{"id":1225,"date":"2026-11-05T04:44:53","date_gmt":"2026-11-05T04:44:53","guid":{"rendered":"https:\/\/totonacapan.com\/?page_id=1225"},"modified":"2026-11-08T10:32:23","modified_gmt":"2026-11-08T10:32:23","slug":"investigaciones-del-totonacapan","status":"publish","type":"page","link":"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/","title":{"rendered":"Investigaciones del Totonacapan"},"content":{"rendered":"<style id=\"iict-research-discovery\">\n#research-hub-release:has(#research-hub-en :target)>#investigaciones-del-totonacapan,#research-hub-release:has(#research-hub-fr :target)>#investigaciones-del-totonacapan,#research-hub-release:has(#research-hub-en :target)>#research-hub-fr,#research-hub-release:has(#research-hub-fr :target)>#research-hub-en{display:none!important}\n#research-hub-release .research-index{display:block!important;margin:1.5rem 0 2.5rem;padding:clamp(1rem,3vw,2rem);border:1px solid #d4c8ac;border-top:3px solid 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details{max-width:56rem;margin:2.5rem auto;border-top:1px solid #baaa82;padding-top:1rem}#research-hub-release summary{font:400 1.5rem\/1.5 var(--serif);color:#244b60;cursor:pointer}#research-hub-release figure{float:none!important;max-width:46rem;margin:2rem auto!important}#research-hub-release img{max-width:100%;height:auto}#research-hub-release figcaption{font:.82rem\/1.7 var(--sans);text-align:start}#research-hub-release a:focus-visible,#research-hub-release summary:focus-visible{outline:3px solid #af8b42;outline-offset:4px}@media(max-width:700px){#research-hub-release .research-categories{grid-template-columns:1fr;gap:1rem}#research-hub-release .research-card{padding:1rem}}<\/style>\n<p><!-- IICT-CITE-CSS --><\/p>\n<style>.iict-citation{display:block!important;max-width:780px!important;margin:2.8rem auto!important;padding:1.6rem 1.7rem!important;border-block:1px solid #b6a06b!important;border-left:2px solid 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var(--sans,system-ui,sans-serif)!important;letter-spacing:.08em!important;text-transform:uppercase!important;color:#596b58!important}.iict-citation-policy li{margin-block:.7rem!important;font:400 1rem\/1.75 Georgia,serif!important}.iict-citation-policy ol{padding-left:1.3rem!important}.iict-citation-policy .iict-citation-format{font:400 1.02rem\/1.8 Georgia,serif!important}.iict-citation a:focus-visible{outline:2px solid #a58a47;outline-offset:4px}@media(max-width:650px){.iict-citation{padding:1.3rem 1.1rem!important;margin:2rem auto!important}.iict-citation h2{font-size:1.5rem!important}.iict-citation blockquote{font-size:1rem!important}}<\/style>\n<p><!-- \/IICT-CITE-CSS --><\/p>\n<div id=\"research-hub-release\">\n<nav class=\"research-languages\" aria-label=\"Idiomas\"><a href=\"#investigaciones-del-totonacapan\" lang=\"es\">Espa\u00f1ol<\/a><a href=\"#research-hub-en-text\" lang=\"en\">English<\/a><a href=\"#research-hub-fr-text\" lang=\"fr\">Fran\u00e7ais<\/a><a href=\"https:\/\/totonacapan.com\/?page_id=41\">El Totonacapan \u2197<\/a><a href=\"#indice-articulos-es\">\u00cdndice general \u00b7 All pages \u00b7 Toutes les pages<\/a><\/nav>\n<section class=\"editorial-reading\" id=\"investigaciones-del-totonacapan\" lang=\"es\">\n<h1>Investigaciones del Totonacapan<\/h1>\n<p>Un territorio, muchas historias. No estudiamos \u00fanicamente las huellas antiguas: tambi\u00e9n las lenguas que hoy se hablan, la econom\u00eda, los desplazamientos, la diversidad cultural, la relaci\u00f3n entre costa y sierra y las dificultades del presente. Cada investigaci\u00f3n se organiza como un trabajo con fuentes, fechas, escala territorial y responsabilidad editorial identificables. La documentaci\u00f3n se ampl\u00eda por etapas; una cuesti\u00f3n abierta seguir\u00e1 marcada como abierta.<\/p>\n<p><span id=\"redes-hispanicas\" aria-hidden=\"true\"><\/span><\/p>\n<nav class=\"research-index directory-complete\" id=\"indice-articulos-es\" aria-labelledby=\"indice-titulo-es\" lang=\"es\">\n<p class=\"research-index-kicker\">\u00cdNDICE GENERAL \u00b7 ART\u00cdCULOS, SERIES Y P\u00c1GINAS<\/p>\n<h2 id=\"indice-titulo-es\">Todas las lecturas del Instituto<\/h2>\n<p>Encuentra aqu\u00ed los art\u00edculos, las series de investigaci\u00f3n, las p\u00e1ginas del territorio, el Censo y la informaci\u00f3n del Instituto. Los seis estudios de redes hisp\u00e1nicas y la serie Instituciones de frontera tienen acceso directo, entrega por entrega.<\/p>\n<div class=\"research-topic-links\" aria-label=\"Explorar el \u00edndice\"><a href=\"#indice-rutas-hispanicas\">Redes hisp\u00e1nicas \u00b7 6<\/a><a href=\"#indice-instituciones-frontera\">Instituciones de frontera \u00b7 6<\/a><a href=\"#indice-coleccion-regional\">Investigaciones regionales \u00b7 26<\/a><a href=\"#indice-posadas\">Posadas<\/a><a href=\"#indice-territorio\">Territorio y patrimonio<\/a><a href=\"#indice-proyectos\">Censo y formaci\u00f3n<\/a><a href=\"#indice-alianza\">La Alianza<\/a><a href=\"#indice-instituto\">El Instituto<\/a><a href=\"#indice-referencia\">Archivo e informaci\u00f3n<\/a><a href=\"#lecturas-destacadas\">Art\u00edculos ilustrados \u2193<\/a><\/div>\n<div class=\"directory-series\">\n<div class=\"directory-group\" id=\"indice-rutas-hispanicas\">\n<h3>Redes hisp\u00e1nicas de comercio<\/h3>\n<p><a href=\"\/?page_id=1697\">Dossier: mapas, introducci\u00f3n y m\u00e9todo<\/a><\/p>\n<ul>\n<li><a href=\"\/?page_id=1699\">RH01 \u00b7 Antes del oc\u00e9ano: los r\u00edos, los mercados y una protesta de Papantla en 1651<\/a><\/li>\n<li><a href=\"\/?page_id=1702\">RH02 \u00b7 La vainilla antes de ser emblema: saberes, cr\u00e9dito y salida por Veracruz<\/a><\/li>\n<li><a href=\"\/?page_id=1705\">RH03 \u00b7 Veracruz no terminaba en C\u00e1diz: el Caribe, el cr\u00e9dito y el dinero de la defensa<\/a><\/li>\n<li><a href=\"\/?page_id=1708\">RH04 \u00b7 Del Golfo a Manila: una conexi\u00f3n hecha de escalas, plata y tejidos<\/a><\/li>\n<li><a href=\"\/?page_id=1711\">RH05 \u00b7 Hacia el sur: Guatemala, Guayaquil y el Callao en una red que cambiaba de reglas<\/a><\/li>\n<li><a href=\"\/?page_id=1714\">RH06 \u00b7 Lo que regresaba: objetos, cr\u00e9dito y poder en una regi\u00f3n conectada<\/a><\/li>\n<\/ul>\n<\/div>\n<div class=\"directory-group\" id=\"indice-instituciones-frontera\">\n<h3>Instituciones de frontera<\/h3>\n<p>Serie del Instituto en LatinoEmpresa. Los t\u00edtulos abren la publicaci\u00f3n en la revista; tambi\u00e9n puedes consultar la edici\u00f3n alojada en el Instituto.<\/p>\n<p><a href=\"https:\/\/www.latinoempresa.com\/comunidademprendedores\/categories\/instituciones-de-frontera\">Ver la colecci\u00f3n en LatinoEmpresa \u2197<\/a><\/p>\n<ul>\n<li><a href=\"https:\/\/www.latinoempresa.com\/post\/la-integral-management-society-imsv-org-instituci%C3%B3n-de-frontera-desde-1898\">The Integral Management Society: Instituci\u00f3n de frontera desde 1898 \u2197<\/a><small><a href=\"\/?page_id=431\">Edici\u00f3n en el Instituto<\/a><\/small><\/li>\n<li><a href=\"https:\/\/www.latinoempresa.com\/post\/narrativa-centro-y-frontera-por-qu%C3%A9-los-modelos-simples-fallan-cuando-llega-la-implementaci%C3%B3n\">Narrativa, centro y frontera: por qu\u00e9 los modelos simples fallan cuando llega la implementaci\u00f3n \u2197<\/a><small><a href=\"\/?page_id=432\">Edici\u00f3n en el Instituto<\/a><\/small><\/li>\n<li><a href=\"https:\/\/www.latinoempresa.com\/post\/el-cliclo-de-la-frontera-de-exploradores-a-explotadores\">El ciclo de la frontera: de Exploradores a Explotadores \u2197<\/a><small><a href=\"\/?page_id=433\">Edici\u00f3n en el Instituto<\/a><\/small><\/li>\n<li><a href=\"https:\/\/www.latinoempresa.com\/post\/cuando-las-fronteras-se-hablan\">Cuando las fronteras se hablan y activan entre s\u00ed \u2197<\/a><small><a href=\"\/?page_id=434\">Edici\u00f3n en el Instituto<\/a><\/small><\/li>\n<li><a href=\"https:\/\/www.latinoempresa.com\/post\/dos-maneras-de-cruzar-un-mundo-arquitecturas-que-empobrecen-y-arquitecturas-que-multiplican\">Dos maneras de cruzar un mundo: arquitecturas que empobrecen y arquitecturas que multiplican \u2197<\/a><small><a href=\"\/?page_id=435\">Edici\u00f3n en el Instituto<\/a><\/small><\/li>\n<li><a href=\"https:\/\/www.latinoempresa.com\/post\/emprendimiento-migrante-e-instituciones-de-frontera-cuando-emprender-es-construir-un-puente-entre-m\">Instituciones de frontera: cuando emprender es construir un puente entre mundos \u2197<\/a><small><a href=\"\/?page_id=436\">Edici\u00f3n en el Instituto<\/a><\/small><\/li>\n<\/ul>\n<\/div>\n<\/div>\n<div id=\"indice-coleccion-regional\">\n<h3>Investigaciones regionales \u00b7 R01\u2013R22 y R25\u2013R28<\/h3>\n<div class=\"research-index-list\">\n<div>\n<h3><a href=\"#tema-territorio-es\">Territorio y pueblos<\/a><\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1227\">El Totonacapan: una regi\u00f3n, muchas pertenencias<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1253\">Lenguas del Totonacapan: variantes, territorios y transmisi\u00f3n<\/a><\/li>\n<\/ul>\n<\/div>\n<div>\n<h3><a href=\"#tema-historia-es\">Historia y encuentros<\/a><\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1819#r25-es\">Yohualichan: nichos de piedra, preguntas de historia<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1280\">Historia del Totonacapan: de las ciudades antiguas a las transformaciones contempor\u00e1neas<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1241\">Negros, mulatos, mestizos y jarochos: trayectorias cruzadas del Totonacapan<\/a><\/li>\n<\/ul>\n<\/div>\n<div>\n<h3><a href=\"#tema-actualidad-es\">La regi\u00f3n que vive hoy<\/a><\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1282\">La regi\u00f3n en movimiento: migraci\u00f3n interna, internacional y di\u00e1spora<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1292#r06-es\">Econom\u00edas del Totonacapan: del campo y los oficios a los servicios<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1294#r07-es\">Seguridad cotidiana y vulnerabilidades: lo que los datos permiten decir<\/a><\/li>\n<\/ul>\n<\/div>\n<div>\n<h3><a href=\"#tema-saberes-es\">Paisaje y saberes<\/a><\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/santiagos-pilatos-y-tocotines-cuando-la-danza-tambien-cuenta-una-historia\/#r26-es\">Santiagos, Pilatos y Tocotines: cuando la danza tambi\u00e9n cuenta una historia<\/a> \u00b7 <a href=\"https:\/\/totonacapan.com\/santiagos-pilatos-y-tocotines-cuando-la-danza-tambien-cuenta-una-historia\/#r26-en-full\" lang=\"en\">EN<\/a> \u00b7 <a href=\"https:\/\/totonacapan.com\/santiagos-pilatos-y-tocotines-cuando-la-danza-tambien-cuenta-una-historia\/#r26-fr-full\" lang=\"fr\">FR<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1821#r28-es\">Una camisa infantil para aprender: protecci\u00f3n y textiles en Cuetzalan<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1302#r08-es\">De la costa a la niebla: climas, agua y paisaje<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1304#r09-es\">Cocinas del Totonacapan: territorios, ingredientes y saberes<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1315#r10-es\">La vainilla: cultivo, polinizaci\u00f3n, beneficiado y cadenas econ\u00f3micas<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-es\">Voladores y otras ceremonias: expresiones que cruzan pueblos<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-es\">Cuetzalan y la sierra: fiestas, huipiles, caf\u00e9 y relaciones culturales<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-es\">Oficios, medicina, fotograf\u00eda y educaci\u00f3n: comunidades que sostienen saberes<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-es\">Nin\u00edn: la casa prepara el regreso<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1336#r15-es\">El costumbre tepehua: qui\u00e9n sostiene una fiesta y a qui\u00e9n se agradece el agua<\/a><\/li>\n<p><!-- R16-R18-INDEX-es --><\/p>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1348#r16-es\">Cuando la milpa entra en el calendario: Santa Cruz y mayordom\u00eda nahua<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1351#r17-es\">Figuras de papel, cuerpo y cuidado: la tarea de un b\u00e4di otom\u00ed<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/eni-el-carnaval-otomi-y-lo-que-una-traduccion-puede-deformar\/#r27-es\">\u00cbni: el carnaval otom\u00ed y lo que una traducci\u00f3n puede deformar<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1354#r18-es\">Quetzal\u00edn y Voladores: dos danzas que no se explican con una sola imagen<\/a><\/li>\n<p><!-- \/R16-R18-INDEX-es --><!-- R19-R20-INDEX-es --><\/p>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1368#r19-es\">La palabra y el huipil: mujeres en la celebraci\u00f3n de Cuetzalan<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1370#r20-es\">Nin\u00edn, Santoro y Xantolo: parecidos de temporada, historias distintas<\/a><\/li>\n<p><!-- \/R19-R20-INDEX-es --><!-- R21-R22-INDEX-es --><\/p>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1403#r21-es\">El m\u00fasico que hace posible la danza<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1407#r22-es\">Los siete Tajines: permiso, territorio y responsabilidad en El Taj\u00edn<\/a><\/li>\n<p><!