{"id":1332,"date":"2026-11-05T16:22:49","date_gmt":"2026-11-05T16:22:49","guid":{"rendered":"https:\/\/totonacapan.com\/?page_id=1332"},"modified":"2026-11-08T10:04:37","modified_gmt":"2026-11-08T10:04:37","slug":"ninin-la-casa-prepara-el-regreso","status":"publish","type":"page","link":"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/ninin-la-casa-prepara-el-regreso\/","title":{"rendered":"Nin\u00edn: la casa prepara el regreso"},"content":{"rendered":" <style id=\"iict-ninin-photo-sources-20261106\">.iict-ninin-photo-sources{margin:2rem 0;padding:1.4rem 1.6rem;border-top:1px solid #b49a64;border-bottom:1px solid #d9ccb5;background:rgba(255,252,243,.5)}.iict-ninin-photo-sources h3{margin:0 0 .8rem;color:#274e61}.iict-ninin-photo-sources ul{padding-left:1.1rem}.iict-ninin-photo-sources li{margin:.6rem 0}.iict-ninin-photo-sources .r-small{font-size:.78rem;line-height:1.65}.iict-plate[id^=\"iict-plate-r14-a-\"] 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article .research-hypotheses h3{font-size:1.17rem!important}#research-r14-release.iict-journal article .research-hypotheses p{font-size:1rem!important}}\n\n\/* IICT VISUALES FINAL 20261106 *\/\n#research-r14-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-r14-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-r14-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=\"#r14-es\">Espa\u00f1ol<\/a><a href=\"#r14-en\">English \u00b7 full article<\/a><a href=\"#r14-fr\">Fran\u00e7ais \u00b7 article int\u00e9gral<\/a><\/nav><!-- IICT-CITE-CSS --><style>.iict-citation{display:block!important;max-width:780px!important;margin:2.8rem auto!important;padding:1.6rem 1.7rem!important;border-block:1px solid #b6a06b!important;border-left:2px solid #a58a47!important;background:#edf0e7!important;color:#344c53!important;grid-column:1\/-1!important}.iict-citation h2{display:block!important;margin:0 0 1.1rem!important;font:400 1.65rem\/1.25 Georgia,serif!important;color:#264b61!important;text-align:left!important;letter-spacing:0!important}.iict-citation p,.iict-citation blockquote{display:block!important;margin:0 0 1rem!important;padding:0!important;border:0!important;background:none!important;text-align:left!important;text-indent:0!important;letter-spacing:normal!important;hyphens:none!important}.iict-citation p{font:400 .93rem\/1.7 var(--sans,system-ui,sans-serif)!important}.iict-citation blockquote{font:400 1.08rem\/1.8 Georgia,serif!important;overflow-wrap:anywhere!important}.iict-citation a{display:inline!important;overflow-wrap:anywhere!important;color:#264b61!important}.iict-citation .iict-citation-label{font:400 .72rem\/1.6 var(--sans,system-ui,sans-serif)!important;letter-spacing:.08em!important;text-transform:uppercase!important;color:#596b58!important}.iict-citation-policy li{margin-block:.7rem!important;font:400 1rem\/1.75 Georgia,serif!important}.iict-citation-policy ol{padding-left:1.3rem!important}.iict-citation-policy .iict-citation-format{font:400 1.02rem\/1.8 Georgia,serif!important}.iict-citation a:focus-visible{outline:2px solid #a58a47;outline-offset:4px}@media(max-width:650px){.iict-citation{padding:1.3rem 1.1rem!important;margin:2rem auto!important}.iict-citation h2{font-size:1.5rem!important}.iict-citation blockquote{font-size:1rem!important}}<\/style><!-- \/IICT-CITE-CSS --><article id=\"r14-es\" lang=\"es\"><p class=\"eyebrow\">Investigaciones del Totonacapan \u00b7 Cultura y comunidades<\/p><h1>Nin\u00edn: la casa prepara el regreso<\/h1><p class=\"research-deck\">Recordar exige tiempo, trabajo y una voz. Una lectura de las ofrendas de Papantla entre la casa, el canto y el museo.<\/p><div class=\"research-abstract\"><h2>En pocas palabras<\/h2><p>En Papantla, la celebraci\u00f3n de los muertos re\u00fane alimentos, cuidado de la casa, visitas y cantos. Su sentido se comprende mejor cuando se pregunta qui\u00e9n prepara, a qui\u00e9n se recibe y c\u00f3mo se aprende a recordar.<\/p><p>Este art\u00edculo distingue una celebraci\u00f3n vivida de su presentaci\u00f3n en un museo y compara dos descripciones del calendario que no cierran el mismo d\u00eda. Conserva las diferencias, identifica a quienes las explican y examina qu\u00e9 puede decir una imagen.<\/p><\/div><p class=\"r-small\">Investigaci\u00f3n documental \u00b7 5 de noviembre de 2026<\/p><section><h2>M\u00e9todo y alcance<\/h2><p>Para esta lectura se comparan dos presentaciones de museos, una cr\u00f3nica de conferencia, una p\u00e1gina educativa, referencias sobre lengua y un estudio comparativo. Se distingue lo que cada fuente describe de lo que interpreta y de las hip\u00f3tesis que deja abiertas. \u00abFuentes y contraste\u00bb identifica las lecturas parciales y las reservas. No se hicieron nuevas entrevistas ni observaciones de campo.<\/p><\/section><section id=\"r14-es-b1\"><h2>1. El trabajo de esperar<\/h2><p class=\"e-main\">Una casa no espera a sus muertos del mismo modo que espera una visita ordinaria. En Papantla, la preparaci\u00f3n del Nin\u00edn transforma durante unos d\u00edas el espacio de la familia. Hay alimentos que se elaboran pensando en ausentes, flores colocadas con intenci\u00f3n, voces que nombran a quienes ya no ocupan una silla. Vista desde fuera, la celebraci\u00f3n puede confundirse con una decoraci\u00f3n de noviembre. Vista desde sus relaciones, es un trabajo de memoria: alguien recuerda por otro; alguien prepara lo que ya no puede recibir una respuesta visible.<\/p><p class=\"e-main\">La pregunta central de esta lectura es qu\u00e9 hace esa preparaci\u00f3n en las relaciones familiares. Proponemos una hip\u00f3tesis de trabajo: recordar se sostiene tambi\u00e9n en acciones compartidas, no \u00fanicamente en una idea sobre el pasado. Para contrastarla har\u00eda falta seguir qui\u00e9n cocina, limpia, re\u00fane materiales, canta o ense\u00f1a en una casa identificada. Las fuentes revisadas permiten formular esa pregunta; no contamos todav\u00eda con un registro propio de esas tareas ni con una entrevista realizada para este art\u00edculo.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r14-es-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r14-es-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r14-es-s3\">[3]<\/a><\/p><\/section><section id=\"r14-es-b2\"><h2>2. Un altar de Papantla dentro de un museo<\/h2><p class=\"e-main\">El Instituto Nacional de Antropolog\u00eda e Historia (INAH) ha documentado y presentado al p\u00fablico ofrendas de los totonacas de Papantla. En la reconstrucci\u00f3n del Museo del Templo Mayor, el altar se concibe elevado o suspendido. La explicaci\u00f3n de esa forma relaciona a los visitantes fallecidos con el suelo de los vivos. El montaje re\u00fane flores, comida y elementos rituales, y reconoce a los alabanceros, quienes cantan alabanzas en la apertura y el cierre. El museo explica cuidadosamente esa escena. Pero es una museograf\u00eda, una forma de seleccionar y mostrar la pr\u00e1ctica: no demuestra que todas las casas de Papantla tengan altares o cantos id\u00e9nticos.<\/p><aside class=\"iict-ninin-photo-sources\" lang=\"es\" id=\"ninin-fotografias-es\"><h3>Fotograf\u00edas de altares documentados<\/h3><p>Dos montajes permiten observar altares totonacos reales, sus flores y sus ofrendas. Cada reportaje identifica d\u00f3nde se instal\u00f3 el altar.<\/p><ul><li><a href=\"https:\/\/www.inah.gob.mx\/boletines\/el-museo-del-templo-mayor-coloca-altar-de-muertos-de-los-totonacas-de-papantla-veracruz\" target=\"_blank\" rel=\"noopener\">Museo del Templo Mayor \u00b7 Ciudad de M\u00e9xico, 2022 \u2197<\/a><\/li><li><a href=\"https:\/\/www.uv.mx\/noticias\/2014\/10\/30\/osx-honrara-a-musicos-fallecidos\/\" target=\"_blank\" rel=\"noopener\">Centro Cultural Tlaqn\u00e1 \u00b7 Xalapa, 2014 \u2197<\/a><\/li><\/ul><p class=\"r-small\">Fotograf\u00edas del primer reportaje: Mauricio Marat \/ INAH. El segundo documenta el altar dedicado a m\u00fasicos de la Orquesta Sinf\u00f3nica de Xalapa.<\/p><\/aside><p class=\"e-main\">El bolet\u00edn del INAH del 1 de noviembre de 2022 da nombre y autor\u00eda a la exposici\u00f3n: Canto a nuestros ancestros, explicada por las responsables del Museo del Templo Mayor. Estamos leyendo su selecci\u00f3n e interpretaci\u00f3n curatorial, es decir, el trabajo de quienes prepararon y explicaron el montaje. Exponer una ofrenda en Ciudad de M\u00e9xico no sit\u00faa all\u00ed el origen de la pr\u00e1ctica. Del mismo modo, que la exhibici\u00f3n terminara el 6 de noviembre de 2022 no fija el cierre de la celebraci\u00f3n en Papantla.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r14-es-s2\">[2]<\/a><\/p><\/section><section id=\"r14-es-b3\"><h2>3. Un nombre que necesita a sus hablantes<\/h2><p class=\"e-main\">La palabra Nin\u00edn se relaciona en una presentaci\u00f3n del Museo Nacional de Antropolog\u00eda con \u00abquienes no han muerto\u00bb, una forma de subrayar la continuidad del recuerdo. M\u00e1s importante que fijar una traducci\u00f3n \u00fanica es comprender lo que esa continuidad exige. Los objetos no hablan por s\u00ed solos. Una fruta re\u00fane temporadas, una receta convoca maneras de cocinar, un nombre pronunciado devuelve un lugar a alguien que parec\u00eda quedar fuera de la conversaci\u00f3n. El acto de preparar ayuda a las nuevas generaciones a preguntar qui\u00e9nes eran los suyos y c\u00f3mo viv\u00edan.<\/p><p class=\"e-main\">La ficha del Museo Nacional de Antropolog\u00eda est\u00e1 fechada el 29 de octubre de 2019 y presenta esa traducci\u00f3n como aproximada. La p\u00e1gina de los Talleres Libres de Arte de la Universidad Veracruzana emplea Niinin, mientras otros registros escriben Nin\u00edn o Ninin. La variaci\u00f3n de escritura merece documentarse con hablantes, no resolverse por parecido visual. El cat\u00e1logo del INALI distingue el totonaco de la costa y otras variantes: orienta la localizaci\u00f3n ling\u00fc\u00edstica, pero no sustituye una revisi\u00f3n de la palabra en la comunidad concreta.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r14-es-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r14-es-s4\">[4]<\/a> <a class=\"research-cite\" href=\"#r14-es-s5\">[5]<\/a><\/p><\/section><section id=\"r14-es-b4\"><h2>4. Un calendario con una diferencia sin borrar<\/h2><p class=\"e-main\">Tambi\u00e9n importa el calendario. Las fuentes muse\u00edsticas mencionan un periodo de celebraci\u00f3n m\u00e1s amplio que las fechas centrales de Todos Santos y Fieles Difuntos. No conviene reducirlo sin m\u00e1s a un \u00fanico d\u00eda, ni asegurar que toda localidad organiza el ciclo de la misma manera. La celebraci\u00f3n se aprende en familias y comunidades situadas, con cambios propios, y cualquier descripci\u00f3n de \u00abla tradici\u00f3n\u00bb debe indicar de qui\u00e9n habla y cu\u00e1ndo lo observ\u00f3.<\/p><p class=\"e-main\">La ficha del MNA de 2019 sit\u00faa el ciclo entre el 18 de octubre y el 29 de noviembre y destaca el tramo del 31 de octubre al 2 de noviembre. En cambio, la cr\u00f3nica de una conferencia de Crescencio Garc\u00eda Ramos publicada por la UV el 13 de octubre de 2021 coloca la despedida final el 30 de noviembre, San Andr\u00e9s. Conservamos las dos formulaciones: son fuentes de fechas y alcances distintos. El desfase de un d\u00eda no se corrige inventando una fecha \u00fanica; requiere volver a sus contextos y a quienes celebran el ciclo.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r14-es-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r14-es-s3\">[3]<\/a><\/p><\/section><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Dos descripciones del ciclo y una fecha de exposici\u00f3n\" style=\"--journal-table-min:32rem\"><table><caption>Dos descripciones del ciclo y una fecha de exposici\u00f3n<\/caption><thead><tr><th scope=\"col\">Registro<\/th><th scope=\"col\">Fechas<\/th><th scope=\"col\">Qu\u00e9 describe<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">MNA \u00b7 2019<\/th><td data-label=\"Fechas\">18 octubre\u201329 noviembre; tramo central 31 octubre\u20132 noviembre<\/td><td data-label=\"Qu\u00e9 describe\">Ficha de presentaci\u00f3n muse\u00edstica. [1]<\/td><\/tr><tr><th scope=\"row\">Conferencia Garc\u00eda Ramos \u00b7 UV, 2021<\/th><td data-label=\"Fechas\">18 octubre; despedida 30 noviembre, San Andr\u00e9s<\/td><td data-label=\"Qu\u00e9 describe\">Cr\u00f3nica de un relato atribuido. [3]<\/td><\/tr><tr><th scope=\"row\">Templo Mayor \u00b7 2022<\/th><td data-label=\"Fechas\">Exposici\u00f3n hasta 6 noviembre 2022<\/td><td data-label=\"Qu\u00e9 describe\">Duraci\u00f3n del montaje en museo; no fin del ciclo en Papantla. [2]<\/td><\/tr><\/tbody><\/table><\/div><\/figure><section id=\"r14-es-b5\"><section class=\"iict-reading-addition\" data-kind=\"table\" id=\"iict-reading-r14-es\" lang=\"es\" aria-labelledby=\"iict-reading-r14-es-title\"><h3 id=\"iict-reading-r14-es-title\">La mesa cambia mientras pasa el d\u00eda<\/h3><p>La explicaci\u00f3n de Ingrid Hern\u00e1ndez G\u00f3mez para el montaje del Templo Mayor de 2022 conserva un detalle dom\u00e9stico: la comida ofrecida cambia con la hora. Su descripci\u00f3n menciona caf\u00e9 y pan por la ma\u00f1ana, tamales de cuchara al mediod\u00eda y chocolate con pan por la noche. <a class=\"reading-ref\" href=\"#iict-reading-r14-es-source\" aria-label=\"Ver fuentes y contraste\">\u2197<\/a><\/p><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Tabla de datos\" style=\"--journal-table-min:0\"><table><thead><tr><th scope=\"col\">Momento descrito<\/th><th scope=\"col\">Alimentos mencionados<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Ma\u00f1ana<\/th><td>Caf\u00e9 y pan<\/td><\/tr><tr><th scope=\"row\">Mediod\u00eda<\/th><td>Tamales de cuchara<\/td><\/tr><tr><th scope=\"row\">Noche<\/th><td>Chocolate con pan<\/td><\/tr><\/tbody><\/table><\/div><p>En esa mesa, la hora tambi\u00e9n cuenta. La descripci\u00f3n devuelve movimiento y atenci\u00f3n a lo que la fotograf\u00eda deja quieto: personas que preparan, renuevan y comparten alimentos. Se trata de una explicaci\u00f3n curatorial de Papantla, hecha para la exposici\u00f3n, con fecha y autora. Para conocer las maneras de recibir hay que volver adem\u00e1s a las casas y a quienes se ocupan de ellas.