in the mythology of Mesoamerica and, with many probabilities, also in the rest of the continent, since among the tzeltales in Chiapas, the pipiles from Izalco in El Salvador, as well as—as Eric Thomson affirms—among the mayas, quiches, kekchis, mames, cakchiqueles, pokomchis, mopanes and other groups, there exist parallel versions of similar stories.

In the Nahuatl text of the Legend of the suns it is said that the discovery of the maize is attained through the search that some ants made inside a mountain when, after several intents to open it up, they entered after a ray cracked the mountain; thus was made the discovery by which the divine sustenance for humankind was obtained. Quetzalcoatl is depicted as a serpent covered with long and beautiful green quetzal feathers, synonymous of the most beautiful inside all the spirits; due to this fact, it takes part of the main ornaments of our ancient governors who reached the maximum physical, mental and spiritual development to rule, understand as well as organize our people. It also represents that moment where the gorgeous green color of vegetation emerges and which is also present by the moment of the first sprouts of the corn; this green color also surges after the first rains, thus forming a beautiful green chrome, symbol of the flourishing and plenitude of all beings in their life.

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Humankind and Corn Perfecting Process

In the mythology of the Legend of the Suns, the evolution of the Human being as well as of Corn within our Mother Earth is narrated; from there we find what follows: In the first Sun, the primitive beings were giants, who had been created in a barbarian way; therefore they neither seeded nor cultivated the earth, they just lived by eating acorns and other wild fruits and roots. In the second Sun, human beings kept on eating only pine nuts ocacentli without cultivating anything. In the third Sun, the foodstuff of the human-beings who lived in this era, was a seed called acecentli, that is to say, “water corn”. And during the fourth Sun, people in this era ate cencocopi or teocentli, a plant similar to corn, and which has been considered as the wild antecessor of this graminaceous or else, according to the last research works, one of the plants that, through hybridizing, have engendered the present corn. It is in this way that the evolution of the integral sustenance of humankind is related, in which it may be observed how it has been approaching, progressively, to the ideal of our nourishing:

The Corn The esoteric names that the humankind’s foodstuff has received throughout its evolution are the following: The acorns were called chicomemalinalli: “7 Herb”. The ocacentli was called mactlactliuanome: “12 serpent”. The acacentli was called nahuixochitl: “4 flower”. The teocentli was called chicometecpatl: “7 flint”.

185 The most ancient remnants of the teocentli were found in the Valley of Tehuacán, Puebla, in 7000 B.C. Our present maize should be called Chicomecoatl: “7 serpent”. Thus, the idea about a the feeling of a process of divine rehearsal is confirmed within the different creations, where the imperfection is being destroyed and where the Suns or eras that surge approach their perfecting end. In the Nahuatl language there exist some words to determine the different maturing stages of the corncob: Xilotl, when it is tender and milky. Elotl, when it is fresh and the grains are already formed. Centli, when the plant and the grains are dry. Originally, the color of maize is white, dark, yellow or red and, along with the bean, the chía and the amaranth form our base of the ancient feeding.

Mathematic analysis of the ritual account of the corn’s gestation compared with the human being’s.

Taking into account that the essence of the origin of humankind is intimately related to Mother Earth through maize, both within the material body and, primarily, in our spiritual energy, I want to give evidence of the fact that this is mathematically demonstrated with the account of the ritual calendar belonging to both of them. The Tonalpohualli is the ritual account of human being’s energy which corresponds to 13 twenties, that is to say, 260 days. This same amount corresponds to the ritual account of the corn’s gestation. Its initiation was in the area of Tenochtitlan, the twelfth of February, in the first twenty of Atlacahuallo, with the ceremony of presentation of the selection of the seed, and its end was with its harvest on October the 29th ein the thirteenth twenty of the Tepelhuitl, that is to say, thirteen twenties also pass, which are equivalent to 260 days. 52 days after, the winter solstice begins (December 21st). Another period of 52 days afterwards, the calculative or lunar cycle of 364 days is completed. (February 11th). Conciliation of the ritual gestation period of the Corn and the Tonalpohualli with the period of human physical gestation.

Corn and Tonalpohualli: 260 days

Physical gestation of the Human being: 273 days

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Difference: 13

13 is equals to the expansion period

This means that since the gestation period both of the corn and the Tonalpohualli, an expansion period is only required for the physical gestation of the Human Being. In order to demonstrate widely this mathematic link between the ritual count of the Human Being and the ritual count of corn gestation, the following is presented:

Analysis of the calendar of the celebrations in the Xiuhpohualli, count of the Solar Calendar: Twenty: First Correlated date: Dedicated to: Tlaloc, rain; divine liquid which links February 12th to March 3rd the sun with the earth Nahuatl Name: Reference: Atlacuallo They leave the water

Interpretation of the ancestral ceremony of the Chronicler: Clavijero Ceremonies to attract the necessary rain for the grains of corn selected and which are kept for the sowing Traditional Dance Celebration: February 2nd; Catholic book of life stories of the saints, Candle mass Virgin’s Feast and Child Jesus’ presentation. Feasting in Xochimilco, the seeds are blessed in the church. Variable date in February: “First Wind”, Sacromonte’s Lord Feast in Amecameca Non traditional groups celebration: Anniversary of the group “Nahualcoyotl” in Coyoacán, D.F., where Tlalmanalli is places as an offering of seeds and fruits, which remains during the rest of the rehearsals from Tuesday to Thursday. Observations: First, from the four key dates of the corn’s ritual agricultural calendar, the selection of the corn’s seed as well as its ceremony. Within the ancient Cosmo vision, corn represents the psychic germ of the child, representative of the seed which will be sowed afterwards. Xiuhpohualli, when the fire is lit as the beginning of the count of the year. Candela means fire.