-- \/R21-R22-INDEX-es --><\/ul>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"directory-pages\">\n<div class=\"directory-group\" id=\"indice-instituto\">\n<h3>El Instituto y su historia<\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=37\">Inicio<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=39\">El Instituto<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=411\">Historia de la instituci\u00f3n<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=412\">Genaro Vargas Tapia<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=413\">Biograf\u00eda de Iv\u00e1n Abril Palma<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=45\">La Bola de Oro<\/a><\/li>\n<\/ul>\n<\/div>\n<div class=\"directory-group\" id=\"indice-territorio\">\n<h3>Territorio, patrimonio y saberes<\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1803\">La sierra del Totonacapan: niebla, relieve y comunidades entre barrancas<\/a> \u00b7 Territorios T01<\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1806\">Las tierras bajas del Totonacapan: lomer\u00edos, r\u00edos y paisajes cultivados<\/a> \u00b7 Territorios T02<\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1809\">La costa del Totonacapan: desembocaduras, manglares y comunidades del Golfo<\/a> \u00b7 Territorios T03<\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=41\">El Totonacapan<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=423\">Entre mar y monta\u00f1a<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=424\">Refugio de culturas<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=425\">De Mesoam\u00e9rica al mundo<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=426\">Saberes que han atravesado siglos<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=43\">Patrimonio vivo<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=53\">Xanath y patrimonio natural<\/a><\/li>\n<\/ul>\n<\/div>\n<div class=\"directory-group\" id=\"indice-posadas\">\n<h3>Posadas y comunidades de pr\u00e1ctica<\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=414\">Posadas \u00b7 Entrada a la serie<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=415\">Curators of Encounters \u2014 Las Posadas<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=416\">La Posada: An Infrastructure for Perspective Beyond<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=417\">The Creation of Posadas: Infrastructure for Encounters at the Frontier<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=418\">Frontier Posadas: Infrastructure at the Edge of the Usual Journey<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=419\">La Posada von Humboldt como membrana<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=420\">La frontera atrae al explorador<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=421\">Instituciones de frontera \u00b7 Entrada en el Instituto<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=422\">Xanath y Las Mesillas: la reserva, la aldea y el encuentro<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=222\">La Posada: una infraestructura para el encuentro<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=223\">Perfiles de frontera: de la experiencia a la instituci\u00f3n<\/a><\/li>\n<\/ul>\n<\/div>\n<div class=\"directory-group\" id=\"indice-alianza\">\n<h3>La Alianza y el Maestrazgo<\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=427\">Alianza del Totonacapan<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=428\">El Maestrazgo<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=429\">La Salsadella y el Maestrazgo: M\u00e9xico de ida y vuelta<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=430\">Abril\u2013Cort\u00e9s: genealog\u00eda, oficios y Casa de Frontera<\/a><\/li>\n<\/ul>\n<\/div>\n<div class=\"directory-group\" id=\"indice-proyectos\">\n<h3>Investigaci\u00f3n, formaci\u00f3n y Censo<\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1225\">Investigaciones del Totonacapan \u00b7 \u00cdndice general<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=47\">Investigaci\u00f3n y transmisi\u00f3n<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=49\">Censo de Artes y Oficios<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=300\">Formaci\u00f3n Integral 3.0<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=51\">AI &amp; Ancestral Wisdom<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=57\">Comunidad y cooperaci\u00f3n<\/a><\/li>\n<\/ul>\n<\/div>\n<div class=\"directory-group\" id=\"indice-referencia\">\n<h3>Archivo, participaci\u00f3n e informaci\u00f3n institucional<\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=55\">Archivo y publicaciones<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1617\">Normas de contribuci\u00f3n y publicaci\u00f3n<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1619\">Bases de participaci\u00f3n en la red de saberes y expertos<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=61\">Fuentes y cr\u00e9ditos<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=348\">Aviso legal<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=63\">Pol\u00edtica de privacidad<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=59\">Contacto<\/a><\/li>\n<\/ul>\n<\/div>\n<\/div>\n<details class=\"directory-versions\">\n<summary>Versiones de las p\u00e1ginas en ingl\u00e9s y franc\u00e9s \u00b7 44 accesos<\/summary>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=38\">Home<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=40\">The Institute<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=42\">Totonacapan \u00b7 EN<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=44\">Living Heritage<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=46\">La Bola de Oro \u00b7 EN<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=48\">Research &amp; Transmission<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=50\">Arts and Crafts Census<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=52\">AI &amp; Ancestral Wisdom \u00b7 EN<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=54\">Xanath &amp; Natural Heritage<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=56\">Archive &amp; Publications<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=58\">Community &amp; Cooperation<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=60\">Contact \u00b7 EN<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=62\">Sources &amp; Credits<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=64\">Privacy policy<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=95\">Accueil<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=96\">L\u2019Institut<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=97\">Totonacapan \u00b7 FR<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=98\">Patrimoine vivant<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=99\">La Bola de Oro \u00b7 FR<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=100\">Recherche et transmission<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=101\">Recensement des arts et m\u00e9tiers<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=102\">AI &amp; Ancestral Wisdom \u00b7 FR<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=103\">Xanath et le patrimoine naturel<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=104\">Archives et publications<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=105\">Communaut\u00e9 et coop\u00e9ration<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=106\">Contact \u00b7 FR<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=107\">Sources et cr\u00e9dits<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=108\">Politique de confidentialit\u00e9<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=224\">La Posada: infrastructure for encounters<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=225\">Frontier profiles: from experience to institution<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=226\">La Posada : une infrastructure pour la rencontre<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=227\">Profils de fronti\u00e8re : de l\u2019exp\u00e9rience \u00e0 l\u2019institution<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=301\">Formaci\u00f3n Integral 3.0 \u00b7 EN<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=302\">Formaci\u00f3n Integral 3.0 \u00b7 FR<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=349\">Legal notice<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=350\">Mentions l\u00e9gales<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=512\">Between sea and mountains<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=513\">Entre mer et montagne<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=514\">A refuge for cultures<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=515\">Refuge de cultures<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=516\">From Mesoamerica to the world<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=517\">De la M\u00e9soam\u00e9rique au monde<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=518\">Knowledge that has endured for centuries<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=519\">Des savoirs qui ont travers\u00e9 les si\u00e8cles<\/a><\/li>\n<\/ul>\n<\/details>\n<p class=\"directory-note\">Los art\u00edculos con varias lenguas incluyen sus accesos dentro de cada lectura. Para citar una investigaci\u00f3n, consulta su referencia al final del texto y los <a href=\"#normas-citacion-es\">criterios de citaci\u00f3n<\/a>.<\/p>\n<\/nav>\n<section class=\"iict-citation iict-contribution-entry\" id=\"contribuir-es\" lang=\"es\">\n<h2>Contribuir a la revista<\/h2>\n<p>Las propuestas de art\u00edculos, fuentes, documentos y correcciones se revisan mediante las normas de contribuci\u00f3n y publicaci\u00f3n. La colaboraci\u00f3n continuada en la red tiene sus propias bases de participaci\u00f3n.<\/p>\n<p><a href=\"https:\/\/totonacapan.com\/?page_id=1617#normas-es\">Normas de contribuci\u00f3n y publicaci\u00f3n \u2192<\/a><\/p>\n<p><a href=\"https:\/\/totonacapan.com\/?page_id=1619#red-es\">Bases de participaci\u00f3n en la red \u2192<\/a><\/p>\n<div class=\"iict-route-addition\" data-route=\"latinoempresa-es\">\n<p><strong>Para participar en la red del Instituto, te recomendamos registrarte en la comunidad de LatinoEmpresa.<\/strong> Es el espacio de participaci\u00f3n que compartimos dentro del ecosistema IMSV; esta revista publica los trabajos revisados. Si ya tienes una cuenta de LatinoEmpresa, utiliza esa misma.<\/p>\n<p><a href=\"https:\/\/www.latinoempresa.com\/groups\">Registrarme en la comunidad de LatinoEmpresa \u2192<\/a> \u00b7 <a href=\"https:\/\/totonacapan.com\/?page_id=57#participar-latinoempresa\">C\u00f3mo registrarme y contribuir \u2192<\/a><\/p>\n<p>Tambi\u00e9n puedes enviar tu propuesta a <a href=\"mailto:comunidad@latinoempresa.com\">comunidad@latinoempresa.com<\/a> sin registrarte. Los formularios espec\u00edficos de contribuci\u00f3n general y del Censo est\u00e1n en preparaci\u00f3n; mientras se abren, utiliza el correo. Las normas y bases que siguen se aplican igualmente a las aportaciones recibidas por ambas v\u00edas.<\/p>\n<\/div>\n<\/section>\n<p><!-- IICT-CITATION-POLICY es --><\/p>\n<section class=\"iict-citation iict-citation-policy\" id=\"normas-citacion-es\" lang=\"es\" aria-labelledby=\"normas-citacion-es-title\">\n<h2 id=\"normas-citacion-es-title\">Criterios de citaci\u00f3n<\/h2>\n<p>Cada investigaci\u00f3n conserva un t\u00edtulo, un identificador de la serie y un enlace permanente. Esta referencia sirve tanto para trabajos externos como para enlazar lecturas dentro del Instituto.<\/p>\n<ol>\n<li>Si el art\u00edculo acredita una firma personal, cita a esa persona como autora y conserva al Instituto como entidad editora. Si no hay firma personal, utiliza \u00abInstituto Internacional de Cultura del Totonacapan\u00bb como autor institucional.<\/li>\n<li>Conserva el t\u00edtulo de la versi\u00f3n consultada, el c\u00f3digo R de la serie y el enlace al idioma correspondiente. Si la obra muestra una versi\u00f3n o una correcci\u00f3n, identif\u00edcala tambi\u00e9n.<\/li>\n<li>Dentro de la web puede utilizarse el c\u00f3digo breve, por ejemplo R19. Para un pasaje concreto, a\u00f1ade el t\u00edtulo de su secci\u00f3n. Fuera de la web, utiliza la referencia completa que aparece al final de cada art\u00edculo.<\/li>\n<li>Las fuentes documentales, fotograf\u00edas y otros materiales mantienen sus propios autores y cr\u00e9ditos. Cuando tu argumento dependa directamente de ellos, cita tambi\u00e9n el original enlazado en \u00abFuentes y contraste\u00bb.<\/li>\n<\/ol>\n<p class=\"iict-citation-format\">Autor o instituci\u00f3n. \u00abT\u00edtulo del art\u00edculo\u00bb. Cuadernos de investigaci\u00f3n, RXX. Instituto Internacional de Cultura del Totonacapan \u00b7 The Integral Management Society (IMSV). URL permanente.<\/p>\n<\/section>\n<p><!-- \/IICT-CITATION-POLICY es --><\/p>\n<figure id=\"carmen-l09\" class=\"editorial-plate\" style=\"max-width:46rem;margin:2rem auto\"><a href=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-carmen-l09-native-20261105.webp\" aria-label=\"Ampliar la ilustraci\u00f3n editorial L09\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-carmen-l09-native-20261105-1024x682.webp\" srcset=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-carmen-l09-native-20261105-300x200.webp 300w, https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-carmen-l09-native-20261105-768x512.webp 768w, https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-carmen-l09-native-20261105-1024x682.webp 1024w, https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-carmen-l09-native-20261105.webp 1280w\" sizes=\"auto, (max-width:760px) 90vw,736px\" width=\"1280\" height=\"853\" loading=\"lazy\" decoding=\"async\" alt=\"Ilustraci\u00f3n conceptual de costa, r\u00edo, tierras bajas y monta\u00f1as con vegetaci\u00f3n; composici\u00f3n idealizada sin localizaci\u00f3n exacta.\" style=\"display:block;width:100%;height:auto;object-fit:contain\"><\/a><figcaption style=\"font-size:.85rem;line-height:1.65;text-align:left;padding-top:.75rem\">Un territorio que se reconoce en relaciones: costa, cuencas, valles y sierra. Ilustraci\u00f3n editorial generada con IA, 04\/11\/2026. Composici\u00f3n idealizada, no mapa cartogr\u00e1fico, no reconstrucci\u00f3n de un lugar ni ruta exacta.<\/figcaption><\/figure>\n<section class=\"directory-featured\" id=\"lecturas-destacadas\">\n<p class=\"research-index-kicker\">PARA EMPEZAR A LEER<\/p>\n<h2>Rutas hisp\u00e1nicas \u00b7 Seis estudios conectados<\/h2>\n<div class=\"directory-card-grid\">\n<article class=\"research-card directory-card\"><span class=\"directory-card-number\" aria-hidden=\"true\">01<\/span><small>REDES HISP\u00c1NICAS \u00b7 RH01<\/small><a href=\"\/?page_id=1699\">Antes del oc\u00e9ano: los r\u00edos, los mercados y una protesta de Papantla en 1651 \u2192<\/a><\/p>\n<p>Una reclamaci\u00f3n de 1651 permite seguir algod\u00f3n, mercados y condiciones de intercambio.<\/p>\n<\/article>\n<article class=\"research-card directory-card\"><span class=\"directory-card-number\" aria-hidden=\"true\">02<\/span><small>REDES HISP\u00c1NICAS \u00b7 RH02<\/small><a href=\"\/?page_id=1702\">La vainilla antes de ser emblema: saberes, cr\u00e9dito y salida por Veracruz \u2192<\/a><\/p>\n<p>La vainilla como trabajo, conocimiento, conservaci\u00f3n y cr\u00e9dito, antes de convertirse en emblema.<\/p>\n<\/article>\n<article class=\"research-card directory-card\"><span class=\"directory-card-number\" aria-hidden=\"true\">03<\/span><small>REDES HISP\u00c1NICAS \u00b7 RH03<\/small><a href=\"\/?page_id=1705\">Veracruz no terminaba en C\u00e1diz: el Caribe, el cr\u00e9dito y el dinero de la defensa \u2192<\/a><\/p>\n<p>Cacao, fletes y dinero de la defensa conectan Veracruz con los mercados caribe\u00f1os.<\/p>\n<\/article>\n<article class=\"research-card directory-card\"><span class=\"directory-card-number\" aria-hidden=\"true\">04<\/span><small>REDES HISP\u00c1NICAS \u00b7 RH04<\/small><a href=\"\/?page_id=1708\">Del Golfo a Manila: una conexi\u00f3n hecha de escalas, plata y tejidos \u2192<\/a><\/p>\n<p>Los caminos terrestres, la plata, los tejidos y los agentes enlazan dos oc\u00e9anos.<\/p>\n<\/article>\n<article class=\"research-card directory-card\"><span class=\"directory-card-number\" aria-hidden=\"true\">05<\/span><small>REDES HISP\u00c1NICAS \u00b7 RH05<\/small><a href=\"\/?page_id=1711\">Hacia el sur: Guatemala, Guayaquil y el Callao en una red que cambiaba de reglas \u2192<\/a><\/p>\n<p>Sonsonate, Guayaquil, el istmo y Callao: conexiones que cambian con las reglas.