<\/p><p class=\"reading-links\"><a href=\"https:\/\/www.inah.gob.mx\/boletines\/el-museo-del-templo-mayor-coloca-altar-de-muertos-de-los-totonacas-de-papantla-veracruz\">INAH \u00b7 bolet\u00edn 558, 01\/11\/2022 \u00b7 Ingrid Hern\u00e1ndez G\u00f3mez<\/a> \u00b7 <a href=\"#r14-es-sources\">Fuentes y contraste<\/a><\/p><\/section>\n<figure class=\"iict-plate\" id=\"iict-plate-r14-a-es\" lang=\"es\" aria-labelledby=\"iict-plate-r14-a-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Notas de lectura \u00b7 I<\/p><h3 id=\"iict-plate-r14-a-es-title\">Tres momentos de una mesa que cambia<\/h3><\/div><ol class=\"plate-legend\"><li>Ma\u00f1ana: caf\u00e9 y pan.<\/li><li>Mediod\u00eda: tamales de cuchara.<\/li><li>Noche: chocolate con pan.<\/li><\/ol><figcaption class=\"plate-caption\">Alimentos descritos por Ingrid Hern\u00e1ndez G\u00f3mez para el montaje de Papantla en el Templo Mayor de 2022. \u00b7 <a href=\"#r14-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>5. La ofrenda se relaciona con la milpa<\/h2><p class=\"e-main\">La cr\u00f3nica de Carlos Hugo Hermida Rosales recoge la explicaci\u00f3n de Garc\u00eda Ramos sobre los v\u00ednculos entre la cosecha del ma\u00edz y la celebraci\u00f3n. Ese enfoque cambia la escala: la ofrenda remite a alimentos que hubo que producir y preparar, adem\u00e1s de al espacio dom\u00e9stico. La interpretaci\u00f3n agraria se atribuye a la conferencia de 2021; no equivale a observar que todas las familias de Papantla cultiven hoy su propio ma\u00edz ni a fijar un calendario agr\u00edcola para todo el municipio.<\/p><p class=\"e-main\">Otra consecuencia de esa lectura es atender al intercambio posterior entre personas vivas. La cr\u00f3nica menciona la circulaci\u00f3n de ofrendas entre familiares, compadres y amistades. Nuestra hip\u00f3tesis es que esa circulaci\u00f3n puede ayudar a reconocer relaciones que contin\u00faan m\u00e1s all\u00e1 de los d\u00edas centrales. Para estudiarla habr\u00eda que registrar destinatarios y trayectorias concretos, con autorizaci\u00f3n. El alimento que aparece en una fotograf\u00eda es una parte visible de una relaci\u00f3n cuyo recorrido la imagen no muestra.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r14-es-s3\">[3]<\/a><\/p><\/section><section id=\"r14-es-b6\"><h2>6. Escuchar a los alabanceros<\/h2><p class=\"e-main\">El montaje de 2022 destaca a quienes cantan alabanzas. En la explicaci\u00f3n curatorial, sus voces hacen reconocible la llegada y la despedida de los ancestros. La jefa de Curadur\u00eda, Judith Alva S\u00e1nchez, plantea una combinaci\u00f3n posible de antecedentes prehisp\u00e1nicos y evangelizadores. Esa formulaci\u00f3n es una interpretaci\u00f3n de la investigaci\u00f3n del museo, no una cadena hist\u00f3rica demostrada para cada canto. No publicamos letras ni grabaciones que no hayamos podido contextualizar y autorizar.<\/p><p class=\"e-main\">Escuchar abre preguntas que una vitrina deja pendientes: qui\u00e9n ense\u00f1a el repertorio, en qu\u00e9 lengua se canta, c\u00f3mo se incorporan nuevas personas y qui\u00e9n decide que una grabaci\u00f3n pueda difundirse. Son preguntas de transmisi\u00f3n, no pruebas ya recogidas. El estudio comparativo de Pierre Beaucage y Xanath Rojas Mora de 2022 muestra diferencias entre concepciones nahuas y totonacas y entre comunidades de una misma lengua; sirve para evitar equivalencias apresuradas, no para rellenar con un caso serrano la informaci\u00f3n que falta sobre Papantla.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r14-es-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r14-es-s6\">[6]<\/a><\/p><\/section><section id=\"r14-es-b7\"><style id=\"iict-visual-essays-20261106\">\n#main figure.iict-viz{box-sizing:border-box;width:100%;max-width:100%;margin:2.3rem auto!important;padding:clamp(20px,3vw,34px)!important;border:1px solid #cfc3a9!important;border-top:3px solid #a68b46!important;border-radius:2px!important;background:linear-gradient(135deg,#fffcf4,#f5efdf)!important;color:#254761!important;box-shadow:0 18px 30px -32px 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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-triptych\" id=\"iict-viz-r14-es\" lang=\"es\" aria-labelledby=\"iict-viz-r14-es-title\"><header><div class=\"viz-kicker\"><span>Cuadernos visuales<\/span><span>R14 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r14-es-title\">Casa, museo y escuela: tres formas de recordar<\/h3><p>Un nombre compartido no convierte estos espacios en una misma escena.<\/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 55l60-40 60 40M92 49v49h96V49M125 98V67h30v31M102 56h15v15h-15M164 56h15v15h-15\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>La casa<\/h4><p>Preparaci\u00f3n, alimentos y relaciones con las personas recordadas.<\/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=\"M40 93l61-63 40 36 35-48 64 75H40zM85 48l16-18 18 17M159 42l17-24 20 26M40 101h200\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>El museo<\/h4><p>Un montaje seleccionado y explicado por sus responsables.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M140 34q-25-20-65-9v65q35-11 65 5 30-16 65-5V25q-40-11-65 9v61M91 43q20-3 34 5M91 59q20-3 34 5M155 48q17-8 34-5M155 64q17-8 34-5\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>La escuela de arte<\/h4><p>Una presentaci\u00f3n p\u00fablica con estudiantes, docentes y familias.<\/p><\/div><\/div><figcaption>Contextos comparados en las fuentes del art\u00edculo; no reconstruye un altar ni un rito.<span class=\"viz-source\">S\u00edntesis visual original del Instituto \u00b7 <a href=\"#r14-es-sources\">Fuentes y contraste<\/a><\/span><\/figcaption><\/figure>\n<figure class=\"iict-plate\" id=\"iict-plate-r14-b-es\" lang=\"es\" aria-labelledby=\"iict-plate-r14-b-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 II<\/p><h3 id=\"iict-plate-r14-b-es-title\">La preparaci\u00f3n ocupa m\u00e1s tiempo que una fotograf\u00eda<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r14-b-es-art-title iict-plate-r14-b-es-art-desc\"><title id=\"iict-plate-r14-b-es-art-title\">La preparaci\u00f3n ocupa m\u00e1s tiempo que una fotograf\u00eda<\/title><desc id=\"iict-plate-r14-b-es-art-desc\">1. Cultivar y conseguir ingredientes enlaza otros trabajos. 2. Preparar re\u00fane tiempo, conocimientos y acuerdos. 3. Compartir abre relaciones que una imagen fija no agota. Secuencia de lectura de las relaciones entre milpa, cocina y celebraci\u00f3n documentadas en el art\u00edculo.<\/desc><defs><pattern id=\"iict-plate-r14-b-es-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r14-b-es-grain)\"\/><g transform=\"translate(120 286) scale(0.75)\"><path d=\"M0 0 C-46 -44 -45 -160 0 -203 C47 -153 44 -43 0 0Z\" fill=\"#dec678\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-19 -28 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-2 -28 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" 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fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-19 -70 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-2 -70 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M15 -70 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-19 -84 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-2 -84 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M15 -84 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" 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C12 -80 62 -55 62 -13 L55 21 Q0 40 -58 12Z\" fill=\"#dec39b\" stroke=\"#a88755\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-25 -34 Q-43 -18 -31 0 M2 -39 Q-13 -18 1 3 M28 -27 Q15 -10 28 7\" fill=\"none\" stroke=\"#ac895a\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><circle cx=\"121\" cy=\"343\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"121\" y=\"351\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"375\" cy=\"343\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"351\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"615\" cy=\"343\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"615\" y=\"351\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Cultivar y conseguir ingredientes enlaza otros trabajos.<\/li><li>Preparar re\u00fane tiempo, conocimientos y acuerdos.<\/li><li>Compartir abre relaciones que una imagen fija no agota.<\/li><\/ol><figcaption class=\"plate-caption\">Secuencia de lectura de las relaciones entre milpa, cocina y celebraci\u00f3n documentadas en el art\u00edculo. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r14-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>7. La celebraci\u00f3n tambi\u00e9n entra en la escuela de arte<\/h2><p class=\"e-main\">Los Talleres Libres de Arte de la UV en Papantla describen su celebraci\u00f3n de Niinin como una muestra de danzas y trabajos pl\u00e1sticos en la que participan alumnos, docentes y familias, abierta al p\u00fablico. Es una descripci\u00f3n institucional de una actividad educativa, no una etnograf\u00eda de todos los hogares. Permite preguntar c\u00f3mo una escuela participa en la transmisi\u00f3n y c\u00f3mo combina aprendizaje art\u00edstico y convivencia sin atribuirle representaci\u00f3n de toda la comunidad.<\/p><p class=\"e-main\">La comparaci\u00f3n deja tres situaciones distintas: una casa prepara para personas recordadas; un museo selecciona y explica una ofrenda; una escuela organiza una muestra. Pueden relacionarse sin tener los mismos participantes, tiempos o fines. Esa distinci\u00f3n no establece una competencia de autenticidad. Ayuda a indicar desde d\u00f3nde habla cada fuente y a preguntar qui\u00e9n tiene voz en las decisiones de cada espacio.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r14-es-s4\">[4]<\/a><\/p><\/section><ol class=\"r-flow\"><li><strong>Casa<\/strong>Preparar, recordar, recibir y compartir. Familias concretas por documentar.<\/li><li><strong>Museo<\/strong>Seleccionar, interpretar y exponer con autor\u00eda curatorial identificada.<\/li><li><strong>Escuela de arte<\/strong>Aprender, crear y convivir en una actividad educativa p\u00fablica.<\/li><\/ol><section id=\"r14-es-b8\"><h2>8. Mirar una imagen y seguir preguntando<\/h2><figure id=\"danzas-parque-papantla-es\" style=\"width:100%;max-width:1100px;margin:2rem auto\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-danzas-parque-papantla-foto.jpg\" alt=\"Danzas junto al quiosco iluminado del parque de Papantla.\" loading=\"lazy\" style=\"display:block;width:100%;height:auto\" \/><figcaption style=\"font-size:12px;line-height:1.5;margin-top:0.65rem\">Danzas en el parque de Papantla. Fotograf\u00eda aportada por Iv\u00e1n.<\/figcaption><\/figure><p class=\"e-main\">La fotograf\u00eda de una ofrenda nos puede mostrar colores y alturas. Una conversaci\u00f3n con sus responsables explicar\u00eda por qu\u00e9 determinada comida fue preparada, a qui\u00e9n estaba destinada y qui\u00e9n ense\u00f1\u00f3 a colocarla. Esa diferencia se\u00f1ala la tarea del Instituto: combinar archivos, investigaci\u00f3n y voces comunitarias para que el patrimonio no quede reducido a su superficie visible. Si una ilustraci\u00f3n ayuda a entrar en el relato, debe decir que imagina un ambiente; la documentaci\u00f3n de las formas efectivas vendr\u00e1 de registros identificados y de las personas que los sostienen.