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Danza Mexica: Indigenous Identity, Spirituality, Activism, and Performance Jennie Marie Luna [email protected]

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Danza Mexica: Indigenous Identity, Spirituality, Activism, and Performance Jennie Marie Luna Lalunaxicana@Gmail.Com San Jose State University SJSU ScholarWorks Faculty Publications, Mexican American Studies Mexican American Studies 2011 Danza Mexica: Indigenous Identity, Spirituality, Activism, and Performance Jennie Marie Luna [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/mas_pub Recommended Citation Jennie Marie Luna. "Danza Mexica: Indigenous Identity, Spirituality, Activism, and Performance" Faculty Publications, Mexican American Studies (2011). This Dissertation is brought to you for free and open access by the Mexican American Studies at SJSU ScholarWorks. It has been accepted for inclusion in Faculty Publications, Mexican American Studies by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. DANZA MEXICA: INDIGENOUS IDENTITY, SPIRITUALITY, ACTIVISM, AND PERFORMANCE By JENNIE MARIE LUNA B.A. (University of California, Berkeley) 1999 Ed.M. (Teachers College, Columbia University) 2001 M.A. (University of Cali fomi a, Davis) 2006 DISSERTATION Submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY In Native American Studies in the THE OFFICE OF GRADUATE STUDIES of the UNIVERSITY OF CALIFORNIA DAVIS Approved: d~ lk:/lil4L Chairs~kDF: isab thShRose:MIddleton, PhD Mariso e la Ca ena, 2011 Copyright © Jennie Marie Luna 2011 All Rights Reserved ii ABSTRACT This dissertation closely examines the Danza Mexica tradition of México Tenochtitlan as it has migrated, navigated and dispersed throughout the United States, transforming the identity politics, spiritual, and philosophical base of entire MeXicana/o communities in the process. The dissertation begins by illuminating the personal and historical significance of the Mexica dance tradition through creating understanding of its cultural/spiritual significance, as rooted in Pre-Cuauhtemoc practice and ritual. Through historical/genealogical and contemporary understandings of the trajectory of Danza, two political/cultural/spiritual movements are examined in both Mexico City and the U.S. Southwest. These lineages cultivated the fertile ground necessary to facilitate the propagation of a trans-national Danza Mexica movement. This study examines the Mexicanidad and Tradición movements of Danza as both historical continuum and contemporary urban phenomenon. This dissertation is framed with explicit attention to the role and participation of women in the Danza movement. The Danza “movement” is defined as both an embodiment of a physical act and a political act. The Danza Mexica tradition is but one strand in a dynamic history and legacy that has shaped how both Mexicanos and those self-identifying as Xicanas and Xicanos name themselves and their experiences, and how they reclaim and embrace Indigenous identity. Through understanding the significance of this constantly emerging movement, Indigenous (re)affirmations of identity continue to inform notions of self, homeland, spirituality, and community. iii Simultaneously, this dissertation takes a critical look at how Danza circles have been sites where colonial mentality and practices have been reinforced. Despite critiques of “Indigenous revivalism and fanaticism,” diverse Danza circles throughout the United States continue to demonstrate decolonization and community empowerment. While the political U.S./Mexican border attempts to control the movement of people, ideas and beliefs continuously permeate. My work examines not only the migration of people, but of culture, spiritual traditions, and identity. This dissertation demonstrates the profound links between Danza and Xicana/o identity, which have been utilized for decolonization, social justice, and liberation of the Xicana/o community. iv ~Ometeotl~ Dedicated to all my ancestors To my abuelito José Manuel Luna & my Tio Guillermo Luna To my Mother, Gloria Luna Mi Maestra, Señora Cobb My Mentor, Jack D. Forbes Dedicated to all danzantes We don’t need a drum to dance, the drum is our heart, our feet are our instruments, and the sonaja is our voice. ¡Mexica Tiahui! v TABLE OF CONTENTS ABSTRACT ...........................................................................................................iii DEDICATIONS……………………………………………………………………v PREFACE & ACKNOWLEDGEMENTS..............................................................viii Section I: East Tlahuitzlampa Quetzalcoatl Introduction~ Tlapahloliztli~………………………………………………………2 Chapter 1~CE~ La Danza……………..............................................................................................4 Chapter 2~OME~ Autobiographical Sketch.........................................................................................12 