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article .research-hypotheses h3{font-size:1.17rem!important}#research-r11-release.iict-journal article .research-hypotheses p{font-size:1rem!important}}\n\n\/* IICT VISUALES FINAL 20261106 *\/\n#research-r11-release.iict-journal article .iict-journal-table thead{display:table-header-group!important;position:static!important;inset:auto!important;width:auto!important;height:auto!important;overflow:visible!important;clip:auto!important;clip-path:none!important;visibility:visible!important;opacity:1!important}\n#research-r11-release.iict-journal article .iict-journal-table table caption{position:sticky!important;left:0!important;width:min(42rem,calc(100vw - 5rem))!important;max-width:100%!important;white-space:normal!important;overflow-wrap:break-word!important;hyphens:auto!important}\n@media(max-width:700px){#research-r11-release.iict-journal article .iict-journal-table tbody th{width:clamp(8rem,42vw,14rem)!important;max-width:14rem!important;white-space:normal!important}}\n\/* \/IICT VISUALES FINAL *\/\n<\/style>\n<nav class=\"research-languages\" aria-label=\"Language\"><a href=\"#r11-es\">Espa\u00f1ol<\/a><a href=\"#r11-en\">English \u00b7 full article<\/a><a href=\"#r11-fr\">Fran\u00e7ais \u00b7 article int\u00e9gral<\/a><\/nav><!-- IICT-CITE-CSS --><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 #a58a47!important;background:#edf0e7!important;color:#344c53!important;grid-column:1\/-1!important}.iict-citation h2{display:block!important;margin:0 0 1.1rem!important;font:400 1.65rem\/1.25 Georgia,serif!important;color:#264b61!important;text-align:left!important;letter-spacing:0!important}.iict-citation p,.iict-citation blockquote{display:block!important;margin:0 0 1rem!important;padding:0!important;border:0!important;background:none!important;text-align:left!important;text-indent:0!important;letter-spacing:normal!important;hyphens:none!important}.iict-citation p{font:400 .93rem\/1.7 var(--sans,system-ui,sans-serif)!important}.iict-citation blockquote{font:400 1.08rem\/1.8 Georgia,serif!important;overflow-wrap:anywhere!important}.iict-citation a{display:inline!important;overflow-wrap:anywhere!important;color:#264b61!important}.iict-citation .iict-citation-label{font:400 .72rem\/1.6 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><!-- \/IICT-CITE-CSS --><article id=\"r11-es\" lang=\"es\"><p class=\"eyebrow\">Investigaciones del Totonacapan \u00b7 Paisaje y saberes<\/p><h1>Voladores y otras ceremonias: expresiones que cruzan pueblos<\/h1><p class=\"research-deck\">Del \u00e1rbol a la m\u00fasica, del aprendizaje a la fiesta: seguir pr\u00e1cticas compartidas desde lugares y voces concretos permite reconocer sus variantes propias.<\/p><div class=\"research-abstract\"><h2>En pocas palabras<\/h2><p>La ceremonia de los Voladores relaciona preparaci\u00f3n, m\u00fasica, movimiento y vida comunitaria. Su presencia en distintos pueblos invita a comparar lugares, relatos y formas de transmisi\u00f3n, sin reducirlos a una \u00fanica coreograf\u00eda.<\/p><p>Leemos el expediente mexicano de 2008, la inscripci\u00f3n de 2009 y una investigaci\u00f3n de campo en Huehuetla, Puebla. Las fuentes permiten distinguir una descripci\u00f3n general, un testimonio local y una interpretaci\u00f3n hist\u00f3rica: tres formas de conocimiento que se complementan.<\/p><\/div><figure class=\"research-visual \"><img fetchpriority=\"high\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-voladores-huehuetla-20261104.jpg\" width=\"1920\" height=\"1440\" alt=\"Voladores durante la celebraci\u00f3n del Divino Salvador en Huehuetla, Puebla.\" loading=\"eager\"><figcaption><strong>Huehuetla, Puebla \u00b7 06.08.2022<\/strong>La fuente identifica esta celebraci\u00f3n con el Divino Salvador. Registro de una fecha y una localidad, conservando el encuadre documental.<br>Raxa.Kame \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Ritual_de_Los_Voladores_en_Huehuetla,_Puebla.jpg\">Wikimedia Commons<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a>.<\/figcaption><\/figure><section id=\"r11-es-b0\"><h2>Mirar la ceremonia desde la tierra<\/h2><p>El descenso llama la atenci\u00f3n, pero la ceremonia comienza antes del vuelo. El expediente mexicano preparado en 2008 describe preparaci\u00f3n de participantes y vestuario, relaci\u00f3n con el \u00e1rbol, trabajo de instalaci\u00f3n, danza y m\u00fasica. Esta secuencia hace visible una red de conocimientos y responsabilidades que re\u00fane al grupo con otras personas de la comunidad. <a class=\"research-cite\" href=\"#r11-es-s1\">[1]<\/a><\/p><p>Cada descripci\u00f3n tiene lugar y fecha. El mismo expediente reconoce variaciones y contiene testimonios con autor\u00eda; su prop\u00f3sito era presentar una candidatura patrimonial. Por eso lo leemos como documento de 2008, no como inventario actualizado de todos los grupos ni como manual para ejecutar un vuelo. Sus relatos ayudan a comprender relaciones culturales; no sustituyen la formaci\u00f3n de quienes sostienen la pr\u00e1ctica.<\/p><\/section><section id=\"r11-es-connections\"><h3>La ceremonia re\u00fane m\u00e1s que un instante<\/h3><ol class=\"r-flow\"><li><strong>Preparar<\/strong>Participantes, vestuario, m\u00fasica y relaci\u00f3n con materiales y entorno.<\/li><li><strong>Realizar<\/strong>Danza en tierra, ascenso, m\u00fasica y vuelo, seg\u00fan la descripci\u00f3n y el grupo.<\/li><li><strong>Transmitir<\/strong>Aprendizaje, responsabilidades, memoria y condiciones para volver a reunirse.<\/li><\/ol><p class=\"c-datanote\">Esquema de relaciones a partir de [1,4]. No indica instrucciones t\u00e9cnicas, una secuencia id\u00e9ntica en todos los pueblos ni una pr\u00e1ctica realizada por el Instituto.<\/p><\/section><section id=\"r11-es-b1\"><aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r11-es\" lang=\"es\" aria-labelledby=\"iict-reading-r11-es-title\"><span class=\"reading-kicker\">Una historia concreta<\/span><h3 id=\"iict-reading-r11-es-title\">El \u00e1rbol tambi\u00e9n puede dar nombre a un lugar<\/h3><p>En un libro biling\u00fce de la SEP, Asunci\u00f3n Cruz Jim\u00e9nez aporta un relato sobre la comunidad de El Volador. Cuenta que los mayores propusieron ese nombre por la abundancia de \u00e1rboles utilizados para el vuelo. El texto aparece en espa\u00f1ol y totonaco, en las p\u00e1ginas 60\u201361 de Tsakat \/ El \u00e1rbol de hule. <a class=\"reading-ref\" href=\"#iict-reading-r11-es-source\" aria-label=\"Ver fuentes y contraste\">\u2197<\/a><\/p><p>La narraci\u00f3n une paisaje, memoria y nombre de lugar. Se lee como relato comunitario publicado, no como acta de fundaci\u00f3n comprobada aqu\u00ed. Al lado del poste que atrae la mirada aparecen as\u00ed los \u00e1rboles recordados por quienes habitan el territorio: otra manera de seguir la ceremonia m\u00e1s all\u00e1 de su instante visible.<\/p><p class=\"reading-links\"><a href=\"https:\/\/dgeiib.basica.sep.gob.mx\/files\/fondo-editorial\/biblioteca-escolar\/semilla-palabras\/be_semillas_00027.pdf\">SEP \u00b7 Tsakat \/ El \u00e1rbol de hule, pp. 60\u201361 \u00b7 Asunci\u00f3n Cruz Jim\u00e9nez<\/a> \u00b7 <a href=\"#r11-es-sources\">Fuentes y contraste<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r11-a-es\" lang=\"es\" aria-labelledby=\"iict-plate-r11-a-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 I<\/p><h3 id=\"iict-plate-r11-a-es-title\">Antes del vuelo tambi\u00e9n hay un paisaje<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r11-a-es-art-title iict-plate-r11-a-es-art-desc\"><title id=\"iict-plate-r11-a-es-art-title\">Antes del vuelo tambi\u00e9n hay un paisaje<\/title><desc id=\"iict-plate-r11-a-es-art-desc\">1. El \u00e1rbol enlaza material, elecci\u00f3n y trabajo. 2. Transportar y preparar exige cooperaci\u00f3n. 3. La ceremonia contin\u00faa en relaciones con un lugar y sus participantes. Escena conceptual de \u00e1rbol, recorrido y poste; no documenta un lugar ni reproduce un procedimiento ritual.<\/desc><defs><pattern id=\"iict-plate-r11-a-es-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r11-a-es-grain)\"\/><path d=\"M20 327 Q206 265 386 310 T730 301\" fill=\"none\" stroke=\"#b5bba0\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><g transform=\"translate(128 317) scale(0.9)\"><path d=\"M-12 0 Q-6 -85 -2 -162 L10 -162 Q7 -75 19 0Z\" fill=\"#c9b394\" stroke=\"#6e6a4a\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M1 -105 L-42 -150 M5 -132 L39 -175\" fill=\"none\" stroke=\"#6e6a4a\" stroke-width=\"5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-65 -133 C-115 -143 -98 -206 -47 -208 C-34 -261 37 -267 61 -222 C118 -229 133 -155 82 -135 C45 -104 -27 -109 -65 -133Z\" fill=\"#b4bca0\" stroke=\"#7c8b66\" stroke-width=\"1.5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-78 -170 Q-30 -216 8 -188 M8 -217 Q48 -233 77 -195 M-30 -144 Q20 -174 63 -153\" fill=\"none\" stroke=\"#7c8b66\" stroke-width=\"1.3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M210 319 Q343 233 490 315\" fill=\"none\" stroke=\"#bba268\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"5 9\"\/><path d=\"M313 276 L440 259 L443 276 L315 294Z\" fill=\"#c9ad7c\" stroke=\"#8c7851\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"615\" y=\"83\" width=\"15\" height=\"242\" rx=\"6\" fill=\"#d0b47f\" stroke=\"#927c4f\" stroke-width=\"2\"\/><circle cx=\"622\" cy=\"81\" r=\"14\" fill=\"#d8c49a\" stroke=\"#927c4f\" stroke-width=\"2\"\/><circle cx=\"125\" cy=\"366\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"125\" y=\"374\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"382\" cy=\"356\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"382\" y=\"364\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"623\" cy=\"366\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"623\" y=\"374\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>El \u00e1rbol enlaza material, elecci\u00f3n y trabajo.<\/li><li>Transportar y preparar exige cooperaci\u00f3n.<\/li><li>La ceremonia contin\u00faa en relaciones con un lugar y sus participantes.<\/li><\/ol><figcaption class=\"plate-caption\">Escena conceptual de \u00e1rbol, recorrido y poste; no documenta un lugar ni reproduce un procedimiento ritual. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r11-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<figure class=\"iict-entre-epocas\" style=\"display:block;float:none;width:100%;max-width:1100px;margin:2rem auto\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-voladores-antes-ahora.jpg\" alt=\"Voladores: la pr\u00e1ctica actual en color se enlaza con una recreaci\u00f3n de la preparaci\u00f3n del palo volador hacia 1900.\" loading=\"lazy\" decoding=\"async\" style=\"display:block;width:100%;height:auto;max-height:none;object-fit:contain\"><figcaption style=\"display:block;font:12px\/1.6 var(--sans, sans-serif);text-align:left;margin-top:.65rem;color:#56625b\">Voladores: la pr\u00e1ctica actual en color se enlaza con una recreaci\u00f3n de la preparaci\u00f3n del palo volador hacia 1900.<\/figcaption><\/figure><h2>Papantla es una referencia, y la regi\u00f3n se abre<\/h2><p>Papantla tiene un lugar destacado, pero la ceremonia viaja m\u00e1s all\u00e1. La ficha del INAH y la presentaci\u00f3n de UNESCO reconocen su relevancia totonaca y su pr\u00e1ctica entre distintos pueblos de M\u00e9xico y Centroam\u00e9rica. El expediente menciona localidades de Veracruz, Puebla y otros territorios. Seguir esa circulaci\u00f3n permite reconocer conexiones sin atribuir a una sola ciudad la representaci\u00f3n exclusiva de quienes mantienen la pr\u00e1ctica. <a class=\"research-cite\" href=\"#r11-es-s1\">[1]<\/a><a class=\"research-cite\" href=\"#r11-es-s2\">[2]<\/a><a class=\"research-cite\" href=\"#r11-es-s3\">[3]<\/a><\/p><p>Huehuetla, en Puebla, aporta una perspectiva serrana. La fotograf\u00eda de 2022 que acompa\u00f1a este art\u00edculo est\u00e1 identificada con la fiesta del Divino Salvador de esa localidad. Conservamos ese contexto y la distinguimos de Huehuetla, Hidalgo. Una imagen fechada prueba un registro concreto: no permite deducir por s\u00ed sola el repertorio anual, el significado de cada gesto o la pertenencia institucional de sus participantes.<\/p><\/section><aside class=\"d-reading\" id=\"voladores-archivo-buil\"><p class=\"eyebrow\">Archivo fotogr\u00e1fico \u00b7 Una mirada al vuelo<\/p><h3>Los Voladores en la memoria filmada<\/h3><figure style=\"float:none;width:100%;margin:1.4rem 0\"><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/oficios-medicina-fotografia-y-educacion-comunidades-que-sostienen-saberes\/#archivo-buil-fotografias\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/Screenshot_2026-06-03-15-04-27-937_com.google.android.youtube-scaled.jpg\" alt=\"Captura documental en blanco y negro: Voladores en lo alto del poste.\" loading=\"lazy\" style=\"display:block;width:100%;height:auto;object-fit:contain\"><\/a><figcaption style=\"font-size:12px;line-height:1.6\">Captura aportada por Iv\u00e1n de la pel\u00edcula vinculada al archivo del Dr. Jos\u00e9 Buil Belenguer. Fecha de la toma por precisar.<\/figcaption><\/figure><p>La posici\u00f3n de los participantes, el poste y la espera antes del descenso adquieren otra presencia cuando se observan en una imagen filmada. La galer\u00eda re\u00fane esta escena con retratos de danzantes, vestimentas y celebraciones.<\/p><p><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/oficios-medicina-fotografia-y-educacion-comunidades-que-sostienen-saberes\/#archivo-buil-fotografias\">Ver las trece capturas y conocer el archivo de Jos\u00e9 Buil \u2192<\/a><\/p><\/aside><section id=\"r11-es-places\"><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Comparar lugares conservando sus voces\" style=\"--journal-table-min:32rem\"><table><caption>Comparar lugares conservando sus voces<\/caption><thead><tr><th scope=\"col\">Lugar<\/th><th scope=\"col\">Fuente situada<\/th><th scope=\"col\">Qu\u00e9 aporta a la lectura<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Papantla y localidades del Totonacapan<\/th><td data-label=\"Fuente situada\">Expediente 2008 [1]; ficha INAH [3].<\/td><td data-label=\"Qu\u00e9 aporta a la lectura\">Descripci\u00f3n de m\u00fasica, \u00e1rbol, preparaci\u00f3n y vuelo. La referencia emblem\u00e1tica no representa todas las variantes.<\/td><\/tr><tr><th scope=\"row\">Huehuetla, Puebla<\/th><td data-label=\"Fuente situada\">Campo 2017 [4]; fotograf\u00eda del 06.08.2022.<\/td><td data-label=\"Qu\u00e9 aporta a la lectura\">Fiesta, obligaciones y transmisi\u00f3n en contexto serrano. Las fechas y tipos de evidencia se conservan separados.<\/td><\/tr><tr><th scope=\"row\">Tamaletom, San Luis Potos\u00ed<\/th><td data-label=\"Fuente situada\">Benigno Robles, anexo 2008 [1], p 57.