<\/p><p class=\"e-main\">Las fuentes ofrecen un resultado concreto: preparaci\u00f3n, alimentos, voces y relaciones forman parte de la celebraci\u00f3n; la ofrenda no aparece como una decoraci\u00f3n aislada. Falta comprobar c\u00f3mo se distribuye ese trabajo en casas espec\u00edficas y c\u00f3mo se nombran y delimitan sus tiempos. Una investigaci\u00f3n posterior deber\u00e1 dejar que sus participantes decidan qu\u00e9 se publica. Comprender la continuidad de la memoria exige conservar sus actos visibles y la autoridad de quienes los realizan.<\/p><p class=\"r-small e-section-sources\">Fuentes de este apartado: <a class=\"research-cite\" href=\"#r14-es-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r14-es-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r14-es-s3\">[3]<\/a><\/p><\/section><details class=\"research-evidence\" id=\"r14-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\">\u00bfMemoria o decoraci\u00f3n?<\/th><td data-label=\"Fuentes y observaciones\">Borrador de Carmen y relatos muse\u00edsticos [1\u20132]: preparativos y presencia de personas recordadas. UV [3]: cuidados e intercambios.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">La relaci\u00f3n entre trabajo y memoria es hip\u00f3tesis editorial, no resultado de observaci\u00f3n propia. Se contrastar\u00eda siguiendo tareas y destinatarios en hogares identificados.<\/td><\/tr><tr><th scope=\"row\">\u00bfAltar de casa o montaje de museo?<\/th><td data-label=\"Fuentes y observaciones\">INAH 2022[2] identifica exposici\u00f3n, equipo curatorial y forma suspendida. MNA 2019[1] presenta otra ofrenda.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Mismo referente territorial no significa id\u00e9ntica escena dom\u00e9stica. Mantener lugar de pr\u00e1ctica, lugar de exposici\u00f3n y autor\u00eda del relato; verificar con responsables de cada montaje.<\/td><\/tr><tr><th scope=\"row\">\u00bfQu\u00e9 significa y c\u00f3mo se escribe Nin\u00edn?<\/th><td data-label=\"Fuentes y observaciones\">MNA [1]: traducci\u00f3n aproximada. UV [4]: Niinin. INALI [5]: variantes ling\u00fc\u00edsticas.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Registrar formas sin imponer normalizaci\u00f3n. La clasificaci\u00f3n ling\u00fc\u00edstica no valida esta etimolog\u00eda. Pendiente revisi\u00f3n de graf\u00eda, pronunciaci\u00f3n y acepci\u00f3n por hablantes de Papantla.<\/td><\/tr><tr><th scope=\"row\">\u00bfCu\u00e1ndo termina el ciclo?<\/th><td data-label=\"Fuentes y observaciones\">MNA 2019[1]:29 noviembre; conferencia de Garc\u00eda Ramos 2021, cr\u00f3nica UV [3]:30 noviembre\/San Andr\u00e9s.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Diferencia documental de un d\u00eda; no corregida ni fusionada. Revisar qu\u00e9 localidad, ciclo y convenci\u00f3n describe cada fuente. Ninguna se convierte en agenda actual 2026.<\/td><\/tr><tr><th scope=\"row\">\u00bfQu\u00e9 conecta ofrenda y cultivo?<\/th><td data-label=\"Fuentes y observaciones\">UV [3] vincula cosecha, cuidado de milpa e intercambio de alimentos. El montaje [2] muestra una selecci\u00f3n alimentaria.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Complementariedad de escala, no prueba de que cada hogar cultive. Hip\u00f3tesis de relaciones productivas y de intercambio: comprobar origen, preparaci\u00f3n y circulaci\u00f3n con autorizaci\u00f3n.<\/td><\/tr><tr><th scope=\"row\">\u00bfCu\u00e1l es la historia de los cantos?<\/th><td data-label=\"Fuentes y observaciones\">Judith Alva S\u00e1nchez, bolet\u00edn 2022[2]: combinaci\u00f3n posible de antecedentes. Beaucage \/ Rojas [6]: diferencias de conceptos y comunidades.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Una interpretaci\u00f3n curatorial no demuestra genealog\u00eda de cada canto. Para resolver hacen falta repertorios contextualizados, fuentes hist\u00f3ricas y voces autorizadas, sin publicar grabaciones reservadas.<\/td><\/tr><tr><th scope=\"row\">\u00bfQu\u00e9 ense\u00f1a la actividad escolar?<\/th><td data-label=\"Fuentes y observaciones\">UV\/Talleres Papantla [4]: muestra abierta, aprendizaje art\u00edstico y convivencia. INAH [2]: exposici\u00f3n muse\u00edstica.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">Dos formas institucionales de mediaci\u00f3n. No son prueba de pr\u00e1cticas id\u00e9nticas ni aval de todas las familias. Documentar qui\u00e9n decide y participa en cada espacio.<\/td><\/tr><tr><th scope=\"row\">\u00bfQu\u00e9 demuestra una imagen?<\/th><td data-label=\"Fuentes y observaciones\">L10 es ilustraci\u00f3n IA evocativa; INAH [2] ofrece fotograf\u00eda de su montaje con derechos no abiertos verificados.<\/td><td data-label=\"Contraste e interpretaci\u00f3n\">La mesa apoyada de L10 no documenta la forma suspendida. Foto real de altar de Papantla sigue pendiente de localidad, contexto, autor, permiso y licencia. Ninguna imagen sustituye revisi\u00f3n humana\/local.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><h3>Referencias y alcance de lectura<\/h3><ol class=\"research-sources\"><li id=\"r14-es-s1\"><a href=\"https:\/\/mna.inah.gob.mx\/agenda_detalle_v3.php?pl=Ofrenda_Totonaca_de_Dia_de_Muertos_Papantla_de_Olarte_Veracruz\">INAH \u00b7 Museo Nacional de Antropolog\u00eda (29\/10\/2019). Ofrenda Totonaca de D\u00eda de Muertos. Papantla de Olarte, Veracruz.<\/a><br>Ficha muse\u00edstica: denominaci\u00f3n\/traducci\u00f3n aproximada y ciclo 18 octubre\u201329 noviembre. Le\u00eddo el texto primario indexado; acceso directo respondi\u00f3 468. No se presenta como encuesta de hogares ni norma ling\u00fc\u00edstica revisada por hablantes.<\/li><li id=\"r14-es-s2\"><a href=\"https:\/\/www.inah.gob.mx\/boletines\/el-museo-del-templo-mayor-coloca-altar-de-muertos-de-los-totonacas-de-papantla-veracruz\">INAH (01\/11\/2022). El Museo del Templo Mayor coloca altar de muertos de los totonacas de Papantla, Veracruz. Bolet\u00edn 558.<\/a><br>Texto completo del bolet\u00edn le\u00eddo. Montaje Canto a nuestros ancestros; Patricia Ledesma Bouchan, Judith Alva S\u00e1nchez, Ingrid Hern\u00e1ndez G\u00f3mez. Incluye autor\u00eda curatorial y forma suspendida. No prueba uniformidad dom\u00e9stica ni continuidad hist\u00f3rica de cada canto. Fotos Mauricio Marat\/INAH no copiadas sin licencia\/permiso.<\/li><li id=\"r14-es-s3\"><a href=\"https:\/\/www.uv.mx\/prensa\/cultura\/celebracion-totonaca-de-dia-de-muertos-se-vincula-con-la-cosecha-del-maiz\/\">Carlos Hugo Hermida Rosales \u00b7 Universidad Veracruzana (13\/10\/2021). Celebraci\u00f3n totonaca de D\u00eda de Muertos se vincula con la cosecha del ma\u00edz.<\/a><br>Cr\u00f3nica completa de la conferencia Ya vienen los muertos en Taj\u00edn, impartida 12 octubre 2021 por Crescencio Garc\u00eda Ramos. Cosecha, limpieza, intercambio y cierre 30 noviembre atribuidos a ese relato. No entrevista nueva del Instituto, fecha universal ni observaci\u00f3n propia 2026.<\/li><li id=\"r14-es-s4\"><a href=\"https:\/\/www.uv.mx\/pozarica\/tlapapantla\/difusion-y-extension\/ninin-2\/\">Universidad Veracruzana \u00b7 Talleres Libres de Arte, Papantla. Ninin \/ Niinin (s.f.; consultado 05\/11\/2026).<\/a><br>Descripci\u00f3n institucional completa le\u00edda. Participaci\u00f3n de alumnos, docentes y familias en danza\/trabajos pl\u00e1sticos y convivencia. La fecha din\u00e1mica de actualizaci\u00f3n no se usa como fecha del evento. No aval comunitario ni etnograf\u00eda general.<\/li><li id=\"r14-es-s5\"><a href=\"https:\/\/www.inali.gob.mx\/sitios\/clin-inali\/html\/v_totonaco.html\">INALI. Cat\u00e1logo de las Lenguas Ind\u00edgenas Nacionales: totonaco (cat\u00e1logo 2008).<\/a><br>Consultada tabla de variantes\/autodenominaciones y referencias geoestad\u00edsticas, en particular totonaco de la costa. No es diccionario de Nin\u00edn ni revisi\u00f3n comunitaria de graf\u00eda. No reproducir listas como fronteras \u00e9tnicas exclusivas.<\/li><li id=\"r14-es-s6\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S2448-62212022000100007&#038;script=sci_arttext_plus&#038;tlng=es\">Pierre Beaucage y Xanath Rojas Mora (2022). Cosmolog\u00edas nahua (maseual) y totonaca (tutunak\u00fa)\u2026 Segunda parte. Anales de Antropolog\u00eda 56(1). DOI 10.22201\/iia.24486221e.2021.76853.<\/a><br>Lectura del resumen, introducci\u00f3n y discusi\u00f3n comparativa de diferencias entre comunidades. Estudio serrano; no trasladado como evidencia dom\u00e9stica de Papantla. A\u00f1o de volumen 2022 distinto de fecha electr\u00f3nica 2023. No se reproducen instrucciones terap\u00e9uticas.<\/li><\/ol><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r14-es-source\" lang=\"es\"><h4>La mesa cambia mientras pasa el d\u00eda<\/h4><p>La descripci\u00f3n distingue momentos del d\u00eda dentro de una explicaci\u00f3n museogr\u00e1fica. No establece un men\u00fa obligatorio ni resuelve la discrepancia sobre el cierre del ciclo.<\/p><p><a href=\"https:\/\/www.inah.gob.mx\/boletines\/el-museo-del-templo-mayor-coloca-altar-de-muertos-de-los-totonacas-de-papantla-veracruz\">INAH \u00b7 bolet\u00edn 558, 01\/11\/2022 \u00b7 Ingrid Hern\u00e1ndez G\u00f3mez<\/a> \u00b7 <a href=\"#iict-reading-r14-es\">Volver al pasaje<\/a><\/p><\/section>\n<\/details><p class=\"r-small\"><a href=\"https:\/\/totonacapan.com\/?page_id=1327\">Continuar leyendo \u00b7 Oficios y transmisi\u00f3n de saberes<\/a><\/p><!-- IICT-CITE R14 es --><aside class=\"iict-citation\" id=\"citar-r14-es\" aria-labelledby=\"citar-r14-es-title\"><h2 id=\"citar-r14-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. \u00abNin\u00edn: la casa prepara el regreso\u00bb. <cite>Cuadernos de investigaci\u00f3n<\/cite>, <strong>R14<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-es\">https:\/\/totonacapan.com\/?page_id=1332#r14-es<\/a>.<\/blockquote><p><strong>Referencia interna:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-es\">R14<\/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 R14 es --><\/article><details class=\"research-lang-version\" id=\"r14-en-version\"><summary>Read the full English article<\/summary><article id=\"r14-en\" lang=\"en\"><p class=\"eyebrow\">Totonacapan Research \u00b7 Culture and communities<\/p><h1>Nin\u00edn: the household prepares for the return<\/h1><p class=\"research-deck\">Remembering takes time, work and a voice. Reading Papantla offerings through the household, song and museum.<\/p><div class=\"research-abstract\"><h2>At a glance<\/h2><p>In Papantla, remembering the dead brings together food, household care, visits and singing. Its meaning becomes clearer when we ask who prepares, whom they welcome and how remembering is learned.<\/p><p>This article distinguishes lived celebration from museum presentation and compares two accounts whose calendars end on different dates. It preserves those differences, identifies the people explaining them and examines what an image can tell us.<\/p><\/div><p class=\"r-small\">Documentary research \u00b7 5 November 2026<\/p><section><h2>Method and scope<\/h2><p>Documentary review of two museum presentations, a lecture report, an education page, language references and a comparative study. Description, interpretation and hypothesis remain distinct. Partial readings and reservations are identified in Sources and comparison. No new interviews or field observations were conducted.<\/p><\/section><section id=\"r14-en-b1\"><h2>1. The work of waiting<\/h2><p class=\"e-main\">A household does not await its dead as it awaits an ordinary visitor. In Papantla, preparing for Nin\u00edn transforms the family&#8217;s space for a few days. Food is made with absent people in mind, flowers are placed deliberately and voices name those who no longer occupy a chair. From outside, the celebration can look like November decoration. Read through its relationships, it is work of remembrance: someone remembers for another; someone prepares for a person who can no longer give a visible response.<\/p><p class=\"e-main\">The central question is what this preparation does within family relationships. We propose a working hypothesis: remembering is sustained by shared actions as well as ideas about the past. Testing it would require following who cooks, cleans, gathers materials, sings or teaches in an identified household. The sources reviewed support that question; this article does not yet have its own record of these tasks or interviews conducted for the study.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r14-en-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r14-en-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r14-en-s3\">[3]<\/a><\/p><\/section><section id=\"r14-en-b2\"><h2>2. A Papantla altar inside a museum<\/h2><p class=\"e-main\">Mexico\u2019s National Institute of Anthropology and History has documented and publicly presented offerings from Totonac people of Papantla. In a reconstruction exhibited at the Templo Mayor Museum, the altar is elevated or suspended. The recorded explanation links this form to deceased visitors and the ground of the living. Flowers, food and ritual elements accompany it, and the museum recognises the alabanceros, singers of praises, whose voices mark opening and closing. This remains a museum presentation: it cannot establish that every Papantla household arranges the same altar or sings the same praises.