<\/p>\n<\/article>\n<article class=\"research-card directory-card\"><span class=\"directory-card-number\" aria-hidden=\"true\">06<\/span><small>REDES HISP\u00c1NICAS \u00b7 RH06<\/small><a href=\"\/?page_id=1714\">Lo que regresaba: objetos, cr\u00e9dito y poder en una regi\u00f3n conectada \u2192<\/a><\/p>\n<p>Bienes, saberes y obligaciones: qu\u00e9 sal\u00eda, qu\u00e9 llegaba y qui\u00e9n conservaba el valor.<\/p>\n<\/article>\n<\/div>\n<h2>Instituciones de frontera \u00b7 Lecturas en LatinoEmpresa<\/h2>\n<div class=\"directory-card-grid\">\n<article class=\"research-card directory-card\"><small>INSTITUCIONES DE FRONTERA \u00b7 LATINOEMPRESA<\/small><a href=\"https:\/\/www.latinoempresa.com\/post\/la-integral-management-society-imsv-org-instituci%C3%B3n-de-frontera-desde-1898\">The Integral Management Society: Instituci\u00f3n de frontera desde 1898 \u2197<\/a><\/p>\n<p>Una lectura de la serie del Instituto, publicada en LatinoEmpresa.<\/p>\n<\/article>\n<article class=\"research-card directory-card\"><small>INSTITUCIONES DE FRONTERA \u00b7 LATINOEMPRESA<\/small><a href=\"https:\/\/www.latinoempresa.com\/post\/narrativa-centro-y-frontera-por-qu%C3%A9-los-modelos-simples-fallan-cuando-llega-la-implementaci%C3%B3n\">Narrativa, centro y frontera: por qu\u00e9 los modelos simples fallan cuando llega la implementaci\u00f3n \u2197<\/a><\/p>\n<p>Una lectura de la serie del Instituto, publicada en LatinoEmpresa.<\/p>\n<\/article>\n<article class=\"research-card directory-card\"><small>INSTITUCIONES DE FRONTERA \u00b7 LATINOEMPRESA<\/small><a href=\"https:\/\/www.latinoempresa.com\/post\/el-cliclo-de-la-frontera-de-exploradores-a-explotadores\">El ciclo de la frontera: de Exploradores a Explotadores \u2197<\/a><\/p>\n<p>Una lectura de la serie del Instituto, publicada en LatinoEmpresa.<\/p>\n<\/article>\n<article class=\"research-card directory-card\"><small>INSTITUCIONES DE FRONTERA \u00b7 LATINOEMPRESA<\/small><a href=\"https:\/\/www.latinoempresa.com\/post\/cuando-las-fronteras-se-hablan\">Cuando las fronteras se hablan y activan entre s\u00ed \u2197<\/a><\/p>\n<p>Una lectura de la serie del Instituto, publicada en LatinoEmpresa.<\/p>\n<\/article>\n<article class=\"research-card directory-card\"><small>INSTITUCIONES DE FRONTERA \u00b7 LATINOEMPRESA<\/small><a href=\"https:\/\/www.latinoempresa.com\/post\/dos-maneras-de-cruzar-un-mundo-arquitecturas-que-empobrecen-y-arquitecturas-que-multiplican\">Dos maneras de cruzar un mundo: arquitecturas que empobrecen y arquitecturas que multiplican \u2197<\/a><\/p>\n<p>Una lectura de la serie del Instituto, publicada en LatinoEmpresa.<\/p>\n<\/article>\n<article class=\"research-card directory-card\"><small>INSTITUCIONES DE FRONTERA \u00b7 LATINOEMPRESA<\/small><a href=\"https:\/\/www.latinoempresa.com\/post\/emprendimiento-migrante-e-instituciones-de-frontera-cuando-emprender-es-construir-un-puente-entre-m\">Instituciones de frontera: cuando emprender es construir un puente entre mundos \u2197<\/a><\/p>\n<p>Una lectura de la serie del Instituto, publicada en LatinoEmpresa.<\/p>\n<\/article>\n<\/div>\n<\/section>\n<div class=\"research-categories\">\n<section id=\"tema-territorio-es\">\n<h2>Territorio y pueblos<\/h2>\n<p>Los mapas f\u00edsicos no son fronteras \u00e9tnicas. Historias y pertenencias que se cruzan.<\/p>\n<article class=\"research-card\"><a href=\"https:\/\/totonacapan.com\/?page_id=1227\" aria-label=\"Papantla: la plaza y el quiosco entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-plaza-quiosco-entre-epocas.jpg\" alt=\"Papantla: la plaza y el quiosco entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1227\">El Totonacapan: una regi\u00f3n, muchas pertenencias \u2192<\/a><small>R01 \u00b7 Ensayo de apertura y contraste documental \u00b7 Espa\u00f1ol, English, Fran\u00e7ais \u00b7 05\/11\/2026<\/small><\/p>\n<p>Un mapa de referencia, dos paisajes y cuatro preguntas para distinguir territorio, lenguas, pertenencias y estad\u00edsticas.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r03-es\"><a href=\"https:\/\/totonacapan.com\/?page_id=1253\">Lenguas del Totonacapan: variantes, territorios y transmisi\u00f3n \u2192<\/a><small>R03 \u00b7 Investigaci\u00f3n documental \u00b7 Espa\u00f1ol, English, Fran\u00e7ais \u00b7 05\/11\/2026<\/small><\/p>\n<p>Familias ling\u00fc\u00edsticas, dos retratos censales y las relaciones entre conversaci\u00f3n, escuela, radio y escritura. Gr\u00e1ficos y fuentes en contraste.<\/p>\n<\/article>\n<\/section>\n<section id=\"tema-historia-es\">\n<h2>Historia y encuentros<\/h2>\n<p>Periodos prehisp\u00e1nicos, transformaciones coloniales, mestizajes y memorias del trabajo.<\/p>\n<article class=\"research-card\" id=\"research-card-r04-es\"><a href=\"https:\/\/totonacapan.com\/?page_id=1280\" aria-label=\"Celebraci\u00f3n y comunidad: el espacio de la iglesia entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-iglesia-entre-epocas.jpg\" alt=\"Celebraci\u00f3n y comunidad: el espacio de la iglesia entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1280\">Historia del Totonacapan: de las ciudades antiguas a las transformaciones contempor\u00e1neas \u2192<\/a><small>R04 \u00b7 Edici\u00f3n documental \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Cinco sitios, cronolog\u00edas en contraste y transformaciones entre caminos, tierra e industria.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r02-es\"><a href=\"https:\/\/totonacapan.com\/?page_id=1241\" aria-label=\"Bailes y encuentros: pasado y presente.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-bailes-antes-ahora.jpg\" alt=\"Bailes y encuentros: pasado y presente. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1241\">Negros, mulatos, mestizos y jarochos: trayectorias cruzadas del Totonacapan \u2192<\/a><small>R02 \u00b7 Investigaci\u00f3n documental \u00b7 Espa\u00f1ol, English, Fran\u00e7ais \u00b7 05\/11\/2026<\/small><\/p>\n<p>Dos p\u00e1ginas de 1746, tres hip\u00f3tesis y un contraste entre familias, milicias e identificaci\u00f3n actual.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r25-es\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-yohualichan-lievanomx-2010-20261104.jpg\" alt=\"Arquitectura de Yohualichan en la sierra de Puebla\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Panor%C3%A1mica_Yohualichan.JPG\">Lievanomx \u00b7 2010 \u00b7 CC BY-SA 3.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1819#r25-es\">Yohualichan: nichos de piedra, preguntas de historia \u2192<\/a><small>R25 \u00b7 Texto en espa\u00f1ol \u00b7 Abstract EN \/ FR<\/small><\/p>\n<p>Nichos, plazas y relaciones con El Taj\u00edn: dos relatos del INAH contrastados, con l\u00e1minas de lectura arquitect\u00f3nica.<\/p>\n<\/article>\n<\/section>\n<section id=\"tema-actualidad-es\">\n<h2>La regi\u00f3n que vive hoy<\/h2>\n<figure id=\"parque-papantla-fotografia-es\" style=\"grid-column:1 \/ -1;width:100%;max-width:1100px;margin:2rem auto\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-parque-papantla-quiosco-foto.jpg\" alt=\"Vista del parque de Papantla, con quiosco, palapa y arbolado.\" loading=\"lazy\" style=\"display:block;width:100%;height:auto\" \/><figcaption style=\"font-size:12px;line-height:1.5;margin-top:0.65rem\">Parque de Papantla: un espacio de encuentro cotidiano. Fotograf\u00eda aportada por Iv\u00e1n.<\/figcaption><\/figure>\n<p>Lenguas, demograf\u00eda, econom\u00eda, migraci\u00f3n, di\u00e1spora y seguridad con datos fechados.<\/p>\n<article class=\"research-card\" id=\"research-card-r05-es\"><a href=\"https:\/\/totonacapan.com\/?page_id=1282\" aria-label=\"Caminos, familias y memoria entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-caballo-entre-epocas.jpg\" alt=\"Caminos, familias y memoria entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1282\">La regi\u00f3n en movimiento: migraci\u00f3n interna, internacional y di\u00e1spora \u2192<\/a><small>R05 \u00b7 Edici\u00f3n documental \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Seis municipios, dos unidades de observaci\u00f3n y datos para distinguir llegadas, salidas, retornos y remesas.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r06-es\"><a href=\"https:\/\/totonacapan.com\/?page_id=1292#r06-es\" aria-label=\"Papantla: el mercado como lugar de encuentro entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-mercado-plaza-entre-epocas.jpg\" alt=\"Papantla: el mercado como lugar de encuentro entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1292#r06-es\">Econom\u00edas del Totonacapan: del campo y los oficios a los servicios \u2192<\/a><small>R06 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Seis municipios, establecimientos y trabajo, vainilla, caf\u00e9 y cadenas de valor. Tablas, gr\u00e1fico y fuentes en contraste.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r07-es\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-sierra-cuetzalan-20261104.jpg\" alt=\"Paisaje de Cuetzalan \u00b7 2008; fotograf\u00eda de contexto\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Tarde_en_Cuetzalan.jpg\">CiroCuesta \u00b7 2008 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1294#r07-es\">Seguridad cotidiana y vulnerabilidades: lo que los datos permiten decir \u2192<\/a><small>R07 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Series municipales, cambio metodol\u00f3gico de 2026 y contraste con victimizaci\u00f3n y percepci\u00f3n.<\/p>\n<\/article>\n<\/section>\n<section id=\"tema-saberes-es\">\n<h2>Paisaje y saberes<\/h2>\n<p>Climas, alimentaci\u00f3n, cultivos, artes, rituales y comunidades de pr\u00e1ctica.<\/p>\n<article class=\"research-card\" id=\"research-card-r08-es\"><img decoding=\"async\" width=\"1280\" height=\"853\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r08-desembocadura-tecolutla-fonseca-2024.jpg\" alt=\"R\u00edo Tecolutla \u00b7 2024\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:R%C3%ADo_Tecolutla,_Veracruz_MX3.jpg\">Juan Carlos Fonseca Mata \u00b7 2024 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1302#r08-es\">De la costa a la niebla: climas, agua y paisaje \u2192<\/a><small>R08 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Dos estaciones, doce meses, una cuenca y ocho preguntas para contrastar clima, agua y paisaje.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r09-es\"><a href=\"https:\/\/totonacapan.com\/?page_id=1304#r09-es\" aria-label=\"Cocinas y transmisi\u00f3n de saberes: antes y ahora.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-cocina-antes-ahora.jpg\" alt=\"Cocinas y transmisi\u00f3n de saberes: antes y ahora. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1304#r09-es\">Cocinas del Totonacapan: territorios, ingredientes y saberes \u2192<\/a><small>R09 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>146 parcelas, preparaciones localizadas y autor\u00edas documentadas: una lectura de las cocinas, sus t\u00e9cnicas y ocasiones.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r10-es\"><img decoding=\"async\" width=\"1280\" height=\"960\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r10-flor-vainilla-starr-maui-2013.jpg\" alt=\"Vanilla planifolia \u00b7 Maui \u00b7 2013\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Starr-130312-2167-Vanilla_planifolia-flower-Pali_o_Waipio_Huelo-Maui_(24580055063).jpg\">Forest and Kim Starr \u00b7 Maui, 2013 \u00b7 CC BY 3.0 US<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1315#r10-es\">La vainilla: cultivo, polinizaci\u00f3n, beneficiado y cadenas econ\u00f3micas \u2192<\/a><small>R10 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>De la flor al mercado: tiempos distintos, evidencia de polinizaci\u00f3n y capacidades de cultivo y beneficiado.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r11-es\"><a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-es\" aria-label=\"Voladores actuales y recreaci\u00f3n de la preparaci\u00f3n del palo en el pasado.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-voladores-antes-ahora.jpg\" alt=\"Voladores actuales y recreaci\u00f3n de la preparaci\u00f3n del palo en el pasado. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-es\">Voladores y otras ceremonias: expresiones que cruzan pueblos \u2192<\/a><small>R11 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Papantla, Huehuetla y otras voces: variantes, m\u00fasica, transmisi\u00f3n y ocho preguntas de contraste.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r12-es\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1280\" height=\"1920\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r12-cafe-cuetzalan-2010.jpg\" alt=\"Cuetzalan \u00b7 2010\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Planta_de_caf%C3%A9_de_Cuetzalan.JPG\">Noyolcont \u00b7 2010 \u00b7 CC BY-SA 3.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-es\">Cuetzalan y la sierra: fiestas, huipiles, caf\u00e9 y relaciones culturales \u2192<\/a><small>R12 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Tejido, paisaje y organizaci\u00f3n: tres escalas de lectura, estudios de campo y contraste de los registros de la feria.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r13-es\"><a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-es\" aria-label=\"Taller de Cayetano: mismas m\u00e1quinas y moldes, presente y recreaci\u00f3n del pasado.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-taller-cayetano.jpg\" alt=\"Taller de Cayetano: mismas m\u00e1quinas y moldes, presente y recreaci\u00f3n del pasado. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-es\">Oficios, medicina, fotograf\u00eda y educaci\u00f3n: comunidades que sostienen saberes \u2192<\/a><small>R13 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Del taller a la radio y la escuela: documentos, memorias y ocho preguntas sobre la transmisi\u00f3n del conocimiento.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r14-es\"><a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-es\" aria-label=\"Nin\u00edn: danzas, personajes y celebraci\u00f3n entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-ninin-huehues-entre-epocas.jpg\" alt=\"Nin\u00edn: danzas, personajes y celebraci\u00f3n entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-es\">Nin\u00edn: la casa prepara el regreso \u2192<\/a><small>R14 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Casa, canto, museo y escuela: memoria compartida y dos calendarios que se contrastan sin borrar sus diferencias.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r15-es\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1280\" height=\"1912\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r15-comache-huehuetla-museo-2011.jpg\" alt=\"Pieza de Huehuetla expuesta en museo \u00b7 2011\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:TrajeComacheYoedMAPHidalgo.JPG\">Thelmadatter \u00b7 2011 \u00b7 CC BY-SA 3.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1336#r15-es\">El costumbre tepehua: qui\u00e9n sostiene una fiesta y a qui\u00e9n se agradece el agua \u2192<\/a><small>R15 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Mayordom\u00eda, capitan\u00eda, agua y vecindades culturales: localidades precisas y seis fuentes para una lectura documentada.