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article .research-hypotheses h3{font-size:1.17rem!important}#research-r12-release.iict-journal article .research-hypotheses p{font-size:1rem!important}}\n\/* IICT VISUALES FINAL 20261106 *\/\n#research-r12-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-r12-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-r12-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=\"#r12-es\">Espa\u00f1ol<\/a><a href=\"#r12-en\">English \u00b7 full article<\/a><a href=\"#r12-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 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#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=\"r12-es\" lang=\"es\"><p class=\"eyebrow\">Investigaciones del Totonacapan \u00b7 Paisaje y saberes<\/p><h1>Cuetzalan y la sierra: fiestas, huipiles, caf\u00e9 y relaciones culturales<\/h1><p class=\"research-deck\">La plaza se llena en octubre. La vida que hace posible la fiesta se trabaja durante todo el a\u00f1o.<\/p><div class=\"research-abstract\"><h2>En pocas palabras<\/h2><p>Cuetzalan permite mirar de cerca c\u00f3mo se relacionan el cultivo, el tejido, la organizaci\u00f3n y la celebraci\u00f3n en la Sierra Norte de Puebla. La cabecera, sus comunidades y sus conexiones regionales forman una trama que ninguna fotograf\u00eda de la plaza puede contar por s\u00ed sola.<\/p><p>Este art\u00edculo compara estudios de campo, documentos municipales y registros culturales. Distingue la fiesta de San Francisco del programa de cada feria, y pregunta qui\u00e9n produce, decide, ense\u00f1a y recibe los beneficios cuando una pr\u00e1ctica se vuelve visible.<\/p><\/div><section class=\"d-reading\" id=\"r12-es-scales\"><p class=\"eyebrow\">Tres escalas de lectura<\/p><h3>De la plaza a las relaciones regionales<\/h3><ol class=\"r-flow\"><li><strong>Ciudad<\/strong>Concentraci\u00f3n de servicios, puestos, celebraciones y visitantes.<\/li><li><strong>Municipio<\/strong>Localidades, parcelas, hogares y formas de organizaci\u00f3n diferentes.<\/li><li><strong>Sierra y contactos<\/strong>Circulaci\u00f3n de personas, productos, lenguas y conocimientos.<\/li><\/ol><p class=\"c-datanote\">Esquema editorial de lectura, sin escala cartogr\u00e1fica ni fronteras \u00e9tnicas. Basado en las delimitaciones de Ellison y Hern\u00e1ndez M\u00e1rquez; no dibuja \u00e1reas exclusivas.<\/p><\/section><section id=\"r12-es-b0\"><h2>1. Una cabecera dentro de una red de comunidades<\/h2><p class=\"e-main\">En Cuetzalan del Progreso conviene distinguir tres escalas: la ciudad que concentra servicios y celebraciones, el municipio con sus distintas localidades y la sierra por la que circulan personas, productos y lenguas. No son tres nombres para el mismo espacio. El estudio de Nicolas Ellison sit\u00faa Cuetzalan en relaciones nahuas, totonacas y mestizas que se extienden hacia otros municipios. Una fiesta puede concentrar esas relaciones en la plaza durante unos d\u00edas; no las crea desde cero ni las encierra en el centro urbano.<\/p><p class=\"e-main\">Esta diferencia cambia la manera de mirar. El huipil que llega a un puesto remite a una persona y un lugar de elaboraci\u00f3n; el caf\u00e9 remite a una parcela, una cosecha y una cadena de trabajo. Investigar la regi\u00f3n exige poder volver desde el objeto expuesto hasta esas relaciones. Cuetzalan es aqu\u00ed un caso de estudio del Totonacapan serrano y sus contactos, con experiencias propias que se comparan con otras, sin ocupar el lugar de todas ellas.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r12-es-s1\">[1]<\/a><\/p><\/section><section id=\"r12-es-b1\"><h2>2. La fiesta tiene m\u00e1s de un calendario<\/h2><p class=\"e-main\">El 4 de octubre, festividad de San Francisco de As\u00eds, es una referencia del calendario patronal de Cuetzalan. La documentaci\u00f3n cultural vincula a ese momento las ferias del Huipil y del Caf\u00e9, las danzas y los encuentros musicales. Pero el d\u00eda del santo, los d\u00edas de feria comercial y la cartelera de espect\u00e1culos tienen duraciones y responsables distintos. Que coincidan en una celebraci\u00f3n no hace que cada concierto o certamen se repita todos los a\u00f1os en la misma fecha.<\/p><p class=\"e-main\">Antes del encuentro p\u00fablico hay preparaci\u00f3n: prendas, ensayos, m\u00fasica, alimentos, desplazamientos y acuerdos. Reconocer ese trabajo permite entender la fiesta como una actividad sostenida por personas, y no solo como una sucesi\u00f3n de actos para visitantes. Tambi\u00e9n abre preguntas concretas: qui\u00e9n convoca, qui\u00e9n aporta tiempo o recursos y c\u00f3mo se decide la representaci\u00f3n. Las respuestas deben buscarse para cada comunidad y edici\u00f3n, sin atribuir a todos los participantes una misma experiencia.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r12-es-s4\">[4]<\/a> <a class=\"research-cite\" href=\"#r12-es-s5\">[5]<\/a><\/p><\/section><figure class=\"iict-supplied-plate\" id=\"l8-feria\" 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\/L8_feria_cuetzalan.jpg\" alt=\"Cuetzalan \u00b7 la feria de octubre: 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>Cuetzalan \u00b7 la feria de octubre.<\/strong> L\u00e1mina editorial de la edici\u00f3n de 2026. Su calendario del 2 al 11 de octubre se contrasta con el registro del SIC, que indica del 2 al 12: v\u00e9ase \u00abFuentes y contraste\u00bb del art\u00edculo.<\/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\/L8_feria_cuetzalan.jpg\" alt=\"Cuetzalan \u00b7 la feria de octubre, vista ampliada\" loading=\"lazy\" width=\"1430\" height=\"1078\" style=\"display:block;width:1430px!important;max-width:none!important;height:auto!important\"><\/div><\/details><\/figure><figure class=\"research-visual e-photo d-portrait portrait\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r12-tejido-cuetzalan-2018.jpg\" width=\"750\" height=\"1126\" alt=\"Tejedora de Cuetzalan trabajando frente a una urdimbre violeta en un telar de cintura.\" loading=\"lazy\"><figcaption><strong>El tejido en proceso<\/strong>Cuetzalan del Progreso, Puebla \u00b7 21.04.2018. Registro de un telar en uso; la imagen no identifica a una participante del estudio citado.<br>Adrianvillagarcia123 \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Hilos_de_Historia.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=\"r12-es-b2\"><h2>3. El huipil: una t\u00e9cnica y una voz propia<\/h2><p class=\"e-main\">Antes de ver el dibujo terminado hay muchas decisiones. Elegir los hilos, preparar la urdimbre \u2014los hilos tensados que sirven de base\u2014, mantener la tensi\u00f3n y formar el tejido exige un conocimiento que se aprende trabajando. La fotograf\u00eda de una tejedora de Cuetzalan incluida aqu\u00ed muestra un telar en uso. Para conocer su aprendizaje, el precio de la pieza o el sentido de todos sus motivos hace falta, adem\u00e1s, escuchar a la autora y documentar el proceso.<\/p><p class=\"e-main\">Gabriela Bard Wigdor, Magali Paz y Jeli Edith Camacho Becerra estudiaron la relaci\u00f3n entre pol\u00edticas tur\u00edsticas y trabajo de mujeres, con ocho entrevistas en profundidad a artesanas y voceras de Cuetzalan, adem\u00e1s de otras consultas. Su investigaci\u00f3n de 2022 muestra por qu\u00e9 la producci\u00f3n textil, la atenci\u00f3n a visitantes y el trabajo dom\u00e9stico deben analizarse juntos. Una prenda puede dar visibilidad e ingresos y, al mismo tiempo, implicar tareas poco reconocidas. La imagen festiva de la mujer tejedora no sustituye su capacidad de decidir sobre su trabajo.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r12-es-s2\">[2]<\/a><\/p><\/section><section id=\"r12-es-b3\"><figure class=\"iict-plate\" id=\"iict-plate-r12-a-es\" lang=\"es\" aria-labelledby=\"iict-plate-r12-a-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 I<\/p><h3 id=\"iict-plate-r12-a-es-title\">Los hilos que construyen una tela<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r12-a-es-art-title iict-plate-r12-a-es-art-desc\"><title id=\"iict-plate-r12-a-es-art-title\">Los hilos que construyen una tela<\/title><desc id=\"iict-plate-r12-a-es-art-desc\">1. La urdimbre dispone los hilos longitudinales. 2. La trama cruza y forma la superficie. 3. La prenda re\u00fane decisiones de t\u00e9cnica, uso y autor\u00eda. 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x2=\"381\" y2=\"267\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"81\" y1=\"281\" x2=\"81\" y2=\"292\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"131\" y1=\"281\" x2=\"131\" y2=\"292\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"181\" y1=\"281\" x2=\"181\" y2=\"292\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"231\" y1=\"281\" x2=\"231\" y2=\"292\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"281\" y1=\"281\" x2=\"281\" y2=\"292\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"331\" y1=\"281\" x2=\"331\" y2=\"292\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"381\" y1=\"281\" x2=\"381\" y2=\"292\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"81\" y1=\"306\" x2=\"81\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"131\" y1=\"306\" x2=\"131\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"181\" y1=\"306\" x2=\"181\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"231\" y1=\"306\" x2=\"231\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"281\" y1=\"306\" x2=\"281\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"331\" y1=\"306\" x2=\"331\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"381\" y1=\"306\" x2=\"381\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><path d=\"M507 134 L538 94 H629 L659 134 L690 171 L658 197 L643 179 V315 H522 V179 L506 197 L473 171Z\" fill=\"#e7ddc6\" stroke=\"#ad9a71\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M558 94 Q582 137 609 94\" fill=\"none\" stroke=\"#ad9a71\" stroke-width=\"3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><line x1=\"539\" y1=\"278\" x2=\"627\" y2=\"278\" stroke=\"#ae8e4b\" stroke-width=\"3\" \/><circle cx=\"111\" cy=\"380\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"111\" y=\"388\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"340\" cy=\"380\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"340\" y=\"388\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"584\" cy=\"365\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"584\" y=\"373\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>La urdimbre dispone los hilos longitudinales.<\/li><li>La trama cruza y forma la superficie.<\/li><li>La prenda re\u00fane decisiones de t\u00e9cnica, uso y autor\u00eda.<\/li><\/ol><figcaption class=\"plate-caption\">Detalle t\u00e9cnico de un tejido simple; no reproduce un motivo tradicional ni identifica una prenda o autora. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r12-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n\n<h2>4. El caf\u00e9 se cultiva dentro de un paisaje trabajado<\/h2><p class=\"e-main\">El bosque \u00fatil tambi\u00e9n se trabaja. La literatura consultada suele traducir as\u00ed, o como monte trabajado, la expresi\u00f3n nahua kuojtakiloyan. Ellison muestra que no significa exactamente lo mismo en todos los lugares. En el entorno cafetalero de Cuetzalan remite a manejos agroforestales, que relacionan \u00e1rboles y cultivos; en la zona m\u00e1s fr\u00eda de Zoatecpan se aplica a otros espacios cultivados. Compartir palabra no equivale a cultivar lo mismo. Un cafetal bajo sombra tampoco es un monte sin intervenci\u00f3n: alguien selecciona las plantas, las cuida y persigue objetivos productivos.<\/p><p class=\"e-main\">Esta lectura permite reunir aspectos que una vista panor\u00e1mica separa: plantas de consumo familiar, productos para vender y conocimientos sobre el terreno. La diversidad de un sistema no demuestra por s\u00ed sola que todos sus productores obtengan una renta suficiente. Para comprender qu\u00e9 hace viable un cafetal hay que observar tambi\u00e9n el trabajo disponible, las condiciones de venta y las decisiones sobre la parcela. El paisaje contiene relaciones econ\u00f3micas y culturales, adem\u00e1s de vegetaci\u00f3n.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r12-es-s1\">[1]<\/a><\/p><\/section><figure class=\"research-visual e-photo d-portrait portrait\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r12-cafe-cuetzalan-2010.jpg\" width=\"1280\" height=\"1920\" alt=\"Frutos rojos y verdes de caf\u00e9 en una rama fotografiada en Cuetzalan.\" loading=\"lazy\"><figcaption><strong>Una cosecha comienza en la planta<\/strong>Cuetzalan \u00b7 02.10.2010. Fotograf\u00eda de frutos; no identifica parcela, organizaci\u00f3n productora ni volumen de cosecha.<br>Noyolcont \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Planta_de_caf%C3%A9_de_Cuetzalan.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=\"r12-es-b4\"><h2>5. Organizarse cambia la cadena del caf\u00e9<\/h2><p class=\"e-main\">Rider Hern\u00e1ndez M\u00e1rquez analiz\u00f3 la producci\u00f3n cafetalera de Cuetzalan mediante treinta entrevistas a productores, colectivos de mujeres, intermediarios y responsables locales, junto con observaci\u00f3n y documentos. El art\u00edculo, publicado en el volumen de 2024 de Estudios Sociales, distingue cuatro situaciones de organizaci\u00f3n. Su inter\u00e9s no reside en dividir a la poblaci\u00f3n en cuatro identidades, sino en comparar capacidades de coordinaci\u00f3n: decidir, negociar, establecer relaciones y responder a dificultades.<\/p><p class=\"e-main\">El estudio sit\u00faa a la Uni\u00f3n de Cooperativas Tosepan junto a otras organizaciones y productores individuales. Los v\u00ednculos cooperativos pueden facilitar conocimientos y mercados. En varios de los casos individuales examinados aparecen, en cambio, condiciones m\u00e1s fr\u00e1giles. Es un resultado cualitativo: explica experiencias y relaciones concretas, no garantiza el \u00e9xito de cualquier cooperativa. Interesa saber qu\u00e9 mecanismos funcionan, para qui\u00e9n, bajo qu\u00e9 condiciones y c\u00f3mo se reparten las decisiones y el valor del producto.