187 February 2nd corresponds to the previous date of the adjustment made to the Julian year; modified already within the correlation, it is February 12th. Twenty: Second Correlated date: March 4th-23rd Nahuatl Name: Reference: Tlacaxipehualiztli Transformation

Interpretation of the ancestral ceremony by the Chronicler: Sahagún. Emotive ceremony of the gladiator’s rite, where the struggle of the night with the representation of two warriors belonging to the Jaguar order, symbol of the nocturnal order as well as the representation of two warriors of the Eagle order, symbol of the order of the solar light, after a very solemn procession. Celebration of the Traditional Dance: Ceremony and dance in ceremonial centers Gladiator’s rite in Guerrero Celebration made by groups of non traditional Dance: Beginning of the New Year Ceremony and dance in ceremonial centers Observations: Between March the 20th, 21st and 22nd the equinox takes place; it means the equilibrium; it is an astronomic moment where day and night have equal duration. In Chiepetlan, Guerrero, presentation and blessing of seeds; most of the dancers are children. The non traditional groups celebrate the New Year in different dates; the most common one is March the twelfth.

Twenty: Third Devoted to: Correlated date: March 24th to April Tlaloc, rain 12th Nahuatl name: Tezoztontli Reference: Short fasting or small vigil

Interpretation to the ancestral ceremonial of Chronicler: Clavijero. The scientific priests stayed awake every night during this twenty period, for which they lit big bonfires. Traditional Dance Celebration: During each Lent and Vigil Friday, there is dance in the villages of the volcanoes zone, Mexico State: Ameca, Cuautla, Tepalcingo, Atlataucan and Totolapan, Axochiapan. Non traditional Dance groups celebration: Anniversary of the groups. Observations: Lent refers to the quarantine, from Latin fortieth.

188 Vigil, action of being awake in reflection, for which a physical and nutritional fasting is required. Tezoztontli, the first of two twenties (40) devoted to fasting and reflection. The solar calendar is formed by eighteen twenties=360 which, added to 40 days of reflection, meditation and fasting completes the cipher of 400 (360 + 40=400) 400 represents the metaphore of the infinite count of the human being’s thought for linking towards the infinite count of the Universe (8000), as indicated in the theme of the symbolism of number 20. This twenty as well as the following were devoted to Chicomecoatl with offerings of packages made up with seven corncobs and also with chants of tezozcuicatl with the aim of awakening the sleeping vegetation.

Twenty: Fourth Correlated date: Dedicated to: Seven Corn April 13th to May 2nd Nahuatl Name: Reference: Hueytotoztli lengthy fasting or great vigil

Interpretation to the ancestral ceremony. Chronicler: Sahagún: “…All kinds of corn as well as all sorts of beans and any other legumes to eat, and also all types of chía and, due to this, they made parties with offerings of food with chants and dances, and since they had quails’ blood, all the ornaments with which they adorned were vermilion (moles) curious and carved; they put canes of corn in their hands; such was the dance devoted to Chicomecoatl. (Seven, serpent). Clavijero: “…They stayed awake, not only the scientific priests, but also the whole population. The little girls, in precession, carry corncobs which they offer and, afterwards, take back to the barn in order to preserve them from the weevil. In other chronicles it is also said: the governors of the triple alliance Tenochtitlan, Tezcoco and Tlacopan climbed to the top of the Tlaloc Hill to initiate the ritual of the agricultural year. Simultaneously, several rites for the corn sowing were made in temples, cornfields and the Lagoon of Mexico

Traditional Dance Celebration: The following Lent and Abstinence Fridays the Dance continues in the villages of the Volcanoes zone; Mexico and Morelos States. In the Catholic rite, since forty years ago, from the Ash Wednesday until the Resurrection Sunday, the people abstained from eating meat. The visit

189 to the “seven houses” (churches) takes place.

Non traditional Dance groups celebration: Anniversary of groups Observations: Second, from the four key dates of the ritual agricultural calendar of corn, April 30th; beginning of the corn sowing. Chicomecoatl (seven serpent), the most important representation of the vegetation blooming; it represents the provisioning of corn and the rest of foodstuffs that Natures provides for us. It is also called seven corncobs. Within the esoteric language of the calendar names, numeral seven means seed in its trajectory towards flourishing. Thus, seven serpent: name of the corn and seven eagle, name of the squash pips. Within the Catholic ritual, the journey of the seven houses visit may correspond to the syncretism of Chicomecoatl in the offering of seven corncobs that used to be made.