<\/p>\n<\/article>\n<p><!-- R16-R18-CARDS-es --><\/p>\n<article class=\"research-card\" id=\"research-card-r16-es\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1920\" height=\"1280\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r16-milpa-rinconada-2010.jpg\" alt=\"Milpa de contexto en Rinconada, Chignahuapan, Puebla \u00b7 2010\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Milpa_en_Rinconada._Chignahuapan,_Pue._-_panoramio.jpg\">marvin_alacar \u00b7 2010 \u00b7 CC BY-SA 3.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1348#r16-es\">Cuando la milpa entra en el calendario: Santa Cruz y mayordom\u00eda nahua \u2192<\/a><small>R16 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Tiempo agr\u00edcola, manantiales y trabajo compartido: Pahuatl\u00e1n y Cuetzalan comparados sin fusionar sus celebraciones.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r17-es\"><svg style=\"display:block;width:100%;height:180px\" viewBox=\"0 0 960 300\" role=\"img\" aria-label=\"Ilustraci\u00f3n editorial de hojas sin recortar y una herramienta cotidiana. No representa una ceremonia, una pieza de archivo ni un dise\u00f1o ritual otom\u00ed.\"><defs><linearGradient id=\"card-r17-es-sheet\" x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\"><stop stop-color=\"#fffdf4\"\/><stop offset=\"1\" stop-color=\"#e3d9c0\"\/><\/linearGradient><filter id=\"card-r17-es-shadow\" x=\"-20%\" y=\"-30%\" width=\"150%\" height=\"160%\"><feDropShadow dx=\"0\" dy=\"6\" stdDeviation=\"8\" flood-color=\"#6c6651\" flood-opacity=\".15\"\/><\/filter><\/defs><path d=\"M90 264H876\" stroke=\"#b4ad95\" stroke-width=\"1\"\/><g transform=\"translate(112 47) rotate(-8 220 110)\" filter=\"url(#card-r17-es-shadow)\"><rect width=\"375\" height=\"200\" fill=\"#d6cdb6\" stroke=\"#bdb59e\"\/><rect x=\"10\" y=\"-7\" width=\"375\" height=\"200\" fill=\"#eae2cf\" stroke=\"#cfc5ad\"\/><rect x=\"23\" y=\"-14\" width=\"375\" height=\"200\" fill=\"url(#card-r17-es-sheet)\" stroke=\"#ccc1a5\"\/><path d=\"M55 15H367M55 23H367M55 31H367\" stroke=\"#b9b29e\" stroke-width=\".5\" opacity=\".25\"\/><\/g><g transform=\"translate(545 65) rotate(8 130 80)\" stroke=\"#6a7978\" stroke-width=\"3\" fill=\"none\"><path d=\"M99 121L282 12Q297 5 285 23L151 146Z\" fill=\"#c6d0cc\"\/><path d=\"M122 126L265 190Q284 197 271 180L154 108Z\" fill=\"#e5e8dc\"\/><circle cx=\"139\" cy=\"125\" r=\"7\" fill=\"#a38a4b\" stroke=\"#7d754f\"\/><ellipse cx=\"91\" cy=\"151\" rx=\"39\" ry=\"26\" transform=\"rotate(-29 91 151)\" fill=\"#e1e7df\" stroke=\"#3c5d5c\" stroke-width=\"9\"\/><ellipse cx=\"111\" cy=\"82\" rx=\"36\" ry=\"24\" transform=\"rotate(23 111 82)\" fill=\"#e1e7df\" stroke=\"#3c5d5c\" stroke-width=\"9\"\/><\/g><\/svg><small>Ilustraci\u00f3n editorial original \u00b7 materiales sin recortar<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1351#r17-es\">Figuras de papel, cuerpo y cuidado: la tarea de un b\u00e4di otom\u00ed \u2192<\/a><small>R17 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Pantepec y el oriente de Hidalgo: cuerpo, palabras, procedencia y responsabilidad m\u00e1s all\u00e1 de la forma visible.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r18-es\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1920\" height=\"1280\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-quetzales-cuetzalan-20261104.jpg\" alt=\"Quetzales en Cuetzalan \u00b7 4 de octubre de 2012\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Danza_Los_Quetzales_de_Cuetzalan.jpg\">Luce051 \u00b7 2012 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1354#r18-es\">Quetzal\u00edn y Voladores: dos danzas que no se explican con una sola imagen \u2192<\/a><small>R18 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Dos fotograf\u00edas situadas, m\u00fasica, aprendizaje y una lectura cr\u00edtica de patrimonio, g\u00e9nero y cambio cultural.<\/p>\n<\/article>\n<p><!-- \/R16-R18-CARDS-es --><!-- R19-R20-CARDS-es --><\/p>\n<article class=\"research-card\" id=\"research-card-r19-es\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1280\" height=\"906\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r19-reina-huipil-cuetzalan-luce051-2012.jpg\" alt=\"Cuetzalan \u00b7 4 octubre 2012 \u00b7 Luce051\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Elecci%C3%B3n_de_la_Reina_del_Huipil_en_Cuetzalan.jpg\">Luce051 \u00b7 2012 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1368#r19-es\">La palabra y el huipil: mujeres en la celebraci\u00f3n de Cuetzalan \u2192<\/a><small>R19 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Palabra, tejido y representaci\u00f3n: fichas fechadas, autor\u00eda de las prendas y voces de las participantes.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r20-es\"><a href=\"https:\/\/totonacapan.com\/?page_id=1370#r20-es\" aria-label=\"Nin\u00edn: memoria y encuentro comunitario entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-ninin-encuentro-entre-epocas.jpg\" alt=\"Nin\u00edn: memoria y encuentro comunitario entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><svg role=\"img\" aria-label=\"Nin\u00edn \u00b7 Santoro \u00b7 Xantolo\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 600 400\" style=\"width:100%;height:auto;aspect-ratio:3\/2\"><rect width=\"600\" height=\"400\" fill=\"#ecece0\"\/><path d=\"M38 62H562M38 332H562\" stroke=\"#a58a47\"\/><text x=\"40\" y=\"105\" font-family=\"Georgia\" font-size=\"26\" fill=\"#264b61\">Nin\u00edn \u00b7 Santoro \u00b7 Xantolo<\/text><g transform=\"translate(50,170)\"><circle cx=\"22\" cy=\"20\" r=\"20\" fill=\"#264b61\"\/><text x=\"22\" y=\"27\" font-family=\"Arial\" font-size=\"19\" text-anchor=\"middle\" fill=\"#fff\">1<\/text><text x=\"0\" y=\"85\" font-family=\"Georgia\" font-size=\"23\" fill=\"#315a50\">Papantla<\/text><\/g><g transform=\"translate(235,170)\"><circle cx=\"22\" cy=\"20\" r=\"20\" fill=\"#264b61\"\/><text x=\"22\" y=\"27\" font-family=\"Arial\" font-size=\"19\" text-anchor=\"middle\" fill=\"#fff\">2<\/text><text x=\"0\" y=\"85\" font-family=\"Georgia\" font-size=\"23\" fill=\"#315a50\">Pisaflores<\/text><\/g><g transform=\"translate(420,170)\"><circle cx=\"22\" cy=\"20\" r=\"20\" fill=\"#264b61\"\/><text x=\"22\" y=\"27\" font-family=\"Arial\" font-size=\"19\" text-anchor=\"middle\" fill=\"#fff\">3<\/text><text x=\"0\" y=\"85\" font-family=\"Georgia\" font-size=\"23\" fill=\"#315a50\">Huasteca<\/text><\/g><\/svg><small>Esquema editorial original<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1370#r20-es\">Nin\u00edn, Santoro y Xantolo: parecidos de temporada, historias distintas \u2192<\/a><small>R20 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Un mapa y tres casos documentados para comparar calendarios, ofrendas, visitas y diferencias entre fuentes.<\/p>\n<\/article>\n<p><!-- \/R19-R20-CARDS-es --><!-- R21-R22-CARDS-es --><\/p>\n<article class=\"research-card\" id=\"research-card-r21-es\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:contain;background:#e8eee9\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r21-voladores-tajin-giovanny-2025-scaled.jpg\" alt=\"Integrantes de los Voladores en la parte superior del poste, en El Taj\u00edn, con un tambor visible junto al participante central.\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Rito_de_los_Voladores,_Taj%C3%ADn.jpg\"> Giovanny Gonzalez  \u00b7 2025 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1403#r21-es\">El m\u00fasico que hace posible la danza \u2192<\/a><small>R21 \u00b7 ES \/ EN \/ FR<\/small><\/p>\n<p>Escuchar al caporal cambia la manera de mirar el vuelo.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r22-es\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:contain;background:#e8eee9\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r22-edificio-i-horacio-2010.jpg\" alt=\"Cubierta de palma y acceso al Edificio I de Taj\u00edn Chico, con un letrero que identifica la estructura, en una fotograf\u00eda de 2010.\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:El_Tajin,_edificio_1_-_panoramio.jpg\"> Horacio_Fernandez  \u00b7 2010 \u00b7 CC BY 3.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1407#r22-es\">Los siete Tajines: permiso, territorio y responsabilidad en El Taj\u00edn \u2192<\/a><small>R22 \u00b7 ES \/ EN \/ FR<\/small><\/p>\n<p>Conservar una pintura exige conocer su materia y escuchar a quienes dan sentido al lugar.<\/p>\n<\/article>\n<p><!-- \/R21-R22-CARDS-es --><\/p>\n<article class=\"research-card\" id=\"research-card-r26-es\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/0\/06\/Capilla_de_la_Virgen_de_Guadalupe%2C_Xochitl%C3%A1n.jpg\" alt=\"Capilla de la Virgen de Guadalupe en Xochitl\u00e1n; fotograf\u00eda del entorno, no de una danza\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Capilla_de_la_Virgen_de_Guadalupe,_Xochitl%C3%A1n.jpg\">Esparta Palma \u00b7 2008 \u00b7 CC BY 2.0 \u00b7 Fotograf\u00eda de contexto<\/a><\/small><a href=\"https:\/\/totonacapan.com\/santiagos-pilatos-y-tocotines-cuando-la-danza-tambien-cuenta-una-historia\/#r26-es\">Santiagos, Pilatos y Tocotines: cuando la danza tambi\u00e9n cuenta una historia \u2192<\/a><small>R26 \u00b7 Texto \u00edntegro ES \/ EN \/ FR<\/small><\/p>\n<p>Palabras, m\u00fasica y espacios de aprendizaje en Xochitl\u00e1n. Dos estudios contrastados, tres l\u00e1minas de lectura y fechas de observaci\u00f3n diferenciadas.<\/p>\n<p><a href=\"https:\/\/totonacapan.com\/santiagos-pilatos-y-tocotines-cuando-la-danza-tambien-cuenta-una-historia\/#r26-en-full\" lang=\"en\">Read in English<\/a> \u00b7 <a href=\"https:\/\/totonacapan.com\/santiagos-pilatos-y-tocotines-cuando-la-danza-tambien-cuenta-una-historia\/#r26-fr-full\" lang=\"fr\">Lire en fran\u00e7ais<\/a><\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r27-es\">\n<div style=\"padding:1.5rem;background:linear-gradient(135deg,#eee5d2,#e5eeea);border-top:2px solid #a88c4e;color:#284b60\"><span style=\"display:block;font:italic 3rem Georgia,serif\">\u00ebni<\/span><span style=\"display:block;font:.82rem\/1.6 sans-serif\">PALABRAS \u00b7 JUEGO \u00b7 RECIPROCIDAD<\/span><\/div>\n<p><a href=\"https:\/\/totonacapan.com\/eni-el-carnaval-otomi-y-lo-que-una-traduccion-puede-deformar\/#r27-es\">\u00cbni: el carnaval otom\u00ed y lo que una traducci\u00f3n puede deformar \u2192<\/a><small>R27 \u00b7 ES \/ EN \/ FR<\/small><\/p>\n<p>\u00cbni es el nombre de un carnaval otom\u00ed estudiado en comunidades de Pantepec.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r28-es\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r12-tejido-cuetzalan-2018.jpg\" alt=\"Telar en uso en Cuetzalan; contexto textil, no confecci\u00f3n de la camisa estudiada\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Hilos_de_Historia.jpg\">Adrianvillagarcia123 \u00b7 2018 \u00b7 CC BY-SA 4.0 \u00b7 Fotograf\u00eda de contexto<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1821#r28-es\">Una camisa infantil para aprender: protecci\u00f3n y textiles en Cuetzalan \u2192<\/a><small>R28 \u00b7 Texto \u00edntegro ES \/ EN \/ FR<\/small><\/p>\n<p>Una pieza identificada del Museo Nacional de Antropolog\u00eda abre una investigaci\u00f3n sobre infancia, aprendizaje y textiles. Esquemas y cinco fuentes en contraste.<\/p>\n<\/article>\n<\/section>\n<\/div>\n<\/section>\n<details id=\"research-hub-en\">\n<summary lang=\"en\">English \u00b7 Complete introduction<\/summary>\n<section lang=\"en\" id=\"research-hub-en-text\">\n<h2>Investigations of El Totonacapan<\/h2>\n<p><a href=\"\/?page_id=1697\">New research dossier: Totonacapan in Hispanic trade networks<\/a>. Six full studies in Spanish, with English and French abstracts, maps and source comparisons.<\/p>\n<p>One territory, many histories. We study not only traces of the past, but also the languages spoken today, the economy, movements of people, cultural diversity, the relationships between coast and mountains and present-day difficulties. Each investigation is organised as a study with identifiable sources, dates, territorial scope and editorial responsibility. The documentation grows in stages; an open question will remain marked as open.<\/p>\n<figure><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-carmen-l09-native-20261105.webp\" width=\"1280\" height=\"853\" loading=\"lazy\" decoding=\"async\" alt=\"Conceptual illustration of coast, river, lowlands and mountains with vegetation; an idealised composition with no exact location.\"><figcaption>A territory recognised through relationships: coast, river basins, valleys and mountains. AI-generated editorial illustration, 4 November 2026. An idealised composition, not a cartographic map, a reconstruction of a place or an exact route.<\/figcaption><\/figure>\n<nav class=\"research-index\" id=\"indice-articulos-en\" aria-labelledby=\"indice-titulo-en\" lang=\"en\">\n<p class=\"research-index-kicker\">TOTONACAPAN \u00b7 22 READINGS<\/p>\n<h2 id=\"indice-titulo-en\">Index of articles and stories<\/h2>\n<p>Twenty-two published readings in four themes. Choose a title to open the complete article, with its illustrations and source comparisons.<\/p>\n<div class=\"research-topic-links\" aria-label=\"Browse by theme\"><a href=\"#tema-territorio-en\">Territory and peoples <span>2<\/span><\/a><a href=\"#tema-historia-en\">History and encounters <span>2<\/span><\/a><a href=\"#tema-actualidad-en\">The region today <span>3<\/span><\/a><a href=\"#tema-saberes-en\">Landscape and knowledge <span>15<\/span><\/a><\/div>\n<div class=\"research-index-list\">\n<div>\n<h3><a href=\"#tema-territorio-en\">Territory and peoples<\/a><\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1227#r01-en-text\">El Totonacapan: one region, many forms of belonging<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1253#r03-en-text\">Languages of the Totonacapan: varieties, territories and transmission<\/a><\/li>\n<\/ul>\n<\/div>\n<div>\n<h3><a href=\"#tema-historia-en\">History and encounters<\/a><\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1280#r04-en\">History of the Totonacapan: from ancient cities to contemporary transformations<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1241#r02-en-text\">Black, mulatto, mestizo and jarocho: intersecting trajectories in Totonacapan<\/a><\/li>\n<\/ul>\n<\/div>\n<div>\n<h3><a href=\"#tema-actualidad-en\">The region today<\/a><\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1282#r05-en\">A region on the move: internal migration, international migration and diaspora<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1292#r06-en\">Economies of Totonacapan: from farming and trades to services<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1294#r07-en\">Everyday safety and vulnerabilities: what the data can tell us<\/a><\/li>\n<\/ul>\n<\/div>\n<div>\n<h3><a href=\"#tema-saberes-en\">Landscape and knowledge<\/a><\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1302#r08-en\">From the coast to the mist: climate, water and landscape<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1304#r09-en\">Kitchens of Totonacapan: territories, ingredients and knowledge<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1315#r10-en\">Vanilla: cultivation, pollination, curing and economic chains<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-en\">Voladores and other ceremonies: expressions across peoples<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-en\">Cuetzalan and the mountains: festivals, huipiles, coffee and cultural relationships<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-en\">Crafts, medicine, photography and education: communities that sustain knowledge<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-en\">Nin\u00edn: the household prepares for the return<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1336#r15-en\">Tepehua costumbre: who sustains a celebration, and to whom is gratitude for water addressed?