<\/p><aside class=\"iict-ninin-photo-sources\" lang=\"en\" id=\"ninin-fotografias-en\"><h3>Photographs of documented altars<\/h3><p>Two installations show real Totonac altars, their flowers and offerings. Each report identifies where the altar was installed.<\/p><ul><li><a href=\"https:\/\/www.inah.gob.mx\/boletines\/el-museo-del-templo-mayor-coloca-altar-de-muertos-de-los-totonacas-de-papantla-veracruz\" target=\"_blank\" rel=\"noopener\">Templo Mayor Museum \u00b7 Mexico City, 2022 \u2197<\/a><\/li><li><a href=\"https:\/\/www.uv.mx\/noticias\/2014\/10\/30\/osx-honrara-a-musicos-fallecidos\/\" target=\"_blank\" rel=\"noopener\">Tlaqn\u00e1 Cultural Centre \u00b7 Xalapa, 2014 \u2197<\/a><\/li><\/ul><p class=\"r-small\">Photographs in the first report: Mauricio Marat \/ INAH. The second documents the altar dedicated to musicians of the Xalapa Symphony Orchestra.<\/p><\/aside><p class=\"e-main\">The INAH bulletin of 1 November 2022 names the installation Canto a nuestros ancestros and attributes its explanation to the museum\u2019s staff. Those authorships matter: the text describes a curatorial selection and interpretation, the work of the people who prepared and explained the exhibition. Exhibition in Mexico City does not make that city the practice\u2019s place of origin. Nor does the exhibition\u2019s closing date, 6 November 2022, determine the end of the celebration in Papantla.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r14-en-s2\">[2]<\/a><\/p><\/section><section id=\"r14-en-b3\"><h2>3. A name that needs its speakers<\/h2><p class=\"e-main\">A presentation by the National Museum of Anthropology relates Nin\u00edn to those who have not died, emphasising continuity through remembrance. Beyond fixing one translation, we need to understand what that continuity requires. Objects do not speak for themselves. A fruit brings together seasons, a recipe recalls ways of cooking, and a spoken name restores a place to someone who seemed outside the conversation. Preparing can help younger generations ask who their relatives were and how they lived.<\/p><p class=\"e-main\">The museum entry is dated 29 October 2019 and calls its translation approximate. The Universidad Veracruzana&#8217;s Free Art Workshops page uses Niinin, while other records use Nin\u00edn or Ninin. These spellings should be documented with speakers rather than resolved by visual resemblance. INALI&#8217;s catalogue distinguishes Coastal Totonac from other variants: it locates language, but cannot replace checking a word in the particular community.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r14-en-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r14-en-s4\">[4]<\/a> <a class=\"research-cite\" href=\"#r14-en-s5\">[5]<\/a><\/p><\/section><section id=\"r14-en-b4\"><h2>4. A calendar with a difference left visible<\/h2><p class=\"e-main\">The calendar matters too. Museum accounts describe a period wider than All Saints&#8217; Day and All Souls&#8217; Day. It should not be reduced to one day, nor should every locality be assumed to organise the cycle identically. The celebration is learned in situated families and communities that change in their own ways. Any account of tradition must state whose experience it describes and when it was observed.<\/p><p class=\"e-main\">The museum&#8217;s 2019 entry places the cycle between 18 October and 29 November, highlighting 31 October\u20132 November. By contrast, the UV report of a lecture by Crescencio Garc\u00eda Ramos, published on 13 October 2021, places the final farewell on 30 November, Saint Andrew&#8217;s Day. Both formulations remain visible: their dates and scopes differ. The one-day difference cannot be resolved by inventing one correct date; it calls for returning to their contexts and to the people who celebrate.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r14-en-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r14-en-s3\">[3]<\/a><\/p><\/section><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Two descriptions of the cycle and an exhibition date\" style=\"--journal-table-min:32rem\"><table><caption>Two descriptions of the cycle and an exhibition date<\/caption><thead><tr><th scope=\"col\">Record<\/th><th scope=\"col\">Dates<\/th><th scope=\"col\">What it describes<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">MNA \u00b7 2019<\/th><td data-label=\"Dates\">18 October\u201329 November; central days 31 October\u20132 November<\/td><td data-label=\"What it describes\">Museum presentation entry. [1]<\/td><\/tr><tr><th scope=\"row\">Garc\u00eda Ramos lecture \u00b7 UV, 2021<\/th><td data-label=\"Dates\">18 October; final farewell 30 November, Saint Andrew<\/td><td data-label=\"What it describes\">Report of an attributed account. [3]<\/td><\/tr><tr><th scope=\"row\">Templo Mayor \u00b7 2022<\/th><td data-label=\"Dates\">Exhibition until 6 November 2022<\/td><td data-label=\"What it describes\">Museum installation duration, not the end of Papantla\u2019s cycle. [2]<\/td><\/tr><\/tbody><\/table><\/div><\/figure><section id=\"r14-en-b5\"><section class=\"iict-reading-addition\" data-kind=\"table\" id=\"iict-reading-r14-en\" lang=\"en\" aria-labelledby=\"iict-reading-r14-en-title\"><h3 id=\"iict-reading-r14-en-title\">The table changes as the day passes<\/h3><p>Ingrid Hern\u00e1ndez G\u00f3mez\u2019s explanation for the Templo Mayor\u2019s 2022 display preserves a domestic detail: the food offered changes with the time of day. Her account mentions coffee and bread in the morning, spoon tamales at midday, and chocolate with bread at night. <a class=\"reading-ref\" href=\"#iict-reading-r14-en-source\" aria-label=\"See sources and comparison\">\u2197<\/a><\/p><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Data table\" style=\"--journal-table-min:0\"><table><thead><tr><th scope=\"col\">Time described<\/th><th scope=\"col\">Foods mentioned<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Morning<\/th><td>Coffee and bread<\/td><\/tr><tr><th scope=\"row\">Midday<\/th><td>Spoon tamales<\/td><\/tr><tr><th scope=\"row\">Night<\/th><td>Chocolate with bread<\/td><\/tr><\/tbody><\/table><\/div><p>The scene restores time and attention to objects that a photograph holds still. Understanding this table means following the people who prepare, renew and share the food. This is a dated curatorial account of Papantla, prepared for the exhibition, with an identified author; ways of receiving visitors are best understood by returning to homes and their hosts.<\/p><p class=\"reading-links\"><a href=\"https:\/\/www.inah.gob.mx\/boletines\/el-museo-del-templo-mayor-coloca-altar-de-muertos-de-los-totonacas-de-papantla-veracruz\">INAH \u00b7 bolet\u00edn 558, 01\/11\/2022 \u00b7 Ingrid Hern\u00e1ndez G\u00f3mez<\/a> \u00b7 <a href=\"#r14-en-sources\">Sources and comparison<\/a><\/p><\/section>\n<figure class=\"iict-plate\" id=\"iict-plate-r14-a-en\" lang=\"en\" aria-labelledby=\"iict-plate-r14-a-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Reading notes \u00b7 I<\/p><h3 id=\"iict-plate-r14-a-en-title\">Three moments of a changing table<\/h3><\/div><ol class=\"plate-legend\"><li>Morning: coffee and bread.<\/li><li>Midday: tamales de cuchara.<\/li><li>Evening: chocolate and bread.<\/li><\/ol><figcaption class=\"plate-caption\">Foods described by Ingrid Hern\u00e1ndez G\u00f3mez for the 2022 Papantla display at the Templo Mayor. \u00b7 <a href=\"#r14-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>5. The offering connects with the milpa<\/h2><p class=\"e-main\">Carlos Hugo Hermida Rosales&#8217;s report conveys Garc\u00eda Ramos&#8217;s explanation of links between the maize harvest and the celebration. This changes the scale: offerings also connect to food production and preparation beyond the household display. The agricultural interpretation is attributed to the 2021 lecture. It does not establish that every Papantla family now grows its own maize or provide an agricultural calendar for the entire municipality.<\/p><p class=\"e-main\">This reading also draws attention to exchanges among living people afterwards. The report mentions offerings circulating among relatives, compadres and friends. Our hypothesis is that tracing this circulation can reveal relationships continuing beyond the central days. Studying it would require identifying recipients and routes with permission. Food visible in a photograph is one part of a relationship whose journey the image cannot show.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r14-en-s3\">[3]<\/a><\/p><\/section><section id=\"r14-en-b6\"><h2>6. Listening to the alabanceros<\/h2><p class=\"e-main\">The 2022 installation highlights the people who sing praises. In the curatorial explanation, their voices make the ancestors&#8217; arrival and departure recognisable. Curator Judith Alva S\u00e1nchez proposes a possible combination of pre-Hispanic and evangelising antecedents. This is the museum research&#8217;s interpretation, not a demonstrated historical chain for every song. No uncontextualised or unauthorised lyrics or recordings are reproduced here.<\/p><p class=\"e-main\">Listening raises questions a display cannot settle: who teaches the repertoire, which language is used, how newcomers learn and who can authorise a recording. These are questions about transmission rather than findings already collected. Pierre Beaucage and Xanath Rojas Mora&#8217;s 2022 comparison identifies differences between Nahua and Totonac conceptions and between communities sharing a language. It discourages rushed equivalence; a highland case cannot fill the missing information about Papantla.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r14-en-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r14-en-s6\">[6]<\/a><\/p><\/section><section id=\"r14-en-b7\"><figure class=\"iict-viz viz-triptych\" id=\"iict-viz-r14-en\" lang=\"en\" aria-labelledby=\"iict-viz-r14-en-title\"><header><div class=\"viz-kicker\"><span>Visual notebooks<\/span><span>R14 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r14-en-title\">Home, museum and school: three ways of remembering<\/h3><p>A shared name does not make these spaces the same scene.<\/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 55l60-40 60 40M92 49v49h96V49M125 98V67h30v31M102 56h15v15h-15M164 56h15v15h-15\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>The home<\/h4><p>Preparation, food and relationships with remembered people.<\/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=\"M40 93l61-63 40 36 35-48 64 75H40zM85 48l16-18 18 17M159 42l17-24 20 26M40 101h200\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>The museum<\/h4><p>An installation selected and explained by those responsible for it.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M140 34q-25-20-65-9v65q35-11 65 5 30-16 65-5V25q-40-11-65 9v61M91 43q20-3 34 5M91 59q20-3 34 5M155 48q17-8 34-5M155 64q17-8 34-5\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>The art school<\/h4><p>A public presentation involving students, teachers and families.<\/p><\/div><\/div><figcaption>Contexts compared in the article\u2019s sources; no altar or ritual is reconstructed.<span class=\"viz-source\">Original visual synthesis by the Institute \u00b7 <a href=\"#r14-en-sources\">Sources and comparison<\/a><\/span><\/figcaption><\/figure>\n<figure class=\"iict-plate\" id=\"iict-plate-r14-b-en\" lang=\"en\" aria-labelledby=\"iict-plate-r14-b-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 II<\/p><h3 id=\"iict-plate-r14-b-en-title\">Preparation takes longer than a photograph<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r14-b-en-art-title iict-plate-r14-b-en-art-desc\"><title id=\"iict-plate-r14-b-en-art-title\">Preparation takes longer than a photograph<\/title><desc id=\"iict-plate-r14-b-en-art-desc\">1. Growing and obtaining ingredients connects other work. 2. Preparation brings time, knowledge and agreements together. 3. Sharing opens relationships a still image cannot exhaust. Reading sequence for the relationships between milpa, cooking and celebration documented in the article.