Twenty: Fifth Correlated date: Devoted to: May 3rd to May 22nd Tezcatlipoca Nahuatl name: Reference: Toxcatl Tezcatlipoca

Interpretation to the ancestral ceremonial of Chronicler: Sahagún An elected young man was prepared to represent Tezcatlipoca; he was given the most complete teaching of the dance and the music and he learned to play the small and high tuned flute made with special clay for this ceremony. The day of the feast, everybody wore their most luxurious attires and young girls were adorned with white flowers; everyone danced; the young Tezcatlipoca led the dances, snaking, they also danced the tlanahua, “embraced dance”. Thus, they passed dancing happily and playing their small flutes until the moment when they devoted to the next ritual…” Traditional Dance Celebration: Celebration of the Holy Cross, corresponding to the book of Catholic saints. Feast of the “wind” devoted to the Lord of Chalma, movable day. Some groups gather with “hail callers” in the mountains or in the volcano to make ceremonies to attract water and thus initiate the rain period. Celebration of non traditional Dance groups: Anniversary of groups. Observations:

190 In Ameyaltepec and Oztotempan, Guerrero, offerings of seeds, flowers and fruits. The feast of the Holy Cross demonstrates the survival of this important nexus between the rites of the sowing, the rain and the hills, which was present in the ceremonies.

Twenty: Sixth Correlated date: Devoted to: May 23rd to June 11th Tlaloc Nahuatl name: Reference: Etzalcualiztli Eating etzalli, stew mixed made up with corn and cooked bean

Interpretation to an ancestral ceremonial of Chronicler: Clavijero The ceremonial center was decorated with branches from the Citlaltepetl “Star Hill”. Traditional Dance Celebration: Feasts of the Catholic book of saints. Non traditional Dance groups celebration: Anniversary of groups. Observations:

Twenty: Seventh Correlated date: Devoted to: Lady of the Salt and honor June 12th to July 1st to warriors Nahuatl name: Reference: Tecuilhuitontli - Small feast of lords - Lady of the Salt Celebration

Interpretation to ancestral ceremonial of Chronicler: Sahagún: singing and dancing with an order of two men and a woman between them. Those who were selected for these celebration were warriors who reached an honor for their courage, and they took the women who marched holding their hands between them… Clavijero: the day before there was a great women’s dance who danced in a circle holding some ropes adorned with many and diverse flowers and with a garland of iztauhyatl (estafiate). In the middle, the woman who represented the Lady of the Salt, everything accompanied by the chants and led by two elderly men.

191 With regard to the rest of the population, some went to the mountain and were preparing themselves for becoming warriors; there were entertainments in gardens with poetry and chants about love and hunting. Traditional Dance Celebration: Feasts of the Catholic book of saints. Traditional Dance Celebration: Ceremonies of the Summer solstice. Observations: Within the groups of the traditional and non traditional dance, it is intended to form the dancing circle placing a man, then a woman, man, woman. Beginning of the summer between June the twenty first and the twenty second. It is an epoch of heat when the country blooms and the animals enjoy and take profit of the weather.

Twenty: Eighth Correlated date: July 2nd to Devoted to: Centeotl, (divine creation of July 21st maize) with the name of Xilonen; that is when the corncob is tender, like milk (xilotl) Nahuatl name: Reference: Huey tecuilhuitl Great feast of the lords and distribution of supplies to the population

Interpretation to ancestral ceremonial by the Chronicler: Sahagún, Clavijero. The woman who represented Xilonen was sumptuously attired and she was accompanied with the sacred fire taken by some women and she received great honors; the feast lasted eight days, both men and women danced, mixed between them organized in the optimum way and they were supervised by superior authorities; each one of them took some canes of corn in their hands and they seemed to approach them; these canes of corn were called Topanitl. The women wore their hair loose as the symbol of the corn silk. In this celebration, the population was given foodstuff as well as beverages. Traditional Dance Celebration: Catholic book of saints Non traditional Dance groups: Homage to Cuitlahuac ; for the night of victory over the Spaniards. Observations: Nowadays, in every dance celebration, all participants are given foodstuff

192 as well as beverages.

Twenty: Ninth Devoted to: Correlated date: July 22nd to August Huitzilopochtli, second feast 10th Nahuatl name: Tlaxochimaco- Reference: Flowers offering to adorn Miccaihuitontli Huitzilopochtli’s temple. Joy, banquets and big dances.

Interpretation to ancestral ceremonial by the Chroniclers: Sahagún and Clavijero. The night before, foodstuffs and beverages are prepared. With noon time as a signal, the great celebration is initiated in the yard of the temple; the women, public girls, entered and, holding hands, a woman marched between two men, as well as one man between two women; they danced, celebrating and singing; those who played the music for the dance as well as those who led the singing, were together in a round altar called momoztli. Both men and women with hierarchy danced placing their arms over the others’ shoulders. They also made the celebration for the commerce. Traditional Dance Celebration: Feast of the third “wind” devoted to Lord Santiago in the church of Tlatelolco and other paternal temples. Non traditional Dance groups: Tenochtitlan foundation. Observations: The beginning of the ceremony was at noon time, when the sun is at the zenith. July 26th commemoration of Tenochtitlan foundation. Huitzilopochtli, solar representation as well as the representation of the will, is the guide of the pilgrimage.

