Mesoamerican Culture, History, and Religion

Posts tagged “Codex

Tigre Rope Fighting In Zitlala

Following up on last week’s post discussing the survival of Precolumbian gladiatorial combat in honor of Tlaloc in Mexico, I’ve got a video today that actually shows part of a Tigre whip match at Zitlala.  Now that this activity has come to my attention, it’s something I’ll be watching for videos of in addition to Danza Azteca.  It’s interesting getting to actually see the story behind the jaguar mask and contemplate the deeper meaning behind the fighting.

Courtesy link to ArchaeologyTV’s page on YouTube for this Tigre combat video.

In case you’re wondering, the special rope club used by Tigre fighters in Zitlala are called cuertas.  The modern cuerta itself is actually a “friendlier” version of heavier rawhide and stone clubs used previously, which in turn were descended from stone and shell clubs used when the battles may well have been lethal.  For obvious reasons, the present-day trend has been away from fatal contests, though the underlying meaning of giving of oneself to Tlaloc for a plentiful harvest endures today among those who remember.


Tlaloc In Zitlala

Came across an interesting photograph recently that’s quite interesting, as it shows an aspect of a Pre-Columbian ceremony still surviving today in Zitlala, Mexico.

Tigre Fighter With Whip & Jaguar Mask. Copyright 2008 by the Associate Press/Eduardo Verdugo.  Used without permission.

Tigre Fighter With Whip & Jaguar Mask. Copyright 2008 by the Associated Press/Eduardo Verdugo. Used without permission.

Link to original photograph source.

Original Caption:

“A man dressed as a tiger carries a small whip made from rope in Zitlala, Guerrero state, Mexico, Monday, May 5, 2008. Every year, inhabitants of this town participate in a violent ceremony to ask for a good harvest and plenty of rain, at the end of the ceremony men battle each other with their whips while wearing tiger masks and costumess. (AP Photo/Eduardo Verdugo)” [Cehualli’s note — “tiger” is a common mistranslation of “tigre,” when the context makes it apparent a jaguar or other large cat is meant.]

Now…there’s a lot more going on here that the photographer doesn’t get into in his note.  Specifically, that this is a modern survival of traditional indigenous religious practices.

Why do I think this?  Let me explain.

There’s a certain ancient god of rain in Mesoamerica who has traditionally been associated with jaguars… and that’s Tlaloc.  In the codices, if you look carefully you can see that He’s always depicted with long, fearsome jaguar fangs.  The growl of the jaguar resembles the rolling of distant thunder, and the dangerous power of such an apex predator fits the moody, explosive-tempered Storm Lord quite nicely.  The jaguar as a symbol of Tlaloc is a very ancient tradition that appears across the whole of Central America, whether the god is being called Tlaloc, Cucijo, Dzahui, or Chaac.

The whip-club is another hint.  Flogging has been done as part of rain ceremonies for Tlaloc for centuries (I wouldn’t be surprised if it’s symbolic of lightning).  Additionally, though the photographer didn’t mention this, one knows what happens when people strike each other hard with whips like the one the man in the photo is shown carrying — you bleed.  A lot.

In Prehispanic Mexico, one of the important rituals for Xipe Totec, the Flayed Lord, god of spring and new growth, is called “striping.”  Striping involved shooting the sacrificial victim with arrows for the purpose of causing his blood to drip and splash on the dry earth below, symbolizing rain that would bring a good harvest.  Similar rituals specifically devoted to Tlaloc were also done, and I wouldn’t be surprised if the gladiatorial combat done for Xipe Totec had the same basic idea in mind, sprinkling blood over the ground done to call the rain.

The next part is due to my good friend Shock and her impressive knack for research.  While we were discussing this photo, Shock directed me to an excellent article about this phenomenon known as “Tigre Boxing” that still exists all throughout Mexico today.  It even discusses this specific form of battling with whips in Zitlala that this photograph is of.  I highly recommend checking it out, as it’s loaded with more information about the surviving practice of gladiatorial combat for rain, complete with many excellent photos of the jaguar masks, sculptures, and even videos of the combat!

Click HERE to go to the Tigre Boxing article.


