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article .research-hypotheses h3{font-size:1.17rem!important}#research-r17-release.iict-journal article .research-hypotheses p{font-size:1rem!important}}\n\n\/* IICT VISUALES FINAL 20261106 *\/\n#research-r17-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-r17-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-r17-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=\"langnav\" aria-label=\"Idioma \/ Language \/ Langue\"><a href=\"#r17-es\">Espa\u00f1ol<\/a><a href=\"#r17-en\">English \u00b7 full article<\/a><a href=\"#r17-fr\">Fran\u00e7ais \u00b7 article int\u00e9gral<\/a><\/nav><!-- IICT-CITE-CSS --><style>.iict-citation{display:block!important;max-width:780px!important;margin:2.8rem auto!important;padding:1.6rem 1.7rem!important;border-block:1px solid #b6a06b!important;border-left:2px solid #a58a47!important;background:#edf0e7!important;color:#344c53!important;grid-column:1\/-1!important}.iict-citation h2{display:block!important;margin:0 0 1.1rem!important;font:400 1.65rem\/1.25 Georgia,serif!important;color:#264b61!important;text-align:left!important;letter-spacing:0!important}.iict-citation p,.iict-citation blockquote{display:block!important;margin:0 0 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#a58a47;outline-offset:4px}@media(max-width:650px){.iict-citation{padding:1.3rem 1.1rem!important;margin:2rem auto!important}.iict-citation h2{font-size:1.5rem!important}.iict-citation blockquote{font-size:1rem!important}}<\/style><!-- \/IICT-CITE-CSS --><article id=\"r17-es\" lang=\"es\"><header class=\"hero\"><div class=\"kicker\">R17 \u00b7 Personas, materiales y conocimiento<\/div><h1>Figuras de papel, cuerpo y cuidado<\/h1><p class=\"subtitle\">La tarea de un b\u00e4di otom\u00ed<\/p><div class=\"date\">Revisi\u00f3n documental \u00b7 5 de noviembre de 2026<\/div><\/header><div class=\"abstract\"><div class=\"eyebrow\">En pocas palabras<\/div><p>Un recorte puede ser mucho m\u00e1s que una forma visible. Las etnograf\u00edas de Pantepec, Puebla, y del oriente de Hidalgo permiten preguntar qu\u00e9 convierte un objeto en parte de una relaci\u00f3n ceremonial. Esta investigaci\u00f3n compara sus conceptos de cuerpo, conocimiento y responsabilidad, conserva las diferencias locales y explica por qu\u00e9 fotografiar una figura no equivale a comprenderla.<\/p><\/div><details class=\"iict-journal-toc\"><summary>En este art\u00edculo<\/summary><nav class=\"toc\" aria-label=\"En este art\u00edculo\"><div class=\"eyebrow\">En este art\u00edculo<\/div><a href=\"#r17-es-section-0\">Mirar no basta para entender<\/a><a href=\"#r17-es-section-1\">Una investigaci\u00f3n tiene un lugar<\/a><a href=\"#r17-es-section-2\">Lo que cambia cuando el papel tiene un contexto<\/a><a href=\"#r17-es-section-3\">El cuerpo y las palabras que lo explican<\/a><a href=\"#r17-es-section-4\">Aprender es asumir responsabilidades<\/a><a href=\"#r17-es-section-5\">Una forma de investigar sin quitarle el contexto<\/a><a href=\"#r17-es-sources\">Fuentes y contraste<\/a><\/nav><\/details><section class=\"prose\" id=\"r17-es-section-0\"><h2>Mirar no basta para entender<\/h2><p>Una figura recortada puede parecer fr\u00e1gil. Su materia es papel; su forma parece sencilla; una vitrina permite observarla de lejos. Pero cuando ese objeto aparece en un trabajo ceremonial situado, entenderlo solo por sus bordes equivale a leer una carta sin conocer la lengua en la que fue escrita. La figura participa de relaciones que no se vuelven visibles por el hecho de fotografiarla.