Friday, June 23, 2017

Teotihuacán's Great Citadel and its Pyramid of the Plumed Serpent

Plumed Serpent heads adorn the oldest pyramid within the Citadel, giving it a name. After stopping overnight in Tequisquiapan (see previous posting), Carole and I continued on to the famous ruins of Teotihuacán. This great city was the capital of the Classic Era (100 BC - 650 AD) empire. My posting this week focuses on the great Citadel, located at the southern end of the Avenue of the Dead. In later parts of this series, I will cover the residential areas along Avenue of the Dead, the palaces on the periphery of the overall site, and Teotihuacán's two fascinating museums. The ruined city stands on the edge of a small town called San Juan Teotihuacán de Arista, located 40 km (25 mi) northeast of Mexico City. To find the town and its ruins on a Google map, click here.

The city and its great Citadel.


Site map of Teotihuacán.  This was our second visit to the ancient city. During our first, we were touring southern Mexico and our bus stopped at the huge site for only a couple of hours. Consequently, we just got to see the northern section of the Avenue of the Dead, including the Pyramids of the Sun and Moon and the Palace of Quetzalpapálotl. To check out that area of Teotihuacán, go to my 2010 blog posting entitled "Where the Gods Were Born". There was no time during our first visit to check out the area south of the Pyramid of the Sun. In order to cover as much ground as possible, we allotted two full days for our second visit. We decided to start with the Citadel and its Pyramid of the Plumed Serpent.


Model of the Citadel in the Museum of Teotihuacán Culture. The Citadel is surrounded by a wall that is 7 m (23 ft) high and 134 m (440 ft) on each side. On top of this perimeter wall are 15 small stepped-pyramids, four each on the north, south, and west sides, and three on the east. All these pyramids were once topped by temples made of perishable materials, but those are all gone now. The Citadel's only entrance is a broad staircase located between the middle two pyramids of the east side wall. In the photo above, the east wall extends from the lower left to the center right, with the Avenue of the Dead running parallel to it. The Plumed Serpent Pyramid is on the opposite (west) side of the sunken plaza from the entrance. On the left side of the Pyramid are ruins of workshops used to make religious objects and, on the right, housing for the priests of the Plumed Serpent cult. The model above doesn't show it, but a square altar stands in the center of the Sunken Plaza This model is part of a much larger scale model of the whole ancient city. The full model is as big as a modern tennis court and shows not only the excavated features but also unexcavated streets and structures extending out in all directions. To view all this, visitors walk on an elevated glass bridge. I definitely recommend a visit the Museum of Teotihuacán Culture (also known as the Manuel Gamio Museum) as your first step in exploring the city. The contents of the museum, and particularly the model, will help you better understand this ancient empire and its capital city.


Scepter found near the Citadel's Pyramid of the Plumed Serpent. This wooden scepter, with its Plumed Serpent head, has been radiocarbon dated to 70 AD and was apparently left as an offering sometime prior to the construction of the pyramid. The photo shows only the head of the scepter. The whole piece is about 1 m (3 ft) long. Teotihuacán has been explored and excavated for more than 100 years. This unique object is the only wooden artifact ever found there. The natural environment of the area is not conducive to the preservation perishable materials.


Entrance stairs and perimeter wall temples

View of the Citadel entrance. The entrance staircase is in the upper right of the photo. Next to it, in the upper left, you can see one of the east wall's pyramids. There is an identical pyramid on the other end of the staircase. In the background is the Plumed Serpent Pyramid. This shot was taken from the second-floor restaurant looking east across the Avenue of the Dead.


Carole gazes north, up the Avenue of the Dead. She is standing at the base of the Citadel's entrance staircase. The purpose of the perimeter wall's fifteen small pyramids is not clear. Some speculate that the perishable structures on their tops functioned as administrative facilities. Others have theorized that they were for civil and religious ceremonies, possibly related to cyclical events.

The Sunken Plaza and its Central Altar


A large, square altar stands in the center of the Sunken Plaza. You are looking east here. The altar has stairways leading up from each side, corresponding to the four sacred directions: north, south, east, and west. This orientation links the altar to the overall design of the Citadel and of Teotihuacán itself. Ancient Mesoamericans believed that the cosmos had five sacred points. These included the four sacred directions, plus a point in the center where their lines cross. Teotihuacán was consciously designed to imitate the pattern of the cosmos. The Citadel stood at the sacred center point of the city and, by extension, of the cosmos. Today, the Avenue of the Dead runs south from the base of the Pyramid of the Moon to the Citadel. However, in ancient times, the Avenue (as well as the city) extended for a considerable distance to the south of the Citadel. A second avenue once ran from west to east, perpendicular to the Avenue of the Dead. These two avenues divided Teotihuacán into four "districts". The western avenue ends at the entrance of the Citadel. A line from that point would run through the center of the altar above to the center of the base of the Pyramid of the Plumed Serpent. Teotihuacán was designed as a giant cosmic map, with the Citadel as its sacred center.