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r12-es-s3\">[3]<\/a><\/p><\/section><section id=\"r12-es-b5\"><style id=\"iict-visual-essays-20261106\">\n\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 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.55rem!important;padding:0!important;letter-spacing:0!important;text-align:start!important;hyphens:manual!important;overflow-wrap:normal!important;border:0!important;text-transform:none!important;text-wrap:balance}#main figure.iict-viz .viz-cell p{font-size:15px!important;line-height:1.56!important}\n#main figure.iict-viz svg{display:block!important;width:100%!important;height:90px!important;max-height:none!important;margin:0 0 1rem!important;overflow:visible!important;background:transparent!important;color:#496747}#main figure.iict-viz .viz-line-art{stroke-linecap:round;stroke-linejoin:round}#main figure.iict-viz>figcaption{display:block!important;margin:1.4rem 0 0!important;padding:1rem 0 0!important;border:0!important;border-top:1px solid #cfc3a9!important;background:transparent!important;color:#435660!important;font:400 14px\/1.6 var(--sans,Arial,sans-serif)!important;text-align:start!important;hyphens:manual!important}#main figure.iict-viz 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#cfc3a9;border-left:1px solid #cfc3a9}#main figure.iict-viz:is(.viz-network,.viz-coordinates,.viz-cycle) .viz-cell{padding:1.1rem!important;border-right:1px solid #cfc3a9;border-bottom:1px solid #cfc3a9;background:#fffcf466}#main figure.iict-viz:is(.viz-network,.viz-coordinates,.viz-cycle) svg{height:65px!important;margin-bottom:.6rem!important}#main figure.iict-viz.viz-coordinates .viz-number{font:600 11px\/1.5 var(--sans,Arial,sans-serif);letter-spacing:.12em}#main figure.iict-viz.viz-cycle .viz-number{border:1px solid #a68b46;border-radius:50%;width:36px;height:36px;display:grid;place-items:center;font-size:18px}\n#main figure.iict-viz.viz-flow .viz-cell:not(:last-child)::after{content:'\u2192';position:absolute;right:-17px;top:100px;color:#8b743c;font-size:21px}#main figure.iict-viz.viz-timeline .viz-art{border-top:1px solid #ad9453;padding-top:1.3rem}#main figure.iict-viz.viz-timeline .viz-cell::before{content:'';position:absolute;top:-1.63rem;left:0;width:9px;height:9px;background:#a68b46;border-radius:50%;box-shadow:0 0 0 5px #f9f3e8}#main figure.iict-viz.viz-timeline .viz-number{display:none}#main figure.iict-viz.viz-timeline h4{font:400 24px\/1.2 var(--serif,Georgia,serif)!important}#main figure.iict-viz.viz-timeline svg{height:65px!important}\n#main figure.iict-viz:is(.viz-archive,.viz-fold) .viz-cell{padding:1rem!important;background:#fffcf4;border:1px solid #d4c8af;box-shadow:3px 3px 0 #e8dfc9}#main figure.iict-viz.viz-fold .viz-cell{border-top:0;background:linear-gradient(120deg,#fffcf4,#f0eadb)}#main figure.iict-viz:is(.viz-water,.viz-duet) .viz-art{grid-template-columns:repeat(2,minmax(0,1fr));gap:26px}#main figure.iict-viz.viz-water .viz-cell{border-top:1px solid #b8c7c6;padding-top:1rem!important}#main figure.iict-viz.viz-water svg{height:80px!important;color:#486e7a}#main figure.iict-viz.viz-duet .viz-cell{padding:1rem!important;background:#e9eeec77;border-top:2px solid #a68b46}#main figure.iict-viz.viz-vanilla svg{height:125px!important}#main figure.iict-viz.viz-vanilla .viz-cell{padding-top:.5rem!important;border-top:1px solid #d7c8a3}\n@media(max-width:620px){#main figure.iict-viz{padding:18px!important;margin:1.8rem auto!important}#main figure.iict-viz .viz-art,#main figure.iict-viz:is(.viz-network,.viz-coordinates,.viz-cycle,.viz-water,.viz-duet) .viz-art{grid-template-columns:1fr;gap:17px}#main figure.iict-viz .viz-cell{padding-bottom:1rem!important;border-bottom:1px solid #d9ceb7}#main figure.iict-viz .viz-cell:last-child{border-bottom:0;padding-bottom:0!important}#main figure.iict-viz .viz-cell p{font-size:15px!important}#main figure.iict-viz svg{height:75px!important}#main figure.iict-viz.viz-vanilla svg{height:115px!important}#main figure.iict-viz .viz-kicker{font-size:10px;letter-spacing:.08em}#main figure.iict-viz:is(.viz-network,.viz-coordinates,.viz-cycle) .viz-art{border:0;gap:0}#main figure.iict-viz:is(.viz-network,.viz-coordinates,.viz-cycle) .viz-cell{border:1px solid #cfc3a9;margin-bottom:12px!important}#main figure.iict-viz.viz-flow .viz-cell:not(:last-child)::after{content:'\u2193';top:auto;bottom:-15px;right:50%;font-size:20px}#main figure.iict-viz.viz-timeline .viz-art{border-top:0;border-left:1px solid #ad9453;padding:0 0 0 20px;gap:24px}#main figure.iict-viz.viz-timeline .viz-cell::before{top:8px;left:-25px}#main figure.iict-viz.viz-layers .viz-cell{padding:.9rem .6rem!important;grid-template-columns:27px 1fr;column-gap:8px}#main figure.iict-viz.viz-layers .viz-art{gap:0}#main figure.iict-viz:is(.viz-water,.viz-duet) .viz-cell{padding:1rem!important}#main figure.iict-viz.viz-triptych .viz-cell{display:grid;grid-template-columns:65px 1fr;column-gap:14px}#main figure.iict-viz.viz-triptych .viz-cell svg{grid-row:1\/4;height:65px!important;margin:0!important}#main figure.iict-viz.viz-triptych .viz-number{display:none}}\n@media print{#main figure.iict-viz{box-shadow:none!important;background:#fff!important}#main figure.iict-viz .viz-cell{break-inside:avoid}}\n@media(max-width:620px){#main figure.iict-viz.viz-vanilla .viz-cell{display:grid;grid-template-columns:72px minmax(0,1fr);column-gap:14px;align-content:start}#main figure.iict-viz.viz-vanilla .viz-cell svg{grid-row:1\/4;width:72px!important;height:100px!important;margin:0!important}#main figure.iict-viz.viz-vanilla .viz-number{display:none}#main figure.iict-viz.viz-vanilla 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-network\" id=\"iict-viz-r12-es\" lang=\"es\" aria-labelledby=\"iict-viz-r12-es-title\"><header><div class=\"viz-kicker\"><span>Cuadernos visuales<\/span><span>R12 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r12-es-title\">Cuetzalan se lee tambi\u00e9n fuera de la plaza<\/h3><p>Cuatro entradas a las relaciones que sostienen la vida serrana.<\/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\"><path d=\"M80 22h120v56h-67l-24 20V78H80zM98 42h84M98 57h62\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>La palabra<\/h4><p>Lengua, participaci\u00f3n y formas de contar la propia comunidad.<\/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=\"M78 16h124v80H78zM95 16v80M112 16v80M129 16v80M146 16v80M163 16v80M180 16v80M78 34h124M78 51h124M78 68h124M78 85h124\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>El tejido<\/h4><p>T\u00e9cnica, aprendizaje y autor\u00eda de quienes hacen las prendas.<\/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\">03<\/span><h4>El cultivo<\/h4><p>Caf\u00e9, paisaje trabajado y organizaci\u00f3n econ\u00f3mica.<\/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\"><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\">04<\/span><h4>La celebraci\u00f3n<\/h4><p>Trabajo previo, calendario local y programaci\u00f3n de cada a\u00f1o.<\/p><\/div><\/div><figcaption>Relaciones desarrolladas en el art\u00edculo; no es un programa tur\u00edstico ni un calendario vigente.<span class=\"viz-source\">S\u00edntesis visual original del Instituto \u00b7 <a href=\"#r12-es-sources\">Fuentes y contraste<\/a><\/span><\/figcaption><\/figure>\n<aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r12-es\" lang=\"es\" aria-labelledby=\"iict-reading-r12-es-title\"><span class=\"reading-kicker\">Una historia concreta<\/span><h3 id=\"iict-reading-r12-es-title\">Las anfitrionas tambi\u00e9n cuentan su propia historia<\/h3><p>La voz de Taselotzin permite cambiar de punto de vista. En su propia presentaci\u00f3n, las socias explican que en 1995 decidieron impulsar un hotel para obtener recursos para la organizaci\u00f3n, generar trabajo y dar a conocer su cultura. Relacionan el proyecto con venta de artesan\u00edas, intercambio con otras organizaciones y cuidado del entorno. <a class=\"reading-ref\" href=\"#iict-reading-r12-es-source\" aria-label=\"Ver fuentes y contraste\">\u2197<\/a><\/p><p>Le\u00edda junto a las entrevistas acad\u00e9micas, esa voz deja de presentar a las mujeres solo como objeto de una pol\u00edtica tur\u00edstica. Las muestra tambi\u00e9n formulando un proyecto y explicando para qu\u00e9 quieren sostenerlo. La siguiente pregunta es c\u00f3mo se articulan esos prop\u00f3sitos con las tareas, los ingresos y las decisiones de cada d\u00eda.<\/p><p class=\"reading-links\"><a href=\"https:\/\/www.taselotzin.com\/quienes-somos\">Taselotzin \u00b7 Qui\u00e9nes somos, relato de las socias<\/a> \u00b7 <a href=\"#r12-es-sources\">Fuentes y contraste<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r12-b-es\" lang=\"es\" aria-labelledby=\"iict-plate-r12-b-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 II<\/p><h3 id=\"iict-plate-r12-b-es-title\">Entre la cosecha y el encuentro hay organizaci\u00f3n<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r12-b-es-art-title iict-plate-r12-b-es-art-desc\"><title id=\"iict-plate-r12-b-es-art-title\">Entre la cosecha y el encuentro hay organizaci\u00f3n<\/title><desc id=\"iict-plate-r12-b-es-art-desc\">1. Producir sostiene trabajo y conocimiento del paisaje. 2. Cooperar permite reunir procesamiento, formaci\u00f3n e intercambio. 3. Recibir visitantes tambi\u00e9n puede formar parte de un proyecto propio. 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stroke=\"#7c8b66\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><g transform=\"translate(39 -130) rotate(65) scale(0.5)\"><path d=\"M0 0 C-32 -45 -25 -92 0 -122 C30 -88 35 -40 0 0Z\" fill=\"#8d9b72\" stroke=\"#52694d\" stroke-width=\"1.5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 0 Q-4 -60 0 -113\" fill=\"none\" stroke=\"#52694d\" stroke-width=\"1.3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -16 Q-10 -24 -18 -35\" fill=\"none\" stroke=\"#617853\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -16 Q10 -24 18 -35\" fill=\"none\" stroke=\"#617853\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -31 Q-12 -39 -19 -47\" fill=\"none\" stroke=\"#617853\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -31 Q12 -39 19 -47\" fill=\"none\" stroke=\"#617853\" stroke-width=\"0.8\" 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stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -91 Q20 -99 23 -95\" fill=\"none\" stroke=\"#617853\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M0 -112 L39 -130\" fill=\"none\" stroke=\"#7c8b66\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"-7\" cy=\"-5\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"9\" cy=\"-32\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"-7\" cy=\"-59\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"9\" cy=\"-86\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"-7\" cy=\"-113\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"9\" cy=\"-140\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><\/g><rect x=\"316\" y=\"168\" width=\"134\" height=\"90\" rx=\"4\" fill=\"#e1d4b9\" stroke=\"#a68e62\" stroke-width=\"2\"\/><path d=\"M312 168 L341 145 H423 L454 168\" fill=\"none\" stroke=\"#a68e62\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><g transform=\"translate(620 154) scale(0.85)\"><path d=\"M-66 -12 L0 -68 L66 -12 L48 -12 L48 55 L-48 55 L-48 -12Z\" fill=\"#e6deca\" stroke=\"#6f7560\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"-12\" y=\"9\" width=\"24\" height=\"46\" rx=\"0\" fill=\"#a5ae91\" stroke=\"#6f7560\" stroke-width=\"2\"\/><rect x=\"-38\" y=\"-4\" width=\"17\" height=\"22\" rx=\"0\" fill=\"#d2d9cb\" stroke=\"#6f7560\" stroke-width=\"2\"\/><rect x=\"23\" y=\"-4\" width=\"17\" height=\"22\" rx=\"0\" fill=\"#d2d9cb\" stroke=\"#6f7560\" stroke-width=\"2\"\/><\/g><circle cx=\"146\" cy=\"340\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"146\" y=\"348\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"383\" cy=\"308\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"383\" y=\"316\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"620\" cy=\"272\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"620\" y=\"280\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Producir sostiene trabajo y conocimiento del paisaje.<\/li><li>Cooperar permite reunir procesamiento, formaci\u00f3n e intercambio.<\/li><li>Recibir visitantes tambi\u00e9n puede formar parte de un proyecto propio.<\/li><\/ol><figcaption class=\"plate-caption\">Relaciones tratadas en los estudios de caf\u00e9, Tosepan y Taselotzin, conservando su car\u00e1cter de casos distintos. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r12-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>6. Lo visible para el visitante y lo que queda detr\u00e1s<\/h2><p class=\"e-main\">El trabajo de Bard Wigdor y sus coautoras permite seguir el paso entre artesan\u00eda, hospedaje y organizaci\u00f3n de mujeres, mediante los casos estudiados de Tosepan y Taselotzin. La actividad tur\u00edstica puede abrir espacios para vender, reunirse y presentar una identidad propia. Tambi\u00e9n exige atender, cocinar, administrar y sostener tareas de cuidado. Contar \u00fanicamente las piezas expuestas o las habitaciones disponibles deja fuera una parte de la econom\u00eda que las hace posibles.<\/p><p class=\"e-main\">Un folleto y una investigaci\u00f3n pueden mirar la misma fiesta y preguntar cosas distintas. El primero elige lo que atrae una visita. La mirada etnogr\u00e1fica examina tambi\u00e9n trabajo, desigualdades y desacuerdos. Ellison advierte que describir todo el territorio solo como patrimonio biocultural \u2014desde las relaciones entre naturaleza y cultura\u2014 puede dejar fuera parte de las relaciones y categor\u00edas con las que sus habitantes lo viven. Aqu\u00ed ambas perspectivas se complementan: la promoci\u00f3n no demuestra bienestar y las dificultades tampoco resumen toda la vida local.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r12-es-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r12-es-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r12-es-s6\">[6]<\/a><\/p><\/section><section id=\"r12-es-b6\"><h2>7. El archivo de una feria: qu\u00e9 documenta 2026<\/h2><p class=\"e-main\">Hasta el calendario exige volver a los documentos. La ficha del Sistema de Informaci\u00f3n Cultural, modificada el 1 de septiembre de 2026, registra del 2 al 12 de octubre para la Feria del Huipil de Cuetzalan. Mantiene adem\u00e1s el encabezamiento LX. El primer informe municipal de 2025 utiliza esa misma numeraci\u00f3n para la feria de aquel a\u00f1o. Antes de ordenar las ediciones hay que comprobar c\u00f3mo se relacionan ambos documentos fechados. No basta sumar una edici\u00f3n al n\u00famero ni trasladar el cartel de un a\u00f1o al siguiente.