<\/p><\/section><figure class=\"visual\"><h3>Antes de reconocer una figura, conocer su historia<\/h3><svg class=\"material-art\" viewBox=\"0 0 960 300\" role=\"img\" aria-label=\"Ilustraci\u00f3n editorial de hojas sin recortar y una herramienta cotidiana. No representa una ceremonia, una pieza de archivo ni un dise\u00f1o ritual otom\u00ed.\"><defs><linearGradient id=\"sheet-es\" x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\"><stop stop-color=\"#fffdf4\"\/><stop offset=\"1\" stop-color=\"#e3d9c0\"\/><\/linearGradient><filter id=\"shadow-es\" x=\"-20%\" y=\"-30%\" width=\"150%\" height=\"160%\"><feDropShadow dx=\"0\" dy=\"6\" stdDeviation=\"8\" flood-color=\"#6c6651\" flood-opacity=\".15\"\/><\/filter><\/defs><path d=\"M90 264H876\" stroke=\"#b4ad95\" stroke-width=\"1\"\/><g transform=\"translate(112 47) rotate(-8 220 110)\" filter=\"url(#shadow-es)\"><rect width=\"375\" height=\"200\" fill=\"#d6cdb6\" stroke=\"#bdb59e\"\/><rect x=\"10\" y=\"-7\" width=\"375\" height=\"200\" fill=\"#eae2cf\" stroke=\"#cfc5ad\"\/><rect x=\"23\" y=\"-14\" width=\"375\" height=\"200\" fill=\"url(#sheet-es)\" stroke=\"#ccc1a5\"\/><path d=\"M55 15H367M55 23H367M55 31H367\" stroke=\"#b9b29e\" stroke-width=\".5\" opacity=\".25\"\/><\/g><g transform=\"translate(545 65) rotate(8 130 80)\" stroke=\"#6a7978\" stroke-width=\"3\" fill=\"none\"><path d=\"M99 121L282 12Q297 5 285 23L151 146Z\" fill=\"#c6d0cc\"\/><path d=\"M122 126L265 190Q284 197 271 180L154 108Z\" fill=\"#e5e8dc\"\/><circle cx=\"139\" cy=\"125\" r=\"7\" fill=\"#a38a4b\" stroke=\"#7d754f\"\/><ellipse cx=\"91\" cy=\"151\" rx=\"39\" ry=\"26\" transform=\"rotate(-29 91 151)\" fill=\"#e1e7df\" stroke=\"#3c5d5c\" stroke-width=\"9\"\/><ellipse cx=\"111\" cy=\"82\" rx=\"36\" ry=\"24\" transform=\"rotate(23 111 82)\" fill=\"#e1e7df\" stroke=\"#3c5d5c\" stroke-width=\"9\"\/><\/g><\/svg><div class=\"material-labels\"><span>Materia<\/span><span>Procedencia<\/span><span>Contexto<\/span><span>Responsabilidad<\/span><\/div><figcaption>Ilustraci\u00f3n editorial de hojas sin recortar y una herramienta cotidiana. No representa una ceremonia, una pieza de archivo ni un dise\u00f1o ritual otom\u00ed.<\/figcaption><\/figure><section class=\"prose\" id=\"r17-es-section-1\"><h2>Una investigaci\u00f3n tiene un lugar<\/h2><p>En comunidades otom\u00edes de Pantepec, Puebla, entre ellas Ixtololoya y otras localidades, investigaciones antropol\u00f3gicas publicadas en revistas del INAH estudian a especialistas rituales llamados b\u00e4di. Algunos trabajos examinan figuras de papel y su relaci\u00f3n con entidades, cuerpo, fuerza vital y cuidado del bienestar. Cada investigaci\u00f3n recoge esos conceptos en una lengua y una situaci\u00f3n ceremonial concretas. Trasladarlos sin m\u00e1s a todos los otom\u00edes de M\u00e9xico borrar\u00eda esos contextos.<sup class=\"cite\"><a href=\"#r17-es-ref-1\">[1]<\/a><\/sup><\/p><p>En su estudio de 2020, Reinoso Niche identifica cuatro comunidades de Pantepec: Acalmancillo, Ixtololoya, El Pozo y Tenexco. El punto de partida es el trabajo del especialista y su experiencia corporal, no un inventario de piezas. La autora explica que su investigaci\u00f3n se apoya en m\u00e1s de quince a\u00f1os de acercamiento etnogr\u00e1fico. Esa duraci\u00f3n da contexto al an\u00e1lisis, pero no convierte cuatro localidades en muestra estad\u00edstica de todos los pueblos otom\u00edes.