Twenty: Tenth Devoted to: Xiuhtecutli Correlated date: August 11th and the growth of corn to August 30th Nahuatl name: Xocotlhuetzi-huey Reference: The fruits fall. miccaihuitl Fire celebration

Interpretation to ancestral ceremonial of Chroniclers: Sahagún, Clavijero. Fire celebration: by midday, they started to dance and sing, the women marched well organized among men. In the preceding twenty, a big tree was cut and it was planted in the ceremonial center, it was shed of its branches and bark and it was adorned with colored paper and it remained as the symbol Xiuhtecutli (the calendar order of the cycle represented by the fire). The participants painted their body with ocher color to symbolize the

193 fire. For the Tlaxcaltecans it is the great celebration for the dead; they went in mourning to venerate them. Traditional Dance Celebration: August 15th feast of the Assumption Virgin, in some villages it has an extensive agricultural referent. Hail callers climb the hills again to guarantee the good outcome of the agricultural period. Non traditional groups celebration: Dance in the capital city main square as a remembrance of the heroic defense of Tenochtitlan Observations: Third of the four key dates of the corn agricultural ritual calendar; August 13th; growth of the corn and the rain season at its height. Assumption, it refers to the rise of the virgin’s spirit; credence which tries to conceal with the elevation of Mother Earth’s spirit with the growth of corn.

Twenty: Eleventh. Correlated date: August 31st to September Devoted to: Teoinan, 19th mother of Creation Nahuatl name: Reference: Ochpaniztli Period of the brooms; celebration to Mother Earth and vegetation, taking in one hand a bunch of herbs to sweep and purify the path.

Interpretation to ancestral ceremonial by Chroniclers: Sahagún, Clavijero. Fifteen days before the celebration, they started dancing a dance which they called nematlaxo: this celebration lasted during eight days. They marched ordered in four rows and they just danced, they did not sing; they walked in silence and they took cempoalxochitl flowers in both hands. They cleaned and adorned the paths, the roadways, the aqueducts and the houses were repaired. At the end of the feast, from an ad oratory devoted to Huitzilopochtli, they poured corn of four different colors: white, yellow, black and red and also squash pips. Traditional Dance Celebration: Feast of the “Wind” of the Remedios Virgin in the Federal District. Feast of the Catholic book of saints in Querétaro, Qro. on the Hill of Gremal. Non traditional Dance groups celebration: Anniversary of groups. Observations: In Tetelcingo, Morelos, there is a special women’s dance.

194 The dance in pilgrimage is made until the second Sunday of November.

Twenty : Twelfth Devoted Correlated date: September 20th to to: Tezcatlipoca October 9th Nahuatl name: Teotleco Reference: Return to the land of Tezcatlipoca and Lord of Fire

Interpretation to ancestral ceremonial of Chroniclers: Sahagún, Clavijero. The ceremonial centers, as well as the intersection of the streets, were adorned with branches. They gathered in the quarters and, in the streets, they danced holding their hands; they painted their arms and their bodies and they covered with feathers of different colors, sticking them with resin. Over a rush matting, they scattered corn flour, a great priest stayed awake to wait for the arrival of the great energies. They danced around a big bonfire with special attires. Traditional Dance Celebration. Feasts of the Catholic book of saints. Non traditional Dance groups celebration: Autumn Equinox Observations :

Twenty : Thirteenth Devoted to : Correlated date: October 10th to Tlaloc and the harvest October 29th Nahuatl name: Reference: Tepeilhuitl Feast in the mountains to celebrate the harvest. Elaboration of amaranth figures

Interpretation to ancestral ceremonial of Chronicler: Sahagún. They danced personifying Mayahuel with chants and they drank pulque in a ritual ceremony to thank the divine forces for the crop; the people offered agricultural foodstuffs. Four women represented Tepexoch (mountain of the sustenance), Matlalcue (vegetation hillside that the earth gives). Xochitecatl (essence of the flower) and Mayahuel (essence of the pulque), as the four key dates of the ritual journey of the corn and a man acted as Milnahuatl, image of the serpentine path of the corn. They carried over their shoulders the women and the man in a procession and they went chanting along with them. The altars, as well as the mountains, were adorned with amaranth figures representing the hills to worship them as well as to identify them as generators of life and because of the consideration that the dead get back to the womb of the earth.

195 Traditional Dance Celebration: In Tetelcingo, Morelos, the nearest Sunday to the twenty fourth of October, Saint Raphael’s day, the dance is devoted to thank for the harvest. In the zone of Saint Ursula in the south of Mexico City, they continue celebrating what was the corn harvest in ancient times. On October 12th in Guadalajara, Jalisco, feast to the Zapopan’s Virgin. Non traditional Dance groups celebration: October 12th, repudiation to the Day of the Race. Observations: Fourth and last of the four key dates of the corn agricultural ritual calendar. The thirteenth twenty period turns since the selection of the seeds from the Atlacuallo period until this one, the harvest twenty; journey from 13 to 20=260.13 the expansion number, in this case the expansion until the flourishing of corn. For all this, the trajectory of the corn Agricultural Ritual Calendar lasts 260 days, as the count of energy of the human being or of the Tonalpohualli.

