The Public Rituals of Life, Death, and Resurrection in Tlayacapan, Morelos (Mexico)
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The Public Rituals of Life, Death, and Resurrection in Tlayacapan, Morelos (Mexico) The Public Rituals of Life, Death, and Resurrection in Tlayacapan, Morelos (Mexico) By Robert H. Jackson The Public Rituals of Life, Death, and Resurrection in Tlayacapan, Morelos (Mexico) By Robert H. Jackson This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Robert H. Jackson All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-4508-3 ISBN (13): 978-1-5275-4508-3 TABLE OF CONTENTS List of Tables and Figures .......................................................................... vi Acknowledgements .................................................................................. xiii Chapter 1 ..................................................................................................... 1 Introduction Chapter 2 ..................................................................................................... 7 The Colonial Origins of Tlayacapan Chapter 3 ................................................................................................... 33 Carnival in the Public Ritual of Tlayacapan Chapter 4 ................................................................................................... 70 Life, Death, and Resurrection: Semana Santa in Tlayacapan Chapter 5 ................................................................................................... 95 The Día de los Muertos Chapter 6 ................................................................................................. 131 Conclusions Appendix 1: September 19, 2017 ............................................................ 139 Appendix 2: Earthquake Damage to the Colonial Architectural Patrimony of other Morelos Communities .............................................. 166 Appendix 3: The Architectural Development of Sixteenth Century Doctrina Complexes ................................................................................ 201 Appendix 4: Engraved Embedded Stones in La Exaltación barrio chapel ............................................................................................ 222 Selected Bibliography ............................................................................. 230 LIST OF TABLES AND FIGURES Tables Table 1: Political organization of Cabeceras and Sujetos of the Tributary Province of Huaxtepec under Culhua-Mexica Rule Table 2: The Estimated Population of Morelos Doctrinas, in Selected Years Figures Figure 1: A page from a visual catechism used in evangelization. Figure 2: The upper façade of the Tlayacapan Tecpan prior to the earthquake of September 19, 2017, showing embedded pre-Hispanic stones. Figure 3: Detail of the embedded stones in the upper façade of the Tlayacapan Tecpan. Figure 4: Embedded chalchihuitl stones in la Exaltación barrio chapel, Tlayacapan. Figure 5: An embedded chalchihuitl stone in the doctrina church San Guillermo Totolapan (Morelos). Figure 6: A pre-Hispanic stone in a niche in the façade of the doctrina church La Asunción Yautepec (Morelos). Figure 7: A staging of Moros y Cristianos in Atlatlahucan. Figure 8: A procession staged at Atlatlahucan to celebrate the coronation of the Virgin of Guadalupe. Figure 9: The mid-eighteenth century map of the Tlayacapan lands. Figure 10: Carnivale in Rome in 1650. Figure 11: A solar event at the sixteenth-century Dominican doctrina church of San Juan Bautista Coixtlahuaca, Oaxaca, shortly after the winter solstice. Figure 12: The last light of the day enters the church interior, runs down the center of the nave, and illuminates the main altar screen. Figure 13: A second view of the church interior showing the light shifting, and a second shaft of light. Figure 14: The copula of the parish church in Zumpango. Figure 15: A mural in one of the niches depicting the sun. Figure 16: A mural in one of the niches depicting the sun. Figure 17: A Jaguar mask from Guerrero. Figure 18: Jaguar masks from Guerrero. Figure 19: The Danza del Venado in a Yoreme community in northern Sinaloa. Figure 20: Huehues in Yauhmechcan, Tlaxcala. Figure 21: Huehues and the devil in Totimehuacán, Puebla. Figure 22: Gender reversal roles in Totimehuacán, Puebla. The Public Rituals of Life, Death, and Resurrection in Tlayacapan, vii Morelos (Mexico) Figure 23: Huehues in Huejotzingo, Puebla. Figure 24: A mask used in the Dance of the Viejitos. Figure 25: A 1940 photograph of “Viejitos” in a P’urépecha community in Michoacán. Figure 26: A staging of the Dance of the “Viejitos.” Figure 27: A c. 1939 photograph of a Chinelo in Tepotztlán, Morelos. Figure 28 A c. 1939 photograph of Chinelos in Tepotztlán, Morelos. Figure 29: The procession staged during carnival in 2016 leaving the tecpan/municipal palace. Figure 30: The procession moves through the streets of Tlayacapan. Figure 31: The procession stopped in front of the Rosario barrio chapel in 2016. Figure 32: A participant dressed as a priest splashing people with “Holy Water.” Figure 33: A participant who represents Maximilian. Figure 34: Banners carried during the procession identifying the Comparsa Union. Figure 35: A banner carried during the procession. Figure 36: A procession of Chinelos in the streets of Tlayacapan. Figure 37: The banner of the Comparsa Unión. Figure 38: Chinelos followed by musicians. Figure 39: A procession staged in 2015 in front of the main entrance to the atrium of San Juan Bautista. Figure 40: The procession moving towards the tecpan/municipal palace. Figure 41: Chinelos from Tlayacapan participating in a Brinco staged in Atlatlahucan, Morelos. Figure 42: The church of San Pedro Yuririapúndaro (Guanajuato) decorated with palm fronds on Palm Sunday. Figure 43: A Penitential Procession depicted in a mural in the Franciscan doctrina of Huaquechula (Puebla). Figure 44: A penitential procession depicted in a painting in the church of Singuilucan (Hidalgo). Figure 45: Sayones. Figure 46: Matacueros in Yecapixtla. Figure 47: The statue of Jesus ready for the viacrucis procession on Good Friday (Jumiltepec, Morelos). Figure 48: A viacrucis staged on Good Friday with the cross in a barrio of Azcapotzalco (Mexico City). Figure 49: Hooded penitents carrying the santo entierro in a silent procession staged in Queretaro. Figure 50: A silent procession staged in Morelia, Michoacán. Figure 51: Preparations for the Tlayacapan silent procession. Figure 52: The santo entierro and statues being carried from San Juan Bautista church to initiate the silent procession. Figure 53: Paper maché figures of Judas and the devil for sale on Good Friday in Morelia, Michoacán. Figure 54: Judas hung in effigy from San Agustín church, Xilitla, San Luis Potosi. Figure 55: The procession and band moving through the streets of Tlayacapan heading to the Tecpan/Municipal Palace. viii List of Tables and Figures Figure 56: The paper maché figures used in the Quema de Judas. Figure 57: The temporary church in the atrium of San Juan Bautista. Figure 58: The Cempoalxochitl plant and flower from the Codex Florentino. Figure 59: The church of San Nicolás Bari, Santa Fe de la Laguna, Michoacán. Figure 60: 1901 photographs of Robert LeRoy Parker (left) and Harry Longabough and Etta Place (right). Figure 61: An eighteenth century representation of the Dance of Death. Figure 62: The Triumph of Death and the Dance of Death, Clusone, Italy. Figure 63: The Dance of Death, the Franciscan convent of San Francisco de Morelia, Morelia, Valencia. Figure 64: Detail of the mural showing death shooting arrows at people in a Tree of Life. Figure 65: A representation of Mictlantecuhtli the deity of death and the underworld. Figure 66: Death and an Augustinian missionary in the lower cloister of the doctrina at Malinalco. Figure 67: The King of Death represented in the portería of the Franciscan doctrina at Cholula. Figure 68: The Triumph of Death represented in the upper cloister of the Augustinian doctrina at Huatlatlauca. Figure 69: The Triumph of Death represented in the Case del Deán. Figure 70: Detail of the mural showing death. Figure 71: A painting in the church of the Hospital of the Santa Caridad. Figure 72: A painting in the church of the Hospital of the Santa Caridad. Figure 73: A painting from the Dominican doctrina at Coixtlahuaca depicting Death and the decaying body of a warrior. Figure 74: A statue depicting the King of Death used in processions staged at the Dominican doctrina at Yanhuitlan, Oaxaca. Figure 75: Death represented in popular art. Skeletons attending a bull fight. Figure 76: Masked dancers during the celebration of Xantolo. Figure 77: An historic photograph of a pair of women in a cemetery during the Dia de los Muertos. Figure 78: The sale of Cempoalxochitl and pan de muertos in Tlayacapan. Figure 79: A man carrying Cempoalxochitl. Figure 80: An altar in a house in Tlayacapan. Figure 81: Decorated tombs in the Tlayacapan Municipal Cemetery. Figure 82: A decorated tomb in the Tlayacapan Municipal Cemetery. Figure 83: An altar in the Tlayacapan Casa de Cultura. Figure 84: A funeral procession in Tlayacapan. Figure 85: Musicians accompanying the funeral procession. Figure 86: A funeral procession