<sup class=\"cite\"><a href=\"#r17-es-ref-1\">[1]<\/a><\/sup><\/p><p>El trabajo de Baez Cubero, Morales Aguilar, Ram\u00edrez Ramos y P\u00e9rez Gonz\u00e1lez se sit\u00faa en otro \u00e1mbito: el oriente de Hidalgo, con atenci\u00f3n a Tenango de Doria, Santa M\u00f3nica, San Nicol\u00e1s y Santa Ana Hueytlalpan, en Tulancingo. Compararlo con Pantepec permite advertir conexiones sin borrar distancias. Ambos estudios describen relaciones entre conocimiento, cuerpo y actuaci\u00f3n ritual; cada afirmaci\u00f3n conserva la localidad y la fuente de las que procede.<sup class=\"cite\"><a href=\"#r17-es-ref-3\">[3]<\/a><\/sup><\/p><\/section><figure class=\"visual\"><h3>Dos \u00e1mbitos de investigaci\u00f3n<\/h3><div class=\"places\"><div class=\"place\"><b>Pantepec \u00b7 Puebla<\/b><p>Acalmancillo \u00b7 Ixtololoya \u00b7 El Pozo \u00b7 Tenexco<\/p><small>Reinoso Niche \u00b7 2020<\/small><\/div><div class=\"place\"><b>Oriente de Hidalgo<\/b><p>Tenango de Doria \u00b7 Santa M\u00f3nica \u00b7 San Nicol\u00e1s \u00b7 Santa Ana Hueytlalpan<\/p><small>Baez Cubero y coautores \u00b7 n\u00famero 2019 \/ portal 2021<\/small><\/div><\/div><figcaption>Esquema de localizaci\u00f3n documental, sin escala cartogr\u00e1fica. Cada afirmaci\u00f3n conserva su \u00e1mbito de origen.<\/figcaption><\/figure><section class=\"prose\" id=\"r17-es-section-2\"><h2>Lo que cambia cuando el papel tiene un contexto<\/h2><p>Un art\u00edculo sobre esta pr\u00e1ctica tiene una obligaci\u00f3n distinta a la de una ficha de artesan\u00edas. La manufactura puede ser visible; el sentido de las figuras no es de libre interpretaci\u00f3n del visitante. Los recortes que ciertas fuentes denominan \u00abAntiguas\u00bb no son necesariamente un repertorio de objetos decorativos reproducibles por cualquiera. Seg\u00fan las circunstancias, se trata de materiales cuya funci\u00f3n debe explicar un especialista o la propia comunidad, y hay conocimientos que sus portadores pueden reservar.<sup class=\"cite\"><a href=\"#r17-es-ref-2\">[2]<\/a><\/sup><\/p><p>A primera vista, representar parece sencillo: un objeto est\u00e1 en lugar de otra cosa. Los estudios consultados invitan a mirar m\u00e1s despacio. En los casos que analizan, el recorte puede intervenir en relaciones de presencia, cuerpo e intenci\u00f3n; su sentido va m\u00e1s all\u00e1 de parecerse a otra cosa. Por eso la pregunta cambia. Adem\u00e1s de qu\u00e9 imagen vemos, importa qui\u00e9n puede hacerla, cu\u00e1ndo interviene y qu\u00e9 responsabilidades reconocen las personas en torno a ella.<sup class=\"cite\"><a href=\"#r17-es-ref-2\">[2]<\/a><\/sup><sup class=\"cite\"><a href=\"#r17-es-ref-3\">[3]<\/a><\/sup><\/p><p>Reinoso Niche re\u00fane y examina varias maneras en que la antropolog\u00eda ha interpretado las figuras: como cuerpos, rostros, retratos o formas de relaci\u00f3n con entidades. No ofrece un diccionario con un significado fijo para cada silueta. Son propuestas de investigaciones diferentes, le\u00eddas por una autora. Presentarlas como explicaciones universales que una comunidad nos hubiera dado directamente borrar\u00eda dos pasos decisivos: el contexto local del que salieron y la interpretaci\u00f3n de quien escribe.<sup class=\"cite\"><a href=\"#r17-es-ref-2\">[2]<\/a><\/sup><\/p><p>Tambi\u00e9n conviene distinguir soporte y funci\u00f3n. Reconocer de qu\u00e9 papel est\u00e1 hecha una pieza responde una pregunta material; no resuelve cu\u00e1l fue su uso, si fue producida para venta o ceremonia ni qui\u00e9n autoriz\u00f3 su circulaci\u00f3n. Una fotograf\u00eda de museo, una pieza comercial y un recorte empleado en una pr\u00e1ctica situada requieren historias de procedencia diferentes. Su semejanza formal no las vuelve equivalentes.