Twenty: Fourteenth Correlated date: October 30th to November Devoted to: Mixcoatl 18th Nahuatl name: Quecholli Reference: Celebration to Mixcoatl as a representation of hunting, manufacturing of arrows.

Interpretation to ancestral ceremonial by Chronicler: Clavijero Four days before the celebration, rigorous fasting; arrows for hunting are prepared. After the fasting was accomplished, both Mexicas and Tlatelolcas left to hunt in the nearby mountains. Traditional Dance Celebration: Evening awake for the Day of the Dead Non traditional groups celebration: Dance for the Day of the Dead Observations: Remembrance of our Chichimecan origin

Twenty: Fifteenth Devoted to: Correlated date: November 19th to Huitzilopochtli December 8th Nahuatl name: Panquetzaliztli Reference: Flags elevation

Interpretation to ancestral ceremonial by Chronicler: Then, they started to dance and sing, and they sang a song called Tlaxotecayotl, which means

196 singing in praise of Huitzilopochtli. This chanting started at the beginning of the night and it ended at midnight when they rang to matins. They chanted this chant and danced, both women and men all mixed up. Traditional Dance Celebration: Catholic book of saints. Non traditional Dance groups celebration: Anniversary of groups. Observations: Remembrance of the mission of the pilgrimage of the Mexica people and the leader Huitzilopochtli.

Twenty: Sixteenth Devoted Correlated date: December 9th to to: Tlaloc December 28th Nahuatl name: Atemoztli Reference: Rain fall, offering of food stuffs and beverages.

Interpretation to ancestral ceremonial by Chronicler: Clavijero: Attract the opportune rain. Traditional Dance Celebration: Dance to the Virgin of Guadalupe Non traditional groups celebration: Winter solstice Observations: None

Twenty: Seventeenth Devoted to: Correlated dance: December 29th to Tonantzin January 17th Nahuatl name: Tititl Reference: Shrinkage due to cold weather

Interpretation to ancestral ceremonial by Chroniclers: Sahagún, Clavijero The Motzontecomaitotia was a very solemn dance of fecundation, symbolic of the earth devoted to Illamatecuhtl, “elderly lady”, or the supreme order of the feminine. “…The following day everybody prepared themselves for a solemn areito, which started in the royal houses; they took ornaments with decorations and emblems or rich feathers that there were in the royal houses and carried, in lieu of flowers, all kinds of tamales and tortillas in their hands; they were adorned with toasted corn which they called momochtli; they also took red blites made of colored feathers and canes of corn with their corncobs and, passing by midday, the ministers of the areito temple, ceased and all the principal lords and nobles came over and they formed in rows of three right in front of the royal houses;

197 Motecuzoma also marched leading the parade, taking at his right hand the Lord of Tezcuco, and to the left the Lord of Tacuba, a very solemn areito was made; during the areito until the afternoon or dusk… Traditional Dance Celebration: Dance at the Guadalupe Shrine to celebrate the New Gregorian Year. Non traditional Dance Celebration: Observations: The ceremonial center devoted to our Mother Earth, Tonantzin, is located on the Tepeyac, now devoted to the Guadalupe Virgin. Tonan, our mother, was worshipped and she was also known with the following names: Ilamatecuhtli, the most ancient feminine order of the energy. Cozcamiauh, the ear of corn or the corn with flower collar. The main celebration was made between December 29th to January 17th

Twenty: Eighteenth: Correlated date: January 18th to Xiuhtecuhtli, Fire February 6th Nahuatl name: Izcalli Reference: Growth, Risorgimento, Celebration honoring fire Each four years, great celebrations.

Interpretation to ancestral ceremonial by Chronicler: Sahagún This relevant dance of the “big circle” was made at the apogee of the Mexica people and there were still some chroniclers who got to see them carry it out. For that reason, there exist circumstantial descriptions which reveal us the brightness and solemnity with which it was made. …It was celebrated each four years on the tenth day of this month, to honor Xiuhtecuhtli, Lord of the Fire. On the same day each fifty two (52) years, the New Fire was lit; therefore, it was an extraordinary cyclic celebration, related to the beginning of a new solar cycle of 360 days. Let us remember that the men of the year were four and their representations were devoted to the four parts of the world. Traditional Dance Celebration: Feast of the Candelas. Non traditional Dance groups Celebration: Anniversary of groups. Observations: None