<\/td><td data-label=\"Qu\u00e9 aporta a la lectura\">Danza del Gavil\u00e1n relacionada por el autor con ma\u00edz y agradecimiento; no se le asigna otro calendario local.<\/td><\/tr><tr><th scope=\"row\">Santa Mar\u00eda Joyabaj, Guatemala<\/th><td data-label=\"Fuente situada\">Lorenzo Jim\u00e9nez, anexo 2008 [1], p 57.<\/td><td data-label=\"Qu\u00e9 aporta a la lectura\">Descripci\u00f3n de dos voladores y marimba: muestra por qu\u00e9 cuatro danzantes no es regla universal.<\/td><\/tr><tr><th scope=\"row\">Cuetzalan y otros lugares citados<\/th><td data-label=\"Fuente situada\">Localidades y ense\u00f1anza en el expediente [1].<\/td><td data-label=\"Qu\u00e9 aporta a la lectura\">Referencia documental fechada, no inventario de grupos activos en 2026 ni atribuci\u00f3n de un solo pueblo a todo el municipio.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><\/section><section id=\"r11-es-b2\"><h2>Lo que un estudio local permite escuchar<\/h2><p>Para acercarse a la vida de Huehuetla, Torres Sol\u00eds y sus colegas participaron en las actividades que observaban: es el m\u00e9todo de observaci\u00f3n participante. Su trabajo de campo de 2017, publicado en Textual en 2021, combin\u00f3 esa observaci\u00f3n con veinticinco entrevistas y una encuesta a 144 hogares de doce localidades. Contaron con int\u00e9rpretes biling\u00fces de Huehuetla. Hablaron con danzantes, agricultores y otras personas con responsabilidades comunitarias; la encuesta no se dirig\u00eda exclusivamente a Voladores. <a class=\"research-cite\" href=\"#r11-es-s4\">[4]<\/a><\/p><p>Entre los testimonios publicados figura el de un danzante-volador entrevistado el 28 de septiembre de 2017. Su explicaci\u00f3n relaciona el oficio con un don, obligaciones y v\u00ednculos entre tierra y cielo. La lectura local de Tapaxuwan Latamat sit\u00faa la fiesta dentro de la convivencia y el trabajo compartido. Esa voz aporta profundidad que una cifra de altura no ofrece, sin convertirse en la doctrina de todos los pueblos.<\/p><\/section><section id=\"r11-es-b3\"><h2>Trece giros, cincuenta y dos: c\u00f3mo leer una interpretaci\u00f3n<\/h2><p>El expediente de 2008 recoge una lectura que atribuye a Boturini: trece giros por cada uno de cuatro voladores se relacionan con un ciclo de cincuenta y dos a\u00f1os. La operaci\u00f3n 4 \u00d7 13 = 52 puede explicarse con claridad, pero es una interpretaci\u00f3n simb\u00f3lica citada en una compilaci\u00f3n. No acredita que cada vuelo observado tenga id\u00e9ntico n\u00famero de vueltas. <a class=\"research-cite\" href=\"#r11-es-s1\">[1]<\/a><\/p><p>Tampoco la altura es una constante regional. La descripci\u00f3n breve del expediente habla de 18 a 38 metros; la ficha institucional actual de INAH utiliza 18 a 40. Son rangos descriptivos de fuentes diferentes, no mediciones de todos los postes. Publicar una sola cifra como norma borrar\u00eda variaciones materiales y documentales que conviene conservar y estudiar. <a class=\"research-cite\" href=\"#r11-es-s1\">[1]<\/a><a class=\"research-cite\" href=\"#r11-es-s3\">[3]<\/a><\/p><\/section><figure class=\"iict-supplied-plate\" id=\"l6-voladores\" lang=\"es\" style=\"display:block;clear:both;float:none;width:100%;max-width:100%;margin:2.5rem 0;box-sizing:border-box\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/L6_voladores_1.jpg\" alt=\"La danza de los Voladores: l\u00e1mina editorial con diagramas y datos explicados en el art\u00edculo\" width=\"1430\" height=\"1078\" loading=\"lazy\" decoding=\"async\" style=\"display:block;width:100%;max-width:100%;height:auto;object-fit:contain\"><figcaption style=\"font:400 .78rem\/1.65 system-ui,sans-serif;text-align:left;padding:.8rem 0;color:#52646a\"><strong>La danza de los Voladores.<\/strong> L\u00e1mina esquem\u00e1tica del vuelo y su preparaci\u00f3n. Las alturas y la lectura de los 52 giros var\u00edan entre lugares y fuentes; el art\u00edculo sit\u00faa esas interpretaciones.<\/figcaption><details style=\"max-width:100%;font-size:.85rem\"><summary>Ampliar la l\u00e1mina para leer sus detalles<\/summary><div style=\"overflow:auto;max-width:100%;max-height:80vh\" tabindex=\"0\" aria-label=\"L\u00e1mina ampliada; desplazar para leer\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/L6_voladores_1.jpg\" alt=\"La danza de los Voladores, vista ampliada\" loading=\"lazy\" width=\"1430\" height=\"1078\" style=\"display:block;width:1430px!important;max-width:none!important;height:auto!important\"><\/div><\/details><\/figure><aside class=\"d-reading\" id=\"r11-es-52\"><p class=\"eyebrow\">Una lectura simb\u00f3lica documentada<\/p><p class=\"d-equation\">4 \u00d7 13 = 52<\/p><p>Cuatro voladores y trece giros por persona se relacionan con un ciclo calend\u00e1rico de cincuenta y dos a\u00f1os en la interpretaci\u00f3n atribuida a Boturini por el expediente de 2008 [1]. La relaci\u00f3n explica un simbolismo; no cuenta todos los vuelos ni impone una forma \u00fanica.<\/p><\/aside><section id=\"r11-es-b4\"><figure class=\"iict-plate\" id=\"iict-plate-r11-b-es\" lang=\"es\" aria-labelledby=\"iict-plate-r11-b-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 II<\/p><h3 id=\"iict-plate-r11-b-es-title\">Cuatro descensos, una interpretaci\u00f3n que debe situarse<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r11-b-es-art-title iict-plate-r11-b-es-art-desc\"><title id=\"iict-plate-r11-b-es-art-title\">Cuatro descensos, una interpretaci\u00f3n que debe situarse<\/title><desc id=\"iict-plate-r11-b-es-art-desc\">1. 13: n\u00famero de giros referido por una interpretaci\u00f3n difundida. 2. 4 \u00d7 13 = 52: relaci\u00f3n num\u00e9rica que la fuente explica. 3. Comprender el sentido requiere conservar la voz y el contexto que lo enuncian. 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cx=\"663\" cy=\"175\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"656.470993462233\" cy=\"201.4892208064948\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"638.3796905636759\" cy=\"221.91008035593842\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"612.8705907745534\" cy=\"231.58440582358907\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"585.7875214385755\" cy=\"228.29592583306865\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"563.3348873542473\" cy=\"212.79799151972531\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"550.6563164067151\" cy=\"188.6409928643908\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"550.6563164067151\" cy=\"161.35900713560923\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"563.3348873542473\" cy=\"137.20200848027469\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"585.7875214385755\" cy=\"121.70407416693136\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"612.8705907745534\" cy=\"118.41559417641092\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"638.3796905636758\" cy=\"128.08991964406155\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"656.470993462233\" cy=\"148.5107791935052\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><path d=\"M606 118 C686 125 554 210 606 224\" fill=\"none\" stroke=\"#b79b5f\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><text x=\"375\" y=\"304\" fill=\"#8e753d\" font-family=\"Georgia,serif\" font-size=\"41\" text-anchor=\"middle\">4 \u00d7 13 = 52<\/text><circle cx=\"143\" cy=\"73\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"143\" y=\"81\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"375\" cy=\"354\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"362\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"626\" cy=\"284\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"626\" y=\"292\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>13: n\u00famero de giros referido por una interpretaci\u00f3n difundida.<\/li><li>4 \u00d7 13 = 52: relaci\u00f3n num\u00e9rica que la fuente explica.<\/li><li>Comprender el sentido requiere conservar la voz y el contexto que lo enuncian.<\/li><\/ol><figcaption class=\"plate-caption\">Visualizaci\u00f3n de una interpretaci\u00f3n citada, no instrucci\u00f3n de vuelo ni significado universal de todas las comunidades. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r11-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>Voces que cambian el sentido de la comparaci\u00f3n<\/h2><p>El anexo del expediente re\u00fane relatos distintos. Benigno Robles, antrop\u00f3logo teenek, explica la Danza del Gavil\u00e1n de Tamaletom, San Luis Potos\u00ed, en relaci\u00f3n con el ma\u00edz y el agradecimiento por la cosecha. Lorenzo Jim\u00e9nez describe la variante k\u2019iche\u2019 de Santa Mar\u00eda Joyabaj, Guatemala, con dos voladores y acompa\u00f1amiento de marimba. Estas voces impiden universalizar el grupo de cuatro danzantes o una misma relaci\u00f3n musical. <a class=\"research-cite\" href=\"#r11-es-s1\">[1]<\/a><\/p><p>El mismo anexo publica narraciones solares y relatos de la sierra con referencias cristianas. La comparaci\u00f3n no busca resolver cu\u00e1l es una versi\u00f3n aut\u00e9ntica y cu\u00e1les sobran: permite reconocer c\u00f3mo se transmiten sentidos en historias concretas. Los relatos de origen se presentan como tradiciones narradas; no los convertimos en pruebas arqueol\u00f3gicas de una fecha \u00fanica ni en explicaciones autorizadas de comunidades que no hemos consultado.<\/p><\/section><figure class=\"research-visual d-portrait portrait\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r11-voladores-papantla-2013.jpg\" width=\"1280\" height=\"1707\" alt=\"Cuatro voladores descienden de un poste mientras un m\u00fasico permanece arriba, en El Taj\u00edn, Papantla.\" loading=\"eager\"><figcaption><strong>El Taj\u00edn, Papantla \u00b7 31.08.2013<\/strong>La ficha del autor sit\u00faa la fotograf\u00eda en Papantla. Un registro visual concreto no permite medir todas las vueltas ni asignar un significado universal.<br>A01298560 \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Totonacindianspapantla.jpg\">Wikimedia Commons<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/3.0\">CC BY-SA 3.0<\/a>.<\/figcaption><\/figure><section id=\"r11-es-b5\"><h2>Otras danzas comparten la fiesta, conservando diferencias<\/h2><p>El estudio de Huehuetla registra Voladores, Quetzales, Negritos, Toreadores, Huehues, Santiagueros y Miguelitos. Su coexistencia en el entorno festivo no significa que compartan instrumentos, participantes o secuencias. Una investigaci\u00f3n comparativa debe nombrar cada pr\u00e1ctica y localizar la observaci\u00f3n antes de trasladar una explicaci\u00f3n de una danza a otra. <a class=\"research-cite\" href=\"#r11-es-s4\">[4]<\/a><\/p><p>Los autores encontraron tambi\u00e9n dificultades para que nuevas generaciones continuaran la pr\u00e1ctica, con diferencias entre localidades. Esa observaci\u00f3n de 2017 no demuestra que hoy haya desaparecido en todo el municipio. La fotograf\u00eda de una celebraci\u00f3n posterior aporta una prueba de otro tipo, pero tampoco mide por s\u00ed sola una recuperaci\u00f3n. Para seguir los cambios hacen falta nuevas conversaciones, repertorios documentados en lugares concretos y seguimiento con quienes mantienen la pr\u00e1ctica.<\/p><\/section><section id=\"r11-es-b6\"><style id=\"iict-visual-essays-20261106\">\n#main figure.iict-viz{box-sizing:border-box;width:100%;max-width:100%;margin:2.3rem auto!important;padding:clamp(20px,3vw,34px)!important;border:1px solid #cfc3a9!important;border-top:3px solid #a68b46!important;border-radius:2px!important;background:linear-gradient(135deg,#fffcf4,#f5efdf)!important;color:#254761!important;box-shadow:0 18px 30px -32px #17314480;overflow:visible!important;float:none!important;clear:both;isolation:isolate;break-inside:avoid;}\n#main figure.iict-viz *,#main figure.iict-viz *::before,#main figure.iict-viz *::after{box-sizing:border-box}#main figure.iict-viz>header{display:block!important;width:100%!important;margin:0 0 1.35rem!important;padding:0!important;border:0!important;background:none!important}#main 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h4{font-size:16px!important}#main figure.iict-viz.viz-vanilla .viz-cell p{font-size:15px!important}}<\/style>\n<figure class=\"iict-viz viz-cycle\" id=\"iict-viz-r11-es\" lang=\"es\" aria-labelledby=\"iict-viz-r11-es-title\"><header><div class=\"viz-kicker\"><span>Cuadernos visuales<\/span><span>R11 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r11-es-title\">El vuelo se sostiene desde la tierra<\/h3><p>La escena visible re\u00fane capacidades que se aprenden y se cuidan.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:3\"><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><circle cx=\"140\" cy=\"31\" r=\"13\"\/><path d=\"M115 84V65q0-17 25-17t25 17v19M95 42a10 10 0 1 1 0-20M185 42a10 10 0 1 0 0-20M77 87V65q0-17 25-17M203 87V65q0-17-25-17M111 95h58\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>Preparaci\u00f3n<\/h4><p>Participantes, vestuario y responsabilidades.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M99 89Q85 36 180 14q18 80-69 75M99 89l70-61M115 72l-5-27M137 54l-4-24M128 67l39 4\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>\u00c1rbol e instalaci\u00f3n<\/h4><p>Conocimientos materiales y trabajo compartido.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M80 83V25l85-13v58M80 37l85-13\"\/><ellipse cx=\"65\" cy=\"85\" rx=\"17\" ry=\"10\"\/><ellipse cx=\"150\" cy=\"73\" rx=\"17\" ry=\"10\"\/><path d=\"M190 42q25 12 0 26M205 28q40 27 0 54\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>M\u00fasica y movimiento<\/h4><p>Funciones que se relacionan durante la ceremonia.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M140 34q-25-20-65-9v65q35-11 65 5 30-16 65-5V25q-40-11-65 9v61M91 43q20-3 34 5M91 59q20-3 34 5M155 48q17-8 34-5M155 64q17-8 34-5\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">04<\/span><h4>Transmisi\u00f3n<\/h4><p>Aprendizaje y decisiones de quienes sostienen la pr\u00e1ctica.<\/p><\/div><\/div><figcaption>Dimensiones de la descripci\u00f3n del expediente mexicano de 2008; las variantes conservan su contexto.