The Quetzalcoatl Pyramid has two sections, built at different times. The original pyramid, is on the left, its edges rounded by erosion. The newer section, called the Adosado (Adjacent) Platform, stands on the right. It was added centuries later and its edges are clean and sharp. To understand the sequence of construction, it is useful to review Teotihuacán's timeline. Archeologists have divided it into several phases.

  • Formative phase (800-100 BC). A time of small farms and villages. 
  • Patlachique phase (100 BC-1 AD). Beginning of urbanization. City grows to 5000 residents. 
  • Tzacualli phase (1-150 AD). Pyramid of the Sun is built. 30,000 residents. 
  • Miccaotli phase (150-250 AD). Both the Pyramid of the Moon and the Pyramid of the Plumed Serpent are constructed. Population rises to 45,000. 
  • Tlalmimilolpa phase (250-450 AD). Adosado Platform is added to the Plumed Serpent Pyramid. The Citadel is created by surrounding the area with a perimeter wall topped by 15 small pyramids. 65,000 inhabitants.
  • Xolalpan phase (450-650 AD). Teotihuacán's power and influence peak. Population hits 85,000-100,000 (some have estimated as high as 200,000). 
  • Metepec phase (650-750 AD). Elite areas of the city are sacked and burned, probably by an internal revolt. Population declines from 70,000 to complete abandonment by the end of this phase.
Interestingly, the Adosado Platform was built so that its rear (east) wall completely covered the highly decorated face of the old pyramid. The Adosado section has severe lines and none of the elaborate decoration of the older pyramid.


View of the Adosado Plaform, looking south. The tourists on the top of the platform give a sense of its size. Some archeologists theorize that the Adosado structure was added after a military elite seized power from the priest-rulers during the Tlalmimilolpa phase. The priest-rulers had controlled the city up to that time and had built the original Plumed Serpent Pyramid to use as their power base. When the Adosado Platform was built, three of the four sides of the old pyramid were defaced of their decorations. The fourth side was totally covered by the east wall of the Adosado Platform. According to this theory, the decorations were removed because they symbolized the old priestly elite. Out with the old, in with the new. There is a fascinating side-note to this. About this same time, a group of Teotihuacanos traveled south to the Maya kingdom of Tikal (in today's Guatemala). There, they staged a coup, overthrowing the Maya king and installing their leader as head of a new dynasty. What followed was a burst of Teotihuacán-style architecture in Tikal and its allied cities and a new emphasis on worship of the Plumed Serpent. Some archeologists suggest that these people might have been followers of Teotihuacán's Plumed Serpent cult, led by the deposed priest-rulers.



View from atop the Adosado Platform

View over the Sunken Plaza toward the Citadel's entrance stair way. You are looking directly west, toward where the sun will set. This would have been important for ceremonies conducted either on the old Plumed Serpent Pyramid, or atop its Adosado Platform addition. The white tent in the foreground covers the entrance to a tunnel, discovered in 2011. The serpentine passage lies 15 m (50 ft) underground and extends 130 m (427 ft) all the way to the area under the old pyramid. Scientists have determined that the tunnel was sealed off approximately 200 AD, during the Miccaotli phase. They are hopeful of finding a royal tomb in one of the sealed chambers at the end of the tunnel. Although they have not yet done so, the search is continuing. Even without royal tombs, their discoveries, to date, have been extraordinary. The tunnel walls are inscribed with esoteric symbols and covered with metallic dust. The floor contains hundreds of small clay spheres covered with glittering iron pyrite ("fool's gold"). By the light of flickering torches--the way the ancients would have seen it--the appearance is one of traveling through the cosmos. In 2014, scientists opened one of the chambers at the tunnel's end. There, they found large quantities of mercury, along with statues wearing jade ornaments, weapons encrusted with precious stones, the remains of a jaguar, seeds from different plants and a box of carved shells and rubber balls. So far, a total of 50,000 objects have been recovered from the tunnel. Clearly these artifacts were for religious rituals, although the purpose of the mercury is unclear. The discovery of the rubber balls particularly interests me. Although the great majority of ancient Mesoamerican cities had ball courts for playing the sacred game, none have ever been discovered at Teotihuacán. In addition to the rubber balls, other ball game implements have been found elsewhere in the city. As yet, there is no explanation for the absence of ball courts.