<\/a><\/li>\n<p><!-- R16-R18-INDEX-en --><\/p>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1348#r16-en\">When the milpa enters the calendar: Holy Cross celebrations and Nahua mayordom\u00eda<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1351#r17-en\">Paper figures, body and care: the work of an Otom\u00ed b\u00e4di<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/eni-el-carnaval-otomi-y-lo-que-una-traduccion-puede-deformar\/#english-full\">\u00cbni: Otom\u00ed Carnival and what a translation can distort<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1354#r18-en\">Quetzal\u00edn and Voladores: two dances that one image cannot explain<\/a><\/li>\n<p><!-- \/R16-R18-INDEX-en --><!-- R19-R20-INDEX-en --><\/p>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1368#r19-en\">Words and the huipil: women in Cuetzalan\u2019s celebration<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1370#r20-en\">Nin\u00edn, Santoro and Xantolo: a shared season, different histories<\/a><\/li>\n<p><!-- \/R19-R20-INDEX-en --><!-- R21-R22-INDEX-en --><\/p>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1403#r21-en\">The musician who makes the dance possible<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1407#r22-en\">The seven Tajines: permission, territory and responsibility at El Taj\u00edn<\/a><\/li>\n<p><!-- \/R21-R22-INDEX-en --><\/ul>\n<\/div>\n<\/div>\n<\/nav>\n<section class=\"iict-citation iict-contribution-entry\" id=\"contribuir-en\" lang=\"en\">\n<h2>Contribute to the journal<\/h2>\n<p>Proposals for articles, sources, documents and corrections are reviewed under the contribution and publication guidelines. Continuing collaboration in the network has its own participation guidelines.<\/p>\n<p><a href=\"https:\/\/totonacapan.com\/?page_id=1617#normas-en\">Contribution and publication guidelines \u2192<\/a><\/p>\n<p><a href=\"https:\/\/totonacapan.com\/?page_id=1619#red-en\">Participation guidelines for the network of knowledge and expertise \u2192<\/a><\/p>\n<div class=\"iict-route-addition\" data-route=\"latinoempresa-en\">\n<p><strong>To take part in the Institute\u2019s network, we recommend joining the LatinoEmpresa community.<\/strong> It is our shared participation space within the IMSV ecosystem; this journal publishes reviewed work. If you already have a LatinoEmpresa account, use the same one.<\/p>\n<p><a href=\"https:\/\/www.latinoempresa.com\/groups\">Join the LatinoEmpresa community \u2192<\/a> \u00b7 <a href=\"https:\/\/totonacapan.com\/?page_id=58#participar-latinoempresa\">How to register and contribute \u2192<\/a><\/p>\n<p>You can also send your proposal to <a href=\"mailto:comunidad@latinoempresa.com\">comunidad@latinoempresa.com<\/a> without registering. The dedicated general contribution and Census forms are being prepared; use email until they open. The guidelines below apply equally to contributions received through either route.<\/p>\n<\/div>\n<\/section>\n<p><!-- IICT-CITATION-POLICY en --><\/p>\n<section class=\"iict-citation iict-citation-policy\" id=\"normas-citacion-en\" lang=\"en\" aria-labelledby=\"normas-citacion-en-title\">\n<h2 id=\"normas-citacion-en-title\">Citation guidance<\/h2>\n<p>Each study retains a title, a series identifier and a permanent link. This reference can be used in external work and when linking readings within the Institute.<\/p>\n<ol>\n<li>If an article names an individual author, cite that person and retain the Institute as the issuing body. If no individual author is named, use \u201cInstituto Internacional de Cultura del Totonacapan\u201d as the institutional author.<\/li>\n<li>Retain the title of the version consulted, its R series code and the link to the corresponding language. Include any version or correction explicitly identified in the work.<\/li>\n<li>Within this website, a short code such as R19 can be used. For a particular passage, add its section title. In external work, use the complete reference provided at the end of each article.<\/li>\n<li>Documentary sources, photographs and other materials retain their own authors and credits. When an argument relies directly on them, also cite the original linked in \u201cSources and comparison\u201d.<\/li>\n<\/ol>\n<p class=\"iict-citation-format\">Author or institution. \u201cArticle title\u201d. Research notebooks, RXX. Instituto Internacional de Cultura del Totonacapan \u00b7 The Integral Management Society (IMSV). Permanent URL.<\/p>\n<\/section>\n<p><!-- \/IICT-CITATION-POLICY en --><\/p>\n<div class=\"research-categories\">\n<section id=\"tema-territorio-en\">\n<h3>Territory and peoples<\/h3>\n<p>Physical maps are not ethnic borders. Intersecting histories and forms of belonging.<\/p>\n<article class=\"research-card\"><a href=\"https:\/\/totonacapan.com\/?page_id=1227#r01-en-text\" aria-label=\"Papantla: la plaza y el quiosco entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-plaza-quiosco-entre-epocas.jpg\" alt=\"Papantla: la plaza y el quiosco entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1227#r01-en-text\">El Totonacapan: one region, many forms of belonging \u2192<\/a><small>R01 \u00b7 Opening essay and documentary comparison \u00b7 Complete English version \u00b7 5 November 2026<\/small><\/p>\n<p>A reference map, two landscapes and four questions to distinguish territory, languages, belonging and statistics.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r03-en\"><a href=\"https:\/\/totonacapan.com\/?page_id=1253#r03-en-text\">Languages of the Totonacapan: varieties, territories and transmission \u2192<\/a><small>R03 \u00b7 Documentary research \u00b7 Complete English version \u00b7 5 November 2026<\/small><\/p>\n<p>Language families, two census portraits and the relationships between conversation, school, radio and writing. Graphics and sources compared.<\/p>\n<\/article>\n<\/section>\n<section id=\"tema-historia-en\">\n<h3>History and encounters<\/h3>\n<p>Pre-Hispanic periods, colonial transformations, mixed heritages and memories of work.<\/p>\n<article class=\"research-card\" id=\"research-card-r04-en\"><a href=\"https:\/\/totonacapan.com\/?page_id=1280#r04-en\" aria-label=\"Celebraci\u00f3n y comunidad: el espacio de la iglesia entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-iglesia-entre-epocas.jpg\" alt=\"Celebraci\u00f3n y comunidad: el espacio de la iglesia entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1280#r04-en\">History of the Totonacapan: from ancient cities to contemporary transformations \u2192<\/a><small>R04 \u00b7 Documentary edition \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Five sites, contrasting chronologies and transformations connecting routes, land and industry.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r02-en\"><a href=\"https:\/\/totonacapan.com\/?page_id=1241#r02-en-text\" aria-label=\"Bailes y encuentros: pasado y presente.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-bailes-antes-ahora.jpg\" alt=\"Bailes y encuentros: pasado y presente. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1241#r02-en-text\">Black, mulatto, mestizo and jarocho: intersecting trajectories in Totonacapan \u2192<\/a><small>R02 \u00b7 Documentary research \u00b7 Complete English version \u00b7 5 November 2026<\/small><\/p>\n<p>Two pages from 1746, three hypotheses and a comparison of families, militias and present-day identification.<\/p>\n<\/article>\n<article class=\"research-card\"><a href=\"https:\/\/totonacapan.com\/?page_id=1819#r25-en\">Yohualichan: stone niches, questions of history \u2192<\/a><small>R25 \u00b7 Full article, illustrations and sources in English \u00b7 ES \/ EN \/ FR<\/small><\/article>\n<\/section>\n<section id=\"tema-actualidad-en\">\n<h3>The region today<\/h3>\n<figure id=\"parque-papantla-fotografia-en\" style=\"grid-column:1 \/ -1;width:100%;max-width:1100px;margin:2rem auto\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-parque-papantla-quiosco-foto.jpg\" alt=\"View of Papantla park, with its bandstand, palapa and trees.\" loading=\"lazy\" style=\"display:block;width:100%;height:auto\" \/><figcaption style=\"font-size:12px;line-height:1.5;margin-top:0.65rem\">Papantla park: a place for everyday encounters. Photograph supplied by Iv\u00e1n.<\/figcaption><\/figure>\n<p>Languages, demography, economy, migration, diaspora and security with dated data.<\/p>\n<article class=\"research-card\" id=\"research-card-r05-en\"><a href=\"https:\/\/totonacapan.com\/?page_id=1282#r05-en\" aria-label=\"Caminos, familias y memoria entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-caballo-entre-epocas.jpg\" alt=\"Caminos, familias y memoria entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1282#r05-en\">A region on the move: internal migration, international migration and diaspora \u2192<\/a><small>R05 \u00b7 Documentary edition \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Six municipalities and distinct observation units to separate arrivals, departures, returns and remittances.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r06-en\"><a href=\"https:\/\/totonacapan.com\/?page_id=1292#r06-en\" aria-label=\"Papantla: el mercado como lugar de encuentro entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-mercado-plaza-entre-epocas.jpg\" alt=\"Papantla: el mercado como lugar de encuentro entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1292#r06-en\">Economies of Totonacapan: from farming and trades to services \u2192<\/a><small>R06 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Six municipalities, establishments and work, vanilla, coffee and value chains. Tables, chart and source comparison.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r07-en\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-sierra-cuetzalan-20261104.jpg\" alt=\"Cuetzalan landscape \u00b7 2008; contextual photograph\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Tarde_en_Cuetzalan.jpg\">CiroCuesta \u00b7 2008 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1294#r07-en\">Everyday safety and vulnerabilities: what the data can tell us \u2192<\/a><small>R07 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Municipal series, the 2026 methodological change and comparison with victimization and perception.<\/p>\n<\/article>\n<\/section>\n<section id=\"tema-saberes-en\">\n<h3>Landscape and knowledge<\/h3>\n<p>Climates, food, crops, arts, rituals and communities of practice.<\/p>\n<article class=\"research-card\" id=\"research-card-r08-en\"><img decoding=\"async\" width=\"1280\" height=\"853\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r08-desembocadura-tecolutla-fonseca-2024.jpg\" alt=\"R\u00edo Tecolutla \u00b7 2024\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:R%C3%ADo_Tecolutla,_Veracruz_MX3.jpg\">Juan Carlos Fonseca Mata \u00b7 2024 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1302#r08-en\">From the coast to the mist: climate, water and landscape \u2192<\/a><small>R08 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Two stations, twelve months, one watershed and eight questions comparing climate, water and landscape.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r09-en\"><a href=\"https:\/\/totonacapan.com\/?page_id=1304#r09-en\" aria-label=\"Cocinas y transmisi\u00f3n de saberes: antes y ahora.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-cocina-antes-ahora.jpg\" alt=\"Cocinas y transmisi\u00f3n de saberes: antes y ahora. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1304#r09-en\">Kitchens of Totonacapan: territories, ingredients and knowledge \u2192<\/a><small>R09 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>146 plots, situated preparations and documented contributors: kitchens, techniques and occasions.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r10-en\"><img decoding=\"async\" width=\"1280\" height=\"960\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r10-flor-vainilla-starr-maui-2013.jpg\" alt=\"Vanilla planifolia \u00b7 Maui \u00b7 2013\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Starr-130312-2167-Vanilla_planifolia-flower-Pali_o_Waipio_Huelo-Maui_(24580055063).jpg\">Forest and Kim Starr \u00b7 Maui, 2013 \u00b7 CC BY 3.0 US<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1315#r10-en\">Vanilla: cultivation, pollination, curing and economic chains \u2192<\/a><small>R10 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>From flower to market: distinct timescales, pollination evidence and cultivation and curing skills.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r11-en\"><a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-en\" aria-label=\"Voladores actuales y recreaci\u00f3n de la preparaci\u00f3n del palo en el pasado.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-voladores-antes-ahora.jpg\" alt=\"Voladores actuales y recreaci\u00f3n de la preparaci\u00f3n del palo en el pasado. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-en\">Voladores and other ceremonies: expressions across peoples \u2192<\/a><small>R11 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Papantla, Huehuetla and other voices: variants, music, transmission and eight comparative questions.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r12-en\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1280\" height=\"1920\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r12-cafe-cuetzalan-2010.jpg\" alt=\"Cuetzalan \u00b7 2010\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Planta_de_caf%C3%A9_de_Cuetzalan.JPG\">Noyolcont \u00b7 2010 \u00b7 CC BY-SA 3.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-en\">Cuetzalan and the mountains: festivals, huipiles, coffee and cultural relationships \u2192<\/a><small>R12 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Weaving, landscape and organisation: three reading scales, field studies and comparison of the fair\u2019s records.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r13-en\"><a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-en\" aria-label=\"Taller de Cayetano: mismas m\u00e1quinas y moldes, presente y recreaci\u00f3n del pasado.