<span class=\"viz-source\">S\u00edntesis visual original del Instituto \u00b7 <a href=\"#r11-es-sources\">Fuentes y contraste<\/a><\/span><\/figcaption><\/figure>\n<h2>La inscripci\u00f3n acompa\u00f1a una pr\u00e1ctica viva<\/h2><p>La ceremonia ritual de los Voladores fue inscrita en 2009 en la Lista Representativa del Patrimonio Cultural Inmaterial de la Humanidad. La inscripci\u00f3n hace visible un patrimonio y sus medidas de salvaguardia; no fija una coreograf\u00eda universal ni transforma a todos los grupos en una organizaci\u00f3n \u00fanica. Tampoco constituye un v\u00ednculo formal entre UNESCO, el CAI y el Instituto Totonacapan. <a class=\"research-cite\" href=\"#r11-es-s2\">[2]<\/a><a class=\"research-cite\" href=\"#r11-es-s3\">[3]<\/a><\/p><p>La Convenci\u00f3n de 2003 define un patrimonio recreado por las comunidades y pide su participaci\u00f3n activa en la gesti\u00f3n. El expediente de candidatura incluye un apartado de participaci\u00f3n y consentimiento. Aquel procedimiento documenta una candidatura concreta: una nueva grabaci\u00f3n, entrevista o colaboraci\u00f3n debe acordarse con quienes participan y respetar sus condiciones de acceso y atribuci\u00f3n. <a class=\"research-cite\" href=\"#r11-es-s1\">[1]<\/a><a class=\"research-cite\" href=\"#r11-es-s5\">[5]<\/a><\/p><\/section><figure class=\"iict-free-voladores-photo\" id=\"foto-voladores-tajin-es\" lang=\"es\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026\/11\/iict-voladores-tajin-gonzalez-2025-683x1024.jpg&#038;origen=1317&#038;idioma=es\" target=\"_blank\" rel=\"noopener\" aria-label=\"Ficha y lecturas relacionadas\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-voladores-tajin-gonzalez-2025-683x1024.jpg\" width=\"683\" height=\"1024\" alt=\"Voladores reunidos en lo alto del palo, en El Taj\u00edn, Veracruz, el 3 de enero de 2025. El encuadre permite observar la indumentaria y la disposici\u00f3n del grupo antes del descenso.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption><strong>Antes de iniciar el vuelo \u00b7 El Taj\u00edn<\/strong>Voladores reunidos en lo alto del palo, en El Taj\u00edn, Veracruz, el 3 de enero de 2025. El encuadre permite observar la indumentaria y la disposici\u00f3n del grupo antes del descenso.<span class=\"iict-photo-credit\">Giovanny Gonzalez \/ Wikimedia Commons \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a> \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Rito_de_los_Voladores,_Taj%C3%ADn.jpg\">Fuente<\/a>. Fotograf\u00eda completa; ajustada de tama\u00f1o, sin recorte.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026\/11\/iict-voladores-tajin-gonzalez-2025-683x1024.jpg&#038;origen=1317&#038;idioma=es\" target=\"_blank\" rel=\"noopener\">Ficha y lecturas relacionadas \u2192<\/a><\/figcaption><\/figure>\n<section id=\"r11-es-b7\"><h2>Transmitir un conjunto de capacidades<\/h2><p>Aprender re\u00fane cuerpo, o\u00eddo, memoria, manejo de materiales y responsabilidades. El expediente identifica escuelas y relaciones entre maestros y aprendices; la investigaci\u00f3n local muestra la conexi\u00f3n entre pr\u00e1cticas, convivencia y trabajo. La continuidad necesita personas y condiciones para aprender, adem\u00e1s de im\u00e1genes reconocibles. Un traje conservado o una fotograf\u00eda de vuelo no reemplazan ese proceso. <a class=\"research-cite\" href=\"#r11-es-s1\">[1]<\/a><a class=\"research-cite\" href=\"#r11-es-s4\">[4]<\/a><\/p><p>La siguiente documentaci\u00f3n puede seguir una ceremonia completa: qui\u00e9n convoca, qui\u00e9n ense\u00f1a, c\u00f3mo se organiza el trabajo, qu\u00e9 m\u00fasica se interpreta y qu\u00e9 se permite registrar. Esa agenda propone colaboraci\u00f3n y reconocimiento de autor\u00edas, sin anunciar un trabajo de campo todav\u00eda no realizado. Mirar de esta manera permite apreciar la belleza del vuelo junto a la comunidad de saberes que lo hace posible.<\/p><\/section><details class=\"research-evidence\" id=\"r11-es-sources\"><summary><span class=\"evidence-kicker\">Investigaci\u00f3n abierta<\/span><strong>Fuentes y contraste<\/strong><span class=\"evidence-subtitle\">Abrir el m\u00e9todo, las diferencias entre fuentes y las referencias verificables.<\/span><\/summary><div class=\"evidence-content\"><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Qu\u00e9 afirmamos, con qu\u00e9 evidencia y hasta d\u00f3nde llega.\" style=\"--journal-table-min:32rem\"><table><caption>Qu\u00e9 afirmamos, con qu\u00e9 evidencia y hasta d\u00f3nde llega.<\/caption><thead><tr><th scope=\"col\">Pregunta<\/th><th scope=\"col\">Fuentes y observaciones<\/th><th scope=\"col\">Contraste e interpretaci\u00f3n<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">\u00bfUna descripci\u00f3n general representa cada localidad?<\/th><td data-label=\"Fuentes y observaciones\">UNESCO [2] e INAH [3] presentan una s\u00edntesis. El expediente [1] re\u00fane variantes y relatos atribuidos; Torres Sol\u00eds et al. [4] estudian Huehuetla, Puebla.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Se complementan escalas. La ficha internacional no sustituye observaciones locales; un caso serrano no representa a todos los pueblos. Se conservan lugar, fecha y autor\u00eda de cada afirmaci\u00f3n.<\/td><\/tr><tr><th scope=\"row\">\u00bf52 vueltas es una regla de ejecuci\u00f3n?<\/th><td data-label=\"Fuentes y observaciones\">El expediente [1], descripci\u00f3n, recoge la relaci\u00f3n 4 \u00d7 13 = 52 atribuida a Boturini y al ciclo calend\u00e1rico. Su anexo documenta configuraciones diferentes.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Es una interpretaci\u00f3n citada, no un conteo universal. No se ha le\u00eddo directamente el original de Boturini ni medido cada vuelo. Resolver correspondencias exige observaci\u00f3n situada y fuentes hist\u00f3ricas en contexto.<\/td><\/tr><tr><th scope=\"row\">\u00bfCu\u00e1l es la altura correcta?<\/th><td data-label=\"Fuentes y observaciones\">Descripci\u00f3n breve del expediente [1]: 18\u201338 m. Ficha INAH [3]: 18\u201340 m. Ambas son formulaciones generales.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Se muestra la diferencia sin promediarla ni atribuirla a un cambio hist\u00f3rico. Ninguna mide todos los m\u00e1stiles. Para una localidad concreta har\u00eda falta registro material fechado.<\/td><\/tr><tr><th scope=\"row\">\u00bfUna voz local puede convertirse en explicaci\u00f3n \u00fanica?<\/th><td data-label=\"Fuentes y observaciones\">[1], anexo pp. 53\u201357: relatos solares y cristianos; Benigno Robles sobre Tamaletom y Lorenzo Jim\u00e9nez sobre Joyabaj. [4], p. 36: testimonio huehueteco de 2017.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Son voces y objetos distintos. Las diferencias de relato o m\u00fasica no se tratan como errores. No se impone a Tamaletom, Joyabaj o Huehuetla la interpretaci\u00f3n de otro lugar.<\/td><\/tr><tr><th scope=\"row\">\u00bfQu\u00e9 alcanza el estudio de Huehuetla?<\/th><td data-label=\"Fuentes y observaciones\">[4], pp. 19\u201320: campo 2017, 25 entrevistas y 144 hogares en doce localidades, con int\u00e9rpretes biling\u00fces. Incluye varias responsabilidades y pr\u00e1cticas, no solo Voladores.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Los resultados pertenecen al dise\u00f1o y momento del estudio. No se presentan porcentajes como censo de danzantes ni se deduce una situaci\u00f3n actual de cada localidad a partir de observaciones antiguas.<\/td><\/tr><tr><th scope=\"row\">\u00bfReconocimiento internacional demuestra relevo asegurado?<\/th><td data-label=\"Fuentes y observaciones\">Inscripci\u00f3n de 2009 [2\u20133]; investigaci\u00f3n de 2017 [4] describe dificultades de continuidad; fotograf\u00eda de Huehuetla de 2022 registra una celebraci\u00f3n posterior.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">No hay contradicci\u00f3n autom\u00e1tica: reconocimiento, diagn\u00f3stico local e imagen son evidencias diferentes. La fotograf\u00eda no mide recuperaci\u00f3n ni invalida el estudio; el estudio tampoco demuestra desaparici\u00f3n actual total.<\/td><\/tr><tr><th scope=\"row\">\u00bfEl consentimiento de una candidatura vale para cualquier uso?<\/th><td data-label=\"Fuentes y observaciones\">El expediente [1] incluye participaci\u00f3n y consentimiento de candidatura. Convenci\u00f3n [5], art. 15: participaci\u00f3n de quienes crean, mantienen y transmiten el patrimonio.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Se distingue el procedimiento de 2008 de acuerdos nuevos. Una grabaci\u00f3n o colaboraci\u00f3n futura requiere reconocer decisiones, acceso y atribuci\u00f3n de sus participantes. Ninguna de estas fuentes acredita relaci\u00f3n formal con el Instituto.<\/td><\/tr><tr><th scope=\"row\">\u00bfSalvaguardar significa congelar una coreograf\u00eda?<\/th><td data-label=\"Fuentes y observaciones\">Convenci\u00f3n [5], art. 2: patrimonio transmitido y recreado. El expediente [1] documenta ense\u00f1anza; [4] relaciona saberes y vida comunitaria.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">La continuidad se estudia en capacidades, transmisi\u00f3n y condiciones de pr\u00e1ctica. Documentar cambios no equivale a declarar p\u00e9rdida de autenticidad. No se confunde conservaci\u00f3n de objetos con viabilidad del aprendizaje.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><h3>Referencias y alcance de lectura<\/h3><ol class=\"research-sources\"><li id=\"r11-es-s1\"><a href=\"https:\/\/sic.gob.mx\/documentos\/1293.pdf\">M\u00e9xico \u00b7 Expediente t\u00e9cnico: Ceremonia Ritual de Voladores \u00b7 diciembre2008<\/a><br>Descripci\u00f3n eidentificaci\u00f3n, ppimpresas 5\u201319; \u00edndice desistemadesalvaguardia\/participaci\u00f3n yrelatosdelanexo 1, pp 53\u201357. Paginaci\u00f3n impresa distinta del PDF. No seafirma lectura de los 100 folios completos. Relatosde Benigno Robles\/Lorenzo Jim\u00e9nez como voces publicadas; no sereproducen listas de contactos.<\/li><li id=\"r11-es-s2\"><a href=\"https:\/\/ich.unesco.org\/en\/RL\/ritual-ceremony-of-the-voladores-00175?RL=00175\">UNESCO \u00b7 Ritual ceremony of the Voladores \u00b7 dossier00175 \u00b7 inscription2009<\/a><br>Ficha institucional consultada en versi\u00f3n primaria indexada; acceso directo muestra validaci\u00f3n humana. Inscripci\u00f3n en Lista Representativa 2009, decisi\u00f3n 4.COM 13.62, contrastada con INAH. No se elude elcontrol ni se atribuye afiliaci\u00f3n institucional.<\/li><li id=\"r11-es-s3\"><a href=\"https:\/\/lugares.inah.gob.mx\/es\/node\/6396\">INAH \u00b7 La ceremonia ritual de los Voladores \u00b7 ficha dePatrimonioMundial<\/a><br>Texto institucional completo consultado: pluralidad depueblos, descripci\u00f3n 18\u201340 m yreconocimiento 2009. La redacci\u00f3n general secontrasta conel expediente ycon estudios locales. No seutilizan sus im\u00e1genes sinderechos espec\u00edficos.<\/li><li id=\"r11-es-s4\"><a href=\"https:\/\/revistas.chapingo.mx\/textual\/article\/download\/r.textual.2021.77.1\/r.textual.2021.77.1\/1021\">Torres Sol\u00eds et al. \u00b7 Vida en felicidad o Tapaxuwan Latamat \u00b7 Textual78,15\u201340 \u00b7 2021 \u00b7 DOI10.5154\/r.textual.2021.77.1<\/a><br>M\u00e9todo ycontexto pp 19\u201320\/22\u201326, fiestas\/testimonio\/conclusi\u00f3n pp 35\u201337. Campo 2017:25 entrevistas,144 hogares,12 localidades; int\u00e9rpretes biling\u00fces. Testimonio dedanzante de 28.09.2017, p 36. No seatribuye al Instituto eltrabajo delosautores.<\/li><li id=\"r11-es-s5\"><a href=\"https:\/\/www.unesco.org\/en\/legal-affairs\/convention-safeguarding-intangible-cultural-heritage?hub=72609\">UNESCO \u00b7 Convention for the Safeguarding of the Intangible Cultural Heritage \u00b7 2003<\/a><br>Texto primario consultado, art\u00edculos 2,11\u201316: patrimonio recreado, transmisi\u00f3n yparticipaci\u00f3n. Se distingue norma general de evidencia desu aplicaci\u00f3n en una localidad; no es certificaci\u00f3n deproyectos del Instituto.<\/li><\/ol><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r11-es-source\" lang=\"es\"><h4>El \u00e1rbol tambi\u00e9n puede dar nombre a un lugar<\/h4><p>El relato escolar conserva una atribuci\u00f3n y una memoria del lugar. Complementa el expediente patrimonial; no acredita una especie bot\u00e1nica ni una fecha de fundaci\u00f3n administrativa.<\/p><p><a href=\"https:\/\/dgeiib.basica.sep.gob.mx\/files\/fondo-editorial\/biblioteca-escolar\/semilla-palabras\/be_semillas_00027.pdf\">SEP \u00b7 Tsakat \/ El \u00e1rbol de hule, pp. 60\u201361 \u00b7 Asunci\u00f3n Cruz Jim\u00e9nez<\/a> \u00b7 <a href=\"#iict-reading-r11-es\">Volver al pasaje<\/a><\/p><\/section>\n<\/details><nav class=\"research-related\"><a href=\"https:\/\/totonacapan.com\/?page_id=1225#research-hub-es\">Volver a Investigaciones del Totonacapan \u2192<\/a><\/nav><p class=\"research-version\">Edici\u00f3n documental \u00b7 ES \/ EN \/ FR \u00b7 05.11.2026 \u00b7 v1.0<\/p><!-- IICT-CITE R11 es --><aside class=\"iict-citation\" id=\"citar-r11-es\" aria-labelledby=\"citar-r11-es-title\"><h2 id=\"citar-r11-es-title\">C\u00f3mo citar este art\u00edculo<\/h2><p class=\"iict-citation-label\">Referencia bibliogr\u00e1fica sugerida<\/p><blockquote class=\"iict-citation-reference\">Instituto Internacional de Cultura del Totonacapan. \u00abVoladores y otras ceremonias: expresiones que cruzan pueblos\u00bb. <cite>Cuadernos de investigaci\u00f3n<\/cite>, <strong>R11<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-es\">https:\/\/totonacapan.com\/?page_id=1317#r11-es<\/a>.<\/blockquote><p><strong>Referencia interna:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-es\">R11<\/a>. Para citar un pasaje concreto, a\u00f1ade el t\u00edtulo de su secci\u00f3n.<\/p><p><a href=\"https:\/\/totonacapan.com\/?page_id=1225#normas-citacion-es\">Criterios de citaci\u00f3n del Instituto \u2192<\/a><\/p><\/aside><!-- \/IICT-CITE R11 es --><\/article><details class=\"research-lang-version\" id=\"r11-en-version\"><summary>Read the full English article<\/summary><article id=\"r11-en\" lang=\"en\"><p class=\"eyebrow\">Totonacapan Research \u00b7 Landscape and knowledge<\/p><h1>Voladores and other ceremonies: expressions across peoples<\/h1><p class=\"research-deck\">From tree to music, from learning to celebration: a reading grounded in specific places and voices of shared practices that retain their own voices and variants.<\/p><div class=\"research-abstract\"><h2>At a glance<\/h2><p>The Voladores ceremony connects preparation, music, movement and community life. Its presence among different peoples invites comparison of places, accounts and forms of transmission, without reducing them to one choreography.<\/p><p>We read Mexico\u2019s 2008 dossier, the 2009 inscription and field research in Huehuetla, Puebla. The sources distinguish a general description, a local testimony and a historical interpretation: three complementary forms of knowledge.<\/p><\/div><figure class=\"research-visual \"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-voladores-huehuetla-20261104.jpg\" width=\"1920\" height=\"1440\" alt=\"Voladores during the Divino Salvador celebration in Huehuetla,Puebla.\" loading=\"eager\"><figcaption><strong>Huehuetla, Puebla \u00b7 06.08.2022<\/strong>The source identifies this celebration with the Divino Salvador. A dated,located record retaining its documentary framing.<br>Raxa.Kame \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Ritual_de_Los_Voladores_en_Huehuetla,_Puebla.jpg\">Wikimedia Commons<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a>.