<\/p><p class=\"e-main\">El valor de estos documentos est\u00e1 en permitir una lectura precisa: el informe municipal describe acciones de 2025 y la ficha cultural registra informaci\u00f3n de 2026. Aqu\u00ed se conserva esa distinci\u00f3n y se remite al contraste desplegable. El calendario recurrente de octubre puede explicarse sin convertir un registro de una edici\u00f3n en agenda permanente. Para reconstruir el programa diario de 2026 hacen falta la convocatoria y el cartel final del organizador, con sus eventuales modificaciones.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r12-es-s5\">[5]<\/a> <a class=\"research-cite\" href=\"#r12-es-s6\">[6]<\/a><\/p><\/section><section id=\"r12-es-clocks\"><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Tres registros del tiempo festivo\" style=\"--journal-table-min:32rem\"><table><caption>Tres registros del tiempo festivo<\/caption><thead><tr><th scope=\"col\">Registro<\/th><th scope=\"col\">Qu\u00e9 fecha aporta<\/th><th scope=\"col\">Qu\u00e9 permite afirmar<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Calendario patronal<\/th><td data-label=\"Qu\u00e9 fecha aporta\">4 de octubre \u00b7 San Francisco<\/td><td data-label=\"Qu\u00e9 permite afirmar\">Referente recurrente de la fiesta; no es una cartelera anual.<\/td><\/tr><tr><th scope=\"row\">Informe municipal de 2025<\/th><td data-label=\"Qu\u00e9 fecha aporta\">Feria del Huipil LX \/ del Caf\u00e9 LXXIV<\/td><td data-label=\"Qu\u00e9 permite afirmar\">Actuaciones relatadas para 2025; no confirma una edici\u00f3n posterior.<\/td><\/tr><tr><th scope=\"row\">Ficha SIC modificada en 2026<\/th><td data-label=\"Qu\u00e9 fecha aporta\">2\u201312 de octubre de 2026 \u00b7 t\u00edtulo LX<\/td><td data-label=\"Qu\u00e9 permite afirmar\">Registro hist\u00f3rico fechado; numeraci\u00f3n y programa diario necesitan conciliaci\u00f3n.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><p class=\"r-small\">Lectura documental, no agenda vigente. Fuentes [4]\u2013[6], consultadas el 05.11.2026.<\/p><\/section><section id=\"r12-es-b7\"><h2>8. Una manera de seguir leyendo la sierra<\/h2><p class=\"e-main\">En lugar de terminar en una imagen \u00fanica de Cuetzalan, esta investigaci\u00f3n propone seguir cuatro recorridos: del textil a su autora, de la taza a la parcela y la venta, de la fiesta a quienes la preparan y de la descripci\u00f3n del paisaje a las palabras de quienes lo trabajan. Son recorridos relacionados, pero ninguno sustituye a los otros. Permiten mirar la celebraci\u00f3n con m\u00e1s atenci\u00f3n y reconocer las capacidades que contin\u00faan cuando se retiran los puestos.<\/p><p class=\"e-main\">La comparaci\u00f3n permanece abierta a documentos y testimonios identificados. Una nueva entrevista puede aclarar una t\u00e9cnica; una cuenta de trabajo puede mostrar c\u00f3mo se distribuye una tarea; un programa fechado puede resolver una diferencia de calendario. Esa continuidad de la investigaci\u00f3n evita congelar la regi\u00f3n en una postal: Cuetzalan se comprende mejor como lugar de relaciones, decisiones y aprendizajes que siguen cambiando.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r12-es-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r12-es-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r12-es-s3\">[3]<\/a><\/p><\/section><details class=\"research-evidence\" id=\"r12-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\">\u00bfQu\u00e9 espacio estamos describiendo?<\/th><td data-label=\"Fuentes y observaciones\">Ellison (2020), introducci\u00f3n y trabajo de campo, distingue localidades nahuas y totonacas y relaciones entre municipios. Hern\u00e1ndez M\u00e1rquez (2024), metodolog\u00eda, delimita la producci\u00f3n de caf\u00e9 al municipio de Cuetzalan.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Una relaci\u00f3n regional y un estudio municipal tienen unidades distintas. Este art\u00edculo diferencia ciudad, municipio y sierra; no extiende resultados municipales a todo el Totonacapan. Para comparar cifras har\u00edan falta el mismo territorio, periodo y variable.<\/td><\/tr><tr><th scope=\"row\">\u00bfQu\u00e9 se repite y qu\u00e9 cambia cada a\u00f1o?<\/th><td data-label=\"Fuentes y observaciones\">La p\u00e1gina cultural de la Secretar\u00eda de Cultura sit\u00faa la fiesta patronal el 4 de octubre. La ficha SIC actualizada en 2026 ofrece un intervalo de feria; el informe municipal describe actividades de 2025.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Coincide el contexto festivo, pero no el tipo de fecha. El d\u00eda patronal funciona como referente recurrente; programa, conciertos y duraci\u00f3n requieren documentos de su edici\u00f3n. Un calendario de tradici\u00f3n no valida una cartelera anual.<\/td><\/tr><tr><th scope=\"row\">\u00bfEst\u00e1 resuelta la numeraci\u00f3n de 2026?<\/th><td data-label=\"Fuentes y observaciones\">El SIC conserva LX y fechas 2\u201312.10.2026. El informe municipal de 2025, p. impresa 14, identifica LX del Huipil y LXXIV del Caf\u00e9 para 2025.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Hay una discordancia documental, no dos ediciones que debamos fusionar por inferencia. Se citan literalmente a\u00f1o y numeraci\u00f3n de cada registro. La convocatoria final del organizador y un historial de ediciones permitir\u00edan reconciliarlos; no se publica aqu\u00ed un programa diario ni una edici\u00f3n calculada.<\/td><\/tr><tr><th scope=\"row\">\u00bfUn certamen explica el trabajo textil?<\/th><td data-label=\"Fuentes y observaciones\">La divulgaci\u00f3n cultural describe la elecci\u00f3n de una reina y antiguos criterios del certamen. Bard Wigdor, Paz y Camacho Becerra (2022), metodolog\u00eda y caso Cuetzalan, analizan trabajo y organizaci\u00f3n de mujeres a partir de entrevistas.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">El primer texto describe una representaci\u00f3n festiva; el segundo examina relaciones laborales y dom\u00e9sticas. No son medidas intercambiables. Los criterios hist\u00f3ricos del folleto no se presentan como reglas vigentes ni como una definici\u00f3n de todas las mujeres ind\u00edgenas.<\/td><\/tr><tr><th scope=\"row\">\u00bfBosque \u00fatil significa siempre cafetal?<\/th><td data-label=\"Fuentes y observaciones\">Ellison (2020), apartado El paisaje biocultural, compara manejos cafetaleros de Cuetzalan con el uso del t\u00e9rmino kuojtakiloyan en Zoatecpan. Hern\u00e1ndez M\u00e1rquez estudia la diversificaci\u00f3n de sistemas de caf\u00e9.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Los textos se complementan en el valor del manejo, pero la comparaci\u00f3n etnogr\u00e1fica muestra variaci\u00f3n local del vocabulario. Se conserva esa diferencia y se evita dibujar un uso del suelo uniforme a partir de una palabra. Una cartograf\u00eda requerir\u00eda parcelas y observaci\u00f3n local.<\/td><\/tr><tr><th scope=\"row\">\u00bfLa organizaci\u00f3n garantiza un mejor resultado?<\/th><td data-label=\"Fuentes y observaciones\">Hern\u00e1ndez M\u00e1rquez (2024) usa treinta entrevistas y cuatro situaciones organizativas. Identifica capacidades distintas de coordinaci\u00f3n y vulnerabilidad; reconoce carencias de informaci\u00f3n censal y cartogr\u00e1fica.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">El dise\u00f1o cualitativo permite explicar mecanismos y casos. No estima por s\u00ed solo cu\u00e1nto mejorar\u00eda una persona al incorporarse a una cooperativa, ni elimina diferencias previas de recursos. Para esa pregunta se necesitar\u00edan series y comparaciones que el estudio no ofrece.<\/td><\/tr><tr><th scope=\"row\">\u00bfM\u00e1s turismo equivale a mayor autonom\u00eda?<\/th><td data-label=\"Fuentes y observaciones\">Bard Wigdor y coautoras (2022) muestran articulaciones entre tejido, hoteler\u00eda y cuidado. El informe municipal de 2025 presenta promoci\u00f3n y resultados del turismo desde la perspectiva de la administraci\u00f3n.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">El volumen de visitantes y la autonom\u00eda de una trabajadora son objetos distintos. El art\u00edculo no deriva bienestar de la promoci\u00f3n ni niega oportunidades de ingreso. Distribuci\u00f3n del trabajo, pagos y participaci\u00f3n en decisiones necesitan datos espec\u00edficos y voces de las participantes.<\/td><\/tr><tr><th scope=\"row\">\u00bfQu\u00e9 deja fuera la etiqueta patrimonio?<\/th><td data-label=\"Fuentes y observaciones\">Ellison (2020) examina los l\u00edmites de reducir relaciones territoriales a patrimonio biocultural. Hern\u00e1ndez M\u00e1rquez (2024) pregunta por mecanismos de gobernanza y articulaci\u00f3n econ\u00f3mica.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">No se inventa un desacuerdo entre autores: sus preguntas iluminan dimensiones distintas. Se combinan organizaci\u00f3n material y categor\u00edas vividas, sin suponer una cosmovisi\u00f3n \u00fanica. Nuevos testimonios atribuidos podr\u00edan precisar qu\u00e9 relaciones se pierden al representar el territorio solo por sus productos.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><h3>Referencias y alcance de lectura<\/h3><ol class=\"research-sources\"><li id=\"r12-es-s1\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S0185-62862020000200005&#038;script=sci_arttext\">Nicolas Ellison \u00b7 2020 \u00b7 Altepet \/ Chuchutsipi: cosmopol\u00edtica territorial totonaca-nahua y patrimonio biocultural \u00b7 Trace 78, 88\u2013122 \u00b7 DOI 10.22134\/trace.78.2020.742<\/a><br>Le\u00eddos introducci\u00f3n, delimitaci\u00f3n del trabajo de campo y apartado El paisaje biocultural, especialmente pp. 105\u2013109. Estancias totonacas 1999\u20132019 y nahuas 2017\u20132019. El contraste con Zoatecpan pertenece a la investigaci\u00f3n del autor; no es una entrevista nueva del Instituto.<\/li><li id=\"r12-es-s2\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S1405-84212022000100087&#038;script=sci_arttext_plus&#038;tlng=es\">Gabriela Bard Wigdor, Magali Paz y Jeli Edith Camacho Becerra \u00b7 2022 \u00b7 La posici\u00f3n de las mujeres en programas de intervenci\u00f3n estatal: territorios feminizados (M\u00e9xico y Argentina) \u00b7 Econom\u00eda, Sociedad y Territorio 22(68), 87\u2013115 \u00b7 DOI 10.22136\/est20221664<\/a><br>Le\u00eddos resumen, introducci\u00f3n, metodolog\u00eda\/materiales y casos de Cuetzalan. Ocho entrevistas a artesanas y voceras, m\u00e1s dos a investigadores; selecci\u00f3n intencional, con escenas de campo de 2017\u20132018. Los casos argentinos no se trasladan a Cuetzalan; las cifras hist\u00f3ricas del estudio no se presentan como padr\u00f3n actual.<\/li><li id=\"r12-es-s3\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S2395-91692024000100125&#038;script=sci_arttext_plus&#038;tlng=es\">Rider Hern\u00e1ndez M\u00e1rquez \u00b7 2024 \u00b7 Producci\u00f3n de caf\u00e9 en Cuetzalan del Progreso, Puebla. La gobernanza territorial en los Sistemas Agroalimentarios Localizados \u00b7 Estudios Sociales 34(63) \u00b7 DOI 10.24836\/es.v34i63.1446<\/a><br>Le\u00eddos resumen, metodolog\u00eda, organizaci\u00f3n de productores, conclusiones, notas 1\u20135 y gu\u00eda de entrevista. Treinta entrevistas; cuatro situaciones organizativas. Volumen enero\u2013junio de 2024, con publicaci\u00f3n electr\u00f3nica indicada 17.03.2025. No es censo ni estimaci\u00f3n causal del efecto de cooperativizarse.<\/li><li id=\"r12-es-s4\"><a href=\"https:\/\/www.cultura.gob.mx\/turismocultural\/destino_mes\/cuetzalan\/fiestas.html\">Secretar\u00eda de Cultura \u00b7 Cuetzalan: fiestas y tradiciones \u00b7 p\u00e1gina de divulgaci\u00f3n cultural, sin fecha editorial indicada<\/a><br>Le\u00eddo el texto sobre ferias y fiesta patronal. Sirve para identificar el referente recurrente del 4 de octubre. Sus descripciones hist\u00f3ricas de requisitos del certamen no se convierten en normas actuales; no acredita el programa diario de 2026.<\/li><li id=\"r12-es-s5\"><a href=\"https:\/\/sic.cultura.gob.mx\/ficha.php?disciplina=&#038;table=festival&#038;table_id=1943\">Sistema de Informaci\u00f3n Cultural \u00b7 LX Feria Nacional del Huipil \u00b7 registro modificado el 1 de septiembre de 2026<\/a><br>Le\u00eddos datos generales, sede, fechas, organizador y modificaci\u00f3n. Consigna 2\u201312.10.2026, pero mantiene LX. Se cita como registro fechado cuya numeraci\u00f3n requiere conciliaci\u00f3n, no como validaci\u00f3n de la l\u00e1mina ni cartelera final. Consulta: 05.11.2026.<\/li><li id=\"r12-es-s6\"><a href=\"https:\/\/ayuntamientocuetzalandelprogreso.com\/wp-content\/CONAC\/Desempeno\/2025\/PRIMER_INFORME_DE_GOBIERNO_2024-2027.pdf\">Ayuntamiento de Cuetzalan del Progreso \u00b7 2025 \u00b7 Primer informe de gobierno 2024\u20132027<\/a><br>Le\u00eddos mensaje inicial y apartados Desarrollo rural y Turismo y cultura, pp. impresas 12\u201315: Expo Caf\u00e9 y ferias LX\/LXXIV de 2025. Es un informe del organizador sobre esa edici\u00f3n, no un programa de 2026. No se trasladan sus cifras de impacto como medici\u00f3n independiente.<\/li><\/ol><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r12-es-source\" lang=\"es\"><h4>Las anfitrionas tambi\u00e9n cuentan su propia historia<\/h4><p>La autopresentaci\u00f3n documenta objetivos y memoria organizativa. El estudio de 2022 examina relaciones de trabajo; sus perspectivas se contrastan sin convertir promoci\u00f3n en evaluaci\u00f3n de impacto.<\/p><p><a href=\"https:\/\/www.taselotzin.com\/quienes-somos\">Taselotzin \u00b7 Qui\u00e9nes somos, relato de las socias<\/a> \u00b7 <a href=\"#iict-reading-r12-es\">Volver al pasaje<\/a><\/p><\/section>\n\n<\/details><nav class=\"research-related\"><a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-es\">Continuar: Voladores y otras ceremonias \u2192<\/a><a href=\"https:\/\/totonacapan.com\/?page_id=1315#r10-es\">Cultivo y transformaci\u00f3n: la vainilla \u2192<\/a><\/nav><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 R12 es --><aside class=\"iict-citation\" id=\"citar-r12-es\" aria-labelledby=\"citar-r12-es-title\"><h2 id=\"citar-r12-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. \u00abCuetzalan y la sierra: fiestas, huipiles, caf\u00e9 y relaciones culturales\u00bb. <cite>Cuadernos de investigaci\u00f3n<\/cite>, <strong>R12<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-es\">https:\/\/totonacapan.com\/?page_id=1325#r12-es<\/a>.<\/blockquote><p><strong>Referencia interna:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-es\">R12<\/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 R12 es --><\/article><details class=\"research-lang-version\" id=\"r12-en-version\"><summary>Read the full English article<\/summary><article id=\"r12-en\" lang=\"en\"><p class=\"eyebrow\">Totonacapan Research \u00b7 Landscape and knowledge<\/p><h1>Cuetzalan and the mountains: festivals, huipiles, coffee and cultural relationships<\/h1><p class=\"research-deck\">The square fills in October. The life that makes the festival possible is sustained throughout the year.