<\/desc><defs><pattern id=\"iict-plate-r14-b-en-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r14-b-en-grain)\"\/><g transform=\"translate(120 286) scale(0.75)\"><path d=\"M0 0 C-46 -44 -45 -160 0 -203 C47 -153 44 -43 0 0Z\" fill=\"#dec678\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-19 -28 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-2 -28 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path 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fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-19 -70 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-2 -70 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M15 -70 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-19 -84 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-2 -84 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M15 -84 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-19 -98 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-2 -98 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M15 -98 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-19 -112 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-2 -112 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M15 -112 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-19 -126 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-2 -126 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M15 -126 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-19 -140 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-2 -140 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M15 -140 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-19 -154 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-2 -154 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M15 -154 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-5 3 Q-83 -25 -67 -139 Q-29 -119 -5 3Z\" fill=\"#8c9a68\" stroke=\"#61764d\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M3 3 Q76 -47 56 -162 Q21 -115 3 3Z\" fill=\"#a0ac7f\" stroke=\"#61764d\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-7 -4 Q-39 -66 -62 -130 M6 -6 Q28 -80 53 -151\" fill=\"none\" stroke=\"#61764d\" stroke-width=\"1.5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><line x1=\"208\" y1=\"205\" x2=\"278\" y2=\"205\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-dasharray=\"5 7\"\/><circle cx=\"278\" cy=\"205\" r=\"4\" fill=\"#ae8e4b\" stroke=\"#ae8e4b\" stroke-width=\"1\"\/><g transform=\"translate(375 227) scale(1)\"><path d=\"M-63 -46 Q0 -75 63 -46 L55 44 Q0 76 -55 44Z\" fill=\"#d4bd93\" stroke=\"#9d8154\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-68 -46 Q0 -81 68 -46\" fill=\"none\" stroke=\"#9d8154\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-12 -85 Q-28 -114 -4 -135 M20 -84 Q3 -117 28 -145\" fill=\"none\" stroke=\"#ad9665\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><line x1=\"461\" y1=\"205\" x2=\"521\" y2=\"205\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-dasharray=\"5 7\"\/><circle cx=\"521\" cy=\"205\" r=\"4\" fill=\"#ae8e4b\" stroke=\"#ae8e4b\" stroke-width=\"1\"\/><path d=\"M541 242 H691 M553 242 V309 M679 242 V309\" fill=\"none\" stroke=\"#a48a60\" stroke-width=\"7\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><g transform=\"translate(599 230) scale(0.37)\"><path d=\"M-47 -45 L-38 15 Q0 45 38 15 L47 -45Z\" fill=\"#eee5d3\" stroke=\"#7b684b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M43 -32 C89 -49 82 13 40 3\" fill=\"none\" stroke=\"#7b684b\" stroke-width=\"5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-62 35 Q0 57 62 35\" fill=\"none\" stroke=\"#7b684b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-18 -60 C-37 -88 6 -91 -13 -122 M14 -60 C-4 -91 37 -96 19 -122\" fill=\"none\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-44 -43 Q0 -27 44 -43 Q0 -57 -44 -43Z\" fill=\"#6b4e3e\" stroke=\"#7b684b\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><g transform=\"translate(651 230) scale(0.34)\"><path d=\"M-58 12 C-79 -37 -41 -69 -10 -55 C12 -80 62 -55 62 -13 L55 21 Q0 40 -58 12Z\" fill=\"#dec39b\" stroke=\"#a88755\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-25 -34 Q-43 -18 -31 0 M2 -39 Q-13 -18 1 3 M28 -27 Q15 -10 28 7\" fill=\"none\" stroke=\"#ac895a\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><circle cx=\"121\" cy=\"343\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"121\" y=\"351\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"375\" cy=\"343\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"351\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"615\" cy=\"343\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"615\" y=\"351\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Growing and obtaining ingredients connects other work.<\/li><li>Preparation brings time, knowledge and agreements together.<\/li><li>Sharing opens relationships a still image cannot exhaust.<\/li><\/ol><figcaption class=\"plate-caption\">Reading sequence for the relationships between milpa, cooking and celebration documented in the article. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r14-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>7. Celebration also enters the art school<\/h2><p class=\"e-main\">UV&#8217;s Free Art Workshops in Papantla describe their Niinin celebration as a public display of dances and visual artworks involving students, teachers and families. This is an institution&#8217;s account of an educational activity, not an ethnography of every household. It raises questions about a school&#8217;s role in transmission and its combination of artistic learning and social gathering without claiming that the school represents the entire community.<\/p><p class=\"e-main\">The comparison distinguishes three situations: a household prepares for remembered people; a museum selects and interprets an offering; a school organises a presentation. They may connect without sharing identical participants, schedules or purposes. This does not rank their authenticity. It identifies each source&#8217;s standpoint and asks who has a voice in decisions in each setting.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r14-en-s4\">[4]<\/a><\/p><\/section><ol class=\"r-flow\"><li><strong>Household<\/strong>Prepare, remember, welcome and share. Particular families still to be documented.<\/li><li><strong>Museum<\/strong>Select, interpret and exhibit with identified curatorial authorship.<\/li><li><strong>Art school<\/strong>Learn, create and gather in a public educational activity.<\/li><\/ol><section id=\"r14-en-b8\"><h2>8. Looking at an image and continuing to ask<\/h2><figure id=\"danzas-parque-papantla-en\" style=\"width:100%;max-width:1100px;margin:2rem auto\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-danzas-parque-papantla-foto.jpg\" alt=\"Dancers beside the illuminated bandstand in Papantla park.\" loading=\"lazy\" style=\"display:block;width:100%;height:auto\" \/><figcaption style=\"font-size:12px;line-height:1.5;margin-top:0.65rem\">Dances in Papantla park. Photograph supplied by Iv\u00e1n.<\/figcaption><\/figure><p class=\"e-main\">A photograph of an offering can show colours and heights. A conversation with those responsible could explain why a dish was prepared, whom it was for and who taught its arrangement. This difference identifies the Institute&#8217;s task: combining archives, research and community voices so heritage is not reduced to its visible surface. An illustration introducing the story must say that it imagines an atmosphere; documentation of actual forms must come from identified records and the people sustaining them.<\/p><p class=\"e-main\">The documentary conclusion is limited but substantive: the sources connect preparation, food, voices and relationships rather than describing isolated decoration. How work is distributed within particular households and how people name and delimit its times still need checking. Future research must let participants decide what is published. Remembrance is better understood when its account preserves both visible actions and the authority of the people carrying them out.<\/p><p class=\"r-small e-section-sources\">Sources for this section: <a class=\"research-cite\" href=\"#r14-en-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r14-en-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r14-en-s3\">[3]<\/a><\/p><\/section><details class=\"research-evidence\" id=\"r14-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\">Memory or decoration?<\/th><td data-label=\"Sources and observations\">Carmen&#8217;s draft and museum accounts [1\u20132]: preparation and remembered people. UV [3]: care and exchanges.<\/td><td data-label=\"Comparison and interpretation\">Work sustaining remembrance is an editorial hypothesis, not our field finding. Test it through identified household tasks and recipients.<\/td><\/tr><tr><th scope=\"row\">Household altar or museum installation?<\/th><td data-label=\"Sources and observations\">INAH 2022[2] identifies exhibition, curators and suspended form; MNA 2019[1] presents another offering.<\/td><td data-label=\"Comparison and interpretation\">Shared geographic reference does not mean an identical domestic scene. Retain practice location, exhibition location and authorship; check with those responsible.<\/td><\/tr><tr><th scope=\"row\">What does Nin\u00edn mean and how is it spelled?<\/th><td data-label=\"Sources and observations\">MNA [1]: approximate translation; UV [4]: Niinin; INALI [5]: language variants.<\/td><td data-label=\"Comparison and interpretation\">Record forms without imposed standardisation. Language classification does not validate this etymology. Papantla speakers still need to review spelling, pronunciation and meaning.<\/td><\/tr><tr><th scope=\"row\">When does the cycle end?<\/th><td data-label=\"Sources and observations\">MNA 2019[1]:29 November; Garc\u00eda Ramos 2021 lecture reported by UV [3]:30 November\/Saint Andrew.<\/td><td data-label=\"Comparison and interpretation\">One-day documentary difference retained. Check each locality, cycle and convention. Neither is turned into a current 2026 programme.<\/td><\/tr><tr><th scope=\"row\">What connects offerings and cultivation?<\/th><td data-label=\"Sources and observations\">UV [3] connects harvest, milpa care and food exchanges; installation [2] shows selected foods.<\/td><td data-label=\"Comparison and interpretation\">Complementary scales, not proof every household farms. Check production, preparation and circulation with permission to test the relational hypothesis.<\/td><\/tr><tr><th scope=\"row\">What is the songs&#8217; history?<\/th><td data-label=\"Sources and observations\">Judith Alva S\u00e1nchez in 2022 bulletin [2]: possible combined antecedents; Beaucage \/ Rojas [6]: conceptual and community differences.<\/td><td data-label=\"Comparison and interpretation\">Curatorial interpretation does not demonstrate every song&#8217;s lineage. Contextualised repertoires, historical sources and authorised voices are needed; restricted recordings remain private.<\/td><\/tr><tr><th scope=\"row\">What does the school activity teach?<\/th><td data-label=\"Sources and observations\">UV\/Papantla Workshops [4]: public show, artistic learning and gathering; INAH [2]: museum exhibition.<\/td><td data-label=\"Comparison and interpretation\">Two institutional forms of mediation. Neither proves identical family practices or universal endorsement. Identify who decides and participates.<\/td><\/tr><tr><th scope=\"row\">What can an image prove?<\/th><td data-label=\"Sources and observations\">L10 is an evocative AI illustration; INAH [2] photographs its installation without verified open rights.<\/td><td data-label=\"Comparison and interpretation\">L10&#8217;s supported table does not document a suspended altar. A real Papantla altar photo still needs verified place, context, author, permission and licence. Images do not replace human\/local review.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><h3>References and reading scope<\/h3><ol class=\"research-sources\"><li id=\"r14-en-s1\"><a href=\"https:\/\/mna.inah.gob.mx\/agenda_detalle_v3.php?pl=Ofrenda_Totonaca_de_Dia_de_Muertos_Papantla_de_Olarte_Veracruz\">INAH \u00b7 Museo Nacional de Antropolog\u00eda (29\/10\/2019). Ofrenda Totonaca de D\u00eda de Muertos. Papantla de Olarte, Veracruz.<\/a><br>Museum entry: approximate name\/translation and 18 October\u201329 November cycle. Primary indexed text read; direct access returned 468. Not a household survey or speaker-validated language standard.<\/li><li id=\"r14-en-s2\"><a href=\"https:\/\/www.inah.gob.mx\/boletines\/el-museo-del-templo-mayor-coloca-altar-de-muertos-de-los-totonacas-de-papantla-veracruz\">INAH (01\/11\/2022). El Museo del Templo Mayor coloca altar de muertos de los totonacas de Papantla, Veracruz. Bolet\u00edn 558.