<\/figcaption><\/figure><section id=\"r11-en-b0\"><h2>Looking at the ceremony from the ground<\/h2><p>The descent attracts attention, but the ceremony starts before flight. Mexico\u2019s 2008 dossier describes preparation of participants and clothing, relationships with the tree, installation work, dance and music. This sequence reveals a network of knowledge and responsibilities connecting the group with other members of the community. <a class=\"research-cite\" href=\"#r11-en-s1\">[1]<\/a><\/p><p>Every description has a place and date. The dossier itself recognises variations and includes attributed testimonies; its purpose was to present a heritage nomination. We therefore read it as a 2008 document, not an updated inventory of every group or a manual for performing a flight. Its accounts illuminate cultural relationships without replacing practitioners\u2019 training.<\/p><\/section><section id=\"r11-en-connections\"><h3>A ceremony gathers more than one moment<\/h3><ol class=\"r-flow\"><li><strong>Prepare<\/strong>Participants, clothing, music and relationships with materials and surroundings.<\/li><li><strong>Perform<\/strong>Ground dance, ascent, music and flight, according to description and group.<\/li><li><strong>Transmit<\/strong>Learning, responsibilities, memory and conditions for gathering again.<\/li><\/ol><p class=\"c-datanote\">Relationship diagram from [1,4]. Not technical instructions,an identical sequence for every people or a practice performed by the Institute.<\/p><\/section><section id=\"r11-en-b1\"><aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r11-en\" lang=\"en\" aria-labelledby=\"iict-reading-r11-en-title\"><span class=\"reading-kicker\">A closer story<\/span><h3 id=\"iict-reading-r11-en-title\">The tree can also give a place its name<\/h3><p>In a bilingual SEP schoolbook, Asunci\u00f3n Cruz Jim\u00e9nez contributes an account of the community of El Volador. It tells how elders proposed the name because trees used for flying were abundant there. The text appears in Spanish and Totonac on pages 60\u201361 of Tsakat \/ El \u00e1rbol de hule. <a class=\"reading-ref\" href=\"#iict-reading-r11-en-source\" aria-label=\"See sources and comparison\">\u2197<\/a><\/p><p>The account connects landscape, memory and a place-name. It is read as a published community narrative, not as a founding record verified here. Alongside the pole that draws the eye stand the trees remembered by people living in the territory: another way to follow the ceremony beyond its visible moment.<\/p><p class=\"reading-links\"><a href=\"https:\/\/dgeiib.basica.sep.gob.mx\/files\/fondo-editorial\/biblioteca-escolar\/semilla-palabras\/be_semillas_00027.pdf\">SEP \u00b7 Tsakat \/ El \u00e1rbol de hule, pp. 60\u201361 \u00b7 Asunci\u00f3n Cruz Jim\u00e9nez<\/a> \u00b7 <a href=\"#r11-en-sources\">Sources and comparison<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r11-a-en\" lang=\"en\" aria-labelledby=\"iict-plate-r11-a-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 I<\/p><h3 id=\"iict-plate-r11-a-en-title\">Before flight, there is also a landscape<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r11-a-en-art-title iict-plate-r11-a-en-art-desc\"><title id=\"iict-plate-r11-a-en-art-title\">Before flight, there is also a landscape<\/title><desc id=\"iict-plate-r11-a-en-art-desc\">1. The tree connects material, choice and work. 2. Transport and preparation require cooperation. 3. The ceremony continues through relationships with a place and its participants. Conceptual scene of tree, route and pole; not a record of a place or a ritual procedure.<\/desc><defs><pattern id=\"iict-plate-r11-a-en-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r11-a-en-grain)\"\/><path d=\"M20 327 Q206 265 386 310 T730 301\" fill=\"none\" stroke=\"#b5bba0\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><g transform=\"translate(128 317) scale(0.9)\"><path d=\"M-12 0 Q-6 -85 -2 -162 L10 -162 Q7 -75 19 0Z\" fill=\"#c9b394\" stroke=\"#6e6a4a\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M1 -105 L-42 -150 M5 -132 L39 -175\" fill=\"none\" stroke=\"#6e6a4a\" stroke-width=\"5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-65 -133 C-115 -143 -98 -206 -47 -208 C-34 -261 37 -267 61 -222 C118 -229 133 -155 82 -135 C45 -104 -27 -109 -65 -133Z\" fill=\"#b4bca0\" stroke=\"#7c8b66\" stroke-width=\"1.5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-78 -170 Q-30 -216 8 -188 M8 -217 Q48 -233 77 -195 M-30 -144 Q20 -174 63 -153\" fill=\"none\" stroke=\"#7c8b66\" stroke-width=\"1.3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M210 319 Q343 233 490 315\" fill=\"none\" stroke=\"#bba268\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"5 9\"\/><path d=\"M313 276 L440 259 L443 276 L315 294Z\" fill=\"#c9ad7c\" stroke=\"#8c7851\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"615\" y=\"83\" width=\"15\" height=\"242\" rx=\"6\" fill=\"#d0b47f\" stroke=\"#927c4f\" stroke-width=\"2\"\/><circle cx=\"622\" cy=\"81\" r=\"14\" fill=\"#d8c49a\" stroke=\"#927c4f\" stroke-width=\"2\"\/><circle cx=\"125\" cy=\"366\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"125\" y=\"374\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"382\" cy=\"356\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"382\" y=\"364\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"623\" cy=\"366\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"623\" y=\"374\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>The tree connects material, choice and work.<\/li><li>Transport and preparation require cooperation.<\/li><li>The ceremony continues through relationships with a place and its participants.<\/li><\/ol><figcaption class=\"plate-caption\">Conceptual scene of tree, route and pole; not a record of a place or a ritual procedure. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r11-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>Papantla is a reference point, and the region opens out<\/h2><p>INAH\u2019s entry and UNESCO\u2019s presentation recognise the Totonac importance of Papantla as well as practice among different peoples in Mexico and Central America. The dossier names localities in Veracruz and Puebla and other territories. The circulation of a ceremony reveals connections without giving one city exclusive representation of all the people who maintain the practice. <a class=\"research-cite\" href=\"#r11-en-s1\">[1]<\/a><a class=\"research-cite\" href=\"#r11-en-s2\">[2]<\/a><a class=\"research-cite\" href=\"#r11-en-s3\">[3]<\/a><\/p><p>Huehuetla, Puebla, contributes a mountain perspective. The 2022 photograph accompanying this article is identified with that locality\u2019s Divino Salvador celebration. We retain its context and distinguish it from Huehuetla, Hidalgo. A dated image records a particular occasion; it cannot alone establish the annual repertoire, the meaning of each gesture or institutional affiliation of participants.<\/p><\/section><aside class=\"d-reading\" id=\"voladores-buil-en\"><p><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/oficios-medicina-fotografia-y-educacion-comunidades-que-sostienen-saberes\/#archivo-buil-fotografias\">Photographic archive: explore thirteen film captures associated with Dr Jos\u00e9 Buil Belenguer, including Voladores, portraits and celebrations \u2192<\/a><\/p><\/aside><section id=\"r11-en-places\"><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Comparing places while retaining their voices\" style=\"--journal-table-min:32rem\"><table><caption>Comparing places while retaining their voices<\/caption><thead><tr><th scope=\"col\">Place<\/th><th scope=\"col\">Situated source<\/th><th scope=\"col\">What it contributes<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Papantla and Totonacapan localities<\/th><td data-label=\"Situated source\">2008 dossier [1]; INAH entry [3].<\/td><td data-label=\"What it contributes\">Description of music, tree, preparation and flight. Emblematic status does not represent every variant.<\/td><\/tr><tr><th scope=\"row\">Huehuetla, Puebla<\/th><td data-label=\"Situated source\">2017 fieldwork [4]; photograph 06 August 2022.<\/td><td data-label=\"What it contributes\">Celebration, obligations and transmission in a mountain setting. Dates and evidence types remain distinct.<\/td><\/tr><tr><th scope=\"row\">Tamaletom, San Luis Potos\u00ed<\/th><td data-label=\"Situated source\">Benigno Robles,2008 annex [1], p 57.<\/td><td data-label=\"What it contributes\">Gavil\u00e1n dance related by the author to maize and gratitude; no other locality\u2019s calendar is assigned.<\/td><\/tr><tr><th scope=\"row\">Santa Mar\u00eda Joyabaj, Guatemala<\/th><td data-label=\"Situated source\">Lorenzo Jim\u00e9nez,2008 annex [1], p 57.<\/td><td data-label=\"What it contributes\">Two flyers and marimba described: four dancers are not a universal rule.<\/td><\/tr><tr><th scope=\"row\">Cuetzalan and other cited places<\/th><td data-label=\"Situated source\">Localities and teaching in the dossier [1].<\/td><td data-label=\"What it contributes\">Dated documentary reference, not a 2026 active-group inventory or one identity assigned to a whole municipality.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><\/section><section id=\"r11-en-b2\"><h2>What a local study lets us hear<\/h2><p>Torres Sol\u00eds and colleagues conducted fieldwork in 2017, published in Textual in 2021. They combined participant observation (taking part in the activities they observed), twenty-five interviews and a survey of 144 households across twelve localities, supported by bilingual interpreters from Huehuetla. Their interlocutors included dancers, farmers and others with community responsibilities. This was not a survey exclusively of Voladores. <a class=\"research-cite\" href=\"#r11-en-s4\">[4]<\/a><\/p><p>The published testimonies include a dancer-volador interviewed on 28 September 2017. His account connects the role with a gift, obligations and relationships between earth and sky. The local understanding of Tapaxuwan Latamat places celebration within communal life and shared work. This voice supplies depth that a height figure cannot offer, without becoming a doctrine for every people.<\/p><\/section><section id=\"r11-en-b3\"><h2>Thirteen turns, fifty-two: reading an interpretation<\/h2><p>The 2008 dossier reproduces an interpretation attributed to Boturini: thirteen turns by each of four flyers are related to a cycle of fifty-two years. The operation 4 \u00d7 13 = 52 is straightforward to explain, but it is a symbolic interpretation cited in a compilation. It does not establish an identical number of turns for every observed flight. <a class=\"research-cite\" href=\"#r11-en-s1\">[1]<\/a><\/p><p>Height is not a regional constant either. The dossier\u2019s brief description gives 18\u201338 metres; INAH\u2019s current entry uses 18\u201340. These are descriptive ranges from different sources, not measurements of every pole. Publishing a single figure as a rule would erase material and documentary variations that deserve to be retained and studied. <a class=\"research-cite\" href=\"#r11-en-s1\">[1]<\/a><a class=\"research-cite\" href=\"#r11-en-s3\">[3]<\/a><\/p><\/section><aside class=\"d-reading\" id=\"r11-en-52\"><p class=\"eyebrow\">A documented symbolic reading<\/p><p class=\"d-equation\">4 \u00d7 13 = 52<\/p><p>Four flyers and thirteen turns each are related to a fifty-two-year calendar cycle in the interpretation attributed to Boturini by the 2008 dossier [1]. This relationship explains symbolism; it neither counts every flight nor imposes one form.<\/p><\/aside><section id=\"r11-en-b4\"><figure class=\"iict-plate\" id=\"iict-plate-r11-b-en\" lang=\"en\" aria-labelledby=\"iict-plate-r11-b-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 II<\/p><h3 id=\"iict-plate-r11-b-en-title\">Four descents, an interpretation to situate<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r11-b-en-art-title iict-plate-r11-b-en-art-desc\"><title id=\"iict-plate-r11-b-en-art-title\">Four descents, an interpretation to situate<\/title><desc id=\"iict-plate-r11-b-en-art-desc\">1. 13: the turn count given in a widely circulated interpretation. 2. 4 \u00d7 13 = 52: the numerical relationship explained by the source. 3. Understanding meaning requires retaining the speaker and context. Visualisation of a cited interpretation, not a flight instruction or a universal community meaning.<\/desc><defs><pattern id=\"iict-plate-r11-b-en-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r11-b-en-grain)\"\/><circle cx=\"144\" cy=\"175\" r=\"57\" fill=\"none\" stroke=\"#b7b99b\" stroke-width=\"1\"\/><circle cx=\"201\" cy=\"175\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"194.47099346223297\" cy=\"201.4892208064948\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"176.3796905636759\" cy=\"221.91008035593842\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"150.87059077455342\" cy=\"231.58440582358907\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" 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cx=\"396.656316406715\" cy=\"161.35900713560923\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"409.33488735424726\" cy=\"137.20200848027469\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"431.7875214385755\" cy=\"121.70407416693136\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"458.8705907745534\" cy=\"118.41559417641092\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"484.3796905636758\" cy=\"128.08991964406155\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"502.47099346223297\" cy=\"148.5107791935052\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><path d=\"M452 118 C532 125 400 210 452 224\" fill=\"none\" stroke=\"#7f9a90\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"606\" cy=\"175\" r=\"57\" fill=\"none\" stroke=\"#b7b99b\" stroke-width=\"1\"\/><circle cx=\"663\" cy=\"175\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"656.470993462233\" cy=\"201.4892208064948\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"638.3796905636759\" cy=\"221.91008035593842\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"612.8705907745534\" cy=\"231.58440582358907\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"585.7875214385755\" cy=\"228.29592583306865\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"563.3348873542473\" cy=\"212.79799151972531\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"550.6563164067151\" cy=\"188.6409928643908\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"550.6563164067151\" cy=\"161.35900713560923\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"563.3348873542473\" cy=\"137.20200848027469\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"585.7875214385755\" cy=\"121.70407416693136\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"612.8705907745534\" cy=\"118.41559417641092\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"638.3796905636758\" cy=\"128.08991964406155\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"656.470993462233\" cy=\"148.5107791935052\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><path d=\"M606 118 C686 125 554 210 606 224\" fill=\"none\" stroke=\"#b79b5f\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><text x=\"375\" y=\"304\" fill=\"#8e753d\" font-family=\"Georgia,serif\" font-size=\"41\" text-anchor=\"middle\">4 \u00d7 13 = 52<\/text><circle cx=\"143\" cy=\"73\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"143\" y=\"81\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"375\" cy=\"354\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"362\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"626\" cy=\"284\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"626\" y=\"292\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>13: the turn count given in a widely circulated interpretation.