<\/p><div class=\"research-abstract\"><h2>At a glance<\/h2><p>Cuetzalan offers a close view of the connections between cultivation, weaving, organisation and celebration in Puebla\u2019s Sierra Norte. The town, its surrounding communities and its regional connections form a network that no photograph of the square can explain on its own.<\/p><p>This article compares field studies, municipal documents and cultural records. It distinguishes the feast of Saint Francis from each fair\u2019s annual programme, asking who produces, decides, teaches and benefits when a practice becomes publicly visible.<\/p><\/div><section class=\"d-reading\" id=\"r12-en-scales\"><p class=\"eyebrow\">Three scales of reading<\/p><h3>From the square to regional relationships<\/h3><ol class=\"r-flow\"><li><strong>Town<\/strong>Concentration of services, stalls, celebrations and visitors.<\/li><li><strong>Municipality<\/strong>Different settlements, plots, households and forms of organisation.<\/li><li><strong>Mountains and contacts<\/strong>Circulation of people, products, languages and knowledge.<\/li><\/ol><p class=\"c-datanote\">Editorial reading diagram, without a cartographic scale or ethnic boundaries. Based on the scopes of Ellison and Hern\u00e1ndez M\u00e1rquez; it does not map exclusive areas.<\/p><\/section><section id=\"r12-en-b0\"><h2>1. A town within a network of communities<\/h2><p class=\"e-main\">In Cuetzalan del Progreso, three scales need to be distinguished: the town concentrating services and celebrations, the municipality with its different settlements, and the mountain region through which people, products and languages circulate. They are not three names for the same space. Nicolas Ellison\u2019s study places Cuetzalan within Nahua, Totonac and mestizo relationships extending into other municipalities. A festival can concentrate those connections in the square for a few days; it neither creates them from nothing nor confines them to the town centre.<\/p><p class=\"e-main\">This distinction changes how we look. A huipil arriving at a stall points to a maker and a place of production; coffee points to a plot, a harvest and a chain of work. Investigating the region means being able to trace the displayed object back to those relationships. Cuetzalan is treated here as a case study of the mountain Totonacapan and its contacts, with experiences of its own that can be compared with others without standing in for them all.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r12-en-s1\">[1]<\/a><\/p><\/section><section id=\"r12-en-b1\"><h2>2. The festival has more than one calendar<\/h2><p class=\"e-main\">4 October, the feast of Saint Francis of Assisi, is a reference point in Cuetzalan\u2019s patronal calendar. Cultural documentation connects the Huipil and Coffee fairs, dances and musical encounters with this period. Yet the saint\u2019s feast day, the commercial fair and the entertainment programme have different durations and organisers. Their convergence within a celebration does not mean that every concert or contest takes place on the same date every year.<\/p><p class=\"e-main\">Preparation precedes the public gathering: garments, rehearsals, music, food, travel and agreements. Recognising that work reveals the festival as an activity sustained by people, alongside its attractions for visitors. It also raises practical questions: who convenes it, who contributes time or resources, and how representation is decided. Answers must be sought for each community and edition, without assigning the same experience to every participant.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r12-en-s4\">[4]<\/a> <a class=\"research-cite\" href=\"#r12-en-s5\">[5]<\/a><\/p><\/section><figure class=\"research-visual e-photo d-portrait portrait\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r12-tejido-cuetzalan-2018.jpg\" width=\"750\" height=\"1126\" alt=\"A Cuetzalan weaver working at a backstrap loom with a purple warp.\" loading=\"lazy\"><figcaption><strong>Weaving in progress<\/strong>Cuetzalan del Progreso, Puebla \u00b7 21 April 2018. A loom in use; the image does not identify a participant in the cited study.<br>Adrianvillagarcia123 \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Hilos_de_Historia.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=\"r12-en-b2\"><h2>3. The huipil: technical knowledge and a voice<\/h2><p class=\"e-main\">A textile brings together a sequence of decisions. Choosing threads, preparing the warp (the tensioned threads that form the base), maintaining tension and forming the cloth require knowledge learned through work. The photograph of a Cuetzalan weaver on this page shows a loom in use; it cannot by itself reconstruct her learning, the price of the piece or the meaning of every motif. That requires listening to the maker and documenting the process.<\/p><p class=\"e-main\">Gabriela Bard Wigdor, Magali Paz and Jeli Edith Camacho Becerra studied the relationship between tourism policies and women\u2019s work, using eight in-depth interviews with craftswomen and community spokeswomen in Cuetzalan, alongside other consultations. Their 2022 research shows why textile production, visitor services and domestic work need to be analysed together. A garment may provide visibility and income while also involving tasks receiving little recognition. The festive image of a woman weaver cannot replace her power to decide about her work.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r12-en-s2\">[2]<\/a><\/p><\/section><section id=\"r12-en-b3\"><figure class=\"iict-plate\" id=\"iict-plate-r12-a-en\" lang=\"en\" aria-labelledby=\"iict-plate-r12-a-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 I<\/p><h3 id=\"iict-plate-r12-a-en-title\">The threads that build a cloth<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r12-a-en-art-title iict-plate-r12-a-en-art-desc\"><title id=\"iict-plate-r12-a-en-art-title\">The threads that build a cloth<\/title><desc id=\"iict-plate-r12-a-en-art-desc\">1. The warp lays out the lengthwise threads. 2. The weft crosses to form the surface. 3. The garment brings technique, use and authorship together. 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x2=\"231\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"281\" y1=\"306\" x2=\"281\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"331\" y1=\"306\" x2=\"331\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"381\" y1=\"306\" x2=\"381\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><path d=\"M507 134 L538 94 H629 L659 134 L690 171 L658 197 L643 179 V315 H522 V179 L506 197 L473 171Z\" fill=\"#e7ddc6\" stroke=\"#ad9a71\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M558 94 Q582 137 609 94\" fill=\"none\" stroke=\"#ad9a71\" stroke-width=\"3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><line x1=\"539\" y1=\"278\" x2=\"627\" y2=\"278\" stroke=\"#ae8e4b\" stroke-width=\"3\" \/><circle cx=\"111\" cy=\"380\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"111\" y=\"388\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"340\" cy=\"380\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"340\" y=\"388\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"584\" cy=\"365\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"584\" y=\"373\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>The warp lays out the lengthwise threads.<\/li><li>The weft crosses to form the surface.<\/li><li>The garment brings technique, use and authorship together.<\/li><\/ol><figcaption class=\"plate-caption\">Technical detail of a simple weave; not a reproduction of a traditional motif or an attribution to a garment or maker. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r12-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n\n<h2>4. Coffee grows within a worked landscape<\/h2><p class=\"e-main\">The Nahua expression kuojtakiloyan is often translated in this literature as useful forest or worked woodland. Ellison shows that its meaning depends on location: around Cuetzalan\u2019s coffee-growing area it refers to agroforestry management, combining trees and crops, whereas in colder Zoatecpan it applies to other cultivated spaces. A shared word does not mean that exactly the same crops are grown. Nor is a shaded coffee plot an untouched forest: it involves plant selection, care and productive aims.<\/p><p class=\"e-main\">This approach brings together elements that a panoramic view can separate: food for household consumption, products for sale and knowledge of the land. A system\u2019s diversity does not by itself demonstrate that all its producers earn a sufficient income. Understanding what makes a coffee plot viable also requires examining available labour, selling conditions and decisions about the plot. The landscape contains economic and cultural relationships as well as vegetation.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r12-en-s1\">[1]<\/a><\/p><\/section><figure class=\"research-visual e-photo d-portrait portrait\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r12-cafe-cuetzalan-2010.jpg\" width=\"1280\" height=\"1920\" alt=\"Red and green coffee fruits on a branch photographed in Cuetzalan.\" loading=\"lazy\"><figcaption><strong>A harvest begins on the plant<\/strong>Cuetzalan \u00b7 2 October 2010. Photograph of fruits; it does not identify a plot, producer organisation or harvest volume.<br>Noyolcont \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Planta_de_caf%C3%A9_de_Cuetzalan.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=\"r12-en-b4\"><h2>5. Organisation changes the coffee chain<\/h2><p class=\"e-main\">Rider Hern\u00e1ndez M\u00e1rquez analysed coffee production in Cuetzalan through thirty interviews with producers, women\u2019s groups, intermediaries and local decision-makers, together with observation and documentary research. His article, published in the 2024 volume of Estudios Sociales, distinguishes four organisational situations. Its purpose is to compare capacities for coordination\u2014decision-making, negotiation, building relationships and responding to difficulties\u2014rather than divide the population into four identities.<\/p><p class=\"e-main\">The Tosepan Union of Cooperatives plays an important part in that study, alongside other organisations and individual producers. Cooperative relationships can facilitate access to knowledge and markets; individual experiences reveal more fragile conditions in several cases examined. This is a qualitative finding, explaining how particular relationships work, not a guarantee of success for every cooperative. The useful question is which mechanisms work, for whom and under what conditions, and how decisions and the product\u2019s value are shared.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r12-en-s3\">[3]<\/a><\/p><\/section><section id=\"r12-en-b5\"><figure class=\"iict-viz viz-network\" id=\"iict-viz-r12-en\" lang=\"en\" aria-labelledby=\"iict-viz-r12-en-title\"><header><div class=\"viz-kicker\"><span>Visual notebooks<\/span><span>R12 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r12-en-title\">Reading Cuetzalan beyond the square<\/h3><p>Four ways into the relationships sustaining highland life.<\/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\"><path d=\"M80 22h120v56h-67l-24 20V78H80zM98 42h84M98 57h62\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>Speech<\/h4><p>Language, participation and ways of telling one\u2019s community story.<\/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=\"M78 16h124v80H78zM95 16v80M112 16v80M129 16v80M146 16v80M163 16v80M180 16v80M78 34h124M78 51h124M78 68h124M78 85h124\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>Weaving<\/h4><p>Technique, learning and the authorship of those who make garments.<\/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\">03<\/span><h4>Cultivation<\/h4><p>Coffee, a worked landscape and economic organisation.<\/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\"><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\">04<\/span><h4>Celebration<\/h4><p>Preparation, local calendars and each year\u2019s programme.<\/p><\/div><\/div><figcaption>Relationships developed in the article; not a tourism programme or current calendar.<span class=\"viz-source\">Original visual synthesis by the Institute \u00b7 <a href=\"#r12-en-sources\">Sources and comparison<\/a><\/span><\/figcaption><\/figure>\n\n<aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r12-en\" lang=\"en\" aria-labelledby=\"iict-reading-r12-en-title\"><span class=\"reading-kicker\">A closer story<\/span><h3 id=\"iict-reading-r12-en-title\">The hosts also tell their own story<\/h3><p>Taselotzin\u2019s own voice offers a change of viewpoint. In their presentation, the members explain that in 1995 they decided to develop a hotel to generate resources for the organization, create work and share their culture. They connect the project with craft sales, exchanges with other organizations and care for the environment. <a class=\"reading-ref\" href=\"#iict-reading-r12-en-source\" aria-label=\"See sources and comparison\">\u2197<\/a><\/p><p>Read alongside the academic interviews, this account moves beyond presenting women only as the subjects of tourism policy. It also shows them developing a project and explaining why they wish to sustain it. The next question is how those aims relate to everyday tasks, income and decisions.<\/p><p class=\"reading-links\"><a href=\"https:\/\/www.taselotzin.com\/quienes-somos\">Taselotzin \u00b7 Qui\u00e9nes somos, relato de las socias<\/a> \u00b7 <a href=\"#r12-en-sources\">Sources and comparison<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r12-b-en\" lang=\"en\" aria-labelledby=\"iict-plate-r12-b-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 II<\/p><h3 id=\"iict-plate-r12-b-en-title\">Between harvest and encounter lies organisation<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r12-b-en-art-title iict-plate-r12-b-en-art-desc\"><title id=\"iict-plate-r12-b-en-art-title\">Between harvest and encounter lies organisation<\/title><desc id=\"iict-plate-r12-b-en-art-desc\">1. Production sustains work and knowledge of the landscape. 2. Cooperation brings processing, training and exchange together. 3. Hosting visitors can also belong to a self-directed project. 