Flower Songs of Nezahualcoyotl

A little poetry today for your contemplation and enjoyment.   I dug up John Curl’s translation of several songs commonly attributed to Nezahualcoyotl over on FAMSI.  The translations are quite nice, though I’d ignore his discussion about Nezahualcoyotl and Texcocan religion, as he seems to have bought into the myth that this ruler was a King David-esque poet, monotheist (!!), and crusader against sacrifice.  This spurious idea got its birth right after the Conquest, and has been incredibly difficult to get rid of since.  If you want to read a systematic study of this misrepresentation, its origins, and its repercussions on Mesoamerican studies since, I recommend checking out Jongsoo Lee’s The Allure of Nezahualcoyotl: Pre-Hispanic Religion, Politics, and Nahua Poetics. Dr. Lee thoroughly dismantles this idea and provides a wealth of information about Colonial distortions of Nahua religion and poetry, particularly where it intersects the “Nezahualcoyotl as pseudo-Christian” myth.

Bad history aside though, Curl’s actual translations are enjoyable, and I invite you to check those out.

Click HERE to read John Curl’s translations of Nahua poetry.

Nezahualcoyotl, From The Codex Ixtlilxochitl

Nezahualcoyotl, From The Codex Ixtlilxochitl


New Nahuatl Language Links

I’ve added a new Links section over on the righthand side of the page, called Nahuatl Language.  That section is where I’m linking material around the Net that relates to learning Nahuatl, particularly Classical Nahuatl (the language as it was a few hundred years ago).  This stuff is always handy for reference, and to get your feet wet if you’re interested in learning how to read some of the primary sources that were written down in that tongue after the Conquest.

These links relate to reading Nahuatl written alphabetically, not reading the glyphs/pictographs that were used in the Codices prior to the Spanish invasion.  I’m looking for material online that teaches a bit about the glyphs, though, and will link what I find.

Finally, the links in there now are in a mix of languages.  Molina’s classic textbook and dictionary are antique Spanish and Nahuatl; I included them for those who can read old Spanish (not me!) and due to their foundational significance in the study of the language.  The html version of Renee Simeon’s 1885 dictionary is Nahuatl to French, but I would expect the numerous free online translators could handle the short snippets of relatively-recent French without much trouble.

For my English-language audience, the Nahuatl Learning Environment is available in English (it’s also available in Spanish).  Just log in with the ID and password noted in the link title (repeated in the tooltip if you hover your mouse cursor over it), and you’re good to go — there’s no registration or anything like that.  Finally, the Freelang Nahuatl dictionary is a Nahuatl-English dictionary, and can be downloaded for offline use, or used via the web.  Handy and free!

I’ll do a post sometime soon on basic pronunciation to go with all these links.  I’ve seen the very formal charts on pronunciation that use the technical symbols and whatnot, but frankly I can’t read them, and I don’t know many who can.  If you have a copy of Frances Kartunnen’s Analytical Dictionary of Nahuatl, I find her notes on pronunciation to be the most helpful I’ve come across.

Anyway, enjoy, and I’ll add more to this section as I find it.


Shield Flowers

I was reading through the ninth volume of the Florentine Codex recently, and came across an interesting tidbit giving more information on some of the flowers offered to Huitzilopochtli.  Even better, Sahagun points out these flowers were offered during Panquetzaliztli!

What flowers am I talking about?  Well, it’s a particular kind of flower called a chimalxochitl, or “shield flower.”  It’s a very large flower that was carried both by celebrants and by bathed slaves who were to be sacrificed to Huitzilopochtli.  As one might guess by the name, it represented a warrior’s shield.  This is particularly fitting, as the bathed slaves who were offered to Huitzilopochtli during Panquetzaliztli were the vaguard merchants’ equivalent of captured warriors.  Instead of capturing them phyiscally on the battlefield, the vaguard merchants, who fulfilled military purposes as well as commercial, captured them with their wealth, which was likened to the spoils of war.  I’ve discovered that these merchants were almost a paramilitary order during the Aztec Empire, something quite fascinating which I will get around to writing about one of these days.