View from the Adosado's top, looking north. This view gives a sense of the immense size of the Sunken Plaza. It is estimated that 100,000 people--the entire population of the city--could have assembled for great ceremonies within the walls of the Citadel. The small pyramids on top of the perimeter wall are reached by ascending the two-stage staircases and then crossing the broad top of the wall. Ceremonies of considerable size could have been conducted in front of any one of these small pyramids. In addition to religious and civic ceremonies, some archeologists think that the plaza may have functioned as the site of the city's market.


View from the top, looking south. Just in front of the south wall is a covered structure that protects a structure with an unknown function. There was no explanatory sign at the site and my research has revealed no information about it. It also does not appear on the scale model seen earlier in this posting. I would appreciate comments from anyone who can identify this structure.

The Plumed Serpent Pyramid 

View of the west side of the pyramid from the top of the Adosado Platform. This whole section was once covered by the Platform. Originally, the pyramid had at least six stepped levels and was topped by a temple made of perishable materials. Before the Platform was built, the carvings of the north, south, and east sides were stripped away. Only the west side decorations, seen above, have survived. Fortunately, those who constructed the Adosado Platform simply buried this side of the pyramid under the platform's east side. Thus, perhaps unintentionally, they preserved all these remarkable high-relief carvings.


View of the right-hand staircase balustrade and several of the decorated levels. The rich carvings served multiple purposes: to awe the viewer, to tell a story, and to serve as a religious calendar. At least two deities were worshiped here, one related to fertility and the other to war. Sculptures of the Plumed Serpent heads were placed at regular intervals up the balustrades on either side of the grand staircase. The Plumed Serpent also appears on each of the pyramid's stepped levels, alternating with an abstract figure, the meaning of which is much disputed. In addition, a long snake body writhes along the base of each level and there are numerous seashells--symbolizing water--carved into the stone walls.


These figures appear all across the vertical faces of each level. On the right is the famous Plumed Serpent. On the left is a strange, abstract figure with two circles in its center. These two figures alternate all across each stepped level. Separating the Plumed Serpent and the abstract figure are two conch shells with a scallop shell between them. Just below all this is the scaly body of a snake. At the place where the snake's body curves are more conches, scallops, and other shells. Note that all these shells are from salt water creatures. Although Teotihuacán is situated hundreds of miles from either the Gulf Coast or the Pacific, the ancient empire had a trading network with a very long reach. Each level of the pyramid duplicates all the elements that I just described. The entire pyramid, was once painted in vivid colors, traces of which remain after 1,500 years.


The Plumed Serpent is the easiest figure to decipher. It is one of the oldest religious images of Mesoamerica, going back to Olmec times (1500 BC- 400 BC). More than 650 years after the fall of Teotihuacán, the Aztecs gave the Plumed Serpent the name Quetzalcoatl. The name comes from quetzal, a bird with brilliant plumage, and coatl, meaning snake. It is not certain whether the Plumed Serpent meant exactly the same thing to the Teotihuacanos that   Quetzalcoatl did to the later Aztecs. However, Mesoamerican religious traditions were very stable and long-lasting and the Aztecs revered Teotihuacan, which in the Nahuatl language of the Aztecs means "Place where the gods were born." According to the Aztec myth, Quetzalcoatl was one of the gods who created the 5th World, in which humans live. He delivered maiz (corn) to humanity and thus enabled the development of agriculture and civilization. He is also credited with creating the calendar system. The eye sockets of these sculptures were once filled with obsidian (volcanic glass), causing them to glitter in the setting sun and in the flickering of torches at night. The necklace of feathers, which shows traces of red paint, represents the leaves of plants and thus the harvest. The feathers may also represent the rays of the sun which, along with water, are another key element of fertility. The eyebrows curl back in a double spiral, representing duality, a key concept in Mesoamerican cosmology. Archeologists estimate that there were once a total of 260 Plumed Serpent heads on the pyramid, one for each day of the sacred calendar. Every Plumed Serpent on the pyramid has a gaping mouth. Some sort of marker may have been moved from mouth to mouth each day as the 260-day calendar moved through its sacred cycle. The pyramid thus could have served as a way to track the passage of cosmic time.