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stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -46 Q-14 -54 -20 -59\" fill=\"none\" stroke=\"#617853\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -46 Q14 -54 20 -59\" fill=\"none\" stroke=\"#617853\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -61 Q-16 -69 -21 -71\" fill=\"none\" stroke=\"#617853\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -61 Q16 -69 21 -71\" fill=\"none\" stroke=\"#617853\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -76 Q-18 -84 -22 -83\" fill=\"none\" stroke=\"#617853\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -76 Q18 -84 22 -83\" fill=\"none\" stroke=\"#617853\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -91 Q-20 -99 -23 -95\" fill=\"none\" stroke=\"#617853\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -91 Q20 -99 23 -95\" fill=\"none\" stroke=\"#617853\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M0 -112 L39 -130\" fill=\"none\" stroke=\"#7c8b66\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"-7\" cy=\"-5\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"9\" cy=\"-32\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"-7\" cy=\"-59\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"9\" cy=\"-86\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"-7\" cy=\"-113\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"9\" cy=\"-140\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><\/g><rect x=\"316\" y=\"168\" width=\"134\" height=\"90\" rx=\"4\" fill=\"#e1d4b9\" stroke=\"#a68e62\" stroke-width=\"2\"\/><path d=\"M312 168 L341 145 H423 L454 168\" fill=\"none\" stroke=\"#a68e62\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><g transform=\"translate(620 154) scale(0.85)\"><path d=\"M-66 -12 L0 -68 L66 -12 L48 -12 L48 55 L-48 55 L-48 -12Z\" fill=\"#e6deca\" stroke=\"#6f7560\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"-12\" y=\"9\" width=\"24\" height=\"46\" rx=\"0\" fill=\"#a5ae91\" stroke=\"#6f7560\" stroke-width=\"2\"\/><rect x=\"-38\" y=\"-4\" width=\"17\" height=\"22\" rx=\"0\" fill=\"#d2d9cb\" stroke=\"#6f7560\" stroke-width=\"2\"\/><rect x=\"23\" y=\"-4\" width=\"17\" height=\"22\" rx=\"0\" fill=\"#d2d9cb\" stroke=\"#6f7560\" stroke-width=\"2\"\/><\/g><circle cx=\"146\" cy=\"340\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"146\" y=\"348\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"383\" cy=\"308\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"383\" y=\"316\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"620\" cy=\"272\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"620\" y=\"280\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Production sustains work and knowledge of the landscape.<\/li><li>Cooperation brings processing, training and exchange together.<\/li><li>Hosting visitors can also belong to a self-directed project.<\/li><\/ol><figcaption class=\"plate-caption\">Relationships discussed in the coffee studies, Tosepan and Taselotzin, retaining their distinct case contexts. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r12-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>6. What visitors see and what lies behind it<\/h2><p class=\"e-main\">The work of Bard Wigdor and her coauthors follows connections between crafts, accommodation and women\u2019s organisation through the studied cases of Tosepan and Taselotzin. Tourism can create opportunities to sell, meet and express an identity on one\u2019s own terms. It also requires serving guests, cooking, administration and care work. Counting only displayed objects or available rooms leaves out part of the economy sustaining them.<\/p><p class=\"e-main\">Tourism and ethnographic perspectives can complement each other while asking different questions. A brochure selects what attracts visitors; research also examines working relationships, inequalities and disagreements. Ellison adds an analytical caution: describing territory solely as biocultural heritage, through relationships between nature and culture, can obscure some of the relationships and categories through which people experience it. This article brings both perspectives together without treating promotion as proof of well-being or reducing local life to its difficulties.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r12-en-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r12-en-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r12-en-s6\">[6]<\/a><\/p><\/section><section id=\"r12-en-b6\"><h2>7. A fair\u2019s documentary record: what 2026 establishes<\/h2><p class=\"e-main\">The Cultural Information System entry, updated on 1 September 2026, gives 2\u201312 October for Cuetzalan\u2019s Huipil Fair. It also retains the heading LX. The first municipal report of 2025 uses that same numbering for that year\u2019s fair. These are two dated documents whose relationship needs checking before establishing a sequence of editions. Simply adding one to the number or carrying a poster into the following year is insufficient.<\/p><p class=\"e-main\">These documents enable a precise reading: the municipal report describes actions in 2025, while the cultural entry records information for 2026. That distinction is preserved here and examined in the expandable comparison. October\u2019s recurring festive calendar can be explained without turning a single edition\u2019s record into a permanent agenda. Reconstructing the daily programme of 2026 requires the organiser\u2019s announcement and final poster, including any subsequent changes.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r12-en-s5\">[5]<\/a> <a class=\"research-cite\" href=\"#r12-en-s6\">[6]<\/a><\/p><\/section><section id=\"r12-en-clocks\"><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Three records of festive time\" style=\"--journal-table-min:32rem\"><table><caption>Three records of festive time<\/caption><thead><tr><th scope=\"col\">Record<\/th><th scope=\"col\">Date supplied<\/th><th scope=\"col\">What it establishes<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Patronal calendar<\/th><td data-label=\"Date supplied\">4 October \u00b7 Saint Francis<\/td><td data-label=\"What it establishes\">A recurring festive reference, not an annual entertainment programme.<\/td><\/tr><tr><th scope=\"row\">Municipal report of 2025<\/th><td data-label=\"Date supplied\">Huipil Fair LX \/ Coffee Fair LXXIV<\/td><td data-label=\"What it establishes\">Activities reported for 2025; it does not confirm a later edition.<\/td><\/tr><tr><th scope=\"row\">SIC entry updated in 2026<\/th><td data-label=\"Date supplied\">2\u201312 October 2026 \u00b7 title LX<\/td><td data-label=\"What it establishes\">A dated historical record; numbering and daily programme require reconciliation.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><p class=\"r-small\">A documentary comparison, not a current events agenda. Sources [4]\u2013[6], accessed 5 November 2026.<\/p><\/section><section id=\"r12-en-b7\"><h2>8. A way to keep reading the mountains<\/h2><p class=\"e-main\">Instead of ending with a single image of Cuetzalan, this research proposes four routes: from a textile to its maker, from the cup to the plot and sale, from the festival to those preparing it, and from a landscape description to the words of those working it. These routes are connected, yet none replaces the others. They help us observe celebration more attentively and recognise the capacities that remain after the stalls have been removed.<\/p><p class=\"e-main\">The comparison remains open to identified documents and testimony. A new interview may clarify a technique; a work record may reveal how tasks are distributed; a dated programme may resolve a calendar discrepancy. Continuing research in this way avoids freezing the region into a postcard: Cuetzalan is better understood as a place of relationships, decisions and learning that continue to change.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r12-en-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r12-en-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r12-en-s3\">[3]<\/a><\/p><\/section><details class=\"research-evidence\" id=\"r12-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\">Which space are we describing?<\/th><td data-label=\"Sources and observations\">Ellison (2020), introduction and fieldwork scope, distinguishes Nahua and Totonac localities and intermunicipal relationships. Hern\u00e1ndez M\u00e1rquez (2024), methods, limits the coffee study to Cuetzalan municipality.<\/td><td data-label=\"Comparison and interpretation\">A regional relationship and a municipal study use different units. This article distinguishes town, municipality and mountains; it does not extend municipal results to all Totonacapan. Comparing figures would require matching territory, period and variable.<\/td><\/tr><tr><th scope=\"row\">What recurs and what changes each year?<\/th><td data-label=\"Sources and observations\">The Culture Secretariat\u2019s page places the patronal feast on 4 October. The SIC entry updated in 2026 supplies a fair interval; the municipal report describes activities in 2025.<\/td><td data-label=\"Comparison and interpretation\">The festive setting overlaps, but the dates are of different kinds. The patronal day is a recurring reference; programmes, concerts and duration require records for the particular edition. A traditional calendar does not validate an annual programme.<\/td><\/tr><tr><th scope=\"row\">Is the 2026 numbering settled?<\/th><td data-label=\"Sources and observations\">SIC retains LX and dates of 2\u201312 October 2026. The municipal report of 2025, printed p. 14, identifies the LX Huipil Fair and LXXIV Coffee Fair for 2025.<\/td><td data-label=\"Comparison and interpretation\">This is a documentary discrepancy, not two editions to merge by inference. Each record\u2019s year and numbering are attributed explicitly. The organiser\u2019s final announcement and an edition history could reconcile them; neither a daily programme nor a calculated edition number is published here.<\/td><\/tr><tr><th scope=\"row\">Does a contest explain textile work?<\/th><td data-label=\"Sources and observations\">Cultural publicity describes the election of a queen and historical contest criteria. Bard Wigdor, Paz and Camacho Becerra (2022), methods and Cuetzalan case, analyse women\u2019s work and organisation through interviews.<\/td><td data-label=\"Comparison and interpretation\">The first text describes festive representation; the second examines working and domestic relationships. These are not interchangeable measures. Historical brochure criteria are not presented as current rules or as a definition of all Indigenous women.<\/td><\/tr><tr><th scope=\"row\">Does useful forest always mean coffee plot?<\/th><td data-label=\"Sources and observations\">Ellison (2020), The biocultural landscape section, compares coffee management in Cuetzalan with uses of kuojtakiloyan in Zoatecpan. Hern\u00e1ndez M\u00e1rquez studies diversification of coffee systems.<\/td><td data-label=\"Comparison and interpretation\">The texts complement each other on the importance of management, but the ethnographic comparison reveals local variation in vocabulary. This difference is retained, rather than mapping a uniform land use from one word. Mapping would require plot information and local observation.<\/td><\/tr><tr><th scope=\"row\">Does organisation guarantee a better outcome?<\/th><td data-label=\"Sources and observations\">Hern\u00e1ndez M\u00e1rquez (2024) uses thirty interviews and four organisational situations. He identifies different coordination capacities and vulnerabilities while recognising gaps in census and cartographic information.<\/td><td data-label=\"Comparison and interpretation\">The qualitative design explains mechanisms and cases. It does not estimate how much an individual would improve by joining a cooperative or remove prior resource differences. That question would require time series and comparisons the study does not provide.<\/td><\/tr><tr><th scope=\"row\">Does more tourism mean more autonomy?<\/th><td data-label=\"Sources and observations\">Bard Wigdor and coauthors (2022) connect weaving, accommodation and care. The 2025 municipal report presents tourism promotion and results from the administration\u2019s perspective.<\/td><td data-label=\"Comparison and interpretation\">Visitor numbers and a worker\u2019s autonomy are different objects. The article neither derives well-being from promotion nor denies earning opportunities. Work distribution, payments and participation in decisions require specific data and participants\u2019 voices.<\/td><\/tr><tr><th scope=\"row\">What does the heritage label leave out?<\/th><td data-label=\"Sources and observations\">Ellison (2020) examines the limits of reducing territorial relationships to biocultural heritage. Hern\u00e1ndez M\u00e1rquez (2024) asks about governance mechanisms and economic connections.<\/td><td data-label=\"Comparison and interpretation\">No disagreement is invented: the authors\u2019 questions illuminate different dimensions. Material organisation and lived categories are brought together without assuming one shared worldview. New attributed testimony could clarify what relationships disappear when territory is represented solely through its products.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><h3>References and reading scope<\/h3><ol class=\"research-sources\"><li id=\"r12-en-s1\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S0185-62862020000200005&#038;script=sci_arttext\">Nicolas Ellison \u00b7 2020 \u00b7 Altepet \/ Chuchutsipi: cosmopol\u00edtica territorial totonaca-nahua y patrimonio biocultural \u00b7 Trace 78, 88\u2013122 \u00b7 DOI 10.22134\/trace.78.2020.742<\/a><br>Introduction, fieldwork scope and The biocultural landscape section read, especially pp. 105\u2013109. Totonac stays 1999\u20132019 and Nahua stays 2017\u20132019. The Zoatecpan comparison belongs to the author\u2019s research, not a new Institute interview.<\/li><li id=\"r12-en-s2\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S1405-84212022000100087&#038;script=sci_arttext_plus&#038;tlng=es\">Gabriela Bard Wigdor, Magali Paz y Jeli Edith Camacho Becerra \u00b7 2022 \u00b7 La posici\u00f3n de las mujeres en programas de intervenci\u00f3n estatal: territorios feminizados (M\u00e9xico y Argentina) \u00b7 Econom\u00eda, Sociedad y Territorio 22(68), 87\u2013115 \u00b7 DOI 10.22136\/est20221664<\/a><br>Abstract, introduction, methods\/materials and Cuetzalan cases read. Eight interviews with craftswomen and spokeswomen plus two with researchers; purposive selection, with field scenes from 2017\u20132018. Argentine cases are not transferred to Cuetzalan; historical study counts are not a current register.