<\/p><\/section><section class=\"prose\" id=\"r17-es-section-3\"><style id=\"iict-visual-essays-20261106\">\n#main figure.iict-viz{box-sizing:border-box;width:100%;max-width:100%;margin:2.3rem auto!important;padding:clamp(20px,3vw,34px)!important;border:1px solid #cfc3a9!important;border-top:3px solid #a68b46!important;border-radius:2px!important;background:linear-gradient(135deg,#fffcf4,#f5efdf)!important;color:#254761!important;box-shadow:0 18px 30px -32px #17314480;overflow:visible!important;float:none!important;clear:both;isolation:isolate;break-inside:avoid;}\n#main figure.iict-viz *,#main figure.iict-viz *::before,#main figure.iict-viz *::after{box-sizing:border-box}#main figure.iict-viz>header{display:block!important;width:100%!important;margin:0 0 1.35rem!important;padding:0!important;border:0!important;background:none!important}#main figure.iict-viz .viz-kicker{display:flex;justify-content:space-between;gap:1rem;font:600 11px\/1.5 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p{font-size:15px!important}}<\/style>\n<figure class=\"iict-viz viz-fold\" id=\"iict-viz-r17-es\" lang=\"es\" aria-labelledby=\"iict-viz-r17-es-title\"><header><div class=\"viz-kicker\"><span>Cuadernos visuales<\/span><span>R17 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r17-es-title\">Del material a la responsabilidad<\/h3><p>Comprender una pieza exige conservar las relaciones que le dan sentido.<\/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=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>Lo visible<\/h4><p>Papel, corte y forma: lo que una observaci\u00f3n material permite describir.<\/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\">02<\/span><h4>El contexto<\/h4><p>Lugar, palabras y relaciones documentadas por cada etnograf\u00eda.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M80 22h120v56h-67l-24 20V78H80zM98 42h84M98 57h62\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>La decisi\u00f3n<\/h4><p>Qui\u00e9n puede explicar, ense\u00f1ar o autorizar que algo se difunda.<\/p><\/div><\/div><figcaption>Esquema de lectura; las formas decorativas no reproducen recortes rituales.<span class=\"viz-source\">S\u00edntesis visual original del Instituto \u00b7 <a href=\"#r17-es-sources\">Fuentes y contraste<\/a><\/span><\/figcaption><\/figure>\n<h2>El cuerpo y las palabras que lo explican<\/h2><p>Los estudios recuerdan tambi\u00e9n que el cuerpo no se entiende siempre como una unidad aislada. El trabajo del b\u00e4di, en los casos documentados, forma parte de maneras de pensar la relaci\u00f3n entre salud, afectos, entorno y agentes que intervienen en la vida. No ser\u00eda correcto convertir esa concepci\u00f3n en \u00abmedicina\u00bb equivalente a la cl\u00ednica contempor\u00e1nea ni presentarla como curiosidad sin valor para sus participantes. Describir con rigor exige respetar las palabras locales, el lugar donde se registraron y las decisiones \u00e9ticas de quienes comparten el conocimiento.<\/p><p>Un t\u00e9rmino no siempre cabe en una sola traducci\u00f3n. En el art\u00edculo de Pantepec, j\u00e4i enlaza las nociones de cuerpo, persona y gente; nzahki se utiliza en la explicaci\u00f3n de la fuerza vital. El estudio de Hidalgo escribe nz\u00e1ki. Conservamos esas graf\u00edas al atribuirlas a sus fuentes: la diferencia no es una errata que debamos corregir ni una prueba suficiente de que los t\u00e9rminos tengan exactamente el mismo campo de sentido.