From February 7th to February 11th, fateful days or nemontemi

198 After making the preceding analysis, we may obtain the ceremonial cycle of Mother Earth through the agricultural cycle of Corn, within four key dates, or as it is called nowadays, four “Winds”. First twenty day period: Atlacuallo Devoted to: Tlaloc, rain; divine liquid which binds the Sun and the Earth Ceremony: To attract the necessary rain for the grains of corn selected which are stored for the sowing. The ceremony for the selection of the seed of corn in the ancient Cosmo vision represents the psychic germ of the child representative of the seed that will be sowed afterwards, sent from the divine place Tamoanchan by the divine couple Ometecutli and Omecihuatl to the womb of Mother Earth. In ancient times, the life of the human being is related to the life of the corn. Sahagún, in the General History…book VI chapter XXX, I, 414 and chapter XXX 1, I, 415, indicates what was said to the child upon being born: “…it is your exit into this world. Here you bloom and you flourish…” Then the navel of the new born was cut, and it was estimated as an offering…” And in the discourse the human being was considered without life expectations, as a faded corncob…” The cut of the navel was made over a corncob considering that, in such a way, the growth force is shared in both of them, thus being the corncob linked to the child’s life. The grains were kept for the sowing, and its cultivation was sacred, for the whole life of this child. Ceremony for the preparation of the seed The corncobs selected to obtain the seed for the sowing were taken to the tzacualli, Chicomecoatl and Centeotl’s ceremonial place, in order to be charged with the divine spirit of the germinating power. In this sacred place, they received a special care from the priestess maids, they put melted rubber to the corncobs which were dressed with paper. With the energy received, they were taken to the houses and they were placed in the bottom of the barns so that they would serve as “hearts” representative of the hills, by the time of the sowing, the corncobs will be taken out to obtain the selected seeds. Second Twenty: Hueytozoztli Devoted to: Chicomecoatl, seven serpent, the journey of the seed. Ceremony: The corncobs leave the barns to obtain the seed that will reinitiate the agricultural cycle.

199 The corn sowing ritual is initiated in the ceremonial centers; the corn is taken to the cornfields and lagoons as a being personalized in Chicomecoatl. The seed was inside the barns, receiving the protection of Mother Earth, the farmer asks the planting baton for help, invoking it secretly with the name of ce atl. Prayers: I am now coming to leave the priest, the estimated nobleman Chicomecoatl. Come on, because here is the corn basket which shall make you go throughout the path, since your venerable mother took care of you all the time.

The priests with the sign ce acatl (tlaloques) have arrived; here, underneath the earth, we shall place Chicomecoatl, the priest.

¡Ea! Come; mirror whose make up is emitting smoke (Mother Earth), because I shall place inside you the estimated nobleman Chicomecoatl, who will be comforted in this good place, since the priests (tlaloques) have arrived. Another prayer: Be so kind to come, my elder brother Tonacacihuatl (feminine energy of corn). Be so kind to come, Tlaltecuhtli (Mother Earth’s order) In the palm of your hand I already place my elder sister Tonacacihuatl… Then soon, it will rise over the Earth. I shall honor, I shall greet my elder sister Tonacacihuatl. Third Twenty: Xocotlhuetzi-huey miccaihuitl Devoted to: Xiuhtecuhtli and the growth of the corn.

Ceremony: Hail callers climb the mountains again to guarantee the good result of the agricultural period. Fourth twenty: Tepeilhuitl Devoted to: Tlaloc and the harvest Ceremony: It was danced personifying Mayahuel with chants and, within a ceremonial ritual, some pulque was drunk, as gratefulness for the harvest, to the divine forces and the people offered agricultural foodstuffs. Four women represented Tepexoch (mountain of sustenance), Matlalcue (vegetation hillside given by the earth), Xochitecatl (flower essence) and Mayahuel (essence of pulque), as well as the four key arrows of the ritual journey of the corn; a man acted as Milnahuatl, image of the serpentine path of the corn.

200 After analyzing the calendar count and the ceremonies where the Dance is present, it is necessary to make the following reflection. All this is because corn is our physical and spiritual sustenance, where the productive activity of our Mother Earth is directed. Since the ancient tlamatinime, Mesoamerican scientists, built their evolution, which requires, necessarily, precise knowledge about work and cultivating effort of man and in whose surrounding halo there is a guarantee of hope for the continuation of life for humankind in our planet. All of this is because from corn, both time and natural harmony surges. It is incredible and suicidal to attempt against its original gestation process, taken from the mathematical rhythm of the origin of the Universe and the evolution of Nature. Due to all this, it would be necessary to pay attention to what the oral traditions says: In ancient times, if maize was not given a special treatment, it moaned pitifully to the divine Creation, saying: “…Kindly give hunger so that they won’t scorn me”

CONCLUSIONS

The Dance discipline corresponds to the basic structure of a didactic system of vertical construction of the human being, within the outstanding social and political organization of Anáhuac, where both men and women were free in their minds and their spirits and who, under an order of mathematical and cosmic principle, respected the laws of equilibrium in the Universe as well in Nature to maintain a solid common ideal. In that place, the education was transformed into an art of raising and forming individuals, an agreeable compromise of the community in which everyone, without any exception, cooperated: parents, philosophers, scientists, authorities, warriors, arts and trades teachers and so on. As a result of such a wide interdisciplinary educational participation, the students obtained a bright and solid whole vertical formation. The fundamental teaching comprised: Dance, music and singing. Mathematical science. The art of speaking with elegance. The knowledge of the sky and the stars. The study of the days accounts. The knowledge of plants and medicines. The science of the soul knowledge. The art of painting and representing with glyphs. The knowledge of attracting and scaring away the rains. The theology and the rite.

201 The knowledge of History. The science of governing. The art of theatre. The knowledge of genealogy. The architecture.

The ritual celebrations were made according to strict ritual stipulations according to astronomic facts as well as to the time mechanism of the natural phenomena.

