In Ipanoltilmeh Mitotli Me:xica/Conchera/Chichimeca Los Pasos de la Danza Azteca/Conchera/Chichimeca The Steps of the Aztec/Conchero/Chichimeca Danza

By MarioE.Aguilar,PhD. Capitn,DanzaMexicayotl SanDiegoKosoy CalifAztlan 28thAnniversaryCelebrationforDanzaXitlalli,June27,2009 2009TheMexicayotlIndioCulturalCenter

In Ipanoltimeh Mitotli Me:xica/Conchera/Chichimeca

Los Pasos de la Danza Azteca/Conchera/Chichimeca The Steps of the Aztec/Conchero/Chichimeca Danza Fromitsbeginningsasasystemofconvergenceandsyncretism,LaDanza Aztecahasbeenavehicleforrenegotiationandrevitalizationofmembershipand identityforitsIndigenouspractitioners.LaDanzatooktheechoesofthestate sponsoredritualballetfestivals,(asbestrememberedbythecommonagricultural andurbanpeople),andinterwovethemwiththeirdailyexperiences.Theseincluded theiroldagriculturaldances,socialdances,andthenewritualdances(suchasthe SpanishandItalianMattacinodances)broughtbytheSpanishfriarsto thenewworld(Rodrguez,1996). InthedecadesaftertheMexicanrevolutionof1910,LaDanzabecamea revitalizationmovementoftheCristerorevolt(Ramon,1985).Intheyears1950sto 2000,LaDanzabeganislongevolutionintothethreegroupsofdancepractitioners: ThetraditionalConcherosthatmaintaintheirlineagetothepast;theDanzaAzteca groupsthatstillfollowtheIndocristianotraditionoftheConcheros;andtheMexica movementormexicanistas movementdancersthattrytoreturntoanidealizedand mythicpast. WithintheMexcoehuanicommunities,practitionersofthetraditionalDanza Azteca,aswellastheMexicamovementadherents,trytobeinvolvedwithinthe panIndianmovementoftheU.S.Thismovementbringsseveralconflicting ideologiesandworldviewtotheforeintheMexcoehuanicommunity. La Danza Azteca as part of the reawakening of mexicanidad DuringtheearlyyearsoftheChicanomovement,youngpeoplewithaneed todiscovertheirindigenousroots,hadverylittletogoon.Theobstaclesto understandingtheirMexicanindigenousrootsincludedalackofunderstandingof Spanish,especiallyacademicSpanish.Inthosepreinternetdays,itwasdifficultto haveaccesstotheoriginalsourcesofpostconquesthistory.Mostimportantsources ofMexicanhistorywritteninMexico,orwereunavailable,orincomprehensibleto Mexcoehuani.MostoftheavailablesourcesofMexicanindigenoushistoryand culturewererestrictedtouniversitylibrariesandotheracademicinstitutionsthat werebeyondthereachofmostMexcoehuanicommunitymembers. Addingtothisvacuumofsourcesforthebuildingofanindigenousidentity wastheproblemthattherehasalwaysbeenculturalelitisminMexicoagainst Chicano,Pocho,andPachuco,residentsoftheU.S.Theyhavebeenseenas ignorantbecausetheydonotspeak,read,orwrite,CorrectSpanish.ItiswhatIcall thePochosyndrome.