<sup class=\"cite\"><a href=\"#r17-es-ref-1\">[1]<\/a><\/sup><sup class=\"cite\"><a href=\"#r17-es-ref-3\">[3]<\/a><\/sup><\/p><p>La precisi\u00f3n empieza por reconocer a quienes hicieron posible esa escritura. Reinoso Niche acredita en una nota a Lorena Cruz T\u00e9llez y Estela Francisco Tolentino, maestras de CONAFE en Ixtololoya, por su apoyo en traducci\u00f3n y graf\u00eda. Esta menci\u00f3n documenta una colaboraci\u00f3n dentro de aquella investigaci\u00f3n. No significa que ellas hayan revisado este art\u00edculo ni autoriza a presentar nuestra traducci\u00f3n como aprobaci\u00f3n local.<sup class=\"cite\"><a href=\"#r17-es-ref-1\">[1]<\/a><\/sup><\/p><p>En espa\u00f1ol, fuerza puede nombrar capacidad f\u00edsica, autoridad, intensidad o principio de vida. No basta que dos textos empleen esa palabra para que hablen de una magnitud medible con los mismos instrumentos. Aqu\u00ed se describen categor\u00edas presentes en las etnograf\u00edas. Su comparaci\u00f3n exige explicar c\u00f3mo se usan y qu\u00e9 relaciones permiten pensar, sin convertirlas en resultados cl\u00ednicos o en fen\u00f3menos f\u00edsicos demostrados.<\/p><\/section><figure class=\"visual\"><h3>Cuatro preguntas ante una pieza<\/h3><div class=\"questions\"><div class=\"question\"><b>\u00bfQui\u00e9n?<\/b><p>Autor\u00eda, aprendizaje y reconocimiento.<\/p><\/div><div class=\"question\"><b>\u00bfD\u00f3nde?<\/b><p>Localidad y trayectoria del objeto.<\/p><\/div><div class=\"question\"><b>\u00bfPara qu\u00e9?<\/b><p>Contexto declarado, sin deducirlo por la silueta.<\/p><\/div><div class=\"question\"><b>\u00bfCon qu\u00e9 permiso?<\/b><p>Alcance de la exhibici\u00f3n y de la reproducci\u00f3n.<\/p><\/div><\/div><\/figure><section class=\"prose\" id=\"r17-es-section-4\"><aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r17-es\" lang=\"es\" aria-labelledby=\"iict-reading-r17-es-title\"><span class=\"reading-kicker\">Una historia concreta<\/span><h3 id=\"iict-reading-r17-es-title\">Un autor firma el papel<\/h3><p>Alfonso Margarito Garc\u00eda T\u00e9llez, de San Pablito, ofrece otra forma de acercarse al papel. La Soci\u00e9t\u00e9 d\u2019ethnologie public\u00f3 en 2018 \u00c9crits. Manuscrits \u00e0 miniatures otomi, con su nombre como autor. Su presentaci\u00f3n describe libros hechos a mano desde los a\u00f1os setenta: hojas plegadas en acorde\u00f3n que re\u00fanen escritura en espa\u00f1ol regional y figuras recortadas. <a class=\"reading-ref\" href=\"#iict-reading-r17-es-source\" aria-label=\"Ver fuentes y contraste\">\u2197<\/a><\/p><p>El cambio de mirada es importante: hay una persona que compone un libro, elige qu\u00e9 contar y produce ejemplares con diferencias. El conocimiento tiene autor\u00eda y una forma de circulaci\u00f3n. Reconocerlo devuelve al centro la decisi\u00f3n de quien escribe y permite preguntar por los usos de cada objeto antes de reproducirlo.<\/p><p class=\"reading-links\"><a href=\"https:\/\/www.societe-ethnologie.fr\/collections-ecritures.php\">Soci\u00e9t\u00e9 d\u2019ethnologie \u00b7 \u00c9crits, Alfonso M. Garc\u00eda T\u00e9llez, 2018<\/a> \u00b7 <a href=\"#r17-es-sources\">Fuentes y contraste<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r17-a-es\" lang=\"es\" aria-labelledby=\"iict-plate-r17-a-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 I<\/p><h3 id=\"iict-plate-r17-a-es-title\">Un libro que se abre en acorde\u00f3n<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r17-a-es-art-title iict-plate-r17-a-es-art-desc\"><title id=\"iict-plate-r17-a-es-art-title\">Un libro que se abre en acorde\u00f3n<\/title><desc id=\"iict-plate-r17-a-es-art-desc\">1. El soporte desplegable relaciona texto y papel. 2. La edici\u00f3n identifica al autor Alfonso Margarito Garc\u00eda T\u00e9llez. 3. Leer requiere conservar procedencia y contexto. 