Alternating with the Plumed Serpents are these enigmatic figures. It was long assumed that the figure above represents Tlaloc, the rain god. The two prominent circles suggest the "eye goggles" nearly always associated with the rain god. Further, conch shells and other water symbols closely related to Tlaloc are found all along each stepped level. However, archeologists are a notoriously disputatious bunch. Some insist that this represents Cipactli, often depicted as a giant crocodile. The figure does seem to be covered with scales. Upon closer examination, the circles may not be eye goggles at all, but part of the decoration of the monster's hat. According to some authorities, the shape of the hat represents the Teotihuacán sign for the year. Taken together with the circles, the hat would symbolize war. When I looked closer, I realized that the eyes of the crocodile may actually be just below and on either side of the circles. If they are eyes, they have the same curling eyebrows as the Plumed Serpent. Cipactli and the Plumed Serpent appear together in some Mesoamerican creation myths, which may explain why they are shown together on the pyramid. Still another view is that this is the Fire Serpent, who carries the sun on its journey across the sky. The Maya name for the Plumed Serpent is Kukulkan. According to their myth, Kulkulkan cavorted with the Fire Serpent in a watery environment. The Maya believed the Plumed Serpent represented life and peace, while the Fire Serpent represented desert heat and war. This was yet another expression of cosmic duality. Finally, there is a theory that the figure is not a god/creature at all, but a symbolic headdress, worn on the back of the Plumed Serpent. I'll leave it to you which interpretation to believe.


Detail of the serpent body below the Plumed Serpent and his enigmatic friend. The serpent's scaly body curves along the base of each level, and each loop displays a variety of shells.


The long body ends in a dramatic snake head. A forked tongue extends from its mouth and the creature has the same curling eye brows as the Plumed Serpent and the Tlaloc/Cipactlit/Fire Serpent figure. The snake head has a nose that curls back, which is one of the notable characteristics of a Fire Serpent.

The Plumed Serpent Pyramid and human sacrifice

Locations of sacrificed human remains found at the Plumed Serpent Pyramid. The dark brown squares, rectangles, and the circle in the center show excavated burials. The shaded squares and rectangles show where archeologists believe additional people are interred, based on the overall pattern. The closer the graves are to the center of the pyramid, the richer their goods. The burials occurred between 150 AD and 250 AD, probably during the construction of the pyramid. Finding evidence of human sacrifices is not unusual at Teotihuacán or in Mesoamerica generally. In fact several such burials have been found at both the Pyramids of the Sun and Moon. It is the number of sacrifices at the Plumed Serpent Pyramid that is unusual. Counting the actual and hypothetical bodies, archeologists believe that 260 individuals were killed and buried either inside or immediately around the pyramid. The number 260 is significant because it represents the total number of days in the sacred calendar. That calendar is made up of 13 months of 20 days each and graves were found on each side of the pyramid that contained groups of 13 and 20 skeletons. Among Quetzalcoatl's many accomplishments, according to the much later Aztec myths, he was responsible for the creation of the calendar. Clearly, from the 260 Plumed Serpents that once graced the exterior of the pyramid, to the 260 humans sacrificed and carefully buried during its construction, cosmic time was central to the meaning and purpose of this pyramid.



Grave of nine male individuals found at the pyramid. Graves with varying numbers of sacrificed individuals were found within the general pattern. The individuals in the trench above wore elaborate necklaces and other jewelry, indicating high status. In addition, scattered in the grave were obsidian blades and arrowheads. It is not clear whether the blades were used during the sacrifice or whether the men were killed in some other way. Inspection of the skeletons hasn't revealed any obvious trauma or cut marks. Some authorities have speculated that they were strangled. What is clear is that they were not volunteers. The victim's hands are behind their backs, indicating that their wrists had been bound. Relief carvings, statues, and wall murals all over Mesoamerica show sacrificial victims--usually war captives--bound in this way.


Necklace worn by one of the sacrificial victims. The necklace's seven U-shaped pendants were crafted from conch and scallop shells. They imitate the maxillae, or lower jaws of human beings. Along with the shell designs found on the exterior of the pyramid, these necklaces may indicate a further emphasis on the water theme. However, archeologists also have noted that warriors sometimes wore jewelry like this to commemorate the number of men they had killed in battle. Most of the male remains found in the various graves were men of military age, which lends credence to this theory. Who were these people, and why were they chosen for sacrifice? Were they captives, taken in battle? Recent high-tech scientific analysis has only increased the mystery surrounding these burials.


Detail of the nine-person grave, showing the jaw-bone necklaces. Interestingly, some of the necklaces were made from real human teeth and jaws. If these were soldiers, did they keep and wear physical trophies from the men they had killed in battle? Note the obsidian arrowheads in the upper left. Their position in relation to the skeletons indicates that they were placed there as offerings and not used to kill the victims. Otherwise, the arrowheads would have been found within the ribcages or in other lethal locations. When scientists tested the skeletons, their DNA showed that nearly all were foreigners, i.e. they had not been born in Teotihuacán. However, the minerals of their teeth indicate that they had lived in Teotihuacán for considerable lengths of time before they were sacrificed. This suggests that they were not war captives, since such prisoners were usually sacrificed soon after their capture. Possibly they (at least the men) were foreign mercenaries in Teotihuacán's army. The high status jewelry, particularly if it does indicate war kills, suggests that they may have been part of an elite unit. But why sacrifice such valuable men? Were special victims, possibly chosen by lot, required for the dedication of such an important pyramid? Or, had they transgressed in some way, perhaps by participating in a mutiny or coup attempt? As each question about these burials is answered, more arise. After 100+ years of excavation, Teotihuacán is still full of mysteries.