 La Danza Azteca Como Parte del Movimiento Chicano/a La Danza Azteca as part of the Chicano/a Movimiento AndrsSeguraandFlorencioYescasarrivedintheU.S.atacriticaltime.The decadesofthe1960sand70shadbroughtgreatculturalandsocietalstruggles throughouttheworld.Themassacreofover400students,residents,andchildrenin MexicoCityontheeveoftheOlympicGamesin1968,broughtaboutaradicalization ofMexicosyouth. InTheU.S.,MexicanAmericans,Chicanos/as,Latinosweretakingtothe streetsofDenver,LosAngeles,andothercities.LeaderslikeReiesTijerina,Corky Gonzlez,CsarChvez,DoloresHuertaandothers,leadstrugglesforequality, justice,andanendtodiscrimination.Chicano/aactiviststhroughthemanyMEChA organizationsofschoolsandcolleges,begantoseekoutalternativeparadigmsfor theiridentityandmembershipinasocietythatrejectedandpersecutedthem. Thetwoelders(whowerefollowedbyPedroRodriguez,RositaHernandez Maya,MoissGonzlez,JosSalinas,amongstothers)broughtthefirstcohesive, historicallyconnected,andverifiablesystemofindigenousmembershiptothe Chicano/MexicanocommunitiesofAztlan.Suddenly,theindigenousidentityofLa DanzaAztecabecamealightningrodfornationalisticfervoragainstallthings EuropeanandNorthAmerican. Bythetimebotheldershadpassedaway,anew,moremilitantideologyhad emergedintheMexcoehuanicommunities,includingsomeDanzagroups.Someof thenewradicalparticipantsofLaDanzabanishedtheIndocristianorootsofLa DanzaAzteca.Initsplace,anewconvergenceandsyncretismbegantoimmerge. Moreandmoremiddleclass,educatedyoungpeoplesoughtoutanaltogether identifiableMexicanversionofthenewagephenomenathatbeganwiththe EuropeanandAmericaninterestinHinduandTibetantraditions(Armstrong,1985; GonzlezTorres,2005;P.Rodriguez,1988;Yescas,1977). Thesenewdisaffecteddancershadnostakeintheprevious500yearsof Indocristianoidentitynegotiation,resiliency,andevolution.Manywantedto recreateanalternativetothetechnologicallycomplexworldofthelastpartofthe twentiethcentury. Stridentbelligerencecametodominatetheirideologicalframeworkforwhat theynowcalledMexicaDanza(usingEnglishgrammaticalruleswith Spanish/Nahuatlwords).ThenewagepoliticalDanzanteshadnounderstanding orknowledgeoftheancientritualsystemofkindnessthatevolvedthroughthe syncreticnegotiationandinnovationofLaDanzasancestrallineages. MostignoredorconsciouslyevadedtheintricatestepsofLaDanza, disparaginglycallingthemConcherostyledancesteps,asifthiswasagreatinsult. ThenewageDanzantesonlyknewofaworldformedbysocial,political,andclass warfareagainstthosethatpracticeracismandoppression.Theysawtheworldin twodistincttimeperiods:Before1492whentheAmericancontinentwasanEden, andpost1492,whentheEuropeansdestroyedeverythingindigenous.Theywere notaware(andmoststillarenotaware)oftheassertiveandsuccessfulcultural, 3

spiritual,andtechnologicalnegotiationscarriedoutbythesurvivingindigenous peoplesafter1492. Whattheywanted,andneededtocreate,wasacompletesystemofideology thatignoredandrejectedthepast500yearsofMexicanculturaldevelopment (HernndezRamos,2007;Mares,2003;Monica,1991).ThisviewofLaDanzawas meanttobeanewraison dtre forLaDanzaAzteca.First,itwastobeasystemof politicalandideologicalidentity;secondly,itwastobeaformofapanIndian identitycardthatwouldopendoorstootherpoliticalstrugglesandactivism. Finally,thenewMexcoehuaniDanzaAztecawastobeapurifiedMexicanindigenous identitythatcouldbeshared,compared,andexalted,freefromanyEuropeanand Christiancorruption. UnlikethesituationinMexico,LADANZAwasandinsomecasesisstillseen inAztlanbyChicanosandothers,asaspecialintellectual,political,andspiritualway oflife,whichsetstheDanzantesupandabovethenormaldailytypeofperson. DanzaisseenasatrulyMexicananswer(orparallel)toMarxism,Blackpower, andtheNativeAmericanChurch. InthisChicanoviewofLaDanza,theDanzanteislookeduponasarole model,asaninstantwarriorwhowillleadthenationintoanewindigenous millennium.ThismeansthattheDanzanteshavetokeepacertainlevelofpurityfor themselves,theircommunityandtheirspiritualobligation.Ineffect,theChicano Danzanteisalwaysunderthelookingglass;he/sheisexpectedtoliveuptocertain mythologicalexpectations,muchaspriests,marinesandboyscoutsareexpectedto followamoredisciplinedorderoflife.Ofcourse,likepriests,marines,andboy scouts,atypicalDanzantecannotexpecttoattainthealmosttheoretical requirementsofaspiritualwarrior. Thus,thereisconstantfrictionbetweentheidealizedDanzante,andthe humanDanzante.ThereisalsoatendencytopreferthepoliticalimageofLaDanza overthespiritualreality.Atitsworst,LaDanzaAztecacan(andinsomecaseshas) becomeanexcuseforacultofpersonalitywherealeadercontrolshisfollowers withpsychologicalmanipulation. La perdida de los Pasos de la Danza The Loss of the Danza Steps LaDanzaAzteca/Concherabeganenteredaperiodofaccelerationduringthe times(19401950)thattheyoungleadersofLaDanza(ManuelPineda,Florencio Yescas,NatividadReyna,FernandoMocada,TheAnayabrothers,FelipeAranda,just tonameafew)begantoexperimentwithDanzauniformsbasedonthenewly availablefacsimilesofthecodicesthathadbeenhiddeninlibrariesforcenturies. Throughthe1960s90s,asthewarriorimageoftheAztecawarrior becamemoreprominentintheheartsandmindsoftheyouth;themeasured, marked,andelaboratestepsofLaDanzathathadbeenhandeddownforcenturies begantodisappear.Whatoncehadbeenkineticformsofcommunalprayerbeganto turnintoindividualisticbattlesofegoandathleticability.Thevoicesofthe ancestorsbegantobesilencedbythegruntsofgymnastics,andMTVposturing. SoonVictorSwalefswarehousegainedtherankofapilgrimagesiteforthose 4