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stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M436 240 L524 186\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M436 261 L524 207\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M436 282 L524 228\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M537 98 L650 152 V332 L537 278Z\" fill=\"#f0e5cd\" stroke=\"#b9a476\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 123 L637 177\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 144 L637 198\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 165 L637 219\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 186 L637 240\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 207 L637 261\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 228 L637 282\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M76 92 L76 283 M650 94 V280\" fill=\"none\" stroke=\"#9e8351\" stroke-width=\"5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"114\" cy=\"353\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"114\" y=\"361\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"375\" cy=\"63\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"71\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"643\" cy=\"353\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"643\" y=\"361\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>El soporte desplegable relaciona texto y papel.<\/li><li>La edici\u00f3n identifica al autor Alfonso Margarito Garc\u00eda T\u00e9llez.<\/li><li>Leer requiere conservar procedencia y contexto.<\/li><\/ol><figcaption class=\"plate-caption\">Dibujo del formato descrito por la Soci\u00e9t\u00e9 d\u2019ethnologie, sin copiar recortes, textos ni figuras rituales de la obra. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r17-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>Aprender es asumir responsabilidades<\/h2><p>Copiar bien una figura no convierte a alguien en especialista. Los textos consultados sit\u00faan ese reconocimiento en una red m\u00e1s amplia de saber, experiencia y valoraci\u00f3n por otras personas. Para el visitante, la diferencia es importante: reproducir la apariencia de una pieza no da la posici\u00f3n de quien puede intervenir con ella.<sup class=\"cite\"><a href=\"#r17-es-ref-1\">[1]<\/a><\/sup><sup class=\"cite\"><a href=\"#r17-es-ref-3\">[3]<\/a><\/sup><\/p><p>Esa responsabilidad tambi\u00e9n alcanza al museo y a la pantalla. Mostrar un objeto exige establecer de d\u00f3nde procede, qui\u00e9n lo realiz\u00f3, para qu\u00e9 contexto se produjo y qu\u00e9 permiso cubre la reproducci\u00f3n. El permiso del fot\u00f3grafo y la decisi\u00f3n de las personas o comunidades vinculadas al objeto responden preguntas diferentes. Disponer de una imagen en internet no resuelve ambas.<\/p><p>Esta aproximaci\u00f3n invita a mirar el papel sin apropiarse del s\u00edmbolo. La mejor ayuda visual de entrada quiz\u00e1 no sea una reproducci\u00f3n exacta de una figura con significados restringidos, sino una composici\u00f3n de materiales cotidianos y herramientas, seguida de fotograf\u00edas de archivo cuyo consentimiento y contexto se conozcan. La imagen puede anunciar el tema; no debe fingir autoridad sobre la ceremonia.<\/p><p>La ayuda visual de este art\u00edculo representa \u00fanicamente hojas sin recortar y herramientas ordinarias. No reproduce dise\u00f1os rituales ni reconstruye una ceremonia. Su funci\u00f3n es abrir la pregunta por el paso de una materia cotidiana a un objeto situado, no ense\u00f1ar a fabricar una figura ni atribuirle una eficacia.