<\/li><li id=\"r12-en-s3\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S2395-91692024000100125&#038;script=sci_arttext_plus&#038;tlng=es\">Rider Hern\u00e1ndez M\u00e1rquez \u00b7 2024 \u00b7 Producci\u00f3n de caf\u00e9 en Cuetzalan del Progreso, Puebla. La gobernanza territorial en los Sistemas Agroalimentarios Localizados \u00b7 Estudios Sociales 34(63) \u00b7 DOI 10.24836\/es.v34i63.1446<\/a><br>Abstract, methods, producer organisation, conclusions, notes 1\u20135 and interview guide read. Thirty interviews; four organisational situations. January\u2013June 2024 volume, with electronic publication dated 17 March 2025. It is neither a census nor a causal estimate of joining a cooperative.<\/li><li id=\"r12-en-s4\"><a href=\"https:\/\/www.cultura.gob.mx\/turismocultural\/destino_mes\/cuetzalan\/fiestas.html\">Secretar\u00eda de Cultura \u00b7 Cuetzalan: fiestas y tradiciones \u00b7 p\u00e1gina de divulgaci\u00f3n cultural, sin fecha editorial indicada<\/a><br>The text on fairs and the patronal feast was read. It identifies the recurring 4 October reference. Its historical descriptions of contest requirements are not treated as current rules; it does not establish the daily programme for 2026.<\/li><li id=\"r12-en-s5\"><a href=\"https:\/\/sic.cultura.gob.mx\/ficha.php?disciplina=&#038;table=festival&#038;table_id=1943\">Sistema de Informaci\u00f3n Cultural \u00b7 LX Feria Nacional del Huipil \u00b7 registro modificado el 1 de septiembre de 2026<\/a><br>General information, venue, dates, organiser and update read. It records 2\u201312 October 2026 but retains LX. Cited as a dated record whose numbering requires reconciliation, not validation of the illustration or a final programme. Accessed 5 November 2026.<\/li><li id=\"r12-en-s6\"><a href=\"https:\/\/ayuntamientocuetzalandelprogreso.com\/wp-content\/CONAC\/Desempeno\/2025\/PRIMER_INFORME_DE_GOBIERNO_2024-2027.pdf\">Ayuntamiento de Cuetzalan del Progreso \u00b7 2025 \u00b7 Primer informe de gobierno 2024\u20132027<\/a><br>Opening statement and Rural development\/Tourism and culture sections read, printed pp. 12\u201315: Coffee Expo and the LX\/LXXIV fairs of 2025. An organiser\u2019s report on that edition, not a 2026 programme. Its impact claims are not treated as independent measurements.<\/li><\/ol><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r12-en-source\" lang=\"en\"><h4>The hosts also tell their own story<\/h4><p>The self-presentation documents aims and organizational memory. The 2022 study examines labour relations; promotion is not treated as an impact evaluation.<\/p><p><a href=\"https:\/\/www.taselotzin.com\/quienes-somos\">Taselotzin \u00b7 Qui\u00e9nes somos, relato de las socias<\/a> \u00b7 <a href=\"#iict-reading-r12-en\">Return to the passage<\/a><\/p><\/section>\n\n<\/details><nav class=\"research-related\"><a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-en\">Continue: Voladores and other ceremonies \u2192<\/a><a href=\"https:\/\/totonacapan.com\/?page_id=1315#r10-en\">Cultivation and processing: vanilla \u2192<\/a><\/nav><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 R12 en --><aside class=\"iict-citation\" id=\"citar-r12-en\" aria-labelledby=\"citar-r12-en-title\"><h2 id=\"citar-r12-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. \u00abCuetzalan and the mountains: festivals, huipiles, coffee and cultural relationships\u00bb. <cite>Research notebooks<\/cite>, <strong>R12<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-en\">https:\/\/totonacapan.com\/?page_id=1325#r12-en<\/a>.<\/blockquote><p><strong>Internal reference:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-en\">R12<\/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 R12 en --><\/article><\/details><details class=\"research-lang-version\" id=\"r12-fr-version\"><summary>Lire l\u2019article int\u00e9gral en fran\u00e7ais<\/summary><article id=\"r12-fr\" lang=\"fr\"><p class=\"eyebrow\">Recherches sur le Totonacapan \u00b7 Paysages et savoirs<\/p><h1>Cuetzalan et la sierra : f\u00eates, huipils, caf\u00e9 et relations culturelles<\/h1><p class=\"research-deck\">La place se remplit en octobre. La vie qui rend la f\u00eate possible se travaille toute l\u2019ann\u00e9e.<\/p><div class=\"research-abstract\"><h2>L\u2019essentiel<\/h2><p>Cuetzalan permet d\u2019observer les liens entre culture des terres, tissage, organisation et c\u00e9l\u00e9bration dans la Sierra Norte de Puebla. La ville, ses communaut\u00e9s et ses relations r\u00e9gionales forment une trame qu\u2019aucune photographie de la place ne peut expliquer \u00e0 elle seule.<\/p><p>Cet article confronte enqu\u00eates de terrain, documents municipaux et notices culturelles. Il distingue la f\u00eate de saint Fran\u00e7ois du programme annuel de chaque foire et interroge qui produit, d\u00e9cide, enseigne et b\u00e9n\u00e9ficie de la visibilit\u00e9 donn\u00e9e \u00e0 une pratique.<\/p><\/div><section class=\"d-reading\" id=\"r12-fr-scales\"><p class=\"eyebrow\">Trois \u00e9chelles de lecture<\/p><h3>De la place aux relations r\u00e9gionales<\/h3><ol class=\"r-flow\"><li><strong>Ville<\/strong>Concentration de services, d\u2019\u00e9tals, de c\u00e9l\u00e9brations et de visiteurs.<\/li><li><strong>Municipalit\u00e9<\/strong>Localit\u00e9s, parcelles, foyers et formes d\u2019organisation diff\u00e9rents.<\/li><li><strong>Sierra et contacts<\/strong>Circulation des personnes, produits, langues et connaissances.<\/li><\/ol><p class=\"c-datanote\">Sch\u00e9ma \u00e9ditorial de lecture, sans \u00e9chelle cartographique ni fronti\u00e8res ethniques. Fond\u00e9 sur les p\u00e9rim\u00e8tres d\u2019Ellison et Hern\u00e1ndez M\u00e1rquez ; il ne dessine pas d\u2019aires exclusives.<\/p><\/section><section id=\"r12-fr-b0\"><h2>1. Une ville dans un r\u00e9seau de communaut\u00e9s<\/h2><p class=\"e-main\">\u00c0 Cuetzalan del Progreso, trois \u00e9chelles doivent \u00eatre distingu\u00e9es : la ville concentrant services et c\u00e9l\u00e9brations, la municipalit\u00e9 avec ses diff\u00e9rentes localit\u00e9s et la sierra parcourue par les personnes, les produits et les langues. Ce ne sont pas trois noms pour un m\u00eame espace. L\u2019\u00e9tude de Nicolas Ellison situe Cuetzalan dans des relations nahuas, totonaques et m\u00e9tisses qui d\u00e9bordent les limites municipales. Une f\u00eate peut concentrer ces liens sur la place pendant quelques jours ; elle ne les cr\u00e9e pas de toutes pi\u00e8ces et ne les enferme pas dans le centre urbain.<\/p><p class=\"e-main\">Cette distinction transforme le regard. Le huipil pr\u00e9sent\u00e9 sur un \u00e9tal renvoie \u00e0 une cr\u00e9atrice et \u00e0 un lieu de fabrication ; le caf\u00e9 renvoie \u00e0 une parcelle, une r\u00e9colte et une cha\u00eene de travail. \u00c9tudier la r\u00e9gion suppose de pouvoir remonter de l\u2019objet expos\u00e9 \u00e0 ces relations. Cuetzalan est trait\u00e9 ici comme un cas d\u2019\u00e9tude du Totonacapan montagnard et de ses contacts, avec des exp\u00e9riences propres que l\u2019on peut comparer \u00e0 d\u2019autres sans les repr\u00e9senter toutes.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r12-fr-s1\">[1]<\/a><\/p><\/section><section id=\"r12-fr-b1\"><h2>2. La f\u00eate poss\u00e8de plusieurs calendriers<\/h2><p class=\"e-main\">Le 4 octobre, f\u00eate de saint Fran\u00e7ois d\u2019Assise, constitue un rep\u00e8re du calendrier patronal de Cuetzalan. Les documents culturels rattachent \u00e0 cette p\u00e9riode les foires du Huipil et du Caf\u00e9, les danses et les rencontres musicales. Mais le jour du saint, la foire commerciale et le programme des spectacles ont des dur\u00e9es et des responsables diff\u00e9rents. Leur r\u00e9union dans une c\u00e9l\u00e9bration ne signifie pas que chaque concert ou concours se reproduit tous les ans \u00e0 la m\u00eame date.<\/p><p class=\"e-main\">Le rassemblement public est pr\u00e9c\u00e9d\u00e9 d\u2019un travail de pr\u00e9paration : v\u00eatements, r\u00e9p\u00e9titions, musique, nourriture, d\u00e9placements et accords. Le reconna\u00eetre permet de comprendre la f\u00eate comme une activit\u00e9 port\u00e9e par des personnes, au-del\u00e0 des attractions propos\u00e9es aux visiteurs. Des questions pr\u00e9cises apparaissent : qui convoque, qui apporte du temps ou des ressources et comment la repr\u00e9sentation est-elle d\u00e9cid\u00e9e ? Les r\u00e9ponses doivent \u00eatre recherch\u00e9es pour chaque communaut\u00e9 et chaque \u00e9dition, sans attribuer \u00e0 tous les participants une exp\u00e9rience identique.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r12-fr-s4\">[4]<\/a> <a class=\"research-cite\" href=\"#r12-fr-s5\">[5]<\/a><\/p><\/section><figure class=\"research-visual e-photo d-portrait portrait\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r12-tejido-cuetzalan-2018.jpg\" width=\"750\" height=\"1126\" alt=\"Tisserande de Cuetzalan devant une cha\u00eene violette sur un m\u00e9tier \u00e0 ceinture.\" loading=\"lazy\"><figcaption><strong>Le tissage en cours<\/strong>Cuetzalan del Progreso, Puebla \u00b7 21.04.2018. M\u00e9tier en usage ; l\u2019image n\u2019identifie pas une participante \u00e0 l\u2019\u00e9tude cit\u00e9e.<br>Adrianvillagarcia123 \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Hilos_de_Historia.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=\"r12-fr-b2\"><h2>3. Le huipil : une technique et une voix<\/h2><p class=\"e-main\">Un textile rassemble une suite de d\u00e9cisions. Choisir les fils, pr\u00e9parer la cha\u00eene (les fils tendus qui constituent la base), maintenir la tension et former le tissu exigent un savoir appris par le travail. La photographie d\u2019une tisserande de Cuetzalan pr\u00e9sent\u00e9e ici montre un m\u00e9tier en usage ; elle ne permet pas, \u00e0 elle seule, de reconstituer son apprentissage, le prix de la pi\u00e8ce ou la signification de tous ses motifs. Cela demande d\u2019\u00e9couter la cr\u00e9atrice et de documenter le processus.<\/p><p class=\"e-main\">Gabriela Bard Wigdor, Magali Paz et Jeli Edith Camacho Becerra ont \u00e9tudi\u00e9 les relations entre politiques touristiques et travail des femmes, avec huit entretiens approfondis aupr\u00e8s d\u2019artisanes et de porte-parole de communaut\u00e9s de Cuetzalan, compl\u00e9t\u00e9s par d\u2019autres consultations. Leur recherche de 2022 montre pourquoi production textile, accueil des visiteurs et travail domestique doivent \u00eatre analys\u00e9s ensemble. Un v\u00eatement peut procurer visibilit\u00e9 et revenus tout en impliquant des t\u00e2ches peu reconnues. L\u2019image festive de la femme tisserande ne remplace pas son pouvoir de d\u00e9cision sur son travail.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r12-fr-s2\">[2]<\/a><\/p><\/section><section id=\"r12-fr-b3\"><figure class=\"iict-plate\" id=\"iict-plate-r12-a-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r12-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-r12-a-fr-title\">Les fils qui construisent une \u00e9toffe<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r12-a-fr-art-title iict-plate-r12-a-fr-art-desc\"><title id=\"iict-plate-r12-a-fr-art-title\">Les fils qui construisent une \u00e9toffe<\/title><desc id=\"iict-plate-r12-a-fr-art-desc\">1. La cha\u00eene dispose les fils longitudinaux. 2. La trame croise les fils pour former la surface. 3. Le v\u00eatement r\u00e9unit technique, usage et cr\u00e9ation. D\u00e9tail technique d\u2019un tissage simple ; il ne reproduit pas un motif traditionnel et n\u2019identifie ni v\u00eatement ni cr\u00e9atrice.<\/desc><defs><pattern id=\"iict-plate-r12-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-r12-a-fr-grain)\"\/><rect x=\"58\" y=\"78\" width=\"383\" height=\"263\" rx=\"1\" fill=\"#f0eadb\" stroke=\"#c5b794\" stroke-width=\"2\"\/><path d=\"M77 70 Q65 210 77 350\" fill=\"none\" stroke=\"#a4b18d\" stroke-width=\"7\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M98 70 Q86 210 98 350\" fill=\"none\" stroke=\"#a4b18d\" stroke-width=\"7\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M119 70 Q107 210 119 350\" fill=\"none\" stroke=\"#a4b18d\" stroke-width=\"7\" 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x1=\"381\" y1=\"256\" x2=\"381\" y2=\"267\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"81\" y1=\"281\" x2=\"81\" y2=\"292\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"131\" y1=\"281\" x2=\"131\" y2=\"292\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"181\" y1=\"281\" x2=\"181\" y2=\"292\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"231\" y1=\"281\" x2=\"231\" y2=\"292\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"281\" y1=\"281\" x2=\"281\" y2=\"292\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"331\" y1=\"281\" x2=\"331\" y2=\"292\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"381\" y1=\"281\" x2=\"381\" y2=\"292\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"81\" y1=\"306\" x2=\"81\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"131\" y1=\"306\" x2=\"131\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"181\" y1=\"306\" x2=\"181\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"231\" y1=\"306\" x2=\"231\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"281\" y1=\"306\" x2=\"281\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"331\" y1=\"306\" x2=\"331\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><line x1=\"381\" y1=\"306\" x2=\"381\" y2=\"317\" stroke=\"#a4b18d\" stroke-width=\"7\" \/><path d=\"M507 134 L538 94 H629 L659 134 L690 171 L658 197 L643 179 V315 H522 V179 L506 197 L473 171Z\" fill=\"#e7ddc6\" stroke=\"#ad9a71\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M558 94 Q582 137 609 94\" fill=\"none\" stroke=\"#ad9a71\" stroke-width=\"3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><line x1=\"539\" y1=\"278\" x2=\"627\" y2=\"278\" stroke=\"#ae8e4b\" stroke-width=\"3\" \/><circle cx=\"111\" cy=\"380\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"111\" y=\"388\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"340\" cy=\"380\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"340\" y=\"388\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"584\" cy=\"365\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"584\" y=\"373\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>La cha\u00eene dispose les fils longitudinaux.