Since the colonial period after the conquest, the outstanding organizational structure which guided our peoples was destroyed, and the process of implementing educational processes according to the individualist way of thought is initiated; in such a way that the people is transformed into “educated” manpower to give service and profits to the group in the government. Ceremonies in which the dance was included were chased, because they were considered as an antagonist ritual to the new religion; afterwards, when it was allowed to start the dances again in the atriums, sheltered with the church, the Spaniards established severe restrictions and interdictions. Due to all these causes, along with the trivial own conflicts, as well as others with an ethnic character, derived from the historical accident of the conquest, the imposition of a new civilization, the national and the foreign “modernism” and the consuming process which tends to intoxicate and to modify the likes, as well as the feeding and the different credences and, finally, the original customs that, little by little, have been weakened. All these factors have affected our environment as dancers, we have supported them and, occasionally, we have tried to overcome them in their own imperfections. Even so, it is relevant to see that the practice of the Dance grows each day in our urban zone, as well as in the different states of the country and also beyond our borders, searching some practitioners and, additionally, some identity, magic or maybe a catharsis, that is to say, the spiritual purification by means of dancing; for others it is just a means of physical or social diversion. The preceding facts are manifested in the circles of dance; in the above mentioned rituals, the practitioners, unconsciously perceive and make, among others, movements of an apparent ancestral pleasure. Carl G. Jung mentions that it may be said that the unconscious of a dancer tries to transport him or herself towards the conscience of the collectivity and the genetic memory.

202 The prodigy and the fascination of Dance, within the terms we have hereby expressed, is one of the few solid connections which maintain us linked to what still exist from our identity. For such reason, with the aim of giving something for the reconstructions and the involution of the Dance, as well as to the reparation of our own imperfections and, as a kind of auto critics in which I include myself, I respectfully make the following appointments: The teaching of the Dance is made in an empiric way; that is to say; it lacks an appropriate methodology, thus propitiating confusion; well, even though the dances are almost identical, their interpretation is different, and it turns into an individualist way of thinking, as it is in the particular case of the dance of the permission to the four winds or cardinal points, which several have now transformed and is called “the signature” by them, where the performer makes motions according to his free will, as if it were a handwritten signature, thus showing a very personal action. In their forms and personal chants, the groups of conchera tradition visualize the crossing as a Catholic form, which is why some of the groups called cultural avoid it, thus losing the symbolism of the union which propitiates the expansion. Within the conchera tradition, as well as in the chichimeca, Aztec, mexica or within the cultural groups there is a calendar of obligations, that is to say, dates of ceremonies which correspond to the Catholic book of saints, anniversaries or else, to those which seem to be a restoration of the twenty day periods in the ancient calendars, therefore the order of the calendar of the calendar corresponding to the ceremonial count of corn is getting lost; consequently, the synchrony of the energy count of Mother Earth with regard to the human being has been lost. The harmonic link of music, dance and singing disappeared and, within the practice of the dance, only occasionally there is an intuition towards its mathematic rhythmic as well as to its symbolism. Ceremonies and chants from the solar rite belonging to the indigenous brethren of the Northern part of the Continent are imported, or else some ceremonies of the lunar rite are created, however, the chronicles tells us that the celebrations of the solar cult were reserved only for outstanding beings devoted to the knowledge of order, such us: the highest leaders and the order of the warriors. With regard to the lunar rite, there are no references and, even if there were any, this rite would correspond to women with a high development of the scientist knowledge of harmony. The formal teaching of the traditional dance in Anahuac, within the educational institutions, takes part only of the choreographic numbers in the festivals, that is the reason why the ancient mathematics and the dance, among other disciplines, are aside of the constructive formation for children and youngsters.

203 There is another type of education, the regional or folkloric dancing groups which, with official support as well as from private sources, take advantage of infrastructure and academically educated instructors, however, the traditional dance is set aside or has only complementary staffs. Music and Dance are used by some people to obtain welfare, when they offer them as a show, where the rhythms and the body motions acquire a stylization substantially remote from the essence and symbolism of the music and the dance, thus showing the world a lack of knowledge of the most elementary quality values which belong to our culture. Nowadays, our Mother Earth manifests its displeasure with the global heating as well as with the weather changes propitiated by the uncared management of the order provided by the big cultures of humankind. The world has been deformed because of the priority given to the economical value (which is also collapsing), placing it over the axiological values of humanity. That means: Having is placed before being. In our country, this has propitiated the abandonment of the cultivating lands, and the utilization of the transgenic technology, which menaces with altering the process of evolution of corn, is imminent; therefore, it is also a menace against our own guide of communal behavior, when the agricultural enterprises approach dangerously. When the land belongs to the agricultural enterprises, consequently the communal labor in the country is extinguished, or else, when the ancient cultivating fields become a built up area.

In the Dance, all our duty…has no way to spread its beauty

In spite of all this, there still exists among some Mexicans the dream of recuperating the dance of the ancient Macehualiztli which may be practice with the harmonious rhythm of the wind, as well as with the sweetness and the chant of water and also that it may be used to apply the essence of the energies in the cosmic order over Mother Earth and over Humankind, through the ceremonial count of corn; so that the body may talk about our acts with dignity and it may correspond to the search of the physical, mental and spiritual perfecting process. Thus, we shall try, with great effort, to follow our struggle to survive with stubborn instinct of conservation, encouraging the union to rescue our history and our traditions; we shall also encourage the recognition, from the deepest of our own beings, of our roots, thus seeking for the union and the labor in solidarity and also for the collective conservation of our cultivating lands, as well as for our pride and ancestral dignity.