Danzantesthatweremoreinterestedintheweightoftheircopillis thanthedepthof theirunderstandingofLaDanza. Soonthemecahuehuetl, chihuanda, or concha begantobeseenas vestigesofCatholicSpanishimperialismbythosethatdidnotunderstandthe encodingofthedanceprayers.Metaldrumsbegantooverpowerhuehuetland teponaztlialike.Soon,groupsthatdidnothaveatleastthreedrums,(preferably madeoutofoldoilbarrels)wereoutgunnedatceremonies. ThenwiththeadventofthefourthwaveMexicaelders,anythingthatcould betaughtassecret,sacred,orstolen,couldbesoldforapricetounsuspecting MexcoehuaniwhowantedagenuineauthenticAztecatradition.ModernAztec peyotesongs,traditionalsongsfromnorthernplainstribes,andevensongsfrom Africacameintovogue.Bythemid1980sitseemedthatthetraditionalAlabanzas ofLaDanzaAzteca/Conchera,weredestinedtodieout,especiallyinAztlan,where sofewAlabanzaswereknown. Ompohui Tlacatquitiliztli Huicatl Renacimiento del Canto Rebirth of the Song AttheendoftheTwentiethcentury,whenitseemedthattheConchero traditionofCentralMexicowouldvanishintohistoryliketheChililloandthe nagua,anewandinspiringmovementbegantoappear.Idonotknowifitisdueto theaccesstowebsiteslikeyoutube.com;thematuringofthechildrenand grandchildrenoftraditionalDanzantes,(who,nowhavingtheirowneconomic facilities,couldinvestintechnologicalinnovationandtools);orjustareawakening oftheIndocristianospiritofmestizoMexico;but suddenlymoreandmoreyoungpersonsweretakinguptheConcha,andlearning alabanzas.NotjustinMexico,buteveninAztlan. Iattributethistotheconstanttravelofthesecondandthirdwave MexcoehuaniDanzantestothetraditionalDanzaAzteca/Concheraceremoniesof centralMexico.AlsoimportanttotherealignmentofLaDanzaChicana,wasthe largeinfluxofcampesino/indigenousimmigrantswhoheldstrongIndocristiano beliefs.Thesenewimmigrantsdidnotbringwiththemapoliticizedraison dtre for beingaDanzanteAzteca/Conchero.Insteadmostheldapowerfulconceptof membershipintheritualsofkindnessassociatedwiththeSantoPatronoftheir patriachica. AsLaDanzaAzteca/ConcheraoftheMexcoehuaniofAztlanmaturesintothe thirdandfourthgenerationsofDanza,Ibelievethatthetraditionslefttousbyour ancestorswillovercomethefancifulandevendangerouscreationsofthenewage Danzantes.