Anyway, back to the flowers.  These shield flowers were carried by worshippers, they were carried by sacrificial victims.  They were strung into garlands which would decorate the temples of Huitzilopochtli, they were placed on the altar, and ornamented the idol sometimes.  They were everywhere during this Teotl’s festivals.

But what were they exactly?  Well, I’ll give you a couple of hints.  They’re huge, bright yellow, and their English and scientific names even reference a certain celestial body associated with Huitzilopochtli…

Give up?

They’re sunflowers!

Yes, sunflowers.  Helianthus annuus to be specific.  At least, the sunflower is the species that’s the top choice for the chimalxochitl among scholars.  Dibble and Anderson identify the flower in footnote 7 on page 34 of their English translation of Book 9: The Merchants, of the Florentine Codex. It pays to read footnotes!

You might be wondering why Huitzilopochtli’s so fond of flowers.  Well, quite a few reasons.  Flowers in general were symbolic of blood and warriors who died in battle.  In Aztec poetry, one frequently encounters descriptions of rains of flowers on the battlefield, indicating the warriors in their bright regalia dashing about like blossoms swaying in the wind, eventually falling like cut plants and watering the earth with their blood.  The dead soldiers would then live forever in Huitzilopochtli’s paradise, the House of the Sun, where they would enjoy the scent and color of beautiful flowers.  Eventually they would be reborn as birds and butterflies, living leisurely lives flitting from flower to flower.

“Flower and song” was a phrase meaning sung poetry, a common pastime of warriors both alive and dead.  The “flowery death” was death on the sacrificial stone, and the “Flower Wars” were ritual battles to capture men for sacrifice.  Finally, the first flowers of the year were reserved for Huitzilopochtli’s mother, Coatlicue, and none might pick or smell them until She had been given some.

Anyway, I thought I would share my discovery and Panquetzaliztli-oriented thoughts on it, in the spirit of the season.

Sunflower

Sunflower

Photo taken by Wajid Uddaim and generously put into the public domain. Thanks Wajid!


Happy Panquetzaliztli!

Well, my numerous, intractable, and incredibly frustrating network/Internet connectivity problems resolve just in time for Panquetzaliztli! A lovely coincidence.

Why am I so excited? Panquetzaliztli is Huitzilopochtli’s main festival month, that’s why! I’ve been particularly waiting for this veintana to roll around, as it’s the perfect opportunity for me ramble on about this very special Teotl. I’ve been hoarding research relating to Him just for this month, and will be doing my damndest to pour it out as much as I can, come hell, high water, third-rate cable companies, or exceptionally crappy workweeks. Books have been accumulating tabs like feathers just for this special event…

So… get ready!

To whet your appetite and kick things off on the right (or left?) foot, I would like to draw your attention to the material I have already accumulated on this blog that relates to Huitzilopochtli.

My static page introducing the reader to the god.

A quick intro, a bit about His nature, and a codex image.

Mexicolore’s downloadable feature on Huitzilopochtli.

Includes many artifact photos, pictures from codices, etc. Also includes other interesting tidbits on the god, such as His birthday (1 Flint Knife), his festivals, his sacred animals (the hummingbird and the eagle), and much more. They place Panquetzaliztli a bit later in the year than most calendar correlations I’ve seen, but that’s a minor quirk.

Incarnations of the Aztec Supernatural: The Image of Huitzilopochtli in Mexico and Europe

Elizabeth Hill Boone’s excellent monograph on Huitzilopochtli. The only full-length English study of this particular god available at this time. Full text available to read via Google Books.

The Battle of Coatepec: Huitzilopochtli Defeats the Moon and Stars (As told by Cehualli)

This is my retelling of the important myth about Huitzilopochtli’s birth and how He protected His mother, Coatlicue, from Coyolxauhqui and the Centzon Huitznahua at Coatepec.

Hymns To Huitzilopochtli

Grace Lobanov’s English translation from her Pre-Columbian Literatures of Mexico. The book is still under copyright and so you can’t read the whole thing, but fortunately this particular hymn in its entirety can be reached via Google’s Limited Preview.  This link will take you to the “About This Book” page.  Look for the “Search This Book” box, type in “Huitzilopochtli hymn,” and click on the link to page 65 that it will turn up.  That’s the song for the Portentous One.