Skeletons of four females sacrificed at the Plumed Serpent Pyramid. Their personal adornment included earflaps and necklaces fashioned from conch shells. Also found with the skeletons were slate disks and some obsidian points, positioned at the posterior, at about the height of the thigh. Like the men, their personal ornamentation indicates that they may have been high status individuals.

So, in sum, Teotihuacán's Citadel played a very significant role in the city. It functioned as an administrative center and as the gathering place for huge public markets. It was designed to be the physical center of the city, dividing it into four districts. By extension it was also the center of the Teotihuacán Empire. The Citadel played a much more fundamental role, however. It was the symbolic center of the Teotihuacán cosmos, with the Pyramid of the Plumed Serpent functioning as a huge cosmic calendar.

This completes my posting. I hope you found it interesting. If you would like to leave a comment or question, please do so in the Comments section below, or email me directly.

If you leave a question in the Comments section, PLEASE leave your email address so I can respond.

Hasta luego, Jim








Sunday, June 11, 2017

The Magic Pueblo of Tequisquiapan

Templo Santa María de la Asunción, seen through Plaza Hidalgo's arches. In April of this year, Carole and I set off to explore the area east of Mexico City and north of Puebla, about eight-hours by car from our home in Ajijic. We don't like to drive more than 4-5 hours in a day, so we picked Tequisquiapan as a stopover to break up the journey each way. We had visited once before, briefly, during our 2009 trip to Querétaro. The blog posting that I did then focused mostly on Tequisquiapan's lively folk art markets. This time, I will show the lovely plaza and the narrow, winding, colonial-era streets surrounding it. This Magic Pueblo is worth more of a visit than the short time we had allowed. I encourage you to check it out for yourself. To locate Tequisquiapan on a Google map, click here.


Posada del Virrey

We stayed at Hotel Posada del Virrey, a comfortable, mid-range hotel. It is located about 1.5 blocks from Plaza Hidalgo. The hotel offers free parking, which is a good thing considering the narrow streets and limited number of public parking areas. Tequisquiapan is definitely not laid out in the standard Spanish colonial grid pattern. The streets wind and twist and are often one-way only.  This makes for a great walking town, but is a headache to drive. I had to study Google maps carefully to find the best route to the hotel and back out of town again. Should you visit, I advise you to do the same. Here is a Google map showing our hotel and the Plaza Hidalgo area. You will notice that there are a large number of other hotels, since Tequisquiapan has become a week-end getaway for people from Querétaro and Mexico City.


The Posada's central courtyard. The two-story Posada del Virrey is built Mexican-style, with lovely gardens and atriums surrounded by open-air walk-ways with pillared arches called portales. The vivid purple flowers climbing up the pillars are bougainvillea. The windows on the right look into a small dining room that serves free continental breakfasts to guests. Full breakfasts are available but cost extra.


The rooms are named, rather than numbered. Ours (seen above) was called La Cueva (the Cave). This is probably because the only window looks into the interior atrium. Still, it was roomy, comfortable and contained all the amenities of a normal hotel room. Everything worked properly, which is not always the case in Mexican hotels. We have learned to always check for hot water and whether the TV remote is funcional. It's a good thing to test the bed too, lest you wind up with one of the dreaded Mexican mattresses that I swear they make out of concrete slabs. Having recently acquired an iPad, I have also learned to check the strength of the WiFi signal and to ask for a room closer to the hotel router, if necessary.


Plaza Hidalgo

Templo Santa Maria de la Asunción occupies the west side of Plaza Hidalgo. The original church was built in the 16th century, but its Neo-Classical replacement was constructed in the 19th. Templo Santa Maria was built from pink sandstone and its clock tower dates to 1897. Tequisquiapan, is pronounced tay-kees-kee-ya-pan. It comes from the Nahuatl language of the Aztecs and means "place of tequesquite" (potassium nitrate). This natural salt was used to flavor food in pre-hispanic times. The area has seen human occupation since 2500 BC. At the time the Spanish arrived, the Otomi people were dominant. However, there was a Chichamec presence and those fierce warriors resisted the Spanish incursion until they were finally defeated in the Battle of Media Luna (Half Moon) in the mid-16th century.