Tlen Tlamantli Quinpiya Tlamatiliztli huan Oliniztli

Las Cosas que Llevan sabidura y movimiento The Things That Carry Knowledge and Movement NomatterwhatDanzatraditionapersonhaslearned,thereareuniversal constantswithinthevariedformatsofcarryingoutLaDanzainandspiritual, honest,andkindmanner.SomeofthemostimportantaspectsofLaDanzasrituals ofkindnessare: El Paso de Camino.Sinceprecolumbiantimes,theritualprocessionhas hadmanyimportantaspects.Theceremonyofwalkingfromonetemple toanother,fromabattlefieldtoatemple,orfromthehomeofadeceased personheldgreatimportance.IntheDanzatradition,stillcarriedoutin centralMexico,theDanzagroupleavestheKivalikeoratorio,alsoknown asel cuartel general,andtheyproceedtotheplaceofla batalla,wherethe dancesacrificewilltakeplace.InAztlan,MexcoehuaniDanzamirrorsthis ancienttraditionbyproceedingfromtherecreationcenter,churchor homewherethevelacinhastakenplacetotheplaceofLaDanzada. La Cruz.SomeregionsofMexicoturnfirsttotheleft,thentotheright. Othersdotheopposite.Whiletherearesomeselfproclaimedmaestros whoteachthatonlytheirwayofmakingthefourdirections isthecorrect way,traditionalshowsusthatifwearetruefollowersofUnin, Conformidad y conquista,wewillrespecteachothersrequestfor blessingsandforpermissiontocarryoutourancientobligacin.Some Danzanteshowever,useLaCruzasatooltoconfuse,exasperate,or belittleotherDanzantes.Bycarryingoutelaborate,confusing,andsloppy permisos,thesedancersshowthatforthemthemainpurposeofLaDanza isselfaggrandizement,andnotcommunalprayer. La Palabra.WhetheroneusedtheancientandtraditionalElesDios,or thenewerOmeteotl,YehuaTeotl,orevenInLakech,callingoutthe essenceofOlliniscriticalfortheritualsofkindness.Bygiving,accepting, orobeyingLaPalabra,theDanzanteacknowledgestheirindividual subordinationtothegreatergoodofthecommunity. Ollin.BecauseLaDanzaAzteca/Concheraisaformofkineticprayer,itis importanttoremembertouseeachDanzastepasitwashandeddownto us.Someexamplesinclude:theknifestepofTezcatlipoca,thedeer hoof/lightningstepofMazatl,andtheeverpresentbowingofthe headdressinreverencetothepowersofthecentraltree.Whenthe dancerbecomesmoreinterestedinhowheorshelooksmovingthebody, ratherthanhowtheprayeriscarriedoutin the oneness of the whole body traje, armas, cuerpo y musica,thenLaDanzabecomesa performance,andnotaspirituallycenteredritual. Los Ritmos.ThedictionarydefinesCardiac arrhythmia (also dysrhythmia)asatermforconditionsinwhichthereisabnormal electricalactivityintheheart.Theheartbeatmaybetoofastortooslow, andmayberegularorirregular.Somearrhythmiasarelifethreatening

medicalemergenciesthatcanresultincardiacarrestandsuddendeath. Otherscausesymptomssuchasanabnormalawarenessofheartbeat (palpitations)(http://en.wikipedia.org/wiki/Cardiac_arrhythmia).Inthe ndigenoustraditionsofMexico(likethoseofmostindigenouspeopleof theworld),thedrumisconsideredtheheartofthedance.Inthe MesoamericantraditionthatisattherootofLaDanzaAzteca/Conchera, thedrumisheartbeatofthecommunalprayer,whilethebodiesofthe dancersarethesacredliquidthatfeedsthebodypresentofthepeople (thatistheancestorswhohavepassed,thelivingwhocarryoutthe feedingofthesouls,andthedescendentsnotyetborn).Thusitis imperativethatthedrummersFOLLOWtheDanzante,andnottheother wayaround.IfeachDanzanteofferstheirprayer,andthedrummers createarrhythmia insteadofhypnorrhythmia (rhythmthatcreatesa communalsenseofpeace,calmandspiritualenergy),thencardiacarrest andsuddendeathcanoccurtotheceremonybeingcarriedout.How manyofushavegonetoaDanzada,andhavefelttheunityandenergyof everyonedancingunited,onlytohavetheentirespiritualexperience destroyedbysomeonewhohasaegotisticalneedtodrumlouder,faster, andangrierthaneveryoneelse?Ihaveevenwitnessedinstancesthatthe drummermessesuptherhythmofadancersoffering,simplytoshow themwhoisincharge.

Tlahuilotli:
El Camino de la Luz The Path of Light

Cuahcruzotli:
El Camino de la Cruz The Path of the Cross TheRituals of Kindness,knowntousasLa Danza Azteca/Conchera,canbe seenasaseriesofpathsthatleadtowardscommunal spiritual nourishment. Individualistic salvation anddogmatic superiority areemphasizedbysomereligious teachings.TheRitualsofKindness,ontheotherhand,emphasisarealityofequality ofspirit. Thisrealityrequiresthatselfsacrifice,constantlearning,andthestruggle forjusticebemostimportant. Theequalityofspiritcreatesasacredspacethattranscendstimeandspace. WecallthispathofdailylivingEl Camino de la Luz/El camino de la Cruz.Thepath ofthecrosscanextendfromadevoutCatholicdevotiononthepartofaDanzante,to theprecolumbianunderstandingofthecrossroadsasaplaceofstrongspiritual power(Whichcanbedangerousifoneisnotcareful).ThecrossinLaDanzaisa symbolofourshorttimeonthisEarth;ourobligationtocarrytheburdenofour people;andtheimportantdifferencebetweenspirituality andsuperstition.Each personmustnavigatethecosmicdancebetweenspirituality andsuperstition;

betweenhumility andhumiliation;betweenself importance andmodesty.Finally,each carrierofthecross,el penitente,mustaccepthisorherpitiful,weak,andimperfect nature.Onlybyseekingthelight of the lord and lady of creation canahumanbeing findtheThree Altars of Happiness: Peace, Justice, and History.