<\/p><\/section><section class=\"prose\" id=\"r17-es-section-5\"><figure class=\"iict-plate\" id=\"iict-plate-r17-b-es\" lang=\"es\" aria-labelledby=\"iict-plate-r17-b-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 II<\/p><h3 id=\"iict-plate-r17-b-es-title\">El nombre del autor tambi\u00e9n forma parte de la imagen<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r17-b-es-art-title iict-plate-r17-b-es-art-desc\"><title id=\"iict-plate-r17-b-es-art-title\">El nombre del autor tambi\u00e9n forma parte de la imagen<\/title><desc id=\"iict-plate-r17-b-es-art-desc\">1. Autor\u00eda: qui\u00e9n decide qu\u00e9 comunicar. 2. Circulaci\u00f3n: c\u00f3mo se publica y se presenta. 3. Contexto: para qu\u00e9 y ante qui\u00e9n cobra sentido. Relaciones de lectura y atribuci\u00f3n; no representa una transmisi\u00f3n ritual ni convierte lo publicado en autorizaci\u00f3n para cualquier uso.<\/desc><defs><pattern id=\"iict-plate-r17-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-r17-b-es-grain)\"\/><g transform=\"translate(375 203) scale(1.45)\"><path d=\"M0 -67 C-36 -92 -83 -82 -105 -76 L-105 65 C-61 53 -24 57 0 76 C24 57 61 53 105 65 L105 -76 C70 -86 30 -90 0 -67Z\" fill=\"#f6efde\" stroke=\"#9c8e6b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><line x1=\"0\" y1=\"-65\" x2=\"0\" y2=\"73\" stroke=\"#9c8e6b\" stroke-width=\"2\" \/><path d=\"M-88 -45 Q-46 -54 -15 -35 M15 -35 Q46 -54 88 -45\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 -29 Q-46 -38 -15 -19 M15 -19 Q46 -38 88 -29\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 -13 Q-46 -22 -15 -3 M15 -3 Q46 -22 88 -13\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 3 Q-46 -6 -15 13 M15 13 Q46 -6 88 3\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 19 Q-46 10 -15 29 M15 29 Q46 10 88 19\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 35 Q-46 26 -15 45 M15 45 Q46 26 88 35\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M104 316 L181 86 L194 91 L117 321Z\" fill=\"#cab281\" stroke=\"#917747\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M104 316 L103 333 L117 321Z\" fill=\"#8b7854\" stroke=\"#8b7854\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M538 111 Q598 45 658 128 Q677 176 631 220 M633 219 L646 194 M633 219 L612 204\" fill=\"none\" stroke=\"#a8b39a\" stroke-width=\"3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M120 349 Q378 392 635 345\" fill=\"none\" stroke=\"#b39b65\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"5 8\"\/><circle cx=\"159\" cy=\"354\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"159\" y=\"362\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"634\" cy=\"282\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"634\" y=\"290\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"375\" cy=\"63\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"71\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Autor\u00eda: qui\u00e9n decide qu\u00e9 comunicar.<\/li><li>Circulaci\u00f3n: c\u00f3mo se publica y se presenta.<\/li><li>Contexto: para qu\u00e9 y ante qui\u00e9n cobra sentido.<\/li><\/ol><figcaption class=\"plate-caption\">Relaciones de lectura y atribuci\u00f3n; no representa una transmisi\u00f3n ritual ni convierte lo publicado en autorizaci\u00f3n para cualquier uso. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r17-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>Una forma de investigar sin quitarle el contexto<\/h2><p>La historia final habr\u00e1 de preguntar por transmisi\u00f3n y responsabilidad: \u00bfc\u00f3mo se aprende una pr\u00e1ctica?, \u00bfqu\u00e9 distingue a un especialista de quien solo recorta?, \u00bfqui\u00e9n decide que una escena se explique o permanezca privada?, \u00bfc\u00f3mo se transforma la tarea cuando un objeto pasa de su contexto a un museo o a una pantalla? Esas preguntas permiten una cr\u00f3nica rigurosa sin inventar ceremonias ni reconstruir secretos.