<\/li><li>4 \u00d7 13 = 52: the numerical relationship explained by the source.<\/li><li>Understanding meaning requires retaining the speaker and context.<\/li><\/ol><figcaption class=\"plate-caption\">Visualisation of a cited interpretation, not a flight instruction or a universal community meaning. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r11-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>Voices that change the comparison<\/h2><p>The dossier\u2019s annex assembles different accounts. Benigno Robles, a Teenek anthropologist, explains the Gavil\u00e1n dance of Tamaletom, San Luis Potos\u00ed, in relation to maize and gratitude for harvests. Lorenzo Jim\u00e9nez describes the K\u2019iche\u2019 variant of Santa Mar\u00eda Joyabaj, Guatemala, with two flyers and marimba accompaniment. These voices prevent us from universalising four dancers or a single musical relationship. <a class=\"research-cite\" href=\"#r11-en-s1\">[1]<\/a><\/p><p>The same annex publishes solar narratives and mountain accounts containing Christian references. Comparison is not a search for one authentic version with all others discarded: it identifies how meanings travel through particular histories. Origin accounts are presented as narrated traditions, not archaeological proof of one date or authorised explanations of communities we have not consulted.<\/p><\/section><figure class=\"research-visual d-portrait portrait\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r11-voladores-papantla-2013.jpg\" width=\"1280\" height=\"1707\" alt=\"Four flyers descend from a pole while a musician remains above,in El Taj\u00edn,Papantla.\" loading=\"eager\"><figcaption><strong>El Taj\u00edn, Papantla \u00b7 31.08.2013<\/strong>The author\u2019s record locates this photograph inPapantla. One image cannot count every turn or establish a universal meaning.<br>A01298560 \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Totonacindianspapantla.jpg\">Wikimedia Commons<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/3.0\">CC BY-SA 3.0<\/a>.<\/figcaption><\/figure><section id=\"r11-en-b5\"><h2>Other dances share celebrations and retain differences<\/h2><p>The Huehuetla study records Voladores, Quetzales, Negritos, Toreadores, Huehues, Santiagueros and Miguelitos. Coexistence in a festive setting does not mean shared instruments, participants or sequences. Comparative research must name each practice and locate the observation before transferring an explanation from one dance to another. <a class=\"research-cite\" href=\"#r11-en-s4\">[4]<\/a><\/p><p>The authors also describe difficulties with generational renewal and differences between localities. We do not equate their 2017 observations with the current disappearance of the practice throughout the municipality. A photograph of a later celebration offers another type of evidence without measuring recovery by itself. Understanding continuity and change needs new conversations, repertoires documented in specific places and follow-up with the people who maintain the practice.<\/p><\/section><section id=\"r11-en-b6\"><figure class=\"iict-viz viz-cycle\" id=\"iict-viz-r11-en\" lang=\"en\" aria-labelledby=\"iict-viz-r11-en-title\"><header><div class=\"viz-kicker\"><span>Visual notebooks<\/span><span>R11 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r11-en-title\">Flight is sustained from the ground<\/h3><p>The visible scene brings together capabilities that are learned and cared for.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:3\"><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><circle cx=\"140\" cy=\"31\" r=\"13\"\/><path d=\"M115 84V65q0-17 25-17t25 17v19M95 42a10 10 0 1 1 0-20M185 42a10 10 0 1 0 0-20M77 87V65q0-17 25-17M203 87V65q0-17-25-17M111 95h58\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>Preparation<\/h4><p>Participants, clothing and responsibilities.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M99 89Q85 36 180 14q18 80-69 75M99 89l70-61M115 72l-5-27M137 54l-4-24M128 67l39 4\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>Tree and installation<\/h4><p>Material knowledge and shared work.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M80 83V25l85-13v58M80 37l85-13\"\/><ellipse cx=\"65\" cy=\"85\" rx=\"17\" ry=\"10\"\/><ellipse cx=\"150\" cy=\"73\" rx=\"17\" ry=\"10\"\/><path d=\"M190 42q25 12 0 26M205 28q40 27 0 54\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>Music and movement<\/h4><p>Roles that relate to one another during the ceremony.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M140 34q-25-20-65-9v65q35-11 65 5 30-16 65-5V25q-40-11-65 9v61M91 43q20-3 34 5M91 59q20-3 34 5M155 48q17-8 34-5M155 64q17-8 34-5\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">04<\/span><h4>Transmission<\/h4><p>Learning and decisions by those who sustain the practice.<\/p><\/div><\/div><figcaption>Dimensions of the 2008 Mexican nomination description; variants retain their context.<span class=\"viz-source\">Original visual synthesis by the Institute \u00b7 <a href=\"#r11-en-sources\">Sources and comparison<\/a><\/span><\/figcaption><\/figure>\n<h2>Inscription accompanies a living practice<\/h2><p>The ritual ceremony of the Voladores was inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity. Inscription gives visibility to heritage and safeguarding measures; it fixes neither a universal choreography nor a single organisation for all groups. It also establishes no formal relationship between UNESCO, the CAI and the Totonacapan Institute. <a class=\"research-cite\" href=\"#r11-en-s2\">[2]<\/a><a class=\"research-cite\" href=\"#r11-en-s3\">[3]<\/a><\/p><p>The 2003 Convention defines heritage as recreated by communities and calls for their active participation in management. The nomination dossier includes a section on participation and consent. That procedure documents one nomination: any new recording, interview or collaboration should be agreed with participants and respect their conditions of access and attribution. <a class=\"research-cite\" href=\"#r11-en-s1\">[1]<\/a><a class=\"research-cite\" href=\"#r11-en-s5\">[5]<\/a><\/p><\/section><figure class=\"iict-free-voladores-photo\" id=\"foto-voladores-tajin-en\" lang=\"en\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026\/11\/iict-voladores-tajin-gonzalez-2025-683x1024.jpg&#038;origen=1317&#038;idioma=en\" target=\"_blank\" rel=\"noopener\" aria-label=\"Image record and related reading\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-voladores-tajin-gonzalez-2025-683x1024.jpg\" width=\"683\" height=\"1024\" alt=\"Voladores gathered at the top of the pole in El Taj\u00edn, Veracruz, on 3 January 2025. The photograph shows their clothing and the arrangement of the group before the descent.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption><strong>Before the flight begins \u00b7 El Taj\u00edn<\/strong>Voladores gathered at the top of the pole in El Taj\u00edn, Veracruz, on 3 January 2025. The photograph shows their clothing and the arrangement of the group before the descent.<span class=\"iict-photo-credit\">Giovanny Gonzalez \/ Wikimedia Commons \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a> \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Rito_de_los_Voladores,_Taj%C3%ADn.jpg\">Source<\/a>. Full photograph; resized, not cropped.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026\/11\/iict-voladores-tajin-gonzalez-2025-683x1024.jpg&#038;origen=1317&#038;idioma=en\" target=\"_blank\" rel=\"noopener\">Image record and related reading \u2192<\/a><\/figcaption><\/figure>\n<section id=\"r11-en-b7\"><h2>Transmitting a set of capabilities<\/h2><p>Learning brings together body, listening, memory, materials and responsibilities. The dossier identifies schools and relationships between teachers and apprentices; local research shows connections among practices, community life and work. Continuity needs people and conditions for learning as well as recognisable images. Preserved clothing or a flight photograph cannot replace that process. <a class=\"research-cite\" href=\"#r11-en-s1\">[1]<\/a><a class=\"research-cite\" href=\"#r11-en-s4\">[4]<\/a><\/p><p>Further documentation can follow a complete ceremony: who convenes it, who teaches, how work is organised, which music is played and what may be recorded. This agenda proposes collaboration and recognition of authorship without claiming fieldwork that has not yet taken place. Looking in this way allows the beauty of flight to be appreciated alongside the community of knowledge making it possible.<\/p><\/section><details class=\"research-evidence\" id=\"r11-en-sources\"><summary><span class=\"evidence-kicker\">Open research<\/span><strong>Sources and comparison<\/strong><span class=\"evidence-subtitle\">Open the methods, differences between sources and verifiable references.<\/span><\/summary><div class=\"evidence-content\"><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Claims, evidence and the reach of each finding.\" style=\"--journal-table-min:32rem\"><table><caption>Claims, evidence and the reach of each finding.<\/caption><thead><tr><th scope=\"col\">Question<\/th><th scope=\"col\">Sources and observations<\/th><th scope=\"col\">Comparison and interpretation<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Does a general description represent every locality?<\/th><td data-label=\"Sources and observations\">UNESCO [2] and INAH [3] provide a synthesis. The dossier [1] assembles variants and attributed accounts; Torres Sol\u00eds et al. [4] study Huehuetla, Puebla.<\/td><td data-label=\"Comparison and interpretation\">Scales complement each other. An international entry does not replace local observation; one mountain case does not represent every people. Place, date and authorship remain attached to each claim.<\/td><\/tr><tr><th scope=\"row\">Are 52 turns an execution rule?<\/th><td data-label=\"Sources and observations\">The dossier [1], description, reports the relationship 4 \u00d7 13 = 52 attributed to Boturini and the calendar cycle. Its annex documents other configurations.<\/td><td data-label=\"Comparison and interpretation\">This is a cited interpretation, not a universal count. We have not directly read Boturini\u2019s original or measured every flight. Establishing correspondences requires situated observation and historical sources in context.<\/td><\/tr><tr><th scope=\"row\">What is the correct height?<\/th><td data-label=\"Sources and observations\">Brief dossier description [1]:18\u201338 m. INAH entry [3]:18\u201340 m. Both are general formulations.<\/td><td data-label=\"Comparison and interpretation\">We show the difference without averaging it or attributing it to historical change. Neither measures every pole. A particular locality needs a dated material record.<\/td><\/tr><tr><th scope=\"row\">Can one local voice become the sole explanation?<\/th><td data-label=\"Sources and observations\">[1], Annexpp 53\u201357: solar and Christian accounts; Benigno Robles on Tamaletom and Lorenzo Jim\u00e9nez on Joyabaj. [4], p 36:2017 Huehuetla testimony.<\/td><td data-label=\"Comparison and interpretation\">These are different voices and objects. Narrative or musical differences are not treated as errors. No other place\u2019s interpretation is imposed on Tamaletom, Joyabaj or Huehuetla.<\/td><\/tr><tr><th scope=\"row\">What does the Huehuetla study cover?<\/th><td data-label=\"Sources and observations\">[4], pp 19\u201320:2017 fieldwork,25 interviews and 144 households in twelve localities, with bilingual interpreters. It includes several responsibilities and practices, not only Voladores.<\/td><td data-label=\"Comparison and interpretation\">Findings belong to the study\u2019s design and moment. Percentages are not a dancer census; older observations do not establish each locality\u2019s current situation.<\/td><\/tr><tr><th scope=\"row\">Does international recognition ensure generational renewal?<\/th><td data-label=\"Sources and observations\">2009 inscription [2\u20133]; 2017 research [4] describes continuity difficulties; the 2022 Huehuetla photograph records a later celebration.<\/td><td data-label=\"Comparison and interpretation\">There is no automatic contradiction: recognition, local assessment and image are different evidence. A photograph measures no recovery and does not invalidate the study; the study establishes no complete present-day disappearance either.<\/td><\/tr><tr><th scope=\"row\">Does nomination consent cover every use?<\/th><td data-label=\"Sources and observations\">The dossier [1] includes nomination participation and consent. Convention [5], Article 15: participation by those creating, maintaining and transmitting heritage.<\/td><td data-label=\"Comparison and interpretation\">The 2008 procedure is distinguished from new agreements. Future recording or collaboration requires recognising participants\u2019 decisions, access and attribution. None of these sources establishes a formal Institute relationship.<\/td><\/tr><tr><th scope=\"row\">Does safeguarding freeze a choreography?<\/th><td data-label=\"Sources and observations\">Convention [5], Article 2: transmitted and recreated heritage. The dossier [1] documents teaching; [4] relates knowledge to community life.<\/td><td data-label=\"Comparison and interpretation\">Continuity is studied through capabilities, transmission and conditions of practice. Documenting change is not declaring lost authenticity. Preserved objects do not establish viable learning.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><h3>References and reading scope<\/h3><ol class=\"research-sources\"><li id=\"r11-en-s1\"><a href=\"https:\/\/sic.gob.mx\/documentos\/1293.pdf\">M\u00e9xico \u00b7 Expediente t\u00e9cnico: Ceremonia Ritual de Voladores \u00b7 diciembre2008<\/a><br>Description and identification, printedpp 5\u201319; safeguarding\/participation contents and Annex 1 accounts, pp 53\u201357. Printed and PDFpagination differ. No claim to reading all 100 PDFpages. Benigno Robles\/Lorenzo Jim\u00e9nez treated as published voices; contact lists not reproduced.