A street musician and his son play for restaurant patrons at the Plaza. The little boy carried a tambourine to accompany his dad, but also as a container to collect tips. Carole and I always support street musicians because the musicians can certainly use the money. Besides, we like having a live sound track for our lives.


The kiosco in the center of the Plaza is made from metal and grey sandstone. We understand that bands sometimes play jazz and rock music here, but none were performing when we visited. The Plaza's borders are lined with cast-iron benches, a favorite place for families, the elderly, and those (like ourselves) who enjoy people-watching.


A Mexican family enjoys the late-afternoon sun as a children's trolly passes. Notice nearly all of them are totally focused on their smart phones. The young man on the left is the only exception. He has a phone too, but has stopped his texting to watch the trolly pass. The internet revolution is in full swing in Mexico. I wonder how all this will affect Mexico's traditionally strong family ties.

Mounting a town's name in large colorful letters is popular in Mexico. The townspeople here have nicknamed their pueblo "Tequis" for short. Chapala, a few miles east of Ajijic on Lake Chapala, has a similar sign along its lakefront. Tequis was officially founded by the Spanish in 1551. Its first official name was Santa María de la Asunción de las Aguas Calientes. Once the Chichimecs were pacified, their lands were divided between the Otomi--who had allied with the Spanish against the Chichimecs--and Spanish settlers. The Otomi chief, whom the Spanish had re-named Nicolás de San Luis Montañez, received the title to the town. However, over the next 300 years, the Spanish acquired most of the Otomis lands, by fair means and foul.


Nearly always, one can get a good shoe shine in a Mexican plaza. Tequis is no exception. By 1656, the town had dropped its somewhat clumsy Spanish name. It had become known as Tequisquiapan. In spite of the increasing consolidation of land ownership in Spanish hands, the area remained mostly indigenous. As a result, Tequis never refashioned its town layout in the Spanish grid pattern and still retains the winding, indigenous character of its streets.


The south side of the Plaza is one long set of arched portales. The covered walkway runs in front of restaurants, galleries, and cafés. Second floor restaurants can be seen in the upper right, as well as at the far end of the portales. This shot provides a sense of the large size of the Plaza. During the period leading up to the 1810 War of Independence, impoverishment of the Otomis due to land ownership concentration resulted in numerous small rebellions on area haciendas. Even so, during the war itself, there were no major battles fought in the area.


Plazas are for lovers, too. This pair were unselfconsciously smooching just across from the restaurant table where I was sitting. Naturally, it called for a photo. During the 1910 Revolution, violence largely bypassed the area. However, Revolutionary armies did sack some of the haciendas, looking for supplies. Otomis may have felt grim satisfaction as those who had historically dispossessed them were in turn dispossessed. Revolutionary leader Venustiano Carranza briefly stopped at Tequisquiapan, on his way to sign the 1917 Constitution. At the time, he declared the town to be the "geographical center of Mexico." A monument marking that spot still exists, but the actual center of the country was later determined to be Zacatecas, far to the north.


Los Andadores

Several andadores radiate from the Plaza. An andador is a pedestrian-only street, often filled with cafés, restaurants, and street vendors. The orange building at the end of the street forms the southeast corner of the Plaza.


Vendors along the andador. They are selling baskets, handbags, clothes, food and nicknacks. Notice how their carts are on wheels so that they can be safely stored at night.


Restaurant La Quercia extends out into the andador. This is one of many we found in the area of the Plaza. Hanging out, sipping a beverage, chatting with table mates, and hailing passing friends all seem to be favorite pastimes in this town.


Portales at the southeast corner of the Plaza. Hidalgo Plaza can be seen between the pillars. When I reviewed my 2009 posting, I noticed how down-at-the-heel and crumbling the town looked then. Clearly, things are on the upswing because, during our 2017 visit, everything was well-kept and freshly painted.


Rambling 'round town

One of the narrow streets which radiate out from the plaza. These streets were clearly intended for horses, carriages, and foot traffic. As a result, most of them must be one-way to accommodate modern automobiles. I would suggest avoiding a weekend visit because the traffic then is reputed to be terrible.


The steeple and dome of the church are visible nearly everywhere. This helps in keeping one's bearings while moving about town.


Parque de la Pila is a couple of blocks north of Plaza Hidalgo. The large park is filled with huge old trees that provide welcome shade. There are fresh water springs here and, in 1567, a water mill and reservoir were built here. The mill is gone, but the reservoir and its water channels still exist.


A winding, tree-shaded andador provides a secluded spot for lovers. Except for us, this young couple had the whole place to themselves.


Colonial-era moon-landing vehicle? This odd structure caught our eyes as we wandered the back streets. After inspecting it, I came to the conclusion that it is a rather elaborate old well, possibly part of Parque La Pila's original water system.