Chapter 3~EYI~ Methodology……………………….......................................................................23 Chapter 4~NAHUI~ Theoretical Grounding and Perspectives ................................................................38 Chapter 5~MACUILLI~ Establishing Background and Ideological Location................................................55 Section II: West Cihuatlampa Xipe Totec Chapter 6 ~CHICUACE~ Pre-Cuauhtemoc Danza: Philosophy and Practice..................................................83 Chapter 7~CHICOME~ Colonization to Syncretism: La Tradición Conchera……………….....................107 Chapter 8~CHICUEYI~ Mexicayotl/Mexicanidad and the Chicano Movement...........................................149 Section III: North Mictlampa Tezcatlipoca Chapter 9~CHICNAHUI~ Abbreviated Genealogical Sketch and Timeline of Danza……………………......166 Danza in California and the United States…………………………………….…..168 Cetiliztli Nauhcampa Quetzalcoatl in Ixachitlan…………………………………..190 Contemporary Danza in México and the Mexicayotl Intellectual Think Tank……197 Points of Convergence: Xicana/o, Native American, and Mexicayotl Movements…………………………203 vi Chapter 10~MAHTLACTLI~ Señora Cobb: A Living Codex………………………………………………….....218 Section IV: South Huitzlampa Huitzilopochtli Chapter 11~MAHTLACTLI HUAN CE~ History of Identity Politics and the Mestizo Project……………………………….274 Chapter 12~MAHTLACTLI HUAN OME~ Xicana Indígena Identity…………………….. .......................................................295 Chapter 13~MAHTLACTLI HUAN EYI~ Conclusion ..............................................................................................................343 Closing: Sky Creation – Our Mother Earth………………………………………...362 APPENDIXES..........................................................................................................363 REFERENCES ........................................................................................................392 vii PREFACE & ACKNOWLEDGEMENTS Miac Tlazcamati With a heart full of gratitude, I honor and acknowledge my ancestors for creating the path and leading me to this beautiful prayer and tradition of Danza. Noyolo nemi huayya inmohhuantin. There are many people I wish to thank. This dissertation (and the completion of this arduous journey) was only possible through the love and support (emotional and financial) of my Mom, Gloria Luna. Thank you for supporting me in the final months of writing. I could not imagine teaching full time and completing this. Thank you to my grandmother, Jennie Ortiz Luna. I am so blessed that you have been able to witness my educational endeavors, a testament to your and Grandpa’s sacrifices. To all my familia Luna and the many ways you are part of my life. To my tio Guillermo who went on to the spirit world during this work. Thank you for being there for me always. To my dog Etzin, who also left to the spirit world during this work, my best animal friend that made me a more compassionate and loving human. You made my difficult days bright. With love, respect and honor, to my dissertation chair, Dr. Jack D. Forbes: Thank you for believing in me and in this work. My PhD would not have been possible without you, your courage, wisdom, compassion, inspiration, and deep conviction. You are a true revolutionary. Even in the spirit world, I felt your gentle push to write and the urgency to finish. It was a privilege to be your student. I hope to always do justice to your legacy and scholarship. To my dissertation chair, Dr. Beth Rose Middleton: Thank you for your willingness to step in and for being such a blessing in this final stage. Your time, knowledge, and wisdom were instrumental to me. I am eternally grateful. Thank you for your attention to detail and insight. I valued and enjoyed this last process thoroughly and my writing is so much better because of your help. It has been my privilege to have the opportunity to work with you. To my dissertation committee, I am sincerely and eternally grateful to all of you! Dr. Luis Urrieta—you are an inspiration to me. Thank you for also stepping in and for being committed to my success. You were the first person to translate theory for me in a way that I could understand and gave me the resources to begin this work. Your Indigenous Latino identity work set the trail for me. Thank you for always supporting me and believing in me. Dr. Marisol De La Cadena—I feel so honored to have studied with you. Your work has been invaluable to helping me create my own critical perspectives on race and identity. You were the first person who read my initial writing that would become this dissertation and you were the first person to tell me that this work was worthy and should be my dissertation topic. This was what I needed to hear at a time when others discouraged me. Thank you also to the members of my exam committee:
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