<\/li><li id=\"r11-en-s2\"><a href=\"https:\/\/ich.unesco.org\/en\/RL\/ritual-ceremony-of-the-voladores-00175?RL=00175\">UNESCO \u00b7 Ritual ceremony of the Voladores \u00b7 dossier00175 \u00b7 inscription2009<\/a><br>Institutional entry consulted in its indexed primary version; direct access shows human verification.2009 Representative List inscription, decision 4.COM 13.62, checked against INAH. No control bypass or institutional affiliation claim.<\/li><li id=\"r11-en-s3\"><a href=\"https:\/\/lugares.inah.gob.mx\/es\/node\/6396\">INAH \u00b7 La ceremonia ritual de los Voladores \u00b7 ficha dePatrimonioMundial<\/a><br>Complete institutional text consulted: multiple peoples,18\u201340 m description and 2009 recognition. General wording compared with the dossier and local research. Images are not used without specific rights.<\/li><li id=\"r11-en-s4\"><a href=\"https:\/\/revistas.chapingo.mx\/textual\/article\/download\/r.textual.2021.77.1\/r.textual.2021.77.1\/1021\">Torres Sol\u00eds et al. \u00b7 Vida en felicidad o Tapaxuwan Latamat \u00b7 Textual78,15\u201340 \u00b7 2021 \u00b7 DOI10.5154\/r.textual.2021.77.1<\/a><br>Methods\/context pp 19\u201320\/22\u201326, celebrations\/testimony\/conclusion pp 35\u201337.2017 fieldwork:25 interviews,144 households,12 localities; bilingual interpreters. Dancer testimony dated 28 September 2017, p 36. The authors\u2019 fieldwork is not attributed to the Institute.<\/li><li id=\"r11-en-s5\"><a href=\"https:\/\/www.unesco.org\/en\/legal-affairs\/convention-safeguarding-intangible-cultural-heritage?hub=72609\">UNESCO \u00b7 Convention for the Safeguarding of the Intangible Cultural Heritage \u00b7 2003<\/a><br>Primary text consulted, articles 2,11\u201316: recreated heritage, transmission and participation. General provisions are distinguished from evidence of local implementation; this is not certification of Institute projects.<\/li><\/ol><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r11-en-source\" lang=\"en\"><h4>The tree can also give a place its name<\/h4><p>The schoolbook preserves an attribution and local memory. It complements the heritage dossier without proving a botanical species or administrative founding date.<\/p><p><a href=\"https:\/\/dgeiib.basica.sep.gob.mx\/files\/fondo-editorial\/biblioteca-escolar\/semilla-palabras\/be_semillas_00027.pdf\">SEP \u00b7 Tsakat \/ El \u00e1rbol de hule, pp. 60\u201361 \u00b7 Asunci\u00f3n Cruz Jim\u00e9nez<\/a> \u00b7 <a href=\"#iict-reading-r11-en\">Return to the passage<\/a><\/p><\/section>\n<\/details><nav class=\"research-related\"><a href=\"https:\/\/totonacapan.com\/?page_id=1225#research-hub-en\">Return to Totonacapan Research \u2192<\/a><\/nav><p class=\"research-version\">Documentary edition \u00b7 ES \/ EN \/ FR \u00b7 05.11.2026 \u00b7 v1.0<\/p><!-- IICT-CITE R11 en --><aside class=\"iict-citation\" id=\"citar-r11-en\" aria-labelledby=\"citar-r11-en-title\"><h2 id=\"citar-r11-en-title\">How to cite this article<\/h2><p class=\"iict-citation-label\">Suggested bibliographic reference<\/p><blockquote class=\"iict-citation-reference\">Instituto Internacional de Cultura del Totonacapan. \u00abVoladores and other ceremonies: expressions across peoples\u00bb. <cite>Research notebooks<\/cite>, <strong>R11<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-en\">https:\/\/totonacapan.com\/?page_id=1317#r11-en<\/a>.<\/blockquote><p><strong>Internal reference:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-en\">R11<\/a>. For a specific passage, add its section title.<\/p><p><a href=\"https:\/\/totonacapan.com\/?page_id=1225#normas-citacion-en\">The Institute\u2019s citation guidance \u2192<\/a><\/p><\/aside><!-- \/IICT-CITE R11 en --><\/article><\/details><details class=\"research-lang-version\" id=\"r11-fr-version\"><summary>Lire l\u2019article int\u00e9gral en fran\u00e7ais<\/summary><article id=\"r11-fr\" lang=\"fr\"><p class=\"eyebrow\">Recherches sur le Totonacapan \u00b7 Paysages et savoirs<\/p><h1>Voladores et autres c\u00e9r\u00e9monies : des expressions qui traversent les peuples<\/h1><p class=\"research-deck\">De l\u2019arbre \u00e0 la musique, de l\u2019apprentissage \u00e0 la f\u00eate : une lecture ancr\u00e9e dans des lieux et des voix pr\u00e9cis de pratiques partag\u00e9es qui gardent leurs voix et leurs variantes.<\/p><div class=\"research-abstract\"><h2>L\u2019essentiel<\/h2><p>La c\u00e9r\u00e9monie des Voladores relie pr\u00e9paration, musique, mouvement et vie communautaire. Sa pr\u00e9sence chez plusieurs peuples invite \u00e0 comparer lieux, r\u00e9cits et transmissions sans les r\u00e9duire \u00e0 une seule chor\u00e9graphie.<\/p><p>Nous lisons le dossier mexicain de 2008, l\u2019inscription de 2009 et une recherche de terrain \u00e0 Huehuetla, Puebla. Les sources distinguent description g\u00e9n\u00e9rale, t\u00e9moignage local et interpr\u00e9tation historique : trois formes de connaissance compl\u00e9mentaires.<\/p><\/div><figure class=\"research-visual \"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-voladores-huehuetla-20261104.jpg\" width=\"1920\" height=\"1440\" alt=\"Voladores pendant la f\u00eate du Divino Salvador \u00e0Huehuetla,Puebla.\" loading=\"eager\"><figcaption><strong>Huehuetla, Puebla \u00b7 06.08.2022<\/strong>La source identifie cette f\u00eate au Divino Salvador. Enregistrement dat\u00e9 et situ\u00e9,avec cadrage documentaire conserv\u00e9.<br>Raxa.Kame \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Ritual_de_Los_Voladores_en_Huehuetla,_Puebla.jpg\">Wikimedia Commons<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a>.<\/figcaption><\/figure><section id=\"r11-fr-b0\"><h2>Regarder la c\u00e9r\u00e9monie depuis le sol<\/h2><p>La descente attire le regard, mais la c\u00e9r\u00e9monie commence avant le vol. Le dossier mexicain de 2008 d\u00e9crit pr\u00e9paration des participants et des v\u00eatements, relation \u00e0 l\u2019arbre, travail d\u2019installation, danse et musique. Cette s\u00e9quence r\u00e9v\u00e8le un r\u00e9seau de savoirs et de responsabilit\u00e9s reliant le groupe \u00e0 d\u2019autres membres de la communaut\u00e9. <a class=\"research-cite\" href=\"#r11-fr-s1\">[1]<\/a><\/p><p>Chaque description poss\u00e8de lieu et date. Le dossier reconna\u00eet lui-m\u00eame des variations et contient des t\u00e9moignages attribu\u00e9s ; il visait \u00e0 pr\u00e9senter une candidature patrimoniale. Nous le lisons donc comme document de 2008, non comme inventaire actuel de tous les groupes ou manuel de r\u00e9alisation d\u2019un vol. Ses r\u00e9cits \u00e9clairent les relations culturelles sans remplacer la formation des praticiens.<\/p><\/section><section id=\"r11-fr-connections\"><h3>La c\u00e9r\u00e9monie r\u00e9unit plusieurs moments<\/h3><ol class=\"r-flow\"><li><strong>Pr\u00e9parer<\/strong>Participants, v\u00eatements, musique et relations aux mat\u00e9riaux et aumilieu.<\/li><li><strong>Accomplir<\/strong>Danse ausol, ascension, musique et vol, selon description et groupe.<\/li><li><strong>Transmettre<\/strong>Apprentissage, responsabilit\u00e9s, m\u00e9moire et conditions pour se r\u00e9unir.<\/li><\/ol><p class=\"c-datanote\">Sch\u00e9ma de relations d\u2019apr\u00e8s [1,4]. Ni instructions techniques,s\u00e9quence identique chez tous les peuples ou pratique r\u00e9alis\u00e9e par l\u2019Institut.<\/p><\/section><section id=\"r11-fr-b1\"><aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r11-fr\" lang=\"fr\" aria-labelledby=\"iict-reading-r11-fr-title\"><span class=\"reading-kicker\">Une histoire concr\u00e8te<\/span><h3 id=\"iict-reading-r11-fr-title\">L\u2019arbre peut aussi donner son nom \u00e0 un lieu<\/h3><p>Dans un livre scolaire bilingue de la SEP, Asunci\u00f3n Cruz Jim\u00e9nez livre un r\u00e9cit sur la communaut\u00e9 d\u2019El Volador. Les a\u00een\u00e9s auraient propos\u00e9 ce nom en raison de l\u2019abondance des arbres utilis\u00e9s pour le vol. Le texte figure en espagnol et en totonaque aux pages 60\u201361 de Tsakat \/ El \u00e1rbol de hule. <a class=\"reading-ref\" href=\"#iict-reading-r11-fr-source\" aria-label=\"Voir sources et comparaison\">\u2197<\/a><\/p><p>Ce r\u00e9cit relie paysage, m\u00e9moire et nom de lieu. Il se lit comme une narration communautaire publi\u00e9e, pas comme un acte de fondation v\u00e9rifi\u00e9 ici. \u00c0 c\u00f4t\u00e9 du m\u00e2t qui attire le regard apparaissent les arbres dont se souviennent les habitants : une autre fa\u00e7on de suivre la c\u00e9r\u00e9monie au-del\u00e0 de son instant visible.<\/p><p class=\"reading-links\"><a href=\"https:\/\/dgeiib.basica.sep.gob.mx\/files\/fondo-editorial\/biblioteca-escolar\/semilla-palabras\/be_semillas_00027.pdf\">SEP \u00b7 Tsakat \/ El \u00e1rbol de hule, pp. 60\u201361 \u00b7 Asunci\u00f3n Cruz Jim\u00e9nez<\/a> \u00b7 <a href=\"#r11-fr-sources\">Sources et confrontation<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r11-a-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r11-a-fr-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Carnet illustr\u00e9 \u00b7 I<\/p><h3 id=\"iict-plate-r11-a-fr-title\">Avant le vol, il y a aussi un paysage<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r11-a-fr-art-title iict-plate-r11-a-fr-art-desc\"><title id=\"iict-plate-r11-a-fr-art-title\">Avant le vol, il y a aussi un paysage<\/title><desc id=\"iict-plate-r11-a-fr-art-desc\">1. L\u2019arbre relie mati\u00e8re, choix et travail. 2. Transporter et pr\u00e9parer demandent de coop\u00e9rer. 3. La c\u00e9r\u00e9monie se poursuit dans les relations avec un lieu et ses participants. Sc\u00e8ne conceptuelle d\u2019arbre, de parcours et de m\u00e2t ; elle ne documente pas un lieu et ne reproduit pas un protocole rituel.<\/desc><defs><pattern id=\"iict-plate-r11-a-fr-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r11-a-fr-grain)\"\/><path d=\"M20 327 Q206 265 386 310 T730 301\" fill=\"none\" stroke=\"#b5bba0\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><g transform=\"translate(128 317) scale(0.9)\"><path d=\"M-12 0 Q-6 -85 -2 -162 L10 -162 Q7 -75 19 0Z\" fill=\"#c9b394\" stroke=\"#6e6a4a\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M1 -105 L-42 -150 M5 -132 L39 -175\" fill=\"none\" stroke=\"#6e6a4a\" stroke-width=\"5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-65 -133 C-115 -143 -98 -206 -47 -208 C-34 -261 37 -267 61 -222 C118 -229 133 -155 82 -135 C45 -104 -27 -109 -65 -133Z\" fill=\"#b4bca0\" stroke=\"#7c8b66\" stroke-width=\"1.5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-78 -170 Q-30 -216 8 -188 M8 -217 Q48 -233 77 -195 M-30 -144 Q20 -174 63 -153\" fill=\"none\" stroke=\"#7c8b66\" stroke-width=\"1.3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M210 319 Q343 233 490 315\" fill=\"none\" stroke=\"#bba268\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"5 9\"\/><path d=\"M313 276 L440 259 L443 276 L315 294Z\" fill=\"#c9ad7c\" stroke=\"#8c7851\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"615\" y=\"83\" width=\"15\" height=\"242\" rx=\"6\" fill=\"#d0b47f\" stroke=\"#927c4f\" stroke-width=\"2\"\/><circle cx=\"622\" cy=\"81\" r=\"14\" fill=\"#d8c49a\" stroke=\"#927c4f\" stroke-width=\"2\"\/><circle cx=\"125\" cy=\"366\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"125\" y=\"374\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"382\" cy=\"356\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"382\" y=\"364\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"623\" cy=\"366\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"623\" y=\"374\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>L\u2019arbre relie mati\u00e8re, choix et travail.<\/li><li>Transporter et pr\u00e9parer demandent de coop\u00e9rer.<\/li><li>La c\u00e9r\u00e9monie se poursuit dans les relations avec un lieu et ses participants.<\/li><\/ol><figcaption class=\"plate-caption\">Sc\u00e8ne conceptuelle d\u2019arbre, de parcours et de m\u00e2t ; elle ne documente pas un lieu et ne reproduit pas un protocole rituel. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r11-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>Papantla est un rep\u00e8re, et la r\u00e9gion s\u2019ouvre<\/h2><p>La notice de l\u2019INAH et la pr\u00e9sentation de l\u2019UNESCO reconnaissent l\u2019importance totonaque de Papantla, ainsi que la pratique chez diff\u00e9rents peuples du Mexique et d\u2019Am\u00e9rique centrale. Le dossier cite des localit\u00e9s du Veracruz et de Puebla, mais aussi d\u2019autres territoires. La circulation d\u2019une c\u00e9r\u00e9monie r\u00e9v\u00e8le des liens sans attribuer \u00e0 une ville la repr\u00e9sentation exclusive de toutes les personnes qui font vivre la pratique. <a class=\"research-cite\" href=\"#r11-fr-s1\">[1]<\/a><a class=\"research-cite\" href=\"#r11-fr-s2\">[2]<\/a><a class=\"research-cite\" href=\"#r11-fr-s3\">[3]<\/a><\/p><p>Huehuetla, dans le Puebla, apporte une perspective de montagne. La photographie de 2022 accompagnant cet article est identifi\u00e9e \u00e0 la f\u00eate du Divino Salvador de cette localit\u00e9. Nous conservons ce contexte et la distinguons de Huehuetla, Hidalgo. Une image dat\u00e9e enregistre une occasion pr\u00e9cise ; elle n\u2019\u00e9tablit \u00e0 elle seule ni r\u00e9pertoire annuel, ni signification de chaque geste, ni affiliation institutionnelle des participants.<\/p><\/section><aside class=\"d-reading\" id=\"voladores-buil-fr\"><p><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/oficios-medicina-fotografia-y-educacion-comunidades-que-sostienen-saberes\/#archivo-buil-fotografias\">Archives photographiques : d\u00e9couvrir treize captures du film associ\u00e9 au Dr Jos\u00e9 Buil Belenguer, dont les Voladores, des portraits et des f\u00eates \u2192<\/a><\/p><\/aside><section id=\"r11-fr-places\"><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Comparer les lieux en conservant leurs voix\" style=\"--journal-table-min:32rem\"><table><caption>Comparer les lieux en conservant leurs voix<\/caption><thead><tr><th scope=\"col\">Lieu<\/th><th scope=\"col\">Source situ\u00e9e<\/th><th scope=\"col\">Apport \u00e0la lecture<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Papantla et localit\u00e9s du Totonacapan<\/th><td data-label=\"Source situ\u00e9e\">Dossier 2008 [1] ; notice INAH [3].<\/td><td data-label=\"Apport \u00e0la lecture\">Musique, arbre, pr\u00e9paration et vol. La r\u00e9f\u00e9rence embl\u00e9matique ne repr\u00e9sente pas toutes les variantes.<\/td><\/tr><tr><th scope=\"row\">Huehuetla, Puebla<\/th><td data-label=\"Source situ\u00e9e\">Terrain 2017 [4] ; photographie 06.08.2022.