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-taller-cayetano.jpg\" alt=\"Taller de Cayetano: mismas m\u00e1quinas y moldes, presente y recreaci\u00f3n del pasado. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-en\">Crafts, medicine, photography and education: communities that sustain knowledge \u2192<\/a><small>R13 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>From workshop to radio and school: documents, memories and eight questions about transmitting knowledge.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r14-en\"><a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-en\" aria-label=\"Nin\u00edn: danzas, personajes y celebraci\u00f3n entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-ninin-huehues-entre-epocas.jpg\" alt=\"Nin\u00edn: danzas, personajes y celebraci\u00f3n entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-en\">Nin\u00edn: the household prepares for the return \u2192<\/a><small>R14 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Household, song, museum and school: shared memory and two calendars compared without erasing their differences.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r15-en\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1280\" height=\"1912\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r15-comache-huehuetla-museo-2011.jpg\" alt=\"Object from Huehuetla displayed in a museum \u00b7 2011\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:TrajeComacheYoedMAPHidalgo.JPG\">Thelmadatter \u00b7 2011 \u00b7 CC BY-SA 3.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1336#r15-en\">Tepehua costumbre: who sustains a celebration, and to whom is gratitude for water addressed? \u2192<\/a><small>R15 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Mayordom\u00eda, capitan\u00eda, water and cultural neighbours: precise localities and six sources for a documented reading.<\/p>\n<\/article>\n<p><!-- R16-R18-CARDS-en --><\/p>\n<article class=\"research-card\" id=\"research-card-r16-en\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1920\" height=\"1280\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r16-milpa-rinconada-2010.jpg\" alt=\"Context photograph of a milpa in Rinconada, Chignahuapan, Puebla \u00b7 2010\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Milpa_en_Rinconada._Chignahuapan,_Pue._-_panoramio.jpg\">marvin_alacar \u00b7 2010 \u00b7 CC BY-SA 3.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1348#r16-en\">When the milpa enters the calendar: Holy Cross celebrations and Nahua mayordom\u00eda \u2192<\/a><small>R16 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Agricultural time, springs and shared work: comparing Pahuatl\u00e1n and Cuetzalan without merging their celebrations.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r17-en\"><svg style=\"display:block;width:100%;height:180px\" viewBox=\"0 0 960 300\" role=\"img\" aria-label=\"Editorial illustration of uncut sheets and an everyday tool. It represents neither a ceremony, an archive object nor an Otom\u00ed ritual design.\"><defs><linearGradient id=\"card-r17-en-sheet\" x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\"><stop stop-color=\"#fffdf4\"\/><stop offset=\"1\" stop-color=\"#e3d9c0\"\/><\/linearGradient><filter id=\"card-r17-en-shadow\" x=\"-20%\" y=\"-30%\" width=\"150%\" height=\"160%\"><feDropShadow dx=\"0\" dy=\"6\" stdDeviation=\"8\" flood-color=\"#6c6651\" flood-opacity=\".15\"\/><\/filter><\/defs><path d=\"M90 264H876\" stroke=\"#b4ad95\" stroke-width=\"1\"\/><g transform=\"translate(112 47) rotate(-8 220 110)\" filter=\"url(#card-r17-en-shadow)\"><rect width=\"375\" height=\"200\" fill=\"#d6cdb6\" stroke=\"#bdb59e\"\/><rect x=\"10\" y=\"-7\" width=\"375\" height=\"200\" fill=\"#eae2cf\" stroke=\"#cfc5ad\"\/><rect x=\"23\" y=\"-14\" width=\"375\" height=\"200\" fill=\"url(#card-r17-en-sheet)\" stroke=\"#ccc1a5\"\/><path d=\"M55 15H367M55 23H367M55 31H367\" stroke=\"#b9b29e\" stroke-width=\".5\" opacity=\".25\"\/><\/g><g transform=\"translate(545 65) rotate(8 130 80)\" stroke=\"#6a7978\" stroke-width=\"3\" fill=\"none\"><path d=\"M99 121L282 12Q297 5 285 23L151 146Z\" fill=\"#c6d0cc\"\/><path d=\"M122 126L265 190Q284 197 271 180L154 108Z\" fill=\"#e5e8dc\"\/><circle cx=\"139\" cy=\"125\" r=\"7\" fill=\"#a38a4b\" stroke=\"#7d754f\"\/><ellipse cx=\"91\" cy=\"151\" rx=\"39\" ry=\"26\" transform=\"rotate(-29 91 151)\" fill=\"#e1e7df\" stroke=\"#3c5d5c\" stroke-width=\"9\"\/><ellipse cx=\"111\" cy=\"82\" rx=\"36\" ry=\"24\" transform=\"rotate(23 111 82)\" fill=\"#e1e7df\" stroke=\"#3c5d5c\" stroke-width=\"9\"\/><\/g><\/svg><small>Original editorial illustration \u00b7 uncut materials<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1351#r17-en\">Paper figures, body and care: the work of an Otom\u00ed b\u00e4di \u2192<\/a><small>R17 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Pantepec and eastern Hidalgo: body, words, provenance and responsibility beyond visible form.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r18-en\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1920\" height=\"1280\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-quetzales-cuetzalan-20261104.jpg\" alt=\"Quetzales in Cuetzalan \u00b7 4 October 2012\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Danza_Los_Quetzales_de_Cuetzalan.jpg\">Luce051 \u00b7 2012 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1354#r18-en\">Quetzal\u00edn and Voladores: two dances that one image cannot explain \u2192<\/a><small>R18 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Two situated photographs, music, learning and a critical reading of heritage, gender and cultural change.<\/p>\n<\/article>\n<p><!-- \/R16-R18-CARDS-en --><!-- R19-R20-CARDS-en --><\/p>\n<article class=\"research-card\" id=\"research-card-r19-en\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1280\" height=\"906\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r19-reina-huipil-cuetzalan-luce051-2012.jpg\" alt=\"Cuetzalan \u00b7 4 octubre 2012 \u00b7 Luce051\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Elecci%C3%B3n_de_la_Reina_del_Huipil_en_Cuetzalan.jpg\">Luce051 \u00b7 2012 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1368#r19-en\">Words and the huipil: women in Cuetzalan\u2019s celebration \u2192<\/a><small>R19 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Speech, weaving and representation: dated records, garment authorship and participants\u2019 voices.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r20-en\"><a href=\"https:\/\/totonacapan.com\/?page_id=1370#r20-en\" aria-label=\"Nin\u00edn: memoria y encuentro comunitario entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-ninin-encuentro-entre-epocas.jpg\" alt=\"Nin\u00edn: memoria y encuentro comunitario entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><svg role=\"img\" aria-label=\"Nin\u00edn \u00b7 Santoro \u00b7 Xantolo\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 600 400\" style=\"width:100%;height:auto;aspect-ratio:3\/2\"><rect width=\"600\" height=\"400\" fill=\"#ecece0\"\/><path d=\"M38 62H562M38 332H562\" stroke=\"#a58a47\"\/><text x=\"40\" y=\"105\" font-family=\"Georgia\" font-size=\"26\" fill=\"#264b61\">Nin\u00edn \u00b7 Santoro \u00b7 Xantolo<\/text><g transform=\"translate(50,170)\"><circle cx=\"22\" cy=\"20\" r=\"20\" fill=\"#264b61\"\/><text x=\"22\" y=\"27\" font-family=\"Arial\" font-size=\"19\" text-anchor=\"middle\" fill=\"#fff\">1<\/text><text x=\"0\" y=\"85\" font-family=\"Georgia\" font-size=\"23\" fill=\"#315a50\">Papantla<\/text><\/g><g transform=\"translate(235,170)\"><circle cx=\"22\" cy=\"20\" r=\"20\" fill=\"#264b61\"\/><text x=\"22\" y=\"27\" font-family=\"Arial\" font-size=\"19\" text-anchor=\"middle\" fill=\"#fff\">2<\/text><text x=\"0\" y=\"85\" font-family=\"Georgia\" font-size=\"23\" fill=\"#315a50\">Pisaflores<\/text><\/g><g transform=\"translate(420,170)\"><circle cx=\"22\" cy=\"20\" r=\"20\" fill=\"#264b61\"\/><text x=\"22\" y=\"27\" font-family=\"Arial\" font-size=\"19\" text-anchor=\"middle\" fill=\"#fff\">3<\/text><text x=\"0\" y=\"85\" font-family=\"Georgia\" font-size=\"23\" fill=\"#315a50\">Huasteca<\/text><\/g><\/svg><small>Original editorial diagram<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1370#r20-en\">Nin\u00edn, Santoro and Xantolo: a shared season, different histories \u2192<\/a><small>R20 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>A map and three documented cases comparing calendars, offerings, visits and differences between sources.<\/p>\n<\/article>\n<p><!-- \/R19-R20-CARDS-en --><!-- R21-R22-CARDS-en --><\/p>\n<article class=\"research-card\" id=\"research-card-r21-en\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:contain;background:#e8eee9\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r21-voladores-tajin-giovanny-2025-scaled.jpg\" alt=\"Voladores participants at the top of the pole at El Taj\u00edn, with a drum visible beside the central participant.\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Rito_de_los_Voladores,_Taj%C3%ADn.jpg\"> Giovanny Gonzalez  \u00b7 2025 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1403#r21-en\">The musician who makes the dance possible \u2192<\/a><small>R21 \u00b7 ES \/ EN \/ FR<\/small><\/p>\n<p>Listening to the caporal changes the way we see the flight.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r22-en\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:contain;background:#e8eee9\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r22-edificio-i-horacio-2010.jpg\" alt=\"Palm roof and access to Building I in Taj\u00edn Chico, with an identifying sign, photographed in 2010.\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:El_Tajin,_edificio_1_-_panoramio.jpg\"> Horacio_Fernandez  \u00b7 2010 \u00b7 CC BY 3.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1407#r22-en\">The seven Tajines: permission, territory and responsibility at El Taj\u00edn \u2192<\/a><small>R22 \u00b7 ES \/ EN \/ FR<\/small><\/p>\n<p>Preserving a painting requires understanding its materials and listening to those who give the place meaning.<\/p>\n<\/article>\n<p><!-- \/R21-R22-CARDS-en --><\/p>\n<article class=\"research-card\" id=\"research-card-r27-en\">\n<div style=\"padding:1.5rem;background:linear-gradient(135deg,#eee5d2,#e5eeea);border-top:2px solid #a88c4e;color:#284b60\"><span style=\"display:block;font:italic 3rem Georgia,serif\">\u00ebni<\/span><span style=\"display:block;font:.82rem\/1.6 sans-serif\">WORDS \u00b7 PLAY \u00b7 RECIPROCITY<\/span><\/div>\n<p><a href=\"https:\/\/totonacapan.com\/eni-el-carnaval-otomi-y-lo-que-una-traduccion-puede-deformar\/#english-full\">\u00cbni: Otom\u00ed Carnival and what a translation can distort \u2192<\/a><small>R27 \u00b7 ES \/ EN \/ FR<\/small><\/p>\n<p>\u00cbni is the name of an Otom\u00ed Carnival studied in communities of Pantepec.<\/p>\n<\/article>\n<article class=\"research-card\"><a href=\"https:\/\/totonacapan.com\/?page_id=1821#r28-en\">Learning from a child\u2019s shirt: protection and textiles in Cuetzalan \u2192<\/a><small>R28 \u00b7 Complete article in Spanish, English and French<\/small><\/article>\n<\/section>\n<\/div>\n<\/section>\n<\/details>\n<details id=\"research-hub-fr\">\n<summary lang=\"fr\">Fran\u00e7ais \u00b7 Pr\u00e9sentation int\u00e9grale<\/summary>\n<section lang=\"fr\" id=\"research-hub-fr-text\">\n<h2>Recherches sur le Totonacapan<\/h2>\n<p><a href=\"\/?page_id=1697\">Nouveau dossier : le Totonacapan dans les r\u00e9seaux commerciaux hispaniques<\/a>. Six \u00e9tudes int\u00e9grales en espagnol, avec r\u00e9sum\u00e9s fran\u00e7ais et anglais, cartes et confrontation des sources.<\/p>\n<p>Un territoire, de multiples histoires. Nous n\u2019\u00e9tudions pas uniquement les traces anciennes : nous nous int\u00e9ressons aussi aux langues parl\u00e9es aujourd\u2019hui, \u00e0 l\u2019\u00e9conomie, aux d\u00e9placements, \u00e0 la diversit\u00e9 culturelle, aux relations entre c\u00f4te et montagne et aux difficult\u00e9s du pr\u00e9sent. Chaque recherche prend la forme d\u2019un travail dont les sources, les dates, l\u2019\u00e9chelle territoriale et la responsabilit\u00e9 \u00e9ditoriale sont identifiables. La documentation s\u2019enrichit par \u00e9tapes ; une question ouverte restera signal\u00e9e comme telle.<\/p>\n<figure><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-carmen-l09-native-20261105.webp\" width=\"1280\" height=\"853\" loading=\"lazy\" decoding=\"async\" alt=\"Illustration conceptuelle de c\u00f4te, rivi\u00e8re, basses terres et montagnes avec de la v\u00e9g\u00e9tation ; composition id\u00e9alis\u00e9e sans localisation exacte.\"><figcaption>Un territoire qui se reconna\u00eet dans ses relations : c\u00f4te, bassins versants, vall\u00e9es et montagne. Illustration \u00e9ditoriale g\u00e9n\u00e9r\u00e9e par IA, 04\/11\/2026. Composition id\u00e9alis\u00e9e, non une carte g\u00e9ographique, une reconstitution d\u2019un lieu ou un itin\u00e9raire exact.<\/figcaption><\/figure>\n<nav class=\"research-index\" id=\"indice-articulos-fr\" aria-labelledby=\"indice-titulo-fr\" lang=\"fr\">\n<p class=\"research-index-kicker\">TOTONACAPAN \u00b7 22 LECTURES<\/p>\n<h2 id=\"indice-titulo-fr\">Index des articles et r\u00e9cits<\/h2>\n<p>Vingt-deux lectures publi\u00e9es, r\u00e9parties en quatre th\u00e8mes. Choisissez un titre pour ouvrir l\u2019article int\u00e9gral, ses illustrations et la confrontation des sources.<\/p>\n<div class=\"research-topic-links\" aria-label=\"Lire par th\u00e8me\"><a href=\"#tema-territorio-fr\">Territoire et peuples <span>2<\/span><\/a><a href=\"#tema-historia-fr\">Histoire et rencontres <span>2<\/span><\/a><a href=\"#tema-actualidad-fr\">La r\u00e9gion d\u2019aujourd\u2019hui <span>3<\/span><\/a><a href=\"#tema-saberes-fr\">Paysage et savoirs <span>15<\/span><\/a><\/div>\n<div class=\"research-index-list\">\n<div>\n<h3><a href=\"#tema-territorio-fr\">Territoire et peuples<\/a><\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1227#r01-fr-text\">Le Totonacapan : une r\u00e9gion, de multiples appartenances<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1253#r03-fr-text\">Langues du Totonacapan : variantes, territoires et transmission<\/a><\/li>\n<\/ul>\n<\/div>\n<div>\n<h3><a href=\"#tema-historia-fr\">Histoire et rencontres<\/a><\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1280#r04-fr\">Histoire du Totonacapan : des cit\u00e9s anciennes aux transformations contemporaines<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1241#r02-fr-text\">Noirs, mul\u00e2tres, m\u00e9tis et jarochos : des trajectoires crois\u00e9es dans le Totonacapan<\/a><\/li>\n<\/ul>\n<\/div>\n<div>\n<h3><a href=\"#tema-actualidad-fr\">La r\u00e9gion d\u2019aujourd\u2019hui<\/a><\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1282#r05-fr\">Une r\u00e9gion en mouvement : migrations internes, internationales et diaspora<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1292#r06-fr\">Les \u00e9conomies du Totonacapan : des champs et des m\u00e9tiers aux services<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1294#r07-fr\">S\u00e9curit\u00e9 quotidienne et vuln\u00e9rabilit\u00e9s : ce que les donn\u00e9es permettent de dire<\/a><\/li>\n<\/ul>\n<\/div>\n<div>\n<h3><a href=\"#tema-saberes-fr\">Paysage et savoirs<\/a><\/h3>\n<ul>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1302#r08-fr\">De la c\u00f4te \u00e0 la brume : climats, eau et paysages<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1304#r09-fr\">Cuisines du Totonacapan : territoires, ingr\u00e9dients et savoirs<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1315#r10-fr\">La vanille : culture, pollinisation, pr\u00e9paration et cha\u00eenes \u00e9conomiques<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-fr\">Voladores et autres c\u00e9r\u00e9monies : des expressions qui traversent les peuples<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-fr\">Cuetzalan et la sierra : f\u00eates, huipils, caf\u00e9 et relations culturelles<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-fr\">M\u00e9tiers, m\u00e9decine, photographie et \u00e9ducation : des communaut\u00e9s qui font vivre les savoirs<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-fr\">Nin\u00edn : la maison pr\u00e9pare le retour<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1336#r15-fr\">Le costumbre tepehua : qui soutient une f\u00eate et \u00e0 qui adresse-t-on sa gratitude pour l\u2019eau ?