<\/a><br>Full bulletin read. Canto a nuestros ancestros installation; Patricia Ledesma Bouchan, Judith Alva S\u00e1nchez, Ingrid Hern\u00e1ndez G\u00f3mez. Curatorial authorship and suspended form. Does not establish identical household practices or each song&#8217;s historical continuity. Mauricio Marat\/INAH photos not copied without rights clearance.<\/li><li id=\"r14-en-s3\"><a href=\"https:\/\/www.uv.mx\/prensa\/cultura\/celebracion-totonaca-de-dia-de-muertos-se-vincula-con-la-cosecha-del-maiz\/\">Carlos Hugo Hermida Rosales \u00b7 Universidad Veracruzana (13\/10\/2021). Celebraci\u00f3n totonaca de D\u00eda de Muertos se vincula con la cosecha del ma\u00edz.<\/a><br>Full report of Crescencio Garc\u00eda Ramos&#8217;s lecture Ya vienen los muertos en Taj\u00edn, 12 October 2021. Harvest, cleaning, exchange and 30 November closing attributed to this account. Not a new Institute interview, universal date or 2026 field observation.<\/li><li id=\"r14-en-s4\"><a href=\"https:\/\/www.uv.mx\/pozarica\/tlapapantla\/difusion-y-extension\/ninin-2\/\">Universidad Veracruzana \u00b7 Talleres Libres de Arte, Papantla. Ninin \/ Niinin (s.f.; consultado 05\/11\/2026).<\/a><br>Full institutional description read. Students, teachers and families, dance, visual artworks and gathering. Dynamic update date not treated as event date. Not community endorsement or general ethnography.<\/li><li id=\"r14-en-s5\"><a href=\"https:\/\/www.inali.gob.mx\/sitios\/clin-inali\/html\/v_totonaco.html\">INALI. Cat\u00e1logo de las Lenguas Ind\u00edgenas Nacionales: totonaco (cat\u00e1logo 2008).<\/a><br>Variants, autonyms and geographical references checked, especially Coastal Totonac. Not a Nin\u00edn dictionary or community spelling review. Lists do not establish exclusive ethnic boundaries.<\/li><li id=\"r14-en-s6\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S2448-62212022000100007&#038;script=sci_arttext_plus&#038;tlng=es\">Pierre Beaucage y Xanath Rojas Mora (2022). Cosmolog\u00edas nahua (maseual) y totonaca (tutunak\u00fa)\u2026 Segunda parte. Anales de Antropolog\u00eda 56(1). DOI 10.22201\/iia.24486221e.2021.76853.<\/a><br>Abstract, introduction and comparative discussion of community differences read. Highland study; not evidence about Papantla households.2022 volume distinct from 2023 electronic date. No therapeutic instructions reproduced.<\/li><\/ol><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r14-en-source\" lang=\"en\"><h4>The table changes as the day passes<\/h4><p>The account distinguishes times of day within a museum explanation. It establishes no compulsory menu and does not resolve the disagreement over the cycle\u2019s closing date.<\/p><p><a href=\"https:\/\/www.inah.gob.mx\/boletines\/el-museo-del-templo-mayor-coloca-altar-de-muertos-de-los-totonacas-de-papantla-veracruz\">INAH \u00b7 bolet\u00edn 558, 01\/11\/2022 \u00b7 Ingrid Hern\u00e1ndez G\u00f3mez<\/a> \u00b7 <a href=\"#iict-reading-r14-en\">Return to the passage<\/a><\/p><\/section>\n<\/details><p class=\"r-small\"><a href=\"https:\/\/totonacapan.com\/?page_id=1327\">Read further \u00b7 Crafts and knowledge transmission<\/a><\/p><!-- IICT-CITE R14 en --><aside class=\"iict-citation\" id=\"citar-r14-en\" aria-labelledby=\"citar-r14-en-title\"><h2 id=\"citar-r14-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. \u00abNin\u00edn: the household prepares for the return\u00bb. <cite>Research notebooks<\/cite>, <strong>R14<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-en\">https:\/\/totonacapan.com\/?page_id=1332#r14-en<\/a>.<\/blockquote><p><strong>Internal reference:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-en\">R14<\/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 R14 en --><\/article><\/details><details class=\"research-lang-version\" id=\"r14-fr-version\"><summary>Lire l\u2019article int\u00e9gral en fran\u00e7ais<\/summary><article id=\"r14-fr\" lang=\"fr\"><p class=\"eyebrow\">Recherches sur le Totonacapan \u00b7 Culture et communaut\u00e9s<\/p><h1>Nin\u00edn : la maison pr\u00e9pare le retour<\/h1><p class=\"research-deck\">Se souvenir demande du temps, du travail et une voix. Lire les offrandes de Papantla entre la maison, le chant et le mus\u00e9e.<\/p><div class=\"research-abstract\"><h2>L\u2019essentiel<\/h2><p>\u00c0 Papantla, la c\u00e9l\u00e9bration des morts r\u00e9unit nourriture, soin de la maison, visites et chants. Son sens se pr\u00e9cise lorsqu&#8217;on demande qui pr\u00e9pare, qui est accueilli et comment on apprend \u00e0 se souvenir.<\/p><p>Cet article distingue la c\u00e9l\u00e9bration v\u00e9cue de sa pr\u00e9sentation mus\u00e9ale et confronte deux descriptions dont les calendriers ne se terminent pas le m\u00eame jour. Il conserve ces diff\u00e9rences, identifie les personnes qui les expliquent et interroge ce qu&#8217;une image permet de savoir.<\/p><\/div><p class=\"r-small\">Recherche documentaire \u00b7 5 novembre 2026<\/p><section><h2>M\u00e9thode et p\u00e9rim\u00e8tre<\/h2><p>Revue documentaire de deux pr\u00e9sentations mus\u00e9ales, d\u2019un compte rendu de conf\u00e9rence, d\u2019une page \u00e9ducative, de r\u00e9f\u00e9rences linguistiques et d\u2019une \u00e9tude comparative. Description, interpr\u00e9tation et hypoth\u00e8se restent distinctes. Lectures partielles et r\u00e9serves sont identifi\u00e9es dans Sources et confrontation. Aucun nouvel entretien ou terrain r\u00e9alis\u00e9.<\/p><\/section><section id=\"r14-fr-b1\"><h2>1. Le travail de l&#8217;attente<\/h2><p class=\"e-main\">Une maison n&#8217;attend pas ses morts comme elle attend une visite ordinaire. \u00c0 Papantla, les pr\u00e9paratifs du Nin\u00edn transforment l&#8217;espace familial pendant quelques jours. Des aliments sont pr\u00e9par\u00e9s en pensant aux absents, des fleurs sont plac\u00e9es avec intention et des voix nomment ceux qui n&#8217;occupent plus une chaise. De l&#8217;ext\u00e9rieur, la c\u00e9l\u00e9bration peut sembler un d\u00e9cor de novembre. \u00c0 travers ses relations, elle appara\u00eet comme un travail de m\u00e9moire : quelqu&#8217;un se souvient pour un autre ; quelqu&#8217;un pr\u00e9pare pour une personne qui ne peut plus r\u00e9pondre visiblement.<\/p><p class=\"e-main\">La question centrale concerne l&#8217;effet de cette pr\u00e9paration sur les relations familiales. Notre hypoth\u00e8se de travail est que le souvenir se soutient par des actions partag\u00e9es autant que par une id\u00e9e du pass\u00e9. La v\u00e9rifier demanderait de suivre qui cuisine, nettoie, rassemble les mat\u00e9riaux, chante ou enseigne dans une maison identifi\u00e9e. Les sources permettent de formuler cette question ; nous ne disposons pas encore d&#8217;un relev\u00e9 propre de ces t\u00e2ches ni d&#8217;entretiens r\u00e9alis\u00e9s pour cet article.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r14-fr-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r14-fr-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r14-fr-s3\">[3]<\/a><\/p><\/section><section id=\"r14-fr-b2\"><h2>2. Un autel de Papantla dans un mus\u00e9e<\/h2><p class=\"e-main\">L\u2019Institut national d\u2019anthropologie et d\u2019histoire a document\u00e9 et pr\u00e9sent\u00e9 au public des offrandes de Totonaques de Papantla. Dans une reconstitution expos\u00e9e au mus\u00e9e du Templo Mayor, l\u2019autel est \u00e9lev\u00e9 ou suspendu. L\u2019explication enregistr\u00e9e relie cette forme aux visiteurs d\u00e9funts et au sol des vivants. Le montage comprend fleurs, aliments et \u00e9l\u00e9ments rituels, et reconna\u00eet les alabanceros, qui chantent des louanges, dont les voix marquent l\u2019ouverture et la cl\u00f4ture. Cette pr\u00e9sentation reste mus\u00e9ale : elle ne prouve pas que chaque maison de Papantla dispose le m\u00eame autel ou chante les m\u00eames louanges.<\/p><aside class=\"iict-ninin-photo-sources\" lang=\"fr\" id=\"ninin-fotografias-fr\"><h3>Photographies d\u2019autels document\u00e9s<\/h3><p>Deux installations donnent \u00e0 voir des autels totonaques r\u00e9els, leurs fleurs et leurs offrandes. Chaque reportage pr\u00e9cise le lieu o\u00f9 l\u2019autel a \u00e9t\u00e9 install\u00e9.<\/p><ul><li><a href=\"https:\/\/www.inah.gob.mx\/boletines\/el-museo-del-templo-mayor-coloca-altar-de-muertos-de-los-totonacas-de-papantla-veracruz\" target=\"_blank\" rel=\"noopener\">Mus\u00e9e du Templo Mayor \u00b7 Mexico, 2022 \u2197<\/a><\/li><li><a href=\"https:\/\/www.uv.mx\/noticias\/2014\/10\/30\/osx-honrara-a-musicos-fallecidos\/\" target=\"_blank\" rel=\"noopener\">Centre culturel Tlaqn\u00e1 \u00b7 Xalapa, 2014 \u2197<\/a><\/li><\/ul><p class=\"r-small\">Photographies du premier reportage : Mauricio Marat \/ INAH. Le second documente l\u2019autel d\u00e9di\u00e9 aux musiciens de l\u2019Orchestre symphonique de Xalapa.<\/p><\/aside><p class=\"e-main\">Le bulletin de l\u2019INAH du 1er novembre 2022 nomme le montage Canto a nuestros ancestros et attribue ses explications aux responsables du mus\u00e9e. Ces attributions comptent : il s\u2019agit d\u2019une s\u00e9lection et d\u2019une interpr\u00e9tation curatoriales, le travail des personnes qui ont pr\u00e9par\u00e9 et expliqu\u00e9 l\u2019exposition. Exposer une offrande \u00e0 Mexico ne fait pas de cette ville le lieu d\u2019origine de la pratique. La cl\u00f4ture de l\u2019exposition, le 6 novembre 2022, ne fixe pas davantage la fin de la c\u00e9l\u00e9bration \u00e0 Papantla.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r14-fr-s2\">[2]<\/a><\/p><\/section><section id=\"r14-fr-b3\"><h2>3. Un nom qui a besoin de ses locuteurs<\/h2><p class=\"e-main\">Une pr\u00e9sentation du Mus\u00e9e national d&#8217;anthropologie relie Nin\u00edn \u00e0 ceux qui ne sont pas morts, soulignant la continuit\u00e9 du souvenir. Au-del\u00e0 d&#8217;une traduction unique, il faut comprendre ce que demande cette continuit\u00e9. Les objets ne parlent pas seuls. Un fruit rassemble des saisons, une recette rappelle des fa\u00e7ons de cuisiner et un nom prononc\u00e9 rend une place \u00e0 une personne qui semblait sortie de la conversation. Pr\u00e9parer aide les nouvelles g\u00e9n\u00e9rations \u00e0 demander qui \u00e9taient leurs proches et comment ils vivaient.<\/p><p class=\"e-main\">La fiche du mus\u00e9e date du 29 octobre 2019 et pr\u00e9sente sa traduction comme approximative. Les Ateliers libres d&#8217;art de l&#8217;Universit\u00e9 de Veracruz \u00e9crivent Niinin ; d&#8217;autres sources donnent Nin\u00edn ou Ninin. Ces graphies doivent \u00eatre document\u00e9es avec des locuteurs, plut\u00f4t que d\u00e9partag\u00e9es par leur apparence. Le catalogue de l&#8217;INALI distingue le totonaque de la c\u00f4te d&#8217;autres variantes : il situe la langue mais ne remplace pas une v\u00e9rification du mot dans la communaut\u00e9 concern\u00e9e.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r14-fr-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r14-fr-s4\">[4]<\/a> <a class=\"research-cite\" href=\"#r14-fr-s5\">[5]<\/a><\/p><\/section><section id=\"r14-fr-b4\"><h2>4. Un calendrier dont l&#8217;\u00e9cart reste visible<\/h2><p class=\"e-main\">Le calendrier compte \u00e9galement. Les descriptions mus\u00e9ales \u00e9voquent une p\u00e9riode plus \u00e9tendue que la Toussaint et le jour des morts. Il ne faut ni la r\u00e9duire \u00e0 une journ\u00e9e ni pr\u00e9sumer que chaque localit\u00e9 organise le m\u00eame cycle. La c\u00e9l\u00e9bration s&#8217;apprend dans des familles et des communaut\u00e9s situ\u00e9es, qui connaissent leurs propres changements. Toute description de la tradition doit pr\u00e9ciser de qui elle parle et quand elle a \u00e9t\u00e9 observ\u00e9e.<\/p><p class=\"e-main\">La fiche du MNA de 2019 situe le cycle du 18 octobre au 29 novembre et souligne les journ\u00e9es du 31 octobre au 2 novembre. Le compte rendu d&#8217;une conf\u00e9rence de Crescencio Garc\u00eda Ramos, publi\u00e9 par l&#8217;UV le 13 octobre 2021, place au contraire l&#8217;adieu final le 30 novembre, jour de saint Andr\u00e9. Nous conservons les deux formulations et leurs contextes. L&#8217;\u00e9cart d&#8217;une journ\u00e9e ne se corrige pas en inventant une date unique : il demande de revenir aux sources et aux personnes qui c\u00e9l\u00e8brent.