<\/td><td data-label=\"Apport \u00e0la lecture\">F\u00eate, obligations et transmission en montagne. Dates et types depreuves restent distincts.<\/td><\/tr><tr><th scope=\"row\">Tamaletom, San Luis Potos\u00ed<\/th><td data-label=\"Source situ\u00e9e\">Benigno Robles, annexe 2008 [1], p 57.<\/td><td data-label=\"Apport \u00e0la lecture\">Danse du Gavil\u00e1n reli\u00e9e par l\u2019auteur au ma\u00efs et \u00e0la gratitude ; aucun calendrier d\u2019un autre lieu impos\u00e9.<\/td><\/tr><tr><th scope=\"row\">Santa Mar\u00eda Joyabaj, Guatemala<\/th><td data-label=\"Source situ\u00e9e\">Lorenzo Jim\u00e9nez, annexe 2008 [1], p 57.<\/td><td data-label=\"Apport \u00e0la lecture\">Deux voladores et marimba d\u00e9crits : quatre danseurs ne sont pas une r\u00e8gle universelle.<\/td><\/tr><tr><th scope=\"row\">Cuetzalan et autres lieux cit\u00e9s<\/th><td data-label=\"Source situ\u00e9e\">Localit\u00e9s et enseignement dans le dossier [1].<\/td><td data-label=\"Apport \u00e0la lecture\">R\u00e9f\u00e9rence documentaire dat\u00e9e, non inventaire des groupes actifs en 2026 ou identit\u00e9 unique attribu\u00e9e \u00e0une municipalit\u00e9.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><\/section><section id=\"r11-fr-b2\"><h2>Ce qu\u2019une \u00e9tude locale permet d\u2019entendre<\/h2><p>Torres Sol\u00eds et ses coll\u00e8gues ont men\u00e9 un terrain en 2017, publi\u00e9 dans Textual en 2021. Ils associent observation participante (en prenant part aux activit\u00e9s observ\u00e9es), vingt-cinq entretiens et enqu\u00eate aupr\u00e8s de 144 foyers dans douze localit\u00e9s, avec l\u2019aide d\u2019interpr\u00e8tes bilingues de Huehuetla. Les interlocuteurs comprennent des danseurs, agriculteurs et personnes ayant d\u2019autres responsabilit\u00e9s communautaires. Ce n\u2019est pas une enqu\u00eate exclusivement consacr\u00e9e aux Voladores. <a class=\"research-cite\" href=\"#r11-fr-s4\">[4]<\/a><\/p><p>Parmi les t\u00e9moignages publi\u00e9s figure celui d\u2019un danseur-volador interrog\u00e9 le 28 septembre 2017. Son explication relie la fonction \u00e0 un don, des obligations et des relations entre terre et ciel. La compr\u00e9hension locale de Tapaxuwan Latamat situe la f\u00eate dans la vie collective et le travail partag\u00e9. Cette voix apporte une profondeur qu\u2019une mesure de hauteur n\u2019offre pas, sans devenir doctrine de tous les peuples.<\/p><\/section><section id=\"r11-fr-b3\"><h2>Treize tours, cinquante-deux : lire une interpr\u00e9tation<\/h2><p>Le dossier de 2008 reprend une lecture attribu\u00e9e \u00e0 Boturini : treize tours pour chacun des quatre voladores sont reli\u00e9s \u00e0 un cycle de cinquante-deux ans. L\u2019op\u00e9ration 4 \u00d7 13 = 52 s\u2019explique clairement, mais reste une interpr\u00e9tation symbolique cit\u00e9e dans une compilation. Elle ne prouve pas que chaque vol observ\u00e9 comporte le m\u00eame nombre de tours. <a class=\"research-cite\" href=\"#r11-fr-s1\">[1]<\/a><\/p><p>La hauteur n\u2019est pas non plus une constante r\u00e9gionale. La description br\u00e8ve du dossier indique 18 \u00e0 38 m\u00e8tres ; la notice actuelle de l\u2019INAH utilise 18 \u00e0 40. Ce sont des intervalles descriptifs de sources diff\u00e9rentes, non des mesures de tous les m\u00e2ts. Publier un chiffre unique comme norme effacerait des variations mat\u00e9rielles et documentaires qu\u2019il convient de conserver et d\u2019\u00e9tudier. <a class=\"research-cite\" href=\"#r11-fr-s1\">[1]<\/a><a class=\"research-cite\" href=\"#r11-fr-s3\">[3]<\/a><\/p><\/section><aside class=\"d-reading\" id=\"r11-fr-52\"><p class=\"eyebrow\">Une lecture symbolique document\u00e9e<\/p><p class=\"d-equation\">4 \u00d7 13 = 52<\/p><p>Quatre voladores et treize tours chacun sont reli\u00e9s \u00e0un cycle calendaire de cinquante-deux ans dans l\u2019interpr\u00e9tation attribu\u00e9e \u00e0Boturini par le dossier2008 [1]. La relation explique un symbolisme ; elle ne compte pas tous les vols et n\u2019impose pas une forme unique.<\/p><\/aside><section id=\"r11-fr-b4\"><figure class=\"iict-plate\" id=\"iict-plate-r11-b-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r11-b-fr-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Carnet illustr\u00e9 \u00b7 II<\/p><h3 id=\"iict-plate-r11-b-fr-title\">Quatre descentes, une interpr\u00e9tation \u00e0 situer<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r11-b-fr-art-title iict-plate-r11-b-fr-art-desc\"><title id=\"iict-plate-r11-b-fr-art-title\">Quatre descentes, une interpr\u00e9tation \u00e0 situer<\/title><desc id=\"iict-plate-r11-b-fr-art-desc\">1. 13 : nombre de tours donn\u00e9 par une interpr\u00e9tation diffus\u00e9e. 2. 4 \u00d7 13 = 52 : relation num\u00e9rique expliqu\u00e9e par la source. 3. Comprendre le sens demande de conserver la voix et son contexte. Visualisation d\u2019une interpr\u00e9tation cit\u00e9e, non consigne de vol ni signification universelle.<\/desc><defs><pattern id=\"iict-plate-r11-b-fr-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r11-b-fr-grain)\"\/><circle cx=\"144\" cy=\"175\" r=\"57\" fill=\"none\" stroke=\"#b7b99b\" stroke-width=\"1\"\/><circle cx=\"201\" cy=\"175\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"194.47099346223297\" cy=\"201.4892208064948\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"176.3796905636759\" cy=\"221.91008035593842\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"150.87059077455342\" cy=\"231.58440582358907\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" 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cx=\"396.656316406715\" cy=\"161.35900713560923\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"409.33488735424726\" cy=\"137.20200848027469\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"431.7875214385755\" cy=\"121.70407416693136\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"458.8705907745534\" cy=\"118.41559417641092\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"484.3796905636758\" cy=\"128.08991964406155\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"502.47099346223297\" cy=\"148.5107791935052\" r=\"5\" fill=\"#7f9a90\" stroke=\"none\" stroke-width=\"0\"\/><path d=\"M452 118 C532 125 400 210 452 224\" fill=\"none\" stroke=\"#7f9a90\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"606\" cy=\"175\" r=\"57\" fill=\"none\" stroke=\"#b7b99b\" stroke-width=\"1\"\/><circle cx=\"663\" cy=\"175\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"656.470993462233\" cy=\"201.4892208064948\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"638.3796905636759\" cy=\"221.91008035593842\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"612.8705907745534\" cy=\"231.58440582358907\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"585.7875214385755\" cy=\"228.29592583306865\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"563.3348873542473\" cy=\"212.79799151972531\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"550.6563164067151\" cy=\"188.6409928643908\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"550.6563164067151\" cy=\"161.35900713560923\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"563.3348873542473\" cy=\"137.20200848027469\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"585.7875214385755\" cy=\"121.70407416693136\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"612.8705907745534\" cy=\"118.41559417641092\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"638.3796905636758\" cy=\"128.08991964406155\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><circle cx=\"656.470993462233\" cy=\"148.5107791935052\" r=\"5\" fill=\"#b79b5f\" stroke=\"none\" stroke-width=\"0\"\/><path d=\"M606 118 C686 125 554 210 606 224\" fill=\"none\" stroke=\"#b79b5f\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><text x=\"375\" y=\"304\" fill=\"#8e753d\" font-family=\"Georgia,serif\" font-size=\"41\" text-anchor=\"middle\">4 \u00d7 13 = 52<\/text><circle cx=\"143\" cy=\"73\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"143\" y=\"81\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"375\" cy=\"354\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"362\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"626\" cy=\"284\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"626\" y=\"292\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>13 : nombre de tours donn\u00e9 par une interpr\u00e9tation diffus\u00e9e.<\/li><li>4 \u00d7 13 = 52 : relation num\u00e9rique expliqu\u00e9e par la source.<\/li><li>Comprendre le sens demande de conserver la voix et son contexte.<\/li><\/ol><figcaption class=\"plate-caption\">Visualisation d\u2019une interpr\u00e9tation cit\u00e9e, non consigne de vol ni signification universelle. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r11-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>Des voix qui changent la comparaison<\/h2><p>L\u2019annexe du dossier r\u00e9unit des r\u00e9cits diff\u00e9rents. Benigno Robles, anthropologue teenek, explique la danse du Gavil\u00e1n de Tamaletom, San Luis Potos\u00ed, en relation avec le ma\u00efs et la gratitude pour les r\u00e9coltes. Lorenzo Jim\u00e9nez d\u00e9crit la variante k\u2019iche\u2019 de Santa Mar\u00eda Joyabaj, Guatemala, avec deux voladores et un accompagnement de marimba. Ces voix emp\u00eachent d\u2019universaliser quatre danseurs ou une relation musicale unique. <a class=\"research-cite\" href=\"#r11-fr-s1\">[1]<\/a><\/p><p>La m\u00eame annexe publie des r\u00e9cits solaires et des traditions de montagne comportant des r\u00e9f\u00e9rences chr\u00e9tiennes. Comparer ne consiste pas \u00e0 choisir une version authentique et \u00e0 \u00e9carter toutes les autres : il s\u2019agit de reconna\u00eetre comment les sens se transmettent dans des histoires pr\u00e9cises. Les r\u00e9cits d\u2019origine restent des traditions racont\u00e9es, non des preuves arch\u00e9ologiques d\u2019une date unique ou des explications autoris\u00e9es de communaut\u00e9s non consult\u00e9es.<\/p><\/section><figure class=\"research-visual d-portrait portrait\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r11-voladores-papantla-2013.jpg\" width=\"1280\" height=\"1707\" alt=\"Quatre voladores descendent d\u2019un m\u00e2t tandis qu\u2019un musicien reste enhaut,\u00e0El Taj\u00edn,Papantla.\" loading=\"eager\"><figcaption><strong>El Taj\u00edn, Papantla \u00b7 31.08.2013<\/strong>La notice del\u2019auteur situe la photographie \u00e0Papantla. Une image ne mesure pas tous les tours et n\u2019\u00e9tablit pas un sens universel.<br>A01298560 \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Totonacindianspapantla.jpg\">Wikimedia Commons<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/3.0\">CC BY-SA 3.0<\/a>.<\/figcaption><\/figure><section id=\"r11-fr-b5\"><h2>D\u2019autres danses partagent la f\u00eate et gardent leurs diff\u00e9rences<\/h2><p>L\u2019\u00e9tude de Huehuetla recense Voladores, Quetzales, Negritos, Toreadores, Huehues, Santiagueros et Miguelitos. Leur coexistence dans le cadre festif ne signifie pas qu\u2019ils partagent instruments, participants ou s\u00e9quences. Une recherche comparative doit nommer chaque pratique et localiser l\u2019observation avant de transf\u00e9rer une explication d\u2019une danse \u00e0 l\u2019autre. <a class=\"research-cite\" href=\"#r11-fr-s4\">[4]<\/a><\/p><p>Les auteurs d\u00e9crivent aussi des difficult\u00e9s de rel\u00e8ve g\u00e9n\u00e9rationnelle et des diff\u00e9rences entre localit\u00e9s. Nous n\u2019assimilons pas leur observation de 2017 \u00e0 une disparition actuelle dans toute la municipalit\u00e9. La photographie d\u2019une f\u00eate ult\u00e9rieure apporte un autre type de preuve, sans mesurer \u00e0 elle seule une reprise. Comprendre continuit\u00e9s et changements demande de nouvelles conversations, des r\u00e9pertoires document\u00e9s dans des lieux pr\u00e9cis et un suivi avec les personnes qui font vivre la pratique.<\/p><\/section><section id=\"r11-fr-b6\"><figure class=\"iict-viz viz-cycle\" id=\"iict-viz-r11-fr\" lang=\"fr\" aria-labelledby=\"iict-viz-r11-fr-title\"><header><div class=\"viz-kicker\"><span>Carnets visuels<\/span><span>R11 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r11-fr-title\">Le vol se pr\u00e9pare aussi depuis le sol<\/h3><p>La sc\u00e8ne visible r\u00e9unit des capacit\u00e9s qui s\u2019apprennent et s\u2019entretiennent.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:3\"><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><circle cx=\"140\" cy=\"31\" r=\"13\"\/><path d=\"M115 84V65q0-17 25-17t25 17v19M95 42a10 10 0 1 1 0-20M185 42a10 10 0 1 0 0-20M77 87V65q0-17 25-17M203 87V65q0-17-25-17M111 95h58\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>Pr\u00e9paration<\/h4><p>Participants, v\u00eatements et responsabilit\u00e9s.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M99 89Q85 36 180 14q18 80-69 75M99 89l70-61M115 72l-5-27M137 54l-4-24M128 67l39 4\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>Arbre et installation<\/h4><p>Connaissances mat\u00e9rielles et travail partag\u00e9.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M80 83V25l85-13v58M80 37l85-13\"\/><ellipse cx=\"65\" cy=\"85\" rx=\"17\" ry=\"10\"\/><ellipse cx=\"150\" cy=\"73\" rx=\"17\" ry=\"10\"\/><path d=\"M190 42q25 12 0 26M205 28q40 27 0 54\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>Musique et mouvement<\/h4><p>Des fonctions qui se r\u00e9pondent pendant la c\u00e9r\u00e9monie.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M140 34q-25-20-65-9v65q35-11 65 5 30-16 65-5V25q-40-11-65 9v61M91 43q20-3 34 5M91 59q20-3 34 5M155 48q17-8 34-5M155 64q17-8 34-5\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">04<\/span><h4>Transmission<\/h4><p>Apprentissage et d\u00e9cisions de celles et ceux qui font vivre la pratique.<\/p><\/div><\/div><figcaption>Dimensions d\u00e9crites dans le dossier mexicain de 2008 ; les variantes gardent leur contexte.