204 If we consider the weakness of the educational system we have now in order to face the future, it is necessary to create an alternative and parallel educational process which may correspond to the reorganization of Humankind and our planet as a whole, where the philosophical and scientific value of ancient education of this continent may be present, in order to implement this knowledge in a curricular way among our numerous childhood, since we do not have any doubt about the positive results: both children and young people must acquire the conscience of: Verticality of the human being. It is necessary to go back to the origin of the creation knowledge, where mathematics and dance are an important part of the qualitative education, in community, within human beings. The human body belonging to the dance performer must seek attitudes of veneration, will or joy for obtaining a wholesome well-being with the ordered union of everything; it will also make body motions of elevation, as well as of agricultural harmony, imitation of animals or energy spirals, all this with an iron discipline of physical and spiritual perfection in order to encounter, again, the education of dancing warriors. The Physical Thermodynamics Law indicates that: Matter is formed by atoms, therefore, the dancer will seek to be, within the Dance, an instrument which will produce energy by means of the thermodynamic charge, thus creating a rotating camp of apparent opposite turns which move around the corporal movement, trying to reorder the electromagnetic camp which may synchronize him or her with the cosmic hierarchy, as well as with out Mother Earth and the rest of the living beings that live in it. According to what has just been said, it is proposed to reestablish the verticality education of the human being; therefore, a mathematical codex of quality of steps and rhythms will exist, so as to show the message of life behavior by means of the Dance. When the interpolation of the energy in the ordained circle of dance is attained, from the left foot of man surges the red light of the fire energy, same which is manifested in the right foot of the woman; from the woman’s left foot, spiritual blue light energy, which is projected into the man’s right foot; when both energies interlace, they form a violet color energy. It will be possible to perfect this observation with scientific research methods, utilizing the “kirlian” machine, to analyze the body motions within the Dance, as well as the musical instruments. It will be also used to measure the vertical behavior of the pupils and as a scientific proof with regard to the fact that the natural couple union in equilibrium is only attained through the natural love union between man and woman.

205 Myth, dance, science and art, in a static movement, produce and structure a logic of the permanent necessity to explain the world and the way to act over it, thus appearing as a believer, producer and user of the Cosmo vision which expresses conceptions for the comprehension of the material un- symbolism which should be issued from the historical knowledge, an order that will avoid to affirm that gods have the fault of wrong behaviors within History. The ignorance about the values that the construction of human being’s verticality represent, has allowed to accept doctrines which seem to correspond to the social claims of our History, where it is only observed clearly that our people, as well as high morality leaders such as Zapata, have been used to die for the benefit of privileged groups. It is also the case of the Independence movement, as well as the Mexican Revolution and the social movement in 1968, where some characters surged, characters who lacked our own identity and who were apparently from the “left”, imported from France and who consider such left ideology just like the Jacobins did, that is, that which is antagonistic to the right and that, as time goes by, has just showed us that their proposal was not a collective national project, but their desire to belong also the privileged class to whom belong both power and fortune. These “left” groups, who now have the power in Mexico City, keep on manifesting a lack of identity; it is not possible to see a proposal of, at least, a cooperative education and, in a short period of time, they go destroying the fundamental values of the ancient Tenochtitlan as such: the family and the natural union of a couple in equilibrium: man-woman. Or else, the romantic Zapatista movement, where the educational work is featured with an empiricism that, sometimes, seems to be a joke. This means that the quality of building up a human being, in verticality, by the left side, is ignored: Towards the side of the heart… The heart, as the representation of the flourishing in the internal, hidden and precious of any being… Even so, it is a dream to visualize the Dance within the educational process so that both children and young people learn the qualitative concept of the expansion of the being, where it may be listened, as a beautiful hush, the interior message of the blood linked with remembrances of the red, yellow, white and blue corn. Even so, it is a dream that the dancer may be linked into a universal search of man and woman: The encounter with the perfect, To the sublime alchemy. Where both art and science are the beautiful tissue of a lofty development of the spirit so as to have as a purpose:

206 To deserve… …to approach the supreme energy of the Creation or…God…

BIBLIOGRAPHY

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PRIMERA DE FORROS

Agricultural steps

The earth is called… it is caressed, the furrow is open.

Placing of the seed. The solar energy is invoked. The rain is invoked

Turns of wind energy to attract the rain.

SEGUNDA DE FORROS

I danced, seeking for chants. I danced, searching for flowers.

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I only found sparkles, I only found illusions.

The Macehualtin, in the sea, only can offer crying for Tonantzin and Tonacayotl.

Sad I am now on my way, without any chanting, Sad I am leaving without any flower…

Tonantzin: Mother Earth Tonacayotl: Our sustenance, the corn Macehualtin: human beings from the fifth sun who “merited” because they were born from death; offer and evolution of preceding ages.

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