Colonial-era house, across the street from Hotel Posada Virrey. The entrance door is framed by two large barred windows. The old carriage entrance is the large door to the right of the right-hand window. There is almost certainly a lush courtyard garden, probably with a fountain, just beyond the entrance doorway.


Music for sale. These two guys were in search of customers for their guitars and other stringed instruments. Not musically inclined? The fellow on the left has several rope hammocks slung over his shoulder.

This concludes my posting on the Magic Pueblo of Tequisquiapan. I hope you have enjoyed it and, if so, please leave any comments or questions in the Comments section below or email me directly.

If you leave a question in the Comments section, PLEASE leave your email address so I can respond.

Hasta luego, Jim


Friday, April 28, 2017

The Sonajero & Chayacate dancers of Tuxpan's Candelaria Fiesta

Sonajero dancers enter the atrium of Tuxpan's church. Each colonia  (neighborhood) fields its own troupe of dancers. The group above was one of many approaching from all parts of town as the Fiesta de Candelaria got under way. Last February 2, Carole and I brought two car-loads of friends to witness this extraordinary event. We first came to this fiesta in 2012 and the experience was stunning. When I described the fiesta to some friends last winter, they were eager to attend. Tuxpan's event combines multiple traditions, with roots dating back to the colonial and even pre-hispanic periods. The townspeople are wonderfully friendly and hospitable, particularly to foreign visitors. Tuxpan is a two-hour drive south of Lake Chapala, off Cuota #54, the toll road that leads from Guadalajara to Colima. For a Google map, click here.

Overview

Dancers packed the atrium in front of the Iglesia de San Juan Bautista. This broad, open plaza has a stand-alone cross in its middle (visible on the right). The Franciscans built the original church in 1536 and erected the cross not long after. While the church was rebuilt in later centuries, the original eight-sided cross remains and is the oldest colonial monument in Jalisco. The town's name comes from the Nahuatl language of the Aztecs and means "Place of the Rabbits."


These Tourist Police were all smiles when I asked to take their photo. Their attitude was typical of the local folks we met. Everywhere, people smiled at us and those that spoke English (a surprising number) asked if we'd like them to explain anything about the fiesta. While some of Mexico's fiestas are thronged with foreigners, Tuxpan's is different. Because it is somewhat off the beaten tourist track, almost all the spectators are from the local area. A significant portion of Tuxpan's population participates in one or another of the dance troupes.


Detail from a large mural at the Centro Cultural. There are multiple panels showing Tuxpan's history from pre-hispanic times to modernity. This one highlights the variety of dancers. We visited the Centro Cultural while waiting for the show to begin. The attached museum was closed and, seeking information about its hours, I stuck my head in an open door. A woman inside immediately invited us to sample some specially prepared pre-hispanic food. In the blink of an eye, we became honored guests at a banquet that included officials from Mexico City. While we tasted the various delicious dishes, a local poet recited his work and the officials gave speeches (all in Spanish, of course). The din of the fiesta was growing, so we thanked our hosts and joined the festivities outside. Mexico's famous hospitality is no myth.


People carrying gaily dressed dolls began to gather in front of the church. The dolls represent one of the fiesta's multiple threads of historical tradition. While the doll on the right is attired as a Sonajero dancer, most of the others were dressed like the one on the left. People of all ages and both sexes carried dolls--even teenage boys! According to the Bible, Jesus was presented by his parents at the Jewish Temple 40 days after his birth. Jewish religious law in the 1st Century AD forbade a woman to go to the temple for 40 days after giving birth because she was "unclean". February 2 occurs 40 days after December 25 and the occasion has come to be celebrated as Candelaria or Candlemass.


Sonajeros

The Sonajeros represent a tradition with deep pre-hispanic roots. The dancers perform in massed ranks, to the rhythm of the sonajeros (rattles) they each carry. The name can be applied either to the rattle or the dancer. When I first saw these dancers perform, I was reminded of the close-order drill that I learned during my military service. In fact, this is called the Dance of the Warriors and honors Xipe Tótec, the Aztec god who invented war. The rattle closely resembles the macuahuitl, a fearsome hand weapon the Aztec soldiers carried into battle. In ancient times, these were edged with razor-sharp obsidian. Today, instead of obsidian, a sonajero contains three sets of metal disks set in notches along the length of the instrument, with a handgrip at one end. When the instrument is shaken, the disks clash together, sounding somewhat like a tambourine. Hundreds of sonajeros, shaken in unison, create a rhythmic din.