<span class=\"viz-source\">Synth\u00e8se visuelle originale de l\u2019Institut \u00b7 <a href=\"#r11-fr-sources\">Sources et confrontation<\/a><\/span><\/figcaption><\/figure>\n<h2>L\u2019inscription accompagne une pratique vivante<\/h2><p>La c\u00e9r\u00e9monie rituelle des Voladores a \u00e9t\u00e9 inscrite en 2009 sur la Liste repr\u00e9sentative du patrimoine culturel immat\u00e9riel de l\u2019humanit\u00e9. L\u2019inscription rend visibles patrimoine et mesures de sauvegarde ; elle ne fixe ni chor\u00e9graphie universelle ni organisation unique pour tous les groupes. Elle n\u2019\u00e9tablit pas non plus de relation formelle entre UNESCO, CAI et Institut Totonacapan. <a class=\"research-cite\" href=\"#r11-fr-s2\">[2]<\/a><a class=\"research-cite\" href=\"#r11-fr-s3\">[3]<\/a><\/p><p>La Convention de 2003 d\u00e9finit un patrimoine recr\u00e9\u00e9 par les communaut\u00e9s et demande leur participation active \u00e0 sa gestion. Le dossier de candidature comprend une rubrique participation et consentement. Cette proc\u00e9dure documente une candidature pr\u00e9cise : tout nouvel enregistrement, entretien ou partenariat doit \u00eatre convenu avec les participants et respecter leurs conditions d\u2019acc\u00e8s et d\u2019attribution. <a class=\"research-cite\" href=\"#r11-fr-s1\">[1]<\/a><a class=\"research-cite\" href=\"#r11-fr-s5\">[5]<\/a><\/p><\/section><figure class=\"iict-free-voladores-photo\" id=\"foto-voladores-tajin-fr\" lang=\"fr\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026\/11\/iict-voladores-tajin-gonzalez-2025-683x1024.jpg&#038;origen=1317&#038;idioma=fr\" target=\"_blank\" rel=\"noopener\" aria-label=\"Fiche et lectures associ\u00e9es\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-voladores-tajin-gonzalez-2025-683x1024.jpg\" width=\"683\" height=\"1024\" alt=\"Voladores r\u00e9unis au sommet du m\u00e2t \u00e0 El Taj\u00edn, Veracruz, le 3 janvier 2025. La photographie montre leurs v\u00eatements et la disposition du groupe avant la descente.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption><strong>Avant le d\u00e9but du vol \u00b7 El Taj\u00edn<\/strong>Voladores r\u00e9unis au sommet du m\u00e2t \u00e0 El Taj\u00edn, Veracruz, le 3 janvier 2025. La photographie montre leurs v\u00eatements et la disposition du groupe avant la descente.<span class=\"iict-photo-credit\">Giovanny Gonzalez \/ Wikimedia Commons \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a> \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Rito_de_los_Voladores,_Taj%C3%ADn.jpg\">Source<\/a>. Photographie enti\u00e8re ; redimensionn\u00e9e, sans recadrage.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026\/11\/iict-voladores-tajin-gonzalez-2025-683x1024.jpg&#038;origen=1317&#038;idioma=fr\" target=\"_blank\" rel=\"noopener\">Fiche et lectures associ\u00e9es \u2192<\/a><\/figcaption><\/figure>\n<section id=\"r11-fr-b7\"><h2>Transmettre un ensemble de capacit\u00e9s<\/h2><p>Apprendre r\u00e9unit corps, \u00e9coute, m\u00e9moire, mat\u00e9riaux et responsabilit\u00e9s. Le dossier identifie des \u00e9coles et des relations entre ma\u00eetres et apprentis ; l\u2019enqu\u00eate locale montre les liens entre pratiques, vie collective et travail. La continuit\u00e9 exige des personnes et des conditions d\u2019apprentissage, au-del\u00e0 des images reconnaissables. Un v\u00eatement conserv\u00e9 ou une photographie de vol ne remplace pas ce processus. <a class=\"research-cite\" href=\"#r11-fr-s1\">[1]<\/a><a class=\"research-cite\" href=\"#r11-fr-s4\">[4]<\/a><\/p><p>La prochaine documentation pourra suivre une c\u00e9r\u00e9monie compl\u00e8te : qui convoque, qui enseigne, comment le travail s\u2019organise, quelle musique est jou\u00e9e et ce qui peut \u00eatre enregistr\u00e9. Cette d\u00e9marche propose collaboration et reconnaissance des auteurs sans annoncer un terrain non encore r\u00e9alis\u00e9. Elle permet d\u2019appr\u00e9cier la beaut\u00e9 du vol avec la communaut\u00e9 de savoirs qui le rend possible.<\/p><\/section><details class=\"research-evidence\" id=\"r11-fr-sources\"><summary><span class=\"evidence-kicker\">Recherche ouverte<\/span><strong>Sources et confrontation<\/strong><span class=\"evidence-subtitle\">D\u00e9ployer la m\u00e9thode, les diff\u00e9rences entre sources et les r\u00e9f\u00e9rences v\u00e9rifiables.<\/span><\/summary><div class=\"evidence-content\"><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Affirmations, \u00e9l\u00e9ments probants et port\u00e9e de chaque r\u00e9sultat.\" style=\"--journal-table-min:32rem\"><table><caption>Affirmations, \u00e9l\u00e9ments probants et port\u00e9e de chaque r\u00e9sultat.<\/caption><thead><tr><th scope=\"col\">Question<\/th><th scope=\"col\">Sources et observations<\/th><th scope=\"col\">Confrontation et interpr\u00e9tation<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Une description g\u00e9n\u00e9rale repr\u00e9sente-t-elle chaque localit\u00e9 ?<\/th><td data-label=\"Sources et observations\">UNESCO [2] et INAH [3] proposent une synth\u00e8se. Le dossier [1] r\u00e9unit variantes et r\u00e9cits attribu\u00e9s ; Torres Sol\u00eds et al. [4] \u00e9tudient Huehuetla, Puebla.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Les \u00e9chelles se compl\u00e8tent. Une notice internationale ne remplace pas l\u2019observation locale ; un cas de montagne ne repr\u00e9sente pas tous les peuples. Lieu, date et attribution restent li\u00e9s \u00e0 chaque affirmation.<\/td><\/tr><tr><th scope=\"row\">52 tours est-il une r\u00e8gle d\u2019ex\u00e9cution ?<\/th><td data-label=\"Sources et observations\">Le dossier [1], description, reprend 4 \u00d7 13 = 52, relation attribu\u00e9e \u00e0Boturini et au cycle calendaire. Son annexe documente d\u2019autres configurations.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Interpr\u00e9tation cit\u00e9e, non comptage universel. Nous n\u2019avons ni lu directement l\u2019original de Boturini ni mesur\u00e9 chaque vol. Il faut observation situ\u00e9e et sources historiques en contexte.<\/td><\/tr><tr><th scope=\"row\">Quelle est la bonne hauteur ?<\/th><td data-label=\"Sources et observations\">Description br\u00e8ve du dossier [1] :18\u201338 m. Notice INAH [3] :18\u201340 m. Deux formulations g\u00e9n\u00e9rales.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">L\u2019\u00e9cart est montr\u00e9 sans moyenne ni attribution \u00e0 un changement historique. Aucune source ne mesure tous les m\u00e2ts. Une localit\u00e9 pr\u00e9cise demande un relev\u00e9 mat\u00e9riel dat\u00e9.<\/td><\/tr><tr><th scope=\"row\">Une voix locale peut-elle devenir explication unique ?<\/th><td data-label=\"Sources et observations\">[1], annexepp 53\u201357 : r\u00e9cits solaires et chr\u00e9tiens ; Benigno Robles sur Tamaletom, Lorenzo Jim\u00e9nez sur Joyabaj. [4], p 36 : t\u00e9moignage de Huehuetla en 2017.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Voix et objets diff\u00e8rent. Les diff\u00e9rences de r\u00e9cit ou musique ne sont pas des erreurs. On n\u2019impose \u00e0Tamaletom, Joyabaj ou Huehuetla l\u2019interpr\u00e9tation d\u2019un autre lieu.<\/td><\/tr><tr><th scope=\"row\">Quelle est la port\u00e9e de l\u2019\u00e9tude de Huehuetla ?<\/th><td data-label=\"Sources et observations\">[4], pp 19\u201320 : terrain 2017,25 entretiens,144 foyers dans douze localit\u00e9s, avec interpr\u00e8tes bilingues. Plusieurs responsabilit\u00e9s et pratiques sont incluses, pas seulement les Voladores.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Les r\u00e9sultats appartiennent au dispositif et au moment de l\u2019\u00e9tude. Les pourcentages ne sont pas un recensement des danseurs ; des observations anciennes n\u2019\u00e9tablissent pas la situation actuelle de chaque lieu.<\/td><\/tr><tr><th scope=\"row\">La reconnaissance internationale assure-t-elle la rel\u00e8ve ?<\/th><td data-label=\"Sources et observations\">Inscription 2009 [2\u20133] ; enqu\u00eate 2017 [4] d\u00e9crivant des difficult\u00e9s ; photographie de Huehuetla 2022 enregistrant une f\u00eate ult\u00e9rieure.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Aucune contradiction automatique : reconnaissance, diagnostic et image sont des preuves diff\u00e9rentes. Une photographie ne mesure pas une reprise et n\u2019invalide pas l\u2019\u00e9tude ; celle-ci ne prouve pas non plus une disparition actuelle totale.<\/td><\/tr><tr><th scope=\"row\">Le consentement \u00e0 une candidature couvre-t-il tout usage ?<\/th><td data-label=\"Sources et observations\">Le dossier [1] inclut participation et consentement de candidature. Convention [5], art.15 : participation des personnes qui cr\u00e9ent, maintiennent et transmettent.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">La proc\u00e9dure 2008 est distingu\u00e9e des nouveaux accords. Un futur enregistrement ou partenariat doit reconna\u00eetre d\u00e9cisions, acc\u00e8s et attribution des participants. Aucune source n\u2019\u00e9tablit de relation formelle avec l\u2019Institut.<\/td><\/tr><tr><th scope=\"row\">Sauvegarder signifie-t-il figer une chor\u00e9graphie ?<\/th><td data-label=\"Sources et observations\">Convention [5], art.2 : patrimoine transmis et recr\u00e9\u00e9. Le dossier [1] documente l\u2019enseignement ; [4] relie savoirs et vie communautaire.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">La continuit\u00e9 s\u2019\u00e9tudie par capacit\u00e9s, transmission et conditions de pratique. Documenter un changement ne signifie pas perte d\u2019authenticit\u00e9. Conserver des objets n\u2019assure pas la viabilit\u00e9 de l\u2019apprentissage.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><h3>R\u00e9f\u00e9rences et p\u00e9rim\u00e8tre de lecture<\/h3><ol class=\"research-sources\"><li id=\"r11-fr-s1\"><a href=\"https:\/\/sic.gob.mx\/documentos\/1293.pdf\">M\u00e9xico \u00b7 Expediente t\u00e9cnico: Ceremonia Ritual de Voladores \u00b7 diciembre2008<\/a><br>Description etidentification, ppimprim\u00e9es 5\u201319 ; sommaire sauvegarde\/participation etr\u00e9cits del\u2019annexe 1, pp 53\u201357. Pagination imprim\u00e9e distincte du PDF. Aucune lecture int\u00e9grale des 100 pages affirm\u00e9e. Benigno Robles\/Lorenzo Jim\u00e9nez comme voix publi\u00e9es ; aucune liste decontacts reproduite.<\/li><li id=\"r11-fr-s2\"><a href=\"https:\/\/ich.unesco.org\/en\/RL\/ritual-ceremony-of-the-voladores-00175?RL=00175\">UNESCO \u00b7 Ritual ceremony of the Voladores \u00b7 dossier00175 \u00b7 inscription2009<\/a><br>Notice institutionnelle consult\u00e9e dans sa version primaire index\u00e9e ; acc\u00e8s direct soumis \u00e0 v\u00e9rification humaine. Inscription 2009, d\u00e9cision 4.COM 13.62, confront\u00e9e \u00e0l\u2019INAH. Aucun contournement ou lien institutionnel affirm\u00e9.<\/li><li id=\"r11-fr-s3\"><a href=\"https:\/\/lugares.inah.gob.mx\/es\/node\/6396\">INAH \u00b7 La ceremonia ritual de los Voladores \u00b7 ficha dePatrimonioMundial<\/a><br>Texte institutionnel int\u00e9gral consult\u00e9 : pluralit\u00e9 despeuples, description 18\u201340 m, reconnaissance 2009. Formulation g\u00e9n\u00e9rale confront\u00e9e audossier etaux \u00e9tudes locales. Aucune image utilis\u00e9e sans droits sp\u00e9cifiques.<\/li><li id=\"r11-fr-s4\"><a href=\"https:\/\/revistas.chapingo.mx\/textual\/article\/download\/r.textual.2021.77.1\/r.textual.2021.77.1\/1021\">Torres Sol\u00eds et al. \u00b7 Vida en felicidad o Tapaxuwan Latamat \u00b7 Textual78,15\u201340 \u00b7 2021 \u00b7 DOI10.5154\/r.textual.2021.77.1<\/a><br>M\u00e9thode\/contexte pp 19\u201320\/22\u201326, f\u00eates\/t\u00e9moignage\/conclusion pp 35\u201337. Terrain 2017 :25 entretiens,144 foyers,12 localit\u00e9s ; interpr\u00e8tes bilingues. T\u00e9moignage du 28.09.2017, p 36. Le terrain desauteurs n\u2019est pas attribu\u00e9 \u00e0l\u2019Institut.<\/li><li id=\"r11-fr-s5\"><a href=\"https:\/\/www.unesco.org\/en\/legal-affairs\/convention-safeguarding-intangible-cultural-heritage?hub=72609\">UNESCO \u00b7 Convention for the Safeguarding of the Intangible Cultural Heritage \u00b7 2003<\/a><br>Texte primaire consult\u00e9, articles 2,11\u201316 : patrimoine recr\u00e9\u00e9, transmission etparticipation. Dispositions g\u00e9n\u00e9rales distingu\u00e9es des preuves d\u2019application locale ; aucune certification desprojets del\u2019Institut.<\/li><\/ol><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r11-fr-source\" lang=\"fr\"><h4>L\u2019arbre peut aussi donner son nom \u00e0 un lieu<\/h4><p>Le r\u00e9cit scolaire conserve une attribution et une m\u00e9moire locale. Il compl\u00e8te le dossier patrimonial sans prouver une esp\u00e8ce botanique ni une date de fondation administrative.<\/p><p><a href=\"https:\/\/dgeiib.basica.sep.gob.mx\/files\/fondo-editorial\/biblioteca-escolar\/semilla-palabras\/be_semillas_00027.pdf\">SEP \u00b7 Tsakat \/ El \u00e1rbol de hule, pp. 60\u201361 \u00b7 Asunci\u00f3n Cruz Jim\u00e9nez<\/a> \u00b7 <a href=\"#iict-reading-r11-fr\">Revenir au passage<\/a><\/p><\/section>\n<\/details><nav class=\"research-related\"><a href=\"https:\/\/totonacapan.com\/?page_id=1225#research-hub-fr\">Retour aux Recherches sur le Totonacapan \u2192<\/a><\/nav><p class=\"research-version\">\u00c9dition documentaire \u00b7 ES \/ EN \/ FR \u00b7 05.11.2026 \u00b7 v1.0<\/p><!-- IICT-CITE R11 fr --><aside class=\"iict-citation\" id=\"citar-r11-fr\" aria-labelledby=\"citar-r11-fr-title\"><h2 id=\"citar-r11-fr-title\">Comment citer cet article<\/h2><p class=\"iict-citation-label\">R\u00e9f\u00e9rence bibliographique propos\u00e9e<\/p><blockquote class=\"iict-citation-reference\">Instituto Internacional de Cultura del Totonacapan. \u00abVoladores et autres c\u00e9r\u00e9monies : des expressions qui traversent les peuples\u00bb. <cite>Cahiers de recherche<\/cite>, <strong>R11<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-fr\">https:\/\/totonacapan.com\/?page_id=1317#r11-fr<\/a>.<\/blockquote><p><strong>R\u00e9f\u00e9rence interne:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-fr\">R11<\/a>. Pour un passage pr\u00e9cis, ajoutez le titre de sa section.<\/p><p><a href=\"https:\/\/totonacapan.com\/?page_id=1225#normas-citacion-fr\">R\u00e8gles de citation de l\u2019Institut \u2192<\/a><\/p><\/aside><!-- \/IICT-CITE R11 fr --><\/article><\/details><\/div><script>(function(){function o(){var t=document.getElementById(decodeURIComponent(location.hash.slice(1)));if(!t)return;var p=t;while(p){if(p.tagName===\"DETAILS\")p.open=true;p=p.parentElement;}requestAnimationFrame(function(){t.scrollIntoView({block:\"start\"});});}addEventListener(\"hashchange\",o);o();})();<\/script>\n","protected":false},"excerpt":{"rendered":"<p>Espa\u00f1olEnglish \u00b7 full articleFran\u00e7ais \u00b7 article int\u00e9gral Investigaciones del Totonacapan \u00b7 Paisaje y saberes Voladores y otras ceremonias: expresiones que cruzan pueblos Del \u00e1rbol a la m\u00fasica, del aprendizaje a la fiesta: seguir pr\u00e1cticas compartidas desde lugares y voces concretos permite reconocer sus variantes propias. En pocas palabras La ceremonia de los Voladores relaciona preparaci\u00f3n, [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":1225,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1317","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1317","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=1317"}],"version-history":[{"count":14,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1317\/revisions"}],"predecessor-version":[{"id":1912,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1317\/revisions\/1912"}],"up":[{"embeddable":true,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1225"}],"wp:attachment":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1317"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}