<\/a><\/li>\n<p><!-- R16-R18-INDEX-fr --><\/p>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1348#r16-fr\">Quand la milpa entre dans le calendrier : Sainte-Croix et mayordom\u00eda nahua<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1351#r17-fr\">Figures de papier, corps et soin : le travail d\u2019un b\u00e4di otom\u00ed<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/eni-el-carnaval-otomi-y-lo-que-una-traduccion-puede-deformar\/#french-full\">\u00cbni : le carnaval otom\u00ed et ce qu\u2019une traduction peut d\u00e9former<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1354#r18-fr\">Quetzal\u00edn et Voladores : deux danses qu\u2019une seule image ne peut expliquer<\/a><\/li>\n<p><!-- \/R16-R18-INDEX-fr --><!-- R19-R20-INDEX-fr --><\/p>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1368#r19-fr\">La parole et le huipil : les femmes dans la c\u00e9l\u00e9bration de Cuetzalan<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1370#r20-fr\">Nin\u00edn, Santoro et Xantolo : une saison partag\u00e9e, des histoires diff\u00e9rentes<\/a><\/li>\n<p><!-- \/R19-R20-INDEX-fr --><!-- R21-R22-INDEX-fr --><\/p>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1403#r21-fr\">Le musicien qui rend la danse possible<\/a><\/li>\n<li><a href=\"https:\/\/totonacapan.com\/?page_id=1407#r22-fr\">Les sept Tajines : permission, territoire et responsabilit\u00e9 \u00e0 El Taj\u00edn<\/a><\/li>\n<p><!-- \/R21-R22-INDEX-fr --><\/ul>\n<\/div>\n<\/div>\n<\/nav>\n<section class=\"iict-citation iict-contribution-entry\" id=\"contribuir-fr\" lang=\"fr\">\n<h2>Contribuer \u00e0 la revue<\/h2>\n<p>Les propositions d\u2019articles, de sources, de documents et de corrections sont examin\u00e9es selon les r\u00e8gles de contribution et de publication. La collaboration suivie au r\u00e9seau poss\u00e8de ses propres conditions de participation.<\/p>\n<p><a href=\"https:\/\/totonacapan.com\/?page_id=1617#normas-fr\">R\u00e8gles de contribution et de publication \u2192<\/a><\/p>\n<p><a href=\"https:\/\/totonacapan.com\/?page_id=1619#red-fr\">Conditions de participation au r\u00e9seau de savoirs et d\u2019expertise \u2192<\/a><\/p>\n<div class=\"iict-route-addition\" data-route=\"latinoempresa-fr\">\n<p><strong>Pour participer au r\u00e9seau de l\u2019Institut, nous vous recommandons de vous inscrire \u00e0 la communaut\u00e9 LatinoEmpresa.<\/strong> C\u2019est notre espace de participation partag\u00e9 dans l\u2019\u00e9cosyst\u00e8me IMSV ; cette revue publie les travaux examin\u00e9s. Si vous poss\u00e9dez d\u00e9j\u00e0 un compte LatinoEmpresa, utilisez le m\u00eame.<\/p>\n<p><a href=\"https:\/\/www.latinoempresa.com\/groups\">M\u2019inscrire \u00e0 la communaut\u00e9 LatinoEmpresa \u2192<\/a> \u00b7 <a href=\"https:\/\/totonacapan.com\/?page_id=105#participar-latinoempresa\">Comment m\u2019inscrire et contribuer \u2192<\/a><\/p>\n<p>Vous pouvez aussi envoyer votre proposition \u00e0 <a href=\"mailto:comunidad@latinoempresa.com\">comunidad@latinoempresa.com<\/a> sans inscription. Les formulaires d\u00e9di\u00e9s aux contributions g\u00e9n\u00e9rales et au Recensement sont en pr\u00e9paration ; utilisez le courriel en attendant leur ouverture. Les r\u00e8gles ci-dessous s\u2019appliquent de la m\u00eame mani\u00e8re aux contributions re\u00e7ues par ces deux voies.<\/p>\n<\/div>\n<\/section>\n<p><!-- IICT-CITATION-POLICY fr --><\/p>\n<section class=\"iict-citation iict-citation-policy\" id=\"normas-citacion-fr\" lang=\"fr\" aria-labelledby=\"normas-citacion-fr-title\">\n<h2 id=\"normas-citacion-fr-title\">R\u00e8gles de citation<\/h2>\n<p>Chaque recherche conserve un titre, un identifiant de s\u00e9rie et un lien permanent. Cette r\u00e9f\u00e9rence sert aux travaux ext\u00e9rieurs comme aux liens entre lectures de l\u2019Institut.<\/p>\n<ol>\n<li>Si l\u2019article porte une signature personnelle, citez cette personne et conservez l\u2019Institut comme organisme \u00e9diteur. Sans signature personnelle, utilisez \u00ab Instituto Internacional de Cultura del Totonacapan \u00bb comme auteur institutionnel.<\/li>\n<li>Conservez le titre de la version consult\u00e9e, son code R et le lien vers la langue correspondante. Mentionnez \u00e9galement toute version ou correction explicitement indiqu\u00e9e dans le texte.<\/li>\n<li>Dans le site, un code bref tel que R19 peut \u00eatre utilis\u00e9. Pour un passage pr\u00e9cis, ajoutez le titre de sa section. \u00c0 l\u2019ext\u00e9rieur, utilisez la r\u00e9f\u00e9rence compl\u00e8te propos\u00e9e \u00e0 la fin de chaque article.<\/li>\n<li>Les sources documentaires, photographies et autres mat\u00e9riaux conservent leurs auteurs et cr\u00e9dits propres. Si votre argument en d\u00e9pend directement, citez aussi l\u2019original reli\u00e9 dans \u00ab Sources et confrontation \u00bb.<\/li>\n<\/ol>\n<p class=\"iict-citation-format\">Auteur ou institution. \u00ab Titre de l\u2019article \u00bb. Cahiers de recherche, RXX. Instituto Internacional de Cultura del Totonacapan \u00b7 The Integral Management Society (IMSV). URL permanente.<\/p>\n<\/section>\n<p><!-- \/IICT-CITATION-POLICY fr --><\/p>\n<div class=\"research-categories\">\n<section id=\"tema-territorio-fr\">\n<h3>Territoire et peuples<\/h3>\n<p>Les cartes physiques ne sont pas des fronti\u00e8res ethniques. Des histoires et des appartenances qui se croisent.<\/p>\n<article class=\"research-card\"><a href=\"https:\/\/totonacapan.com\/?page_id=1227#r01-fr-text\" aria-label=\"Papantla: la plaza y el quiosco entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-plaza-quiosco-entre-epocas.jpg\" alt=\"Papantla: la plaza y el quiosco entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1227#r01-fr-text\">Le Totonacapan : une r\u00e9gion, de multiples appartenances \u2192<\/a><small>R01 \u00b7 Essai d\u2019ouverture et confrontation documentaire \u00b7 Version fran\u00e7aise int\u00e9grale \u00b7 05\/11\/2026<\/small><\/p>\n<p>Une carte de r\u00e9f\u00e9rence, deux paysages et quatre questions pour distinguer territoire, langues, appartenances et statistiques.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r03-fr\"><a href=\"https:\/\/totonacapan.com\/?page_id=1253#r03-fr-text\">Langues du Totonacapan : variantes, territoires et transmission \u2192<\/a><small>R03 \u00b7 Recherche documentaire \u00b7 Version fran\u00e7aise int\u00e9grale \u00b7 05\/11\/2026<\/small><\/p>\n<p>Familles linguistiques, deux portraits statistiques et les liens entre conversation, \u00e9cole, radio et \u00e9criture. Graphiques et sources confront\u00e9es.<\/p>\n<\/article>\n<\/section>\n<section id=\"tema-historia-fr\">\n<h3>Histoire et rencontres<\/h3>\n<p>P\u00e9riodes pr\u00e9hispaniques, transformations coloniales, m\u00e9tissages et m\u00e9moires du travail.<\/p>\n<article class=\"research-card\" id=\"research-card-r04-fr\"><a href=\"https:\/\/totonacapan.com\/?page_id=1280#r04-fr\" aria-label=\"Celebraci\u00f3n y comunidad: el espacio de la iglesia entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-iglesia-entre-epocas.jpg\" alt=\"Celebraci\u00f3n y comunidad: el espacio de la iglesia entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1280#r04-fr\">Histoire du Totonacapan : des cit\u00e9s anciennes aux transformations contemporaines \u2192<\/a><small>R04 \u00b7 \u00c9dition documentaire \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Cinq sites, des chronologies confront\u00e9es et des transformations entre chemins, terre et industrie.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r02-fr\"><a href=\"https:\/\/totonacapan.com\/?page_id=1241#r02-fr-text\" aria-label=\"Bailes y encuentros: pasado y presente.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-bailes-antes-ahora.jpg\" alt=\"Bailes y encuentros: pasado y presente. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1241#r02-fr-text\">Noirs, mul\u00e2tres, m\u00e9tis et jarochos : des trajectoires crois\u00e9es dans le Totonacapan \u2192<\/a><small>R02 \u00b7 Recherche documentaire \u00b7 Version fran\u00e7aise int\u00e9grale \u00b7 05\/11\/2026<\/small><\/p>\n<p>Deux pages de 1746, trois hypoth\u00e8ses et une comparaison entre familles, milices et identification actuelle.<\/p>\n<\/article>\n<article class=\"research-card\"><a href=\"https:\/\/totonacapan.com\/?page_id=1819#r25-fr\">Yohualichan : niches de pierre, questions d\u2019histoire \u2192<\/a><small>R25 \u00b7 Article int\u00e9gral, illustrations et sources en fran\u00e7ais \u00b7 ES \/ EN \/ FR<\/small><\/article>\n<\/section>\n<section id=\"tema-actualidad-fr\">\n<h3>La r\u00e9gion d\u2019aujourd\u2019hui<\/h3>\n<figure id=\"parque-papantla-fotografia-fr\" style=\"grid-column:1 \/ -1;width:100%;max-width:1100px;margin:2rem auto\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-parque-papantla-quiosco-foto.jpg\" alt=\"Vue du parc de Papantla, avec son kiosque, sa palapa et ses arbres.\" loading=\"lazy\" style=\"display:block;width:100%;height:auto\" \/><figcaption style=\"font-size:12px;line-height:1.5;margin-top:0.65rem\">Le parc de Papantla, lieu de rencontres quotidiennes. Photographie fournie par Iv\u00e1n.<\/figcaption><\/figure>\n<p>Langues, d\u00e9mographie, \u00e9conomie, migration, diaspora et s\u00e9curit\u00e9 avec des donn\u00e9es dat\u00e9es.<\/p>\n<article class=\"research-card\" id=\"research-card-r05-fr\"><a href=\"https:\/\/totonacapan.com\/?page_id=1282#r05-fr\" aria-label=\"Caminos, familias y memoria entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-caballo-entre-epocas.jpg\" alt=\"Caminos, familias y memoria entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1282#r05-fr\">Une r\u00e9gion en mouvement : migrations internes, internationales et diaspora \u2192<\/a><small>R05 \u00b7 \u00c9dition documentaire \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Six communes et des unit\u00e9s distinctes pour comprendre arriv\u00e9es, d\u00e9parts, retours et transferts de fonds.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r06-fr\"><a href=\"https:\/\/totonacapan.com\/?page_id=1292#r06-fr\" aria-label=\"Papantla: el mercado como lugar de encuentro entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-mercado-plaza-entre-epocas.jpg\" alt=\"Papantla: el mercado como lugar de encuentro entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1292#r06-fr\">Les \u00e9conomies du Totonacapan : des champs et des m\u00e9tiers aux services \u2192<\/a><small>R06 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Six communes, \u00e9tablissements et travail, vanille, caf\u00e9 et cha\u00eenes de valeur. Tableaux, graphique et sources confront\u00e9es.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r07-fr\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-sierra-cuetzalan-20261104.jpg\" alt=\"Paysage de Cuetzalan \u00b7 2008 ; photographie de contexte\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Tarde_en_Cuetzalan.jpg\">CiroCuesta \u00b7 2008 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1294#r07-fr\">S\u00e9curit\u00e9 quotidienne et vuln\u00e9rabilit\u00e9s : ce que les donn\u00e9es permettent de dire \u2192<\/a><small>R07 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>S\u00e9ries municipales, changement m\u00e9thodologique de 2026 et confrontation avec victimation et perception.<\/p>\n<\/article>\n<\/section>\n<section id=\"tema-saberes-fr\">\n<h3>Paysage et savoirs<\/h3>\n<p>Climats, alimentation, cultures, arts, rituels et communaut\u00e9s de pratique.<\/p>\n<article class=\"research-card\" id=\"research-card-r08-fr\"><img decoding=\"async\" width=\"1280\" height=\"853\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r08-desembocadura-tecolutla-fonseca-2024.jpg\" alt=\"R\u00edo Tecolutla \u00b7 2024\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:R%C3%ADo_Tecolutla,_Veracruz_MX3.jpg\">Juan Carlos Fonseca Mata \u00b7 2024 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1302#r08-fr\">De la c\u00f4te \u00e0 la brume : climats, eau et paysages \u2192<\/a><small>R08 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Deux stations, douze mois, un bassin et huit questions pour confronter climats, eau et paysages.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r09-fr\"><a href=\"https:\/\/totonacapan.com\/?page_id=1304#r09-fr\" aria-label=\"Cocinas y transmisi\u00f3n de saberes: antes y ahora.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-cocina-antes-ahora.jpg\" alt=\"Cocinas y transmisi\u00f3n de saberes: antes y ahora. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1304#r09-fr\">Cuisines du Totonacapan : territoires, ingr\u00e9dients et savoirs \u2192<\/a><small>R09 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>146 parcelles, pr\u00e9parations situ\u00e9es et contributions document\u00e9es : cuisines, techniques et occasions.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r10-fr\"><img decoding=\"async\" width=\"1280\" height=\"960\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r10-flor-vainilla-starr-maui-2013.jpg\" alt=\"Vanilla planifolia \u00b7 Maui \u00b7 2013\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Starr-130312-2167-Vanilla_planifolia-flower-Pali_o_Waipio_Huelo-Maui_(24580055063).jpg\">Forest and Kim Starr \u00b7 Maui, 2013 \u00b7 CC BY 3.0 US<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1315#r10-fr\">La vanille : culture, pollinisation, pr\u00e9paration et cha\u00eenes \u00e9conomiques \u2192<\/a><small>R10 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>De la fleur au march\u00e9 : temporalit\u00e9s distinctes, preuves de pollinisation et savoir-faire de culture et de pr\u00e9paration.