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r14-fr-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r14-fr-s3\">[3]<\/a><\/p><\/section><figure class=\"research-matrix\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Deux descriptions du cycle et une date d'exposition\" style=\"--journal-table-min:32rem\"><table><caption>Deux descriptions du cycle et une date d\u2019exposition<\/caption><thead><tr><th scope=\"col\">Document<\/th><th scope=\"col\">Dates<\/th><th scope=\"col\">Ce qu\u2019il d\u00e9crit<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">MNA \u00b7 2019<\/th><td data-label=\"Dates\">18 octobre\u201329 novembre ; jours centraux 31 octobre\u20132 novembre<\/td><td data-label=\"Ce qu\u2019il d\u00e9crit\">Fiche de pr\u00e9sentation mus\u00e9ale. [1]<\/td><\/tr><tr><th scope=\"row\">Conf\u00e9rence Garc\u00eda Ramos \u00b7 UV, 2021<\/th><td data-label=\"Dates\">18 octobre ; adieu final 30 novembre, Saint Andr\u00e9<\/td><td data-label=\"Ce qu\u2019il d\u00e9crit\">Compte rendu d\u2019un r\u00e9cit attribu\u00e9. [3]<\/td><\/tr><tr><th scope=\"row\">Templo Mayor \u00b7 2022<\/th><td data-label=\"Dates\">Exposition jusqu\u2019au 6 novembre 2022<\/td><td data-label=\"Ce qu\u2019il d\u00e9crit\">Dur\u00e9e du montage, non fin du cycle \u00e0 Papantla. [2]<\/td><\/tr><\/tbody><\/table><\/div><\/figure><section id=\"r14-fr-b5\"><section class=\"iict-reading-addition\" data-kind=\"table\" id=\"iict-reading-r14-fr\" lang=\"fr\" aria-labelledby=\"iict-reading-r14-fr-title\"><h3 id=\"iict-reading-r14-fr-title\">La table change au fil de la journ\u00e9e<\/h3><p>L\u2019explication d\u2019Ingrid Hern\u00e1ndez G\u00f3mez pour l\u2019exposition du Templo Mayor de 2022 conserve un d\u00e9tail domestique : les aliments offerts changent avec l\u2019heure. Elle mentionne caf\u00e9 et pain le matin, tamales de cuchara \u00e0 midi, puis chocolat et pain le soir. <a class=\"reading-ref\" href=\"#iict-reading-r14-fr-source\" aria-label=\"Voir sources et comparaison\">\u2197<\/a><\/p><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Tableau de donn\u00e9es\" style=\"--journal-table-min:0\"><table><thead><tr><th scope=\"col\">Moment d\u00e9crit<\/th><th scope=\"col\">Aliments mentionn\u00e9s<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Matin<\/th><td>Caf\u00e9 et pain<\/td><\/tr><tr><th scope=\"row\">Midi<\/th><td>Tamales de cuchara<\/td><\/tr><tr><th scope=\"row\">Soir<\/th><td>Chocolat et pain<\/td><\/tr><\/tbody><\/table><\/div><p>Cette sc\u00e8ne rend du temps et de l\u2019attention aux objets que la photographie immobilise. Comprendre cette table demande de suivre les personnes qui pr\u00e9parent, renouvellent et partagent les aliments. C\u2019est une description curatoriale dat\u00e9e de Papantla, pr\u00e9par\u00e9e pour l\u2019exposition, avec une auteure identifi\u00e9e ; les fa\u00e7ons de recevoir se comprennent en revenant aux maisons et \u00e0 leurs responsables.<\/p><p class=\"reading-links\"><a href=\"https:\/\/www.inah.gob.mx\/boletines\/el-museo-del-templo-mayor-coloca-altar-de-muertos-de-los-totonacas-de-papantla-veracruz\">INAH \u00b7 bolet\u00edn 558, 01\/11\/2022 \u00b7 Ingrid Hern\u00e1ndez G\u00f3mez<\/a> \u00b7 <a href=\"#r14-fr-sources\">Sources et confrontation<\/a><\/p><\/section>\n<figure class=\"iict-plate\" id=\"iict-plate-r14-a-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r14-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-r14-a-fr-title\">Trois moments d\u2019une table qui change<\/h3><\/div><ol class=\"plate-legend\"><li>Matin : caf\u00e9 et pain.<\/li><li>Midi : tamales de cuchara.<\/li><li>Soir : chocolat et pain.<\/li><\/ol><figcaption class=\"plate-caption\">Aliments d\u00e9crits par Ingrid Hern\u00e1ndez G\u00f3mez pour la pr\u00e9sentation de Papantla au Templo Mayor en 2022. \u00b7 <a href=\"#r14-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>5. L&#8217;offrande se relie \u00e0 la milpa<\/h2><p class=\"e-main\">Le compte rendu de Carlos Hugo Hermida Rosales rapporte l&#8217;explication de Garc\u00eda Ramos sur les liens entre r\u00e9colte du ma\u00efs et c\u00e9l\u00e9bration. Cette lecture change l&#8217;\u00e9chelle : les offrandes renvoient \u00e0 des aliments produits et pr\u00e9par\u00e9s, au-del\u00e0 de l&#8217;espace domestique. L&#8217;interpr\u00e9tation agricole est attribu\u00e9e \u00e0 la conf\u00e9rence de 2021. Elle ne d\u00e9montre pas que toutes les familles de Papantla cultivent aujourd&#8217;hui leur propre ma\u00efs et ne fixe pas un calendrier agricole pour l&#8217;ensemble de la municipalit\u00e9.<\/p><p class=\"e-main\">Elle invite aussi \u00e0 observer les \u00e9changes ult\u00e9rieurs entre vivants. Le compte rendu mentionne la circulation d&#8217;offrandes entre parents, compadres et amis. Notre hypoth\u00e8se est que ces parcours peuvent r\u00e9v\u00e9ler des relations qui continuent au-del\u00e0 des journ\u00e9es centrales. Leur \u00e9tude demanderait de documenter destinataires et trajets avec autorisation. L&#8217;aliment photographi\u00e9 n&#8217;est que la partie visible d&#8217;une relation dont l&#8217;image ne montre pas le parcours.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r14-fr-s3\">[3]<\/a><\/p><\/section><section id=\"r14-fr-b6\"><h2>6. \u00c9couter les alabanceros<\/h2><p class=\"e-main\">Le montage de 2022 met en valeur les personnes qui chantent des louanges. Selon l&#8217;explication curatoriale, leurs voix rendent reconnaissables l&#8217;arriv\u00e9e et le d\u00e9part des anc\u00eatres. La responsable de la conservation, Judith Alva S\u00e1nchez, propose une combinaison possible d&#8217;ant\u00e9c\u00e9dents pr\u00e9hispaniques et \u00e9vang\u00e9lisateurs. C&#8217;est une interpr\u00e9tation de l&#8217;enqu\u00eate du mus\u00e9e, non une filiation historique d\u00e9montr\u00e9e pour chaque chant. Nous ne reproduisons ni paroles ni enregistrements sans contexte et autorisation v\u00e9rifi\u00e9s.<\/p><p class=\"e-main\">L&#8217;\u00e9coute pose des questions que la vitrine ne r\u00e9sout pas : qui transmet le r\u00e9pertoire, dans quelle langue, comment de nouvelles personnes apprennent et qui autorise un enregistrement ? Il s&#8217;agit de questions de transmission, non de r\u00e9sultats d\u00e9j\u00e0 recueillis. La comparaison de Pierre Beaucage et Xanath Rojas Mora de 2022 rel\u00e8ve des diff\u00e9rences entre conceptions nahuas et totonaques, ainsi qu&#8217;entre communaut\u00e9s d&#8217;une m\u00eame langue. Elle pr\u00e9vient les \u00e9quivalences rapides ; un cas de la montagne ne comble pas les lacunes concernant Papantla.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r14-fr-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r14-fr-s6\">[6]<\/a><\/p><\/section><section id=\"r14-fr-b7\"><figure class=\"iict-viz viz-triptych\" id=\"iict-viz-r14-fr\" lang=\"fr\" aria-labelledby=\"iict-viz-r14-fr-title\"><header><div class=\"viz-kicker\"><span>Carnets visuels<\/span><span>R14 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r14-fr-title\">Maison, mus\u00e9e et \u00e9cole : trois fa\u00e7ons de se souvenir<\/h3><p>Un nom commun ne transforme pas ces espaces en une m\u00eame sc\u00e8ne.<\/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 55l60-40 60 40M92 49v49h96V49M125 98V67h30v31M102 56h15v15h-15M164 56h15v15h-15\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>La maison<\/h4><p>Pr\u00e9paration, aliments et relations avec les personnes dont on se souvient.<\/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=\"M40 93l61-63 40 36 35-48 64 75H40zM85 48l16-18 18 17M159 42l17-24 20 26M40 101h200\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>Le mus\u00e9e<\/h4><p>Un montage choisi et expliqu\u00e9 par ses responsables.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M140 34q-25-20-65-9v65q35-11 65 5 30-16 65-5V25q-40-11-65 9v61M91 43q20-3 34 5M91 59q20-3 34 5M155 48q17-8 34-5M155 64q17-8 34-5\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>L\u2019\u00e9cole d\u2019art<\/h4><p>Une pr\u00e9sentation publique avec \u00e9l\u00e8ves, enseignants et familles.<\/p><\/div><\/div><figcaption>Contextes compar\u00e9s dans les sources de l\u2019article ; ni autel ni rite reconstitu\u00e9.<span class=\"viz-source\">Synth\u00e8se visuelle originale de l\u2019Institut \u00b7 <a href=\"#r14-fr-sources\">Sources et confrontation<\/a><\/span><\/figcaption><\/figure>\n<figure class=\"iict-plate\" id=\"iict-plate-r14-b-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r14-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-r14-b-fr-title\">La pr\u00e9paration dure plus qu\u2019une photographie<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r14-b-fr-art-title iict-plate-r14-b-fr-art-desc\"><title id=\"iict-plate-r14-b-fr-art-title\">La pr\u00e9paration dure plus qu\u2019une photographie<\/title><desc id=\"iict-plate-r14-b-fr-art-desc\">1. Cultiver et r\u00e9unir les ingr\u00e9dients relie d\u2019autres travaux. 2. Pr\u00e9parer r\u00e9unit temps, connaissances et accords. 3. Partager ouvre des relations qu\u2019une image fixe n\u2019\u00e9puise pas. S\u00e9quence de lecture des relations entre milpa, cuisine et c\u00e9l\u00e9bration document\u00e9es dans l\u2019article.<\/desc><defs><pattern id=\"iict-plate-r14-b-fr-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r14-b-fr-grain)\"\/><g transform=\"translate(120 286) scale(0.75)\"><path d=\"M0 0 C-46 -44 -45 -160 0 -203 C47 -153 44 -43 0 0Z\" fill=\"#dec678\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-19 -28 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-2 -28 q8 -10 15 -2 q-3 11 -14 8Z\" fill=\"#dfc77e\" stroke=\"#b39a56\" stroke-width=\"0.8\" stroke-linecap=\"round\" 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\/><\/g><line x1=\"208\" y1=\"205\" x2=\"278\" y2=\"205\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-dasharray=\"5 7\"\/><circle cx=\"278\" cy=\"205\" r=\"4\" fill=\"#ae8e4b\" stroke=\"#ae8e4b\" stroke-width=\"1\"\/><g transform=\"translate(375 227) scale(1)\"><path d=\"M-63 -46 Q0 -75 63 -46 L55 44 Q0 76 -55 44Z\" fill=\"#d4bd93\" stroke=\"#9d8154\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-68 -46 Q0 -81 68 -46\" fill=\"none\" stroke=\"#9d8154\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-12 -85 Q-28 -114 -4 -135 M20 -84 Q3 -117 28 -145\" fill=\"none\" stroke=\"#ad9665\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><line x1=\"461\" y1=\"205\" x2=\"521\" y2=\"205\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-dasharray=\"5 7\"\/><circle cx=\"521\" cy=\"205\" r=\"4\" fill=\"#ae8e4b\" stroke=\"#ae8e4b\" stroke-width=\"1\"\/><path d=\"M541 242 H691 M553 242 V309 M679 242 V309\" fill=\"none\" stroke=\"#a48a60\" stroke-width=\"7\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><g transform=\"translate(599 230) scale(0.37)\"><path d=\"M-47 -45 L-38 15 Q0 45 38 15 L47 -45Z\" fill=\"#eee5d3\" stroke=\"#7b684b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M43 -32 C89 -49 82 13 40 3\" fill=\"none\" stroke=\"#7b684b\" stroke-width=\"5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-62 35 Q0 57 62 35\" fill=\"none\" stroke=\"#7b684b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-18 -60 C-37 -88 6 -91 -13 -122 M14 -60 C-4 -91 37 -96 19 -122\" fill=\"none\" stroke=\"#ae8e4b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-44 -43 Q0 -27 44 -43 Q0 -57 -44 -43Z\" fill=\"#6b4e3e\" stroke=\"#7b684b\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><g transform=\"translate(651 230) scale(0.34)\"><path d=\"M-58 12 C-79 -37 -41 -69 -10 -55 C12 -80 62 -55 62 -13 L55 21 Q0 40 -58 12Z\" fill=\"#dec39b\" stroke=\"#a88755\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-25 -34 Q-43 -18 -31 0 M2 -39 Q-13 -18 1 3 M28 -27 Q15 -10 28 7\" fill=\"none\" stroke=\"#ac895a\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><circle cx=\"121\" cy=\"343\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"121\" y=\"351\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"375\" cy=\"343\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"351\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"615\" cy=\"343\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"615\" y=\"351\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Cultiver et r\u00e9unir les ingr\u00e9dients relie d\u2019autres travaux.<\/li><li>Pr\u00e9parer r\u00e9unit temps, connaissances et accords.<\/li><li>Partager ouvre des relations qu\u2019une image fixe n\u2019\u00e9puise pas.<\/li><\/ol><figcaption class=\"plate-caption\">S\u00e9quence de lecture des relations entre milpa, cuisine et c\u00e9l\u00e9bration document\u00e9es dans l\u2019article. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r14-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>7. La c\u00e9l\u00e9bration entre aussi \u00e0 l&#8217;\u00e9cole d&#8217;art<\/h2><p class=\"e-main\">Les Ateliers libres d&#8217;art de l&#8217;UV \u00e0 Papantla d\u00e9crivent leur Niinin comme une pr\u00e9sentation publique de danses et de travaux plastiques associant \u00e9l\u00e8ves, enseignants et familles. Ce r\u00e9cit institutionnel d&#8217;une activit\u00e9 \u00e9ducative n&#8217;est pas une ethnographie de tous les foyers. Il permet d&#8217;interroger la participation d&#8217;une \u00e9cole \u00e0 la transmission et les liens entre apprentissage artistique et convivialit\u00e9, sans lui attribuer la repr\u00e9sentation de toute la communaut\u00e9.