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Aztec and inca rituals
Essays about the practices of the aztecs
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Concheros: The Traditional and Religious Dance of Contemporary Nahuatl Communities
Introduction to the Concheros Dance:
“El es Dios!” And so the dance begins. Dating back to colonial times, the Aztec people of Mexico created the Concheros dance and used it as a way of acknowledging their ancestors. The dance came about shortly after the Spanish conquest of the Aztec people. Today, his symbolic tradition is, “conducted in the courtyards of churches in honor of saints and virgins represented there” (Vento, 59). The dance consists of men and women, representing the warriors and the people who assisted the soldiers. The dance is split into different segments, also known as offerings; The Flowering War, The Father Sun, Warriors, Death and Rebirth, and The Young Lord. The Conchero dance shares significance in their traditions of religion, the spring equinox, costumes, and the music played.
Religious and Traditional Significance:
The indigenous people of the Mexico have kept the tradition of the Concheros dance alive since the 1500s. Despite the modernization of the people, the dance itself has remained the same, as people return to their indigenous roots. The special performance can be viewed from a political or spiritual point of view. “For some groups, the dance has become a conscious way of reasserting an Indian identity in a country, especially in and around Mexico City, that is increasingly in danger of forgetting its indigenous past” (Rostas, 12). Although the dance originally started around the Bajo region and Mexico City, it has spread much further north and into the United States as well, allowing people to celebrate feasts of saints and for other purposes (Rostas, 15).
Religion and Syncretism:
Some people view the Con...
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...ty grounded in a largely invented Mexica past, which they attempt to live in the present, that is that of the main body of the Concheros” (Rostas 15). People are always looking to find their identity, and where they fit in, in their communities.
Works Cited
Retana, Manuela Moon. (2014). El cerrito concheros dances dedicated to spring equinox. Journal Rotary, Queretaro, Mexico, 1-2.
Rostas, S. (2009). Carrying the world: The concheros dance in mexico city. (pp. 21-209). Boulder: University Press of Colorado.
Rostas, S. (1991). The concheros of mexico: A search for ethnic identity. Edinburgh University Press, 9(2), 3-17.
Vento, A. C. (1994). Aztec conchero dance tradition: Historic, religious and cultural significance. University of Minnesota Press, 10(1), 59-64.
Xulamoxa, “Danza De Concheros” Cedart Morelia. Youtube. Youtube, 27, Jan. 2010. Web. 16 May 2014.
Haskins, James. "Geoffrey Holder and Carmen De Lavallade." Black Dance in America. N.p.: n.p., 1990. 130-37. Print.
Have you ever disobeyed your families culture? Or ever wanted to forget about something in your past culture? It’s not always easy, to follow traditions, sometimes you want to create or change your lifestyle.In the poem ‘’El Olvido’’ by Judith Ortiz Cofer and ‘’Life In The Age Of The Mimis’’ by Domingo Martinez. The authors of these texts indicate the idea that trying to hide your cultures identity is defiance against your heritage.
We firstly delve into the city and what it means to the Mexica people. Then, we enter the minds of the people who enjoy their part of society in different ways. From the warriors and priests, to the mothers, wifes and children of Tenochtitlan. Next, Clendinnen enters the world of rituals, sacrifices and aesthetics before finishing off with the defeat of the Mexican city of Tenochtitlan by the forces of Cortes in 1521.
The tradition still takes place today in many areas of Mexico. However, some parts of Mexico do the dance a little differently. The dance is more common in the central regi...
Julia Alvarez in her book, Once Upon a Quinceañera, explores the quince tradition from cultural, historical and personal angles. Herein, she seeks to clarify some of the myths and ideas that surround this tradition from the notion that quinceañeras are from old Aztec traditions to the idea that this rite has been passed down from one Latino generation to another. She discovers that most contemporary quinces are firsts for many families and are different from those of the past. Consequently, the tradition depicts a group that is experiencing transformation who seek to establish their roots in a past that is somehow bleak. Many have often described the US has a melting pot of cultures. Therefore, Americans from different cultures find themselves amalgamating their values with those of the American society, thus affecting the overall culture of their communities. In Once Upon a Quinceañera, the author demonstrate and applies the cultural myth of melting pot.
Batlla argues that an “imaginary Mexico” exists, a minority culture within Mexico that represents Western, colonial interests. In opposition to this imaginary Mexico is the México profundo, or “deep” Mexico. México profundo underlies the imaginary Mexico and has its core in Mesoamerican culture, which reaches back into history for centuries upon centuries. According to Batalla, the relationship between these two cultures is fraught and, at times, violent, as “the imaginary Mexico tries to subordinate the rest of the population to its plans”. He argues a position different from that of the course’s themes, which emphasize the joining and mixing of Mesoamerican and colonial culture. According to Batalla, “[n]o room has been allowed for a convergence of civilizations through a slow fusion that gives rise to a new civilizational plan, different from the two original ones of arising from
In an essay by Carrasco titled “The Exaggeration of Human Sacrifice," the purpose of nextlaoalli seemed logical, as it was believed that the gods had died in order to create the lives of plants, animals and humans, and that a ritual sacrifice of plants, animals, and humans offered a way to transmit the energy of these beings back to the gods. These types of sacrifices arguably played a minute role in the actual rituals performed to appease the gods, but rather it was in combination with the regalia and practices of the priests which contributed to the overall “barbaric” atmosphere Daz experienced in these sacrificial rituals. Although viewed by the Spaniards as cannibalistic and obscure in nature, these rituals formed a pivotal function in the religious culture of both Tenochtitlan and the Aztec empire. The true purpose of nextlaoalli was misconstrued because of the numerous biases present among the collective Spanish mindset, and therefore these rituals became a target for the Spaniards to denounce the established religion under pretenses that it was paganistic, and therefore false.
Organizing one of these events is a very expensive and lengthy process. It takes a lot of time and dedication. There’s a lot to be incorporated in the huge event such as planning the ceremony, every decoration detail for the reception, all the traditions that must happen during the day, and most importantly to figure out who will be a part of this ritual. One of the most important customs in Latin America is the quinceaera. This tradition can date all the way back to 500 B.C. Not only that, but it’s been traced back to Aztec’s culture as well.
This dance they get into nature by way of rhythm and it can make your body
I decided to analyze the poem English con Salsa by Gina Valdes, because I can identify myself with this poem in many different aspects. Both my parents and I were born in Mexico, but decided to move to the United States on February of 2000. With us moving here, we brought along our traditions and customs. My family has a blend of American culture with Latino culture since a few of my uncles married American women and had children. I feel that Valdes poem is about finding that “in between” feelings that are brought up when two cultures are mixed together.
Center for. “The Mystery of Aztec Sacrifices.” Wilson Quarterly 2.4 (2000):110. History Reference Center. Web. 24 Mar. 2014.
Life in Mexico was, before the Revolution, defined by the figure of the patron that held all of power in a certain area. Juan Preciado, who was born in an urban city outside of Comala, “came to Comala because [he] had been told that [his] father, a man named Pedro Paramo lived there” (1). He initially was unaware of the general dislike that his father was subjected to in that area of Mexico. Pedro was regarded as “[l]iving bile” (1) by the people that still inhabited Comala, a classification that Juan did not expect. This reveals that it was not known by those outside of the patron’s dominion of the cruel abuse that they levied upon their people. Pedro Paramo held...
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