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r11-fr\"><a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-fr\" aria-label=\"Voladores actuales y recreaci\u00f3n de la preparaci\u00f3n del palo en el pasado.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-voladores-antes-ahora.jpg\" alt=\"Voladores actuales y recreaci\u00f3n de la preparaci\u00f3n del palo en el pasado. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-fr\">Voladores et autres c\u00e9r\u00e9monies : des expressions qui traversent les peuples \u2192<\/a><small>R11 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Papantla, Huehuetla et d\u2019autres voix : variantes, musique, transmission et huit questions de confrontation.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r12-fr\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1280\" height=\"1920\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r12-cafe-cuetzalan-2010.jpg\" alt=\"Cuetzalan \u00b7 2010\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Planta_de_caf%C3%A9_de_Cuetzalan.JPG\">Noyolcont \u00b7 2010 \u00b7 CC BY-SA 3.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-fr\">Cuetzalan et la sierra : f\u00eates, huipils, caf\u00e9 et relations culturelles \u2192<\/a><small>R12 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Tissage, paysage et organisation : trois \u00e9chelles de lecture, enqu\u00eates de terrain et confrontation des archives de la foire.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r13-fr\"><a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-fr\" aria-label=\"Taller de Cayetano: mismas m\u00e1quinas y moldes, presente y recreaci\u00f3n del pasado.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-taller-cayetano.jpg\" alt=\"Taller de Cayetano: mismas m\u00e1quinas y moldes, presente y recreaci\u00f3n del pasado. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1327#r13-fr\">M\u00e9tiers, m\u00e9decine, photographie et \u00e9ducation : des communaut\u00e9s qui font vivre les savoirs \u2192<\/a><small>R13 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>De l\u2019atelier \u00e0 la radio et \u00e0 l\u2019\u00e9cole : documents, m\u00e9moires et huit questions sur la transmission des savoirs.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r14-fr\"><a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-fr\" aria-label=\"Nin\u00edn: danzas, personajes y celebraci\u00f3n entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-ninin-huehues-entre-epocas.jpg\" alt=\"Nin\u00edn: danzas, personajes y celebraci\u00f3n entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-fr\">Nin\u00edn : la maison pr\u00e9pare le retour \u2192<\/a><small>R14 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Maison, chant, mus\u00e9e et \u00e9cole : m\u00e9moire partag\u00e9e et confrontation de deux calendriers sans effacer leurs diff\u00e9rences.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r15-fr\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1280\" height=\"1912\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r15-comache-huehuetla-museo-2011.jpg\" alt=\"Pi\u00e8ce de Huehuetla expos\u00e9e au mus\u00e9e \u00b7 2011\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:TrajeComacheYoedMAPHidalgo.JPG\">Thelmadatter \u00b7 2011 \u00b7 CC BY-SA 3.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1336#r15-fr\">Le costumbre tepehua : qui soutient une f\u00eate et \u00e0 qui adresse-t-on sa gratitude pour l\u2019eau ? \u2192<\/a><small>R15 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Mayordom\u00eda, capitan\u00eda, eau et voisinages culturels : lieux pr\u00e9cis et six sources pour une lecture document\u00e9e.<\/p>\n<\/article>\n<p><!-- R16-R18-CARDS-fr --><\/p>\n<article class=\"research-card\" id=\"research-card-r16-fr\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1920\" height=\"1280\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r16-milpa-rinconada-2010.jpg\" alt=\"Milpa de contexte \u00e0 Rinconada, Chignahuapan, Puebla \u00b7 2010\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Milpa_en_Rinconada._Chignahuapan,_Pue._-_panoramio.jpg\">marvin_alacar \u00b7 2010 \u00b7 CC BY-SA 3.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1348#r16-fr\">Quand la milpa entre dans le calendrier : Sainte-Croix et mayordom\u00eda nahua \u2192<\/a><small>R16 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Temps agricole, sources et travail partag\u00e9 : comparer Pahuatl\u00e1n et Cuetzalan sans fusionner leurs f\u00eates.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r17-fr\"><svg style=\"display:block;width:100%;height:180px\" viewBox=\"0 0 960 300\" role=\"img\" aria-label=\"Illustration \u00e9ditoriale de feuilles non d\u00e9coup\u00e9es et d\u2019un outil quotidien. Elle ne repr\u00e9sente ni c\u00e9r\u00e9monie, ni pi\u00e8ce d\u2019archives, ni dessin rituel otom\u00ed.\"><defs><linearGradient id=\"card-r17-fr-sheet\" x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\"><stop stop-color=\"#fffdf4\"\/><stop offset=\"1\" stop-color=\"#e3d9c0\"\/><\/linearGradient><filter id=\"card-r17-fr-shadow\" x=\"-20%\" y=\"-30%\" width=\"150%\" height=\"160%\"><feDropShadow dx=\"0\" dy=\"6\" stdDeviation=\"8\" flood-color=\"#6c6651\" flood-opacity=\".15\"\/><\/filter><\/defs><path d=\"M90 264H876\" stroke=\"#b4ad95\" stroke-width=\"1\"\/><g transform=\"translate(112 47) rotate(-8 220 110)\" filter=\"url(#card-r17-fr-shadow)\"><rect width=\"375\" height=\"200\" fill=\"#d6cdb6\" stroke=\"#bdb59e\"\/><rect x=\"10\" y=\"-7\" width=\"375\" height=\"200\" fill=\"#eae2cf\" stroke=\"#cfc5ad\"\/><rect x=\"23\" y=\"-14\" width=\"375\" height=\"200\" fill=\"url(#card-r17-fr-sheet)\" stroke=\"#ccc1a5\"\/><path d=\"M55 15H367M55 23H367M55 31H367\" stroke=\"#b9b29e\" stroke-width=\".5\" opacity=\".25\"\/><\/g><g transform=\"translate(545 65) rotate(8 130 80)\" stroke=\"#6a7978\" stroke-width=\"3\" fill=\"none\"><path d=\"M99 121L282 12Q297 5 285 23L151 146Z\" fill=\"#c6d0cc\"\/><path d=\"M122 126L265 190Q284 197 271 180L154 108Z\" fill=\"#e5e8dc\"\/><circle cx=\"139\" cy=\"125\" r=\"7\" fill=\"#a38a4b\" stroke=\"#7d754f\"\/><ellipse cx=\"91\" cy=\"151\" rx=\"39\" ry=\"26\" transform=\"rotate(-29 91 151)\" fill=\"#e1e7df\" stroke=\"#3c5d5c\" stroke-width=\"9\"\/><ellipse cx=\"111\" cy=\"82\" rx=\"36\" ry=\"24\" transform=\"rotate(23 111 82)\" fill=\"#e1e7df\" stroke=\"#3c5d5c\" stroke-width=\"9\"\/><\/g><\/svg><small>Illustration \u00e9ditoriale originale \u00b7 mati\u00e8res non d\u00e9coup\u00e9es<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1351#r17-fr\">Figures de papier, corps et soin : le travail d\u2019un b\u00e4di otom\u00ed \u2192<\/a><small>R17 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Pantepec et est de l\u2019Hidalgo : corps, mots, provenance et responsabilit\u00e9 au-del\u00e0 de la forme visible.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r18-fr\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1920\" height=\"1280\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-quetzales-cuetzalan-20261104.jpg\" alt=\"Quetzales \u00e0 Cuetzalan \u00b7 4 octobre 2012\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Danza_Los_Quetzales_de_Cuetzalan.jpg\">Luce051 \u00b7 2012 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1354#r18-fr\">Quetzal\u00edn et Voladores : deux danses qu\u2019une seule image ne peut expliquer \u2192<\/a><small>R18 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Deux photographies situ\u00e9es, musique, apprentissage et lecture critique du patrimoine, du genre et du changement culturel.<\/p>\n<\/article>\n<p><!-- \/R16-R18-CARDS-fr --><!-- R19-R20-CARDS-fr --><\/p>\n<article class=\"research-card\" id=\"research-card-r19-fr\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:cover\" width=\"1280\" height=\"906\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r19-reina-huipil-cuetzalan-luce051-2012.jpg\" alt=\"Cuetzalan \u00b7 4 octubre 2012 \u00b7 Luce051\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Elecci%C3%B3n_de_la_Reina_del_Huipil_en_Cuetzalan.jpg\">Luce051 \u00b7 2012 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1368#r19-fr\">La parole et le huipil : les femmes dans la c\u00e9l\u00e9bration de Cuetzalan \u2192<\/a><small>R19 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Parole, tissage et repr\u00e9sentation : notices dat\u00e9es, cr\u00e9ation des v\u00eatements et voix des participantes.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r20-fr\"><a href=\"https:\/\/totonacapan.com\/?page_id=1370#r20-fr\" aria-label=\"Nin\u00edn: memoria y encuentro comunitario entre \u00e9pocas.\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-ninin-encuentro-entre-epocas.jpg\" alt=\"Nin\u00edn: memoria y encuentro comunitario entre \u00e9pocas. Composici\u00f3n editorial.\" style=\"display:block;width:100%;height:auto;aspect-ratio:auto;object-fit:contain\"><\/a><small style=\"display:block;font:12px\/1.5 var(--sans,sans-serif);margin:.5rem 0\">Composici\u00f3n editorial \u00b7 pasado y presente<\/small><svg role=\"img\" aria-label=\"Nin\u00edn \u00b7 Santoro \u00b7 Xantolo\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 600 400\" style=\"width:100%;height:auto;aspect-ratio:3\/2\"><rect width=\"600\" height=\"400\" fill=\"#ecece0\"\/><path d=\"M38 62H562M38 332H562\" stroke=\"#a58a47\"\/><text x=\"40\" y=\"105\" font-family=\"Georgia\" font-size=\"26\" fill=\"#264b61\">Nin\u00edn \u00b7 Santoro \u00b7 Xantolo<\/text><g transform=\"translate(50,170)\"><circle cx=\"22\" cy=\"20\" r=\"20\" fill=\"#264b61\"\/><text x=\"22\" y=\"27\" font-family=\"Arial\" font-size=\"19\" text-anchor=\"middle\" fill=\"#fff\">1<\/text><text x=\"0\" y=\"85\" font-family=\"Georgia\" font-size=\"23\" fill=\"#315a50\">Papantla<\/text><\/g><g transform=\"translate(235,170)\"><circle cx=\"22\" cy=\"20\" r=\"20\" fill=\"#264b61\"\/><text x=\"22\" y=\"27\" font-family=\"Arial\" font-size=\"19\" text-anchor=\"middle\" fill=\"#fff\">2<\/text><text x=\"0\" y=\"85\" font-family=\"Georgia\" font-size=\"23\" fill=\"#315a50\">Pisaflores<\/text><\/g><g transform=\"translate(420,170)\"><circle cx=\"22\" cy=\"20\" r=\"20\" fill=\"#264b61\"\/><text x=\"22\" y=\"27\" font-family=\"Arial\" font-size=\"19\" text-anchor=\"middle\" fill=\"#fff\">3<\/text><text x=\"0\" y=\"85\" font-family=\"Georgia\" font-size=\"23\" fill=\"#315a50\">Huasteca<\/text><\/g><\/svg><small>Sch\u00e9ma \u00e9ditorial original<\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1370#r20-fr\">Nin\u00edn, Santoro et Xantolo : une saison partag\u00e9e, des histoires diff\u00e9rentes \u2192<\/a><small>R20 \u00b7 ES \/ EN \/ FR \u00b7 05\/11\/2026<\/small><\/p>\n<p>Une carte et trois cas document\u00e9s pour comparer calendriers, offrandes, visites et diff\u00e9rences entre sources.<\/p>\n<\/article>\n<p><!-- \/R19-R20-CARDS-fr --><!-- R21-R22-CARDS-fr --><\/p>\n<article class=\"research-card\" id=\"research-card-r21-fr\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:contain;background:#e8eee9\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r21-voladores-tajin-giovanny-2025-scaled.jpg\" alt=\"Participants des Voladores au sommet du m\u00e2t \u00e0 El Taj\u00edn ; un tambour est visible aupr\u00e8s du participant central.\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Rito_de_los_Voladores,_Taj%C3%ADn.jpg\"> Giovanny Gonzalez  \u00b7 2025 \u00b7 CC BY-SA 4.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1403#r21-fr\">Le musicien qui rend la danse possible \u2192<\/a><small>R21 \u00b7 ES \/ EN \/ FR<\/small><\/p>\n<p>\u00c9couter le caporal change notre mani\u00e8re de regarder le vol.<\/p>\n<\/article>\n<article class=\"research-card\" id=\"research-card-r22-fr\"><img decoding=\"async\" style=\"aspect-ratio:3\/2;object-fit:contain;background:#e8eee9\" loading=\"lazy\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r22-edificio-i-horacio-2010.jpg\" alt=\"Couverture de palme et acc\u00e8s \u00e0 l\u2019\u00c9difice I de Taj\u00edn Chico, identifi\u00e9 par un panneau, sur une photographie de 2010.\"><small><a style=\"font:.78rem\/1.6 var(--sans)\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:El_Tajin,_edificio_1_-_panoramio.jpg\"> Horacio_Fernandez  \u00b7 2010 \u00b7 CC BY 3.0<\/a><\/small><a href=\"https:\/\/totonacapan.com\/?page_id=1407#r22-fr\">Les sept Tajines : permission, territoire et responsabilit\u00e9 \u00e0 El Taj\u00edn \u2192<\/a><small>R22 \u00b7 ES \/ EN \/ FR<\/small><\/p>\n<p>Conserver une peinture demande d\u2019en conna\u00eetre la mati\u00e8re et d\u2019\u00e9couter ceux qui donnent sens au lieu.<\/p>\n<\/article>\n<p><!-- \/R21-R22-CARDS-fr --><\/p>\n<article class=\"research-card\" id=\"research-card-r27-fr\">\n<div style=\"padding:1.5rem;background:linear-gradient(135deg,#eee5d2,#e5eeea);border-top:2px solid #a88c4e;color:#284b60\"><span style=\"display:block;font:italic 3rem Georgia,serif\">\u00ebni<\/span><span style=\"display:block;font:.82rem\/1.6 sans-serif\">MOTS \u00b7 JEU \u00b7 R\u00c9CIPROCIT\u00c9<\/span><\/div>\n<p><a href=\"https:\/\/totonacapan.com\/eni-el-carnaval-otomi-y-lo-que-una-traduccion-puede-deformar\/#french-full\">\u00cbni : le carnaval otom\u00ed et ce qu\u2019une traduction peut d\u00e9former \u2192<\/a><small>R27 \u00b7 ES \/ EN \/ FR<\/small><\/p>\n<p>\u00cbni est le nom d\u2019un carnaval otom\u00ed \u00e9tudi\u00e9 dans des communaut\u00e9s de Pantepec.<\/p>\n<\/article>\n<article class=\"research-card\"><a href=\"https:\/\/totonacapan.com\/?page_id=1821#r28-fr\">Apprendre d\u2019une chemise d\u2019enfant : protection et textiles \u00e0 Cuetzalan \u2192<\/a><small>R28 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.research-card>img,#research-hub-release .research-card>svg{height:210px!important}}<\/style>\n","protected":false},"excerpt":{"rendered":"<p>Espa\u00f1olEnglishFran\u00e7aisEl Totonacapan \u2197\u00cdndice general \u00b7 All pages \u00b7 Toutes les pages Investigaciones del Totonacapan Un territorio, muchas historias. No estudiamos \u00fanicamente las huellas antiguas: tambi\u00e9n las lenguas que hoy se hablan, la econom\u00eda, los desplazamientos, la diversidad cultural, la relaci\u00f3n entre costa y sierra y las dificultades del presente. Cada investigaci\u00f3n se organiza como un [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":41,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1225","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1225","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1225"}],"version-history":[{"count":37,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1225\/revisions"}],"predecessor-version":[{"id":1919,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1225\/revisions\/1919"}],"up":[{"embeddable":true,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/41"}],"wp:attachment":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1225"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}