<\/p><p class=\"e-main\">Trois situations se distinguent : une maison pr\u00e9pare pour les personnes dont elle se souvient ; un mus\u00e9e s\u00e9lectionne et explique une offrande ; une \u00e9cole organise une pr\u00e9sentation. Elles peuvent \u00eatre li\u00e9es sans avoir les m\u00eames participants, dur\u00e9es ou finalit\u00e9s. Cela ne classe pas leur authenticit\u00e9. La distinction situe le point de vue de chaque source et demande qui participe aux d\u00e9cisions dans chaque espace.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r14-fr-s4\">[4]<\/a><\/p><\/section><ol class=\"r-flow\"><li><strong>Maison<\/strong>Pr\u00e9parer, se souvenir, recevoir et partager. Familles pr\u00e9cises encore \u00e0 documenter.<\/li><li><strong>Mus\u00e9e<\/strong>S\u00e9lectionner, interpr\u00e9ter et exposer avec attribution curatoriale.<\/li><li><strong>\u00c9cole d\u2019art<\/strong>Apprendre, cr\u00e9er et se rencontrer dans une activit\u00e9 \u00e9ducative publique.<\/li><\/ol><section id=\"r14-fr-b8\"><h2>8. Regarder une image et poursuivre les questions<\/h2><figure id=\"danzas-parque-papantla-fr\" style=\"width:100%;max-width:1100px;margin:2rem auto\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-danzas-parque-papantla-foto.jpg\" alt=\"Danses pr\u00e8s du kiosque illumin\u00e9 du parc de Papantla.\" loading=\"lazy\" style=\"display:block;width:100%;height:auto\" \/><figcaption style=\"font-size:12px;line-height:1.5;margin-top:0.65rem\">Danses dans le parc de Papantla. Photographie fournie par Iv\u00e1n.<\/figcaption><\/figure><p class=\"e-main\">Une photographie d&#8217;offrande montre des couleurs et des hauteurs. Une conversation avec ses responsables expliquerait pourquoi tel plat a \u00e9t\u00e9 pr\u00e9par\u00e9, pour qui et qui a enseign\u00e9 sa disposition. Cette diff\u00e9rence indique la t\u00e2che de l&#8217;Institut : associer archives, recherche et voix communautaires pour ne pas r\u00e9duire le patrimoine \u00e0 sa surface visible. Une illustration doit annoncer qu&#8217;elle imagine une ambiance ; les formes effectives doivent \u00eatre document\u00e9es par des sources identifi\u00e9es et les personnes qui les entretiennent.<\/p><p class=\"e-main\">La conclusion documentaire est d\u00e9limit\u00e9e mais substantielle : les sources relient pr\u00e9paration, nourriture, voix et relations, au-del\u00e0 d&#8217;un simple d\u00e9cor. La distribution du travail dans des foyers pr\u00e9cis, les noms et les limites de leurs temps restent \u00e0 v\u00e9rifier. Une recherche ult\u00e9rieure devra laisser aux participants la d\u00e9cision de ce qui devient public. Le souvenir se comprend mieux lorsque le r\u00e9cit pr\u00e9serve \u00e0 la fois les actes visibles et l&#8217;autorit\u00e9 de ceux qui les accomplissent.<\/p><p class=\"r-small e-section-sources\">Sources de cette section : <a class=\"research-cite\" href=\"#r14-fr-s1\">[1]<\/a> <a class=\"research-cite\" href=\"#r14-fr-s2\">[2]<\/a> <a class=\"research-cite\" href=\"#r14-fr-s3\">[3]<\/a><\/p><\/section><details class=\"research-evidence\" id=\"r14-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\">M\u00e9moire ou d\u00e9cor ?<\/th><td data-label=\"Sources et observations\">Brouillon de Carmen et r\u00e9cits mus\u00e9aux [1\u20132] : pr\u00e9paratifs et personnes rappel\u00e9es. UV [3] : soins et \u00e9changes.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Le travail soutenant le souvenir est une hypoth\u00e8se \u00e9ditoriale, non notre r\u00e9sultat de terrain. La v\u00e9rifier dans des foyers identifi\u00e9s, avec t\u00e2ches et destinataires.<\/td><\/tr><tr><th scope=\"row\">Autel domestique ou montage mus\u00e9al ?<\/th><td data-label=\"Sources et observations\">INAH 2022[2] identifie exposition, \u00e9quipe et forme suspendue ; MNA 2019[1]pr\u00e9sente une autre offrande.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Une r\u00e9f\u00e9rence g\u00e9ographique commune n&#8217;\u00e9tablit pas une sc\u00e8ne domestique identique. Conserver lieux de pratique\/d&#8217;exposition et auteur, \u00e0 v\u00e9rifier aupr\u00e8s des responsables.<\/td><\/tr><tr><th scope=\"row\">Sens et graphie de Nin\u00edn ?<\/th><td data-label=\"Sources et observations\">MNA [1] : traduction approximative ; UV [4] : Niinin ; INALI [5] : variantes linguistiques.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Documenter sans normalisation impos\u00e9e. La classification ne valide pas l&#8217;\u00e9tymologie. Graphie, prononciation et acception restent \u00e0 revoir avec des locuteurs de Papantla.<\/td><\/tr><tr><th scope=\"row\">Quand se termine le cycle ?<\/th><td data-label=\"Sources et observations\">MNA 2019[1] :29 novembre ; conf\u00e9rence Garc\u00eda Ramos 2021\/UV [3] :30 novembre\/Saint Andr\u00e9.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">\u00c9cart documentaire d&#8217;un jour conserv\u00e9. V\u00e9rifier localit\u00e9, cycle et convention. Aucune source ne devient programme actuel 2026.<\/td><\/tr><tr><th scope=\"row\">Quels liens entre offrande et culture ?<\/th><td data-label=\"Sources et observations\">UV [3] relie r\u00e9colte, soin de milpa et \u00e9changes ; montage [2] : s\u00e9lection alimentaire.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">\u00c9chelles compl\u00e9mentaires, non preuve que chaque famille cultive. V\u00e9rifier production, pr\u00e9paration et circulation avec autorisation.<\/td><\/tr><tr><th scope=\"row\">Quelle histoire des chants ?<\/th><td data-label=\"Sources et observations\">Judith Alva S\u00e1nchez\/bulletin 2022[2] : combinaison possible ; Beaucage \/ Rojas [6] : diff\u00e9rences conceptuelles et locales.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">L&#8217;interpr\u00e9tation curatoriale ne prouve pas la filiation de chaque chant. R\u00e9pertoires contextualis\u00e9s, archives et voix autoris\u00e9es n\u00e9cessaires ; aucun enregistrement r\u00e9serv\u00e9 diffus\u00e9.<\/td><\/tr><tr><th scope=\"row\">Qu&#8217;enseigne l&#8217;activit\u00e9 scolaire ?<\/th><td data-label=\"Sources et observations\">UV\/Ateliers Papantla [4] : pr\u00e9sentation publique, arts et convivialit\u00e9 ; INAH [2] : exposition.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">Deux m\u00e9diations institutionnelles. Ni pratiques familiales identiques ni aval universel d\u00e9montr\u00e9s. Identifier qui d\u00e9cide et participe.<\/td><\/tr><tr><th scope=\"row\">Que prouve une image ?<\/th><td data-label=\"Sources et observations\">L10 : illustration IA \u00e9vocatrice ; INAH [2] : photographies de son montage sans droits ouverts v\u00e9rifi\u00e9s.<\/td><td data-label=\"Confrontation et interpr\u00e9tation\">La table pos\u00e9e de L10 ne documente pas un autel suspendu. Photo r\u00e9elle de Papantla en attente de lieu, contexte, auteur, autorisation et licence. Image distincte de r\u00e9vision humaine\/locale.<\/td><\/tr><\/tbody><\/table><\/div><\/figure><h3>R\u00e9f\u00e9rences et p\u00e9rim\u00e8tre de lecture<\/h3><ol class=\"research-sources\"><li id=\"r14-fr-s1\"><a href=\"https:\/\/mna.inah.gob.mx\/agenda_detalle_v3.php?pl=Ofrenda_Totonaca_de_Dia_de_Muertos_Papantla_de_Olarte_Veracruz\">INAH \u00b7 Museo Nacional de Antropolog\u00eda (29\/10\/2019). Ofrenda Totonaca de D\u00eda de Muertos. Papantla de Olarte, Veracruz.<\/a><br>Fiche mus\u00e9ale : nom\/traduction approximative et cycle 18 octobre\u201329 novembre. Texte primaire index\u00e9 lu ; acc\u00e8s direct 468. Ni enqu\u00eate aupr\u00e8s des foyers ni norme linguistique valid\u00e9e par des locuteurs.<\/li><li id=\"r14-fr-s2\"><a href=\"https:\/\/www.inah.gob.mx\/boletines\/el-museo-del-templo-mayor-coloca-altar-de-muertos-de-los-totonacas-de-papantla-veracruz\">INAH (01\/11\/2022). El Museo del Templo Mayor coloca altar de muertos de los totonacas de Papantla, Veracruz. Bolet\u00edn 558.<\/a><br>Bulletin int\u00e9gral lu. Montage Canto a nuestros ancestros ; Patricia Ledesma Bouchan, Judith Alva S\u00e1nchez, Ingrid Hern\u00e1ndez G\u00f3mez. Attribution curatoriale et forme suspendue. Ne prouve ni uniformit\u00e9 domestique ni continuit\u00e9 de chaque chant. Photos Mauricio Marat\/INAH non copi\u00e9es sans droits v\u00e9rifi\u00e9s.<\/li><li id=\"r14-fr-s3\"><a href=\"https:\/\/www.uv.mx\/prensa\/cultura\/celebracion-totonaca-de-dia-de-muertos-se-vincula-con-la-cosecha-del-maiz\/\">Carlos Hugo Hermida Rosales \u00b7 Universidad Veracruzana (13\/10\/2021). Celebraci\u00f3n totonaca de D\u00eda de Muertos se vincula con la cosecha del ma\u00edz.<\/a><br>Compte rendu int\u00e9gral de la conf\u00e9rence Ya vienen los muertos en Taj\u00edn de Crescencio Garc\u00eda Ramos, 12 octobre 2021. R\u00e9colte, nettoyage, \u00e9changes et cl\u00f4ture 30 novembre attribu\u00e9s au r\u00e9cit. Ni nouvel entretien de l&#8217;Institut ni date universelle ou observation 2026.<\/li><li id=\"r14-fr-s4\"><a href=\"https:\/\/www.uv.mx\/pozarica\/tlapapantla\/difusion-y-extension\/ninin-2\/\">Universidad Veracruzana \u00b7 Talleres Libres de Arte, Papantla. Ninin \/ Niinin (s.f.; consultado 05\/11\/2026).<\/a><br>Description institutionnelle int\u00e9grale lue : \u00e9l\u00e8ves, enseignants, familles, danse, arts plastiques et convivialit\u00e9. Date dynamique de mise \u00e0 jour distincte de celle de l&#8217;\u00e9v\u00e9nement. Ni aval communautaire ni ethnographie g\u00e9n\u00e9rale.<\/li><li id=\"r14-fr-s5\"><a href=\"https:\/\/www.inali.gob.mx\/sitios\/clin-inali\/html\/v_totonaco.html\">INALI. Cat\u00e1logo de las Lenguas Ind\u00edgenas Nacionales: totonaco (cat\u00e1logo 2008).<\/a><br>Table des variantes, autod\u00e9nominations et r\u00e9f\u00e9rences g\u00e9ographiques consult\u00e9e, surtout totonaque de la c\u00f4te. Ni dictionnaire de Nin\u00edn ni r\u00e9vision communautaire de graphie. Ne d\u00e9finit pas de fronti\u00e8res ethniques exclusives.<\/li><li id=\"r14-fr-s6\"><a href=\"https:\/\/www.scielo.org.mx\/scielo.php?pid=S2448-62212022000100007&#038;script=sci_arttext_plus&#038;tlng=es\">Pierre Beaucage y Xanath Rojas Mora (2022). Cosmolog\u00edas nahua (maseual) y totonaca (tutunak\u00fa)\u2026 Segunda parte. Anales de Antropolog\u00eda 56(1). DOI 10.22201\/iia.24486221e.2021.76853.<\/a><br>R\u00e9sum\u00e9, introduction et discussion comparative des diff\u00e9rences entre communaut\u00e9s lus. \u00c9tude montagnarde, non preuve sur les foyers de Papantla. Volume 2022 distinct de date \u00e9lectronique 2023. Aucune instruction th\u00e9rapeutique reproduite.<\/li><\/ol><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r14-fr-source\" lang=\"fr\"><h4>La table change au fil de la journ\u00e9e<\/h4><p>La description distingue des moments de la journ\u00e9e dans une explication mus\u00e9ographique. Elle n\u2019\u00e9tablit pas de menu obligatoire et ne r\u00e9sout pas l\u2019\u00e9cart sur la cl\u00f4ture du cycle.<\/p><p><a href=\"https:\/\/www.inah.gob.mx\/boletines\/el-museo-del-templo-mayor-coloca-altar-de-muertos-de-los-totonacas-de-papantla-veracruz\">INAH \u00b7 bolet\u00edn 558, 01\/11\/2022 \u00b7 Ingrid Hern\u00e1ndez G\u00f3mez<\/a> \u00b7 <a href=\"#iict-reading-r14-fr\">Revenir au passage<\/a><\/p><\/section>\n<\/details><p class=\"r-small\"><a href=\"https:\/\/totonacapan.com\/?page_id=1327\">Poursuivre la lecture \u00b7 M\u00e9tiers et transmission des savoirs<\/a><\/p><!-- IICT-CITE R14 fr --><aside class=\"iict-citation\" id=\"citar-r14-fr\" aria-labelledby=\"citar-r14-fr-title\"><h2 id=\"citar-r14-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. \u00abNin\u00edn : la maison pr\u00e9pare le retour\u00bb. <cite>Cahiers de recherche<\/cite>, <strong>R14<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-fr\">https:\/\/totonacapan.com\/?page_id=1332#r14-fr<\/a>.<\/blockquote><p><strong>R\u00e9f\u00e9rence interne:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1332#r14-fr\">R14<\/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 R14 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>\u2190 \u00cdndice de investigaciones\u2190 Research index\u2190 Index des recherches Espa\u00f1olEnglish \u00b7 full articleFran\u00e7ais \u00b7 article int\u00e9gral Investigaciones del Totonacapan \u00b7 Cultura y comunidades Nin\u00edn: la casa prepara el regreso Recordar exige tiempo, trabajo y una voz. Una lectura de las ofrendas de Papantla entre la casa, el canto y el museo. En pocas palabras En [&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-1332","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1332","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=1332"}],"version-history":[{"count":13,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1332\/revisions"}],"predecessor-version":[{"id":1917,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1332\/revisions\/1917"}],"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=1332"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}