The dancers wear vests of multi-colored ribbons. The vests mimic the cotton armor worn by the Aztec warriors. It provided some protection from arrows and other pre-hispanic weapons but was of little help against Spanish steel. Notice that these dancers have removed their sombreros and are holding them close to their sides. They did this just before entering the atrium, apparently a gesture of respect toward the church.


Women and girls danced as Sonajeros too. In fact, there didn't seem to be any gender or age bar to participation. It was a clear and sunny day in early February and the dancers' costumes covered them from head to toe. By noon, it had become pretty warm and I marveled at their stamina as they danced and twirled.


Although only four or five years old, this niña was a full participant. Even on a break, she continued to dance. There were lots of kids among the dancers, as well as some elderly folks. Participation is clearly a family affair.


Chayacates

Wearing antlers and carved wooden masks, the Chayacates now arrived. All their masks were in "whiteface" with Spanish-style beards and mustaches. The name for these dancers comes from the Nahuatl word chayácatl, which means "man wearing a mask".


An energetic pair of Chayacates led the troupe from the Colonia San Fabian. Each cuadrillo (troupe) carried a banner with the name of their colonia. Like the Sonajeros, all the Chayacates carried rattles which they shook in unison. The Chayacate rattles are made from hollow gourds filled with seeds.


Also like the Sonajeros, there are kids in the Chayacate cuadrillos. The origin of the Chayacate tradition harks back to a great epidemic in 1774. The local priest called upon everyone to pray to San Sebastian, the patron saint of people afflicted with plagues. The epidemic soon ended and the dance was inaugurated to thank the saint for his intervention. Statues of San Sebastian are carried by the faithful in the parade through town that begins when all the cuadrillos are assembled.


A cuadrillo of "blonde" Chayacates approaches the atrium. They are followed by another troupe with red "hair". The Spanish features, and the long blonde or red hair, hark back to another colonial tradition. Since disrespect toward their Spanish overlords could be dangerous, indigenous people sometimes used masks and dances to subtly mock their oppressors.

Güe Gües

A Güe Güe carrying a sword pauses for a breather. I have encountered these figures at indigenous dances all over Mexico, but I have yet to find a translation for the name. They always wear horrific monster masks and often carry a weapon like a wooden sword or a long whip. Güe Gües lead the processions or hover about the edges of the action. Their purpose is to frighten away evil spirits, as well as to entertain the crowd with their antics.


A Güe Güe leads a group of Sonajeros through the streets. Notice the red imitation blood on his sword. While most Güe Gües favor modern masks made of rubber, this one wears a more traditional version made from carved wood with vivid paint.


Kids, especially the young boys, seemed to favor the role. This group immediately began to cavort when they spotted my camera. Unlike the Sonajeros and Chayacates, the Güe Gües are not expected to keep in step with the dancers they accompany. This gives them considerable freedom of action and they take full advantage.


A handsome couple. A fanged devil and his skull-faced companion were eager to pose for me. It would be hard to find a finer pair of evil-spirit chasers.


Moros

A bare-chested Moor scans the area, his bow and arrow at the ready. Los Moros (the Moors) represent still another tradition. The Dance of the Moors and the Spaniards harks back to the 700-year struggle by Christian Spaniards to expel the Moors, who had invaded and seized Spain in 711 AD. The final victory came when the Moorish city of Granada fell in 1492. The Dance of the Moors and Spaniards commemorates this struggle and final victory.


A young Moor pranced about the edge of the crowd. Los Moros always wear hats with crowns of feathers and generally carry bows and arrows. My photo caught him in the act of pelting his friend with a piece of candy.


The littlest Moor. He is dressed in full Moorish regalia, including a bow, with peacock feathers that are nearly as long as he is tall.

Other dancers


The América cuadrillo. These dancers are the key performers at the fiesta to honor the Virgin of Guadalupe on December 12. However, it seems that no one wanted to miss out on Candelaria. 


This fellow bore a striking resemblance to Jesus. It wasn't clear to me whether that was his role. However, his costume didn't resemble that of any of the other dancers and he wasn't a Güe Güe. The pretty señorita by his side appears to be his girlfriend.


A violinist who accompanied a Chayacate cuadrillo. This jaunty fellow could have just stepped out of some bizarre orchestra pit.


A clown with a rather sinister smile. Not the sort of jester I'd want to meet in a dark alley. He looks a bit like the Joker in the Batman movies. I assumed he was one of the Güe Gües but, again, who knows? Mexican fiestas often have a surreal quality that defies explanation.

This completes my posting on Tuxpan's Candelaria fiesta. I hope you enjoyed it. If so, please leave any comments or questions in the Comments section below, or email them to me directly. If you leave a question in the Comments section PLEASE leave your email address so I can respond.

Hasta luego, Jim