<\/li><li>La trame croise les fils pour former la surface.<\/li><li>Le v\u00eatement r\u00e9unit technique, usage et cr\u00e9ation.<\/li><\/ol><figcaption class=\"plate-caption\">D\u00e9tail technique d\u2019un tissage simple ; il ne reproduit pas un motif traditionnel et n\u2019identifie ni v\u00eatement ni cr\u00e9atrice. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r12-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n\n<h2>4. Le caf\u00e9 pousse dans un paysage travaill\u00e9<\/h2><p class=\"e-main\">L\u2019expression nahua kuojtakiloyan est souvent traduite dans cette litt\u00e9rature par for\u00eat utile ou espace bois\u00e9 travaill\u00e9. Ellison montre que son contenu d\u00e9pend du lieu : dans l\u2019environnement caf\u00e9ier de Cuetzalan, elle renvoie \u00e0 des pratiques agroforesti\u00e8res associant arbres et cultures, tandis que dans la zone plus froide de Zoatecpan, elle d\u00e9signe d\u2019autres espaces cultiv\u00e9s. Employer le m\u00eame mot ne signifie pas cultiver exactement les m\u00eames plantes. Une caf\u00e9i\u00e8re sous ombrage n\u2019est pas davantage une for\u00eat sans intervention : elle suppose s\u00e9lection des plantes, soins et objectifs productifs.<\/p><p class=\"e-main\">Cette lecture r\u00e9unit des \u00e9l\u00e9ments qu\u2019une vue panoramique peut s\u00e9parer : plantes destin\u00e9es \u00e0 la consommation familiale, produits \u00e0 vendre et connaissance du terrain. La diversit\u00e9 d\u2019un syst\u00e8me ne d\u00e9montre pas \u00e0 elle seule que tous ses producteurs disposent d\u2019un revenu suffisant. Comprendre ce qui rend une caf\u00e9i\u00e8re viable demande aussi d\u2019observer la main-d\u2019\u0153uvre disponible, les conditions de vente et les d\u00e9cisions concernant la parcelle. Le paysage contient des relations \u00e9conomiques et culturelles autant que de la v\u00e9g\u00e9tation.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r12-fr-s1\">[1]<\/a><\/p><\/section><figure class=\"research-visual e-photo d-portrait portrait\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r12-cafe-cuetzalan-2010.jpg\" width=\"1280\" height=\"1920\" alt=\"Fruits rouges et verts du caf\u00e9 sur une branche photographi\u00e9e \u00e0 Cuetzalan.\" loading=\"lazy\"><figcaption><strong>Une r\u00e9colte commence sur la plante<\/strong>Cuetzalan \u00b7 02.10.2010. Photographie de fruits ; elle n\u2019identifie ni parcelle, ni organisation productrice, ni volume de r\u00e9colte.<br>Noyolcont \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Planta_de_caf%C3%A9_de_Cuetzalan.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=\"r12-fr-b4\"><h2>5. L\u2019organisation transforme la cha\u00eene du caf\u00e9<\/h2><p class=\"e-main\">Rider Hern\u00e1ndez M\u00e1rquez a analys\u00e9 la production caf\u00e9i\u00e8re de Cuetzalan \u00e0 partir de trente entretiens avec des producteurs, collectifs de femmes, interm\u00e9diaires et responsables locaux, accompagn\u00e9s d\u2019observations et de documents. Son article, publi\u00e9 dans le volume 2024 d\u2019Estudios Sociales, distingue quatre situations d\u2019organisation. Il s\u2019agit de comparer des capacit\u00e9s de coordination \u2014 d\u00e9cider, n\u00e9gocier, nouer des relations et affronter des difficult\u00e9s \u2014 plut\u00f4t que de r\u00e9partir la population en quatre identit\u00e9s.<\/p><p class=\"e-main\">L\u2019Union de coop\u00e9ratives Tosepan occupe une place importante dans cette \u00e9tude, aux c\u00f4t\u00e9s d\u2019autres organisations et de producteurs individuels. Les liens coop\u00e9ratifs peuvent faciliter l\u2019acc\u00e8s aux connaissances et aux march\u00e9s ; plusieurs cas individuels examin\u00e9s r\u00e9v\u00e8lent des conditions plus fragiles. Ce r\u00e9sultat qualitatif explique des exp\u00e9riences et des relations pr\u00e9cises et ne garantit pas le succ\u00e8s de toute coop\u00e9rative. La question utile porte sur les m\u00e9canismes qui fonctionnent, leurs b\u00e9n\u00e9ficiaires et leurs conditions, ainsi que sur le partage des d\u00e9cisions et de la valeur du produit.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r12-fr-s3\">[3]<\/a><\/p><\/section><section id=\"r12-fr-b5\"><figure class=\"iict-viz viz-network\" id=\"iict-viz-r12-fr\" lang=\"fr\" aria-labelledby=\"iict-viz-r12-fr-title\"><header><div class=\"viz-kicker\"><span>Carnets visuels<\/span><span>R12 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r12-fr-title\">Lire Cuetzalan au-del\u00e0 de la place<\/h3><p>Quatre entr\u00e9es dans les relations qui font vivre la sierra.<\/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\"><path d=\"M80 22h120v56h-67l-24 20V78H80zM98 42h84M98 57h62\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>La parole<\/h4><p>Langue, participation et fa\u00e7ons de raconter sa communaut\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=\"M78 16h124v80H78zM95 16v80M112 16v80M129 16v80M146 16v80M163 16v80M180 16v80M78 34h124M78 51h124M78 68h124M78 85h124\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>Le tissage<\/h4><p>Technique, apprentissage et cr\u00e9ation des personnes qui r\u00e9alisent les v\u00eatements.<\/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\">03<\/span><h4>La culture agricole<\/h4><p>Caf\u00e9, paysage travaill\u00e9 et organisation \u00e9conomique.<\/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\"><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\">04<\/span><h4>La c\u00e9l\u00e9bration<\/h4><p>Pr\u00e9paration, calendrier local et programme de chaque ann\u00e9e.<\/p><\/div><\/div><figcaption>Relations d\u00e9velopp\u00e9es dans l\u2019article ; ni programme touristique ni calendrier en vigueur.<span class=\"viz-source\">Synth\u00e8se visuelle originale de l\u2019Institut \u00b7 <a href=\"#r12-fr-sources\">Sources et confrontation<\/a><\/span><\/figcaption><\/figure>\n\n<aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r12-fr\" lang=\"fr\" aria-labelledby=\"iict-reading-r12-fr-title\"><span class=\"reading-kicker\">Une histoire concr\u00e8te<\/span><h3 id=\"iict-reading-r12-fr-title\">Les h\u00f4tes racontent aussi leur histoire<\/h3><p>La voix de Taselotzin change le point de vue. Dans leur propre pr\u00e9sentation, les associ\u00e9es expliquent avoir d\u00e9cid\u00e9 en 1995 de d\u00e9velopper un h\u00f4tel pour procurer des ressources \u00e0 l\u2019organisation, cr\u00e9er du travail et faire conna\u00eetre leur culture. Elles relient ce projet \u00e0 la vente d\u2019artisanat, aux \u00e9changes entre organisations et au soin de l\u2019environnement. <a class=\"reading-ref\" href=\"#iict-reading-r12-fr-source\" aria-label=\"Voir sources et comparaison\">\u2197<\/a><\/p><p>Rapproch\u00e9 des entretiens universitaires, ce r\u00e9cit d\u00e9passe l\u2019image de femmes seulement destinataires d\u2019une politique touristique. Il les montre aussi formulant un projet et expliquant pourquoi elles veulent le soutenir. Reste \u00e0 suivre comment ces objectifs s\u2019articulent aux t\u00e2ches, aux revenus et aux d\u00e9cisions quotidiennes.<\/p><p class=\"reading-links\"><a href=\"https:\/\/www.taselotzin.com\/quienes-somos\">Taselotzin \u00b7 Qui\u00e9nes somos, relato de las socias<\/a> \u00b7 <a href=\"#r12-fr-sources\">Sources et confrontation<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r12-b-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r12-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-r12-b-fr-title\">Entre r\u00e9colte et rencontre, il y a de l\u2019organisation<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r12-b-fr-art-title iict-plate-r12-b-fr-art-desc\"><title id=\"iict-plate-r12-b-fr-art-title\">Entre r\u00e9colte et rencontre, il y a de l\u2019organisation<\/title><desc id=\"iict-plate-r12-b-fr-art-desc\">1. Produire entretient travail et connaissance du paysage. 2. Coop\u00e9rer r\u00e9unit transformation, formation et \u00e9change. 3. Accueillir des visiteurs peut aussi appartenir \u00e0 un projet port\u00e9 par ses membres. 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stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -91 Q20 -99 23 -95\" fill=\"none\" stroke=\"#617853\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M0 -112 L39 -130\" fill=\"none\" stroke=\"#7c8b66\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"-7\" cy=\"-5\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"9\" cy=\"-32\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"-7\" cy=\"-59\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"9\" cy=\"-86\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"-7\" cy=\"-113\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><circle cx=\"9\" cy=\"-140\" r=\"8\" fill=\"#a65f4d\" stroke=\"#7e5141\" stroke-width=\"1\"\/><\/g><rect x=\"316\" y=\"168\" width=\"134\" height=\"90\" rx=\"4\" fill=\"#e1d4b9\" stroke=\"#a68e62\" stroke-width=\"2\"\/><path d=\"M312 168 L341 145 H423 L454 168\" fill=\"none\" stroke=\"#a68e62\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><g transform=\"translate(620 154) scale(0.85)\"><path d=\"M-66 -12 L0 -68 L66 -12 L48 -12 L48 55 L-48 55 L-48 -12Z\" fill=\"#e6deca\" stroke=\"#6f7560\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"-12\" y=\"9\" width=\"24\" height=\"46\" rx=\"0\" fill=\"#a5ae91\" stroke=\"#6f7560\" stroke-width=\"2\"\/><rect x=\"-38\" y=\"-4\" width=\"17\" height=\"22\" rx=\"0\" fill=\"#d2d9cb\" stroke=\"#6f7560\" stroke-width=\"2\"\/><rect x=\"23\" y=\"-4\" width=\"17\" height=\"22\" rx=\"0\" fill=\"#d2d9cb\" stroke=\"#6f7560\" stroke-width=\"2\"\/><\/g><circle cx=\"146\" cy=\"340\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"146\" y=\"348\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"383\" cy=\"308\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"383\" y=\"316\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"620\" cy=\"272\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"620\" y=\"280\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Produire entretient travail et connaissance du paysage.<\/li><li>Coop\u00e9rer r\u00e9unit transformation, formation et \u00e9change.<\/li><li>Accueillir des visiteurs peut aussi appartenir \u00e0 un projet port\u00e9 par ses membres.<\/li><\/ol><figcaption class=\"plate-caption\">Relations \u00e9tudi\u00e9es autour du caf\u00e9, de Tosepan et de Taselotzin, en conservant leurs contextes distincts. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r12-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>6. Ce que voit le visiteur et ce qui reste derri\u00e8re<\/h2><p class=\"e-main\">Le travail de Bard Wigdor et de ses coautrices suit les liens entre artisanat, h\u00e9bergement et organisation des femmes \u00e0 travers les cas \u00e9tudi\u00e9s de Tosepan et de Taselotzin. Le tourisme peut ouvrir des possibilit\u00e9s de vente, de r\u00e9union et d\u2019expression d\u2019une identit\u00e9 propre. Il demande aussi d\u2019accueillir, de cuisiner, d\u2019administrer et d\u2019assurer des t\u00e2ches de soin. Compter seulement les objets expos\u00e9s ou les chambres disponibles laisse de c\u00f4t\u00e9 une partie de l\u2019\u00e9conomie qui les rend possibles.<\/p><p class=\"e-main\">Les regards touristique et ethnographique peuvent se compl\u00e9ter tout en posant des questions diff\u00e9rentes. Une brochure choisit ce qui attire une visite ; une recherche examine aussi les relations de travail, les in\u00e9galit\u00e9s et les d\u00e9saccords. Ellison ajoute une mise en garde analytique : d\u00e9crire le territoire seulement comme patrimoine bioculturel, \u00e0 travers les liens entre nature et culture, peut effacer certaines relations et cat\u00e9gories par lesquelles les personnes le vivent. L\u2019article r\u00e9unit ces perspectives sans transformer la promotion en preuve de bien-\u00eatre ni r\u00e9duire la vie locale \u00e0 ses difficult\u00e9s.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r12-fr-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r12-fr-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r12-fr-s6\">[6]<\/a><\/p><\/section><section id=\"r12-fr-b6\"><h2>7. Les archives d\u2019une foire : ce que documente 2026<\/h2><p class=\"e-main\">La notice du Syst\u00e8me d\u2019information culturelle, modifi\u00e9e le 1er septembre 2026, indique les dates du 2 au 12 octobre pour la Foire du Huipil de Cuetzalan. Elle conserve \u00e9galement le titre LX. Le premier rapport municipal de 2025 utilise cette m\u00eame num\u00e9rotation pour la foire de cette ann\u00e9e-l\u00e0. Ce sont deux documents dat\u00e9s dont le rapport doit \u00eatre v\u00e9rifi\u00e9 avant d\u2019\u00e9tablir une succession d\u2019\u00e9ditions. Il ne suffit pas d\u2019ajouter un chiffre ni de reporter automatiquement une affiche sur l\u2019ann\u00e9e suivante.<\/p><p class=\"e-main\">Ces documents permettent une lecture pr\u00e9cise : le rapport municipal d\u00e9crit des actions de 2025, tandis que la notice culturelle enregistre des informations de 2026. Cette distinction est maintenue ici et examin\u00e9e dans le panneau de confrontation. Le calendrier r\u00e9current d\u2019octobre peut \u00eatre expliqu\u00e9 sans faire du document d\u2019une \u00e9dition un agenda permanent. Reconstituer le programme quotidien de 2026 exige l\u2019annonce et l\u2019affiche finale de l\u2019organisateur, ainsi que leurs \u00e9ventuelles modifications.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r12-fr-s5\">[5]<\/a> <a class=\"research-cite\" href=\"#r12-fr-s6\">[6]<\/a><\/p><\/section><section id=\"r12-fr-clocks\"><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Trois registres du temps festif\" style=\"--journal-table-min:32rem\"><table><caption>Trois registres du temps festif<\/caption><thead><tr><th scope=\"col\">Document<\/th><th scope=\"col\">Date donn\u00e9e<\/th><th scope=\"col\">Ce qu\u2019il permet d\u2019affirmer<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Calendrier patronal<\/th><td data-label=\"Date donn\u00e9e\">4 octobre \u00b7 saint Fran\u00e7ois<\/td><td data-label=\"Ce qu\u2019il permet d\u2019affirmer\">Rep\u00e8re festif r\u00e9current, non programme annuel de spectacles.<\/td><\/tr><tr><th scope=\"row\">Rapport municipal de 2025<\/th><td data-label=\"Date donn\u00e9e\">Foire du Huipil LX \/ du Caf\u00e9 LXXIV<\/td><td data-label=\"Ce qu\u2019il permet d\u2019affirmer\">Actions rapport\u00e9es pour 2025 ; ne confirme pas une \u00e9dition ult\u00e9rieure.