Quenijqui Moilia Tlahuilotli? QueQuiereDecirElCaminodelaLuz? WhatdoesPathofLightMean? Itisawayoflifethatplacestheworldbeforetheindividual: ThepeopleandthingsoftheEarth Thepeopleandthingsofthiscontinent Thepeopleandthingsofthisnation Thepeopleandthingsofthiscommunity Thepeopleandthingsofthisfamily Theneedsofmyselfandmythings. Itisawayoflifethatacknowledgesandacceptsthefactthat: Iamnotthefirst,norshallIbethelasttohavewalkedthisEarth Ihavethousandsofyearsofcommunityancestralhistoryandstruggleinmy blood,andIoweittomyancestorstostrivetoexcelineverythingIdoona dailybasis.Notformyself,butforthesakeofourcommunitiesfuture generations AsfarasIcantell,IonlyhaveonechanceonthisEarthtoliveinpeace, dignity,andwithcompassion. Apaththatallowsfortwowaytraffic Apaththathasmanyturnsandmanycrossroads,butonlyonedestination: Toleave ourEarthabetterplacethanwhenwelivedonit Apaththatmaybeparallel toanotherpersonspath,ormaybeweaveinandoutofmanypaths (spiritualbeliefs) Aquinqueh Nehnemi Tlahuilotli Quinescaminanelcaminodelaluz? WhoWalkonthePathofLight? Thosethatnavigatethecosmicdancebetweenspirituality andsuperstition; betweenhumility andhumiliation;betweenself importance andmodestyTheyare theonesthatwalkonthePathofLight/thePathoftheCross.

In Melahuac Yaomomachtianih LosVerdaderosGuerreros/Estudiantes TheTrueWarrior/Scholar Thetruewarriorsarethosepersonsthatcreateatemporal hypnorrhythmia (rhythmthatcreatesacommunalsenseofpeace,calmandspiritualenergythat transcendstime).TheTruewarriorunderstandsthatonlythroughthetransmission ofknowledge,tradition,andwisdomcanasocietyhopetocreatetimelesslinks betweentheancestors,thelivingandthedescendants. ATrueWarriorrecognizesthatthistransmissionofsacredwisdomcannot occurwhenaperson,grouporsocietyisbasedonhatred,anger,orvengeance. ThesethreepoisonsarethedarknessthatthePathofLightseekstoilluminate. ThesearetheillnessesthatthePathoftheCrossseekstocure.ATrueWarriormust thusacceptthatheorshemustalsobeaTrueScholar. Acquinqueh Melahuac Yaomomachtianih? Quinessonlosguerreros/Estudiantes? WhoaretheTrueWarrior/Scholars? AWarrior/scholarlivestodefendherorhiscommunityfromviolence, hatred,illness,andselfdestructivebehavior Apersonthatacknowledgesandunderstandsthatheorshedoesnotknow everythingthereistoknow,andthusmustalwaysseektolearn.A Warrior/scholarthinksabouttheconsequencesofhisorheractionson futuregenerations In Chicome itepoztlatqui Yaomomachtianih Lassieteherramientasdelosguerreros/Estudiantes TheSevenToolsoftheWarrior/Scholar Respectfulness/Loyalty Discipline/Restraint Spirituality/Wonderment Family/Cultural/HistoricalPride Assertiveness/Selfdetermination Hope/Faith Confidence/Humility Once a warrior/Scholar has attained mastery of the seven tools, he or she is ready to carry the Four Weapons of a Warrior/Scholar

In Nahui iyaotlatqui Yaomomachtianih LasCuatroArmasdelosguerreros/Estudiantes TheFourWeaponsofaWarrior/Scholar Love Compassion Serenity Kindness Once a warrior/Scholar has attained mastery of the four weapons, he or she is capable of achieving the three Levels of Fulfillment In Eyi itlaixpantzinco Paquiliztli LosTresAltaresdelaAlegra TheThreeAltarsofHappiness Peace Justice History

28thAnniversaryCelebrationforDanzaXitlalli,June27,2009 MarioE.Aguilar Micc2@cox.net

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