Huitzilopochtli Standing Before A Teocalli

Huitzilopochtli Standing Before A Teocalli


Human Corn

Sitting here at my computer tonight, musing on an important, if not always comfortable, aspect of traditional Aztec thought and its implications. Namely, the concept of “human corn” and the natural humility flowing from that point of view.

“Human Corn” — What Do You Mean?

“Human Corn” — it’s an odd phrase at first glance, especially to those of us raised in a modern, Euro-American society. Boiled down to its essence, it means “people are food.” Food for what? For everything, really. In traditional Aztec thought, humans are food for the gods and food for the Earth.

In his article “Cosmic Jaws,” Dr. David Carrasco notes a saying that survives among some indigenous tribes today in the region, “We eat the Earth, and the Earth eats us.” The Earth was said to have been created from the ever-hungry primordial monster-goddess Cipactli when Quetzalcoatl and Tezcatlipoca, transformed into great serpents, squeezed her in half and created the land and the sky from her remains. In exchange for housing and feeding us, She eats us when we die. When we eat of the land, we literally eat death and begin racking up a debt to Cipactli (later honored with the name Tlaltecuhtli, the Earth Lord) for Her bounty.

Cipactli/Tlaltecuhtli isn’t the only deity depicted as eating people. Most famously, Tonatiuh the Sun received the heart sacrifice as food and drink, and Tlacaelel likened Nahua soldiers to tasty warm tortillas, hot from the griddle, destined for the table of the gods. Numerous prayers and songs, some recorded by Sahagun in Book 6 of the Florentine Codex, describe the sacrificed warrior entering the jaws of Tlaltecuhtli, and praise his blessed state as he goes to feed the cosmos.

Other prayers and huehuetlatolli (moral speeches) explicitly describe humans as corn. During the festival month of Tititl, young plants and young children were stretched to encourage them to grow tall and healthy — and for the same purpose. Youthful warriors were likened to the corn god Centeotl, and the strong linkage between corn/crop and war imagery in Aztec religion has long fascinated and puzzled scholars. (See works by David Carrasco and Kay Almere Read, for example.) Over and over again, we see the idea of “being food” as a central part of the Aztec conception of what it means to be human.

The Implications of “Human Corn”

So, what does it mean to incorporate “being food” into the human identity? Well… it means a very different outlook on our place in the world from what a lot of us were probably raised with. It means we’re not exempt from the natural cycle of eating and being eaten that the natural world runs on, and that this is the ordinary, proper mode of things. It’s no curse or aberration that we’re subject to birth and death, it’s merely part of our nature. It also means we’re not the center of the universe — if the Earth is a garden, we’re a crop planted in it, not the gardener. There’s no analogue to the story of Eden and the Abrahamic view of the dominance of humanity over the natural world here.

It also means humility. If we’re not the capstone of creation, the reason for the whole show, it means we need to get over ourselves. We’re just a part of the greater whole, sometimes likened to a household in traditional Nahua thought. No part is indispensable, from plants to animals, from humans to gods. Every being has its part to play, and that should be honored and acknowledged, but in its proper measure. Perhaps instead of whispering to ourselves, “Remember, thou art mortal!” as the Romans did, we should think, “Remember, thou art corn!” when we’re tempted to hubris.

Finally, it also imparts a certain amount of meaning and purpose to miquiztli (death). When we die, we nourish life and we pay the debt we owe to the Earth for sustaining us. Depending on your understanding of the gods and how the universe works, this can be interpreted in many, many ways as best suits your metaphysical and theological perspective. Whether interpreted poetically, mystically, or literally, the idea of “human corn” still holds valuable meaning in a modern setting.

As a bonus, if you would like to read a bit more about Aztec funeral practices and thoughts on death, I came across a brief article on the subject by David Iguaz that you might enjoy. Click HERE to read it in html, or HERE to download the PDF.

Corn, Plate 27 of the Codex Borgia

Corn, Plate 27 of the Codex Borgia