<\/td><\/tr><tr><th scope=\"row\">Notice SIC modifi\u00e9e en 2026<\/th><td data-label=\"Date donn\u00e9e\">2\u201312 octobre 2026 \u00b7 titre LX<\/td><td data-label=\"Ce qu\u2019il permet d\u2019affirmer\">Document historique dat\u00e9 ; num\u00e9rotation et programme quotidien restent \u00e0 concilier.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><p class=\"r-small\">Lecture documentaire, non agenda en vigueur. Sources [4]\u2013[6], consult\u00e9es le 05.11.2026.<\/p><\/section><section id=\"r12-fr-b7\"><h2>8. Une mani\u00e8re de continuer \u00e0 lire la sierra<\/h2><p class=\"e-main\">Plut\u00f4t que de conclure sur une image unique de Cuetzalan, cette recherche propose quatre parcours : du textile \u00e0 sa cr\u00e9atrice, de la tasse \u00e0 la parcelle et \u00e0 la vente, de la f\u00eate \u00e0 celles et ceux qui la pr\u00e9parent et de la description du paysage aux mots des personnes qui le travaillent. Ces parcours sont li\u00e9s, mais aucun ne remplace les autres. Ils permettent de regarder la c\u00e9l\u00e9bration avec plus d\u2019attention et de reconna\u00eetre les capacit\u00e9s qui subsistent lorsque les \u00e9tals sont retir\u00e9s.<\/p><p class=\"e-main\">La comparaison reste ouverte aux documents et t\u00e9moignages identifi\u00e9s. Un nouvel entretien peut \u00e9clairer une technique ; un relev\u00e9 de travail peut montrer la r\u00e9partition d\u2019une t\u00e2che ; un programme dat\u00e9 peut r\u00e9soudre une divergence de calendrier. Cette continuit\u00e9 de la recherche \u00e9vite de figer la r\u00e9gion en carte postale : Cuetzalan se comprend mieux comme un lieu de relations, de d\u00e9cisions et d\u2019apprentissages qui continuent \u00e0 se transformer.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r12-fr-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r12-fr-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r12-fr-s3\">[3]<\/a><\/p><\/section><details class=\"research-evidence\" id=\"r12-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\">De quel espace parlons-nous ?<\/th><td data-label=\"Sources et observations\">Ellison (2020), introduction et p\u00e9rim\u00e8tre du terrain, distingue localit\u00e9s nahuas et totonaques et relations entre municipalit\u00e9s. Hern\u00e1ndez M\u00e1rquez (2024), m\u00e9thode, limite son \u00e9tude caf\u00e9i\u00e8re \u00e0 la municipalit\u00e9 de Cuetzalan.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Une relation r\u00e9gionale et une \u00e9tude municipale utilisent des unit\u00e9s diff\u00e9rentes. L\u2019article distingue ville, municipalit\u00e9 et sierra ; il ne g\u00e9n\u00e9ralise pas les r\u00e9sultats municipaux \u00e0 tout le Totonacapan. Comparer des chiffres demanderait territoire, p\u00e9riode et variable identiques.<\/td><\/tr><tr><th scope=\"row\">Qu\u2019est-ce qui revient et qu\u2019est-ce qui change ?<\/th><td data-label=\"Sources et observations\">La page du minist\u00e8re de la Culture situe la f\u00eate patronale au 4 octobre. La notice SIC actualis\u00e9e en 2026 donne un intervalle de foire ; le rapport municipal d\u00e9crit des activit\u00e9s de 2025.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Le contexte festif se rejoint, mais les dates n\u2019ont pas la m\u00eame nature. Le jour patronal est un rep\u00e8re r\u00e9current ; programme, concerts et dur\u00e9e demandent des documents propres \u00e0 l\u2019\u00e9dition. Un calendrier traditionnel ne valide pas une programmation annuelle.<\/td><\/tr><tr><th scope=\"row\">La num\u00e9rotation de 2026 est-elle \u00e9tablie ?<\/th><td data-label=\"Sources et observations\">Le SIC conserve LX et les dates du 2 au 12.10.2026. Le rapport municipal de 2025, p. imprim\u00e9e 14, indique LX pour le Huipil et LXXIV pour le Caf\u00e9 en 2025.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Il existe une discordance documentaire, et non deux \u00e9ditions \u00e0 fusionner par d\u00e9duction. L\u2019ann\u00e9e et le num\u00e9ro de chaque source sont attribu\u00e9s explicitement. L\u2019annonce finale de l\u2019organisateur et un historique des \u00e9ditions permettraient de les concilier ; ni programme quotidien ni num\u00e9ro calcul\u00e9 ne sont publi\u00e9s ici.<\/td><\/tr><tr><th scope=\"row\">Un concours explique-t-il le travail textile ?<\/th><td data-label=\"Sources et observations\">La pr\u00e9sentation culturelle d\u00e9crit l\u2019\u00e9lection d\u2019une reine et d\u2019anciens crit\u00e8res du concours. Bard Wigdor, Paz et Camacho Becerra (2022), m\u00e9thode et cas de Cuetzalan, analysent le travail et l\u2019organisation des femmes par entretiens.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Le premier texte d\u00e9crit une repr\u00e9sentation festive ; le second examine des relations professionnelles et domestiques. Ces objets ne sont pas interchangeables. Les anciens crit\u00e8res du d\u00e9pliant ne sont pr\u00e9sent\u00e9s ni comme r\u00e8gles actuelles ni comme d\u00e9finition de toutes les femmes autochtones.<\/td><\/tr><tr><th scope=\"row\">For\u00eat utile signifie-t-il toujours caf\u00e9i\u00e8re ?<\/th><td data-label=\"Sources et observations\">Ellison (2020), section Le paysage bioculturel, confronte les pratiques caf\u00e9i\u00e8res de Cuetzalan et les usages de kuojtakiloyan \u00e0 Zoatecpan. Hern\u00e1ndez M\u00e1rquez \u00e9tudie la diversification des syst\u00e8mes caf\u00e9iers.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Les textes se compl\u00e8tent sur l\u2019importance de la gestion, mais l\u2019ethnographie r\u00e9v\u00e8le une variation locale du vocabulaire. Cette diff\u00e9rence est conserv\u00e9e, sans dessiner un usage uniforme du sol \u00e0 partir d\u2019un mot. Une cartographie demanderait des donn\u00e9es par parcelle et une observation locale.<\/td><\/tr><tr><th scope=\"row\">L\u2019organisation garantit-elle de meilleurs r\u00e9sultats ?<\/th><td data-label=\"Sources et observations\">Hern\u00e1ndez M\u00e1rquez (2024) mobilise trente entretiens et quatre situations d\u2019organisation. Il rel\u00e8ve des capacit\u00e9s de coordination et des vuln\u00e9rabilit\u00e9s diff\u00e9rentes, tout en reconnaissant les lacunes des donn\u00e9es censitaires et cartographiques.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Le dispositif qualitatif explique des m\u00e9canismes et des cas. Il ne mesure pas l\u2019am\u00e9lioration individuelle qu\u2019apporterait une adh\u00e9sion \u00e0 une coop\u00e9rative ni ne supprime les diff\u00e9rences initiales de ressources. Cette question exigerait des s\u00e9ries et comparaisons absentes de l\u2019\u00e9tude.<\/td><\/tr><tr><th scope=\"row\">Plus de tourisme signifie-t-il plus d\u2019autonomie ?<\/th><td data-label=\"Sources et observations\">Bard Wigdor et ses coautrices (2022) relient tissage, h\u00e9bergement et soin. Le rapport municipal de 2025 pr\u00e9sente promotion et r\u00e9sultats touristiques du point de vue de l\u2019administration.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">La fr\u00e9quentation et l\u2019autonomie d\u2019une travailleuse sont deux objets diff\u00e9rents. L\u2019article ne d\u00e9duit pas le bien-\u00eatre de la promotion et ne nie pas les possibilit\u00e9s de revenus. R\u00e9partition des t\u00e2ches, paiements et d\u00e9cisions demandent des donn\u00e9es pr\u00e9cises et les voix des participantes.<\/td><\/tr><tr><th scope=\"row\">Que laisse de c\u00f4t\u00e9 le mot patrimoine ?<\/th><td data-label=\"Sources et observations\">Ellison (2020) examine les limites d\u2019une r\u00e9duction des relations territoriales au patrimoine bioculturel. Hern\u00e1ndez M\u00e1rquez (2024) interroge les m\u00e9canismes de gouvernance et les articulations \u00e9conomiques.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Aucun d\u00e9saccord n\u2019est invent\u00e9 : les questions des auteurs \u00e9clairent des dimensions diff\u00e9rentes. L\u2019organisation mat\u00e9rielle est associ\u00e9e aux cat\u00e9gories v\u00e9cues sans supposer une vision du monde unique. De nouveaux t\u00e9moignages attribu\u00e9s pourraient pr\u00e9ciser ce qui dispara\u00eet lorsque seuls les produits repr\u00e9sentent le territoire.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><h3>R\u00e9f\u00e9rences et p\u00e9rim\u00e8tre de lecture<\/h3><ol class=\"research-sources\"><li id=\"r12-fr-s1\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S0185-62862020000200005&#038;script=sci_arttext\">Nicolas Ellison \u00b7 2020 \u00b7 Altepet \/ Chuchutsipi: cosmopol\u00edtica territorial totonaca-nahua y patrimonio biocultural \u00b7 Trace 78, 88\u2013122 \u00b7 DOI 10.22134\/trace.78.2020.742<\/a><br>Introduction, p\u00e9rim\u00e8tre du terrain et section Le paysage bioculturel lus, notamment pp. 105\u2013109. S\u00e9jours totonaques 1999\u20132019 et nahuas 2017\u20132019. La comparaison avec Zoatecpan rel\u00e8ve de l\u2019enqu\u00eate de l\u2019auteur, non d\u2019un nouvel entretien de l\u2019Institut.<\/li><li id=\"r12-fr-s2\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S1405-84212022000100087&#038;script=sci_arttext_plus&#038;tlng=es\">Gabriela Bard Wigdor, Magali Paz y Jeli Edith Camacho Becerra \u00b7 2022 \u00b7 La posici\u00f3n de las mujeres en programas de intervenci\u00f3n estatal: territorios feminizados (M\u00e9xico y Argentina) \u00b7 Econom\u00eda, Sociedad y Territorio 22(68), 87\u2013115 \u00b7 DOI 10.22136\/est20221664<\/a><br>R\u00e9sum\u00e9, introduction, m\u00e9thode\/mat\u00e9riaux et cas de Cuetzalan lus. Huit entretiens avec des artisanes et porte-parole, plus deux avec des chercheurs ; s\u00e9lection raisonn\u00e9e, sc\u00e8nes de terrain de 2017\u20132018. Les cas argentins ne sont pas transpos\u00e9s \u00e0 Cuetzalan ; les effectifs historiques ne sont pas un registre actuel.<\/li><li id=\"r12-fr-s3\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S2395-91692024000100125&#038;script=sci_arttext_plus&#038;tlng=es\">Rider Hern\u00e1ndez M\u00e1rquez \u00b7 2024 \u00b7 Producci\u00f3n de caf\u00e9 en Cuetzalan del Progreso, Puebla. La gobernanza territorial en los Sistemas Agroalimentarios Localizados \u00b7 Estudios Sociales 34(63) \u00b7 DOI 10.24836\/es.v34i63.1446<\/a><br>R\u00e9sum\u00e9, m\u00e9thode, organisation des producteurs, conclusions, notes 1\u20135 et guide d\u2019entretien lus. Trente entretiens ; quatre situations d\u2019organisation. Volume janvier\u2013juin 2024, publication \u00e9lectronique indiqu\u00e9e au 17.03.2025. Ni recensement ni estimation causale de l\u2019adh\u00e9sion \u00e0 une coop\u00e9rative.<\/li><li id=\"r12-fr-s4\"><a href=\"https:\/\/www.cultura.gob.mx\/turismocultural\/destino_mes\/cuetzalan\/fiestas.html\">Secretar\u00eda de Cultura \u00b7 Cuetzalan: fiestas y tradiciones \u00b7 p\u00e1gina de divulgaci\u00f3n cultural, sin fecha editorial indicada<\/a><br>Texte sur les foires et la f\u00eate patronale lu. Il identifie le rep\u00e8re r\u00e9current du 4 octobre. Les descriptions historiques des crit\u00e8res du concours ne deviennent pas des r\u00e8gles actuelles ; il n\u2019atteste pas le programme quotidien de 2026.<\/li><li id=\"r12-fr-s5\"><a href=\"https:\/\/sic.cultura.gob.mx\/ficha.php?disciplina=&#038;table=festival&#038;table_id=1943\">Sistema de Informaci\u00f3n Cultural \u00b7 LX Feria Nacional del Huipil \u00b7 registro modificado el 1 de septiembre de 2026<\/a><br>Donn\u00e9es g\u00e9n\u00e9rales, lieu, dates, organisateur et modification lus. Dates du 2 au 12.10.2026, mais titre LX conserv\u00e9. Notice dat\u00e9e dont la num\u00e9rotation reste \u00e0 concilier, non validation de l\u2019illustration ou d\u2019une affiche finale. Consultation : 05.11.2026.<\/li><li id=\"r12-fr-s6\"><a href=\"https:\/\/ayuntamientocuetzalandelprogreso.com\/wp-content\/CONAC\/Desempeno\/2025\/PRIMER_INFORME_DE_GOBIERNO_2024-2027.pdf\">Ayuntamiento de Cuetzalan del Progreso \u00b7 2025 \u00b7 Primer informe de gobierno 2024\u20132027<\/a><br>Message initial et rubriques D\u00e9veloppement rural\/Tourisme et culture lus, pp. imprim\u00e9es 12\u201315 : Expo Caf\u00e9 et foires LX\/LXXIV de 2025. Rapport de l\u2019organisateur sur cette \u00e9dition, non programme de 2026. Ses chiffres d\u2019impact ne sont pas trait\u00e9s comme mesures ind\u00e9pendantes.<\/li><\/ol><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r12-fr-source\" lang=\"fr\"><h4>Les h\u00f4tes racontent aussi leur histoire<\/h4><p>L\u2019autopr\u00e9sentation documente objectifs et m\u00e9moire de l\u2019organisation. L\u2019\u00e9tude de 2022 analyse le travail ; la promotion n\u2019est pas assimil\u00e9e \u00e0 une \u00e9valuation d\u2019impact.<\/p><p><a href=\"https:\/\/www.taselotzin.com\/quienes-somos\">Taselotzin \u00b7 Qui\u00e9nes somos, relato de las socias<\/a> \u00b7 <a href=\"#iict-reading-r12-fr\">Revenir au passage<\/a><\/p><\/section>\n\n<\/details><nav class=\"research-related\"><a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-fr\">Poursuivre : Voladores et autres c\u00e9r\u00e9monies \u2192<\/a><a href=\"https:\/\/totonacapan.com\/?page_id=1315#r10-fr\">Culture et transformation : la vanille \u2192<\/a><\/nav><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 R12 fr --><aside class=\"iict-citation\" id=\"citar-r12-fr\" aria-labelledby=\"citar-r12-fr-title\"><h2 id=\"citar-r12-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. \u00abCuetzalan et la sierra : f\u00eates, huipils, caf\u00e9 et relations culturelles\u00bb. <cite>Cahiers de recherche<\/cite>, <strong>R12<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-fr\">https:\/\/totonacapan.com\/?page_id=1325#r12-fr<\/a>.<\/blockquote><p><strong>R\u00e9f\u00e9rence interne:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-fr\">R12<\/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 R12 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 Cuetzalan y la sierra: fiestas, huipiles, caf\u00e9 y relaciones culturales La plaza se llena en octubre. La vida que hace posible la fiesta se trabaja durante todo el a\u00f1o. En pocas palabras Cuetzalan permite mirar de cerca c\u00f3mo se relacionan el [&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-1325","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1325","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=1325"}],"version-history":[{"count":13,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1325\/revisions"}],"predecessor-version":[{"id":1835,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1325\/revisions\/1835"}],"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=1325"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}