<\/p><p>La comparaci\u00f3n permite defender una conclusi\u00f3n concreta: aislar la silueta empobrece la explicaci\u00f3n del trabajo del b\u00e4di. Para comprenderlo hay que mantener unidos el lugar, las palabras, las personas y la responsabilidad que rodea al objeto. Queda abierta la revisi\u00f3n local de t\u00e9rminos y enfoques. Esa revisi\u00f3n podr\u00e1 corregir nuestras categor\u00edas de lectura; no se sustituye por acumular reproducciones ni por hablar en nombre de sus portadores.<\/p><\/section><section class=\"method\"><h2>C\u00f3mo se elabor\u00f3<\/h2><p>Investigaci\u00f3n documental revisada el 5 de noviembre de 2026. Se ley\u00f3 completo el estudio de Pantepec de 2020 y se contrastaron los apartados indicados de los otros dos trabajos. No se entrevist\u00f3 a especialistas para este art\u00edculo. Las ilustraciones son editoriales y no reproducen recortes rituales.<\/p><\/section><details class=\"sources\" id=\"r17-es-sources\"><summary>Fuentes y contraste<small>Abrir la investigaci\u00f3n: hip\u00f3tesis, diferencias, alcances y referencias<\/small><\/summary><div class=\"sourcebody\"><section class=\"contrast-item\"><h3><span class=\"number\">01<\/span>\u00bfQu\u00e9 hip\u00f3tesis gu\u00eda la comparaci\u00f3n?<\/h3><p>Se pone a prueba si la forma material basta para explicar la figura. Las fuentes la sit\u00faan en relaciones de cuerpo, conocimiento y actuaci\u00f3n social; por ello la explicaci\u00f3n puramente decorativa resulta insuficiente para los casos estudiados. El resultado no convierte cualquier objeto de papel otom\u00ed en pieza ceremonial ni permite identificar su funci\u00f3n sin procedencia. [1\u20133]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">02<\/span>\u00bfQu\u00e9 se compara y qu\u00e9 permanece separado?<\/h3><p>Reinoso Niche trabaja en comunidades de Pantepec, Puebla. Baez Cubero y sus coautores estudian localidades del oriente de Hidalgo. Se comparan problemas \u2014cuerpo, fuerza y reconocimiento\u2014, no se fusionan los repertorios. La conexi\u00f3n regional no demuestra que toda palabra, figura o pr\u00e1ctica sea intercambiable entre Ixtololoya, Tenango de Doria y Santa Ana Hueytlalpan. [1, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">03<\/span>\u00bfSon tres confirmaciones independientes?<\/h3><p>No. Los dos primeros art\u00edculos comparten autora y una trayectoria de investigaci\u00f3n; su coincidencia no cuenta como corroboraci\u00f3n independiente. El tercer trabajo a\u00f1ade otros autores y localidades, pero dialoga con bibliograf\u00eda compartida. El contraste aporta variaci\u00f3n de enfoque y de campo, no tres experimentos independientes que prueben una misma proposici\u00f3n. [1\u20133]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">04<\/span>\u00bfEn qu\u00e9 difieren las explicaciones de las figuras?<\/h3><p>La discusi\u00f3n de Reinoso Niche revisa categor\u00edas como cuerpo, rostro y retrato; el trabajo de Hidalgo insiste en las relaciones y capacidades de actuaci\u00f3n que se atribuyen al recorte. Esas perspectivas pueden iluminar dimensiones diferentes. No se resuelven eligiendo una etiqueta \u00fanica ni traduci\u00e9ndolas todas como s\u00edmbolo decorativo. Se mantienen la atribuci\u00f3n de autor\u00eda y el contexto de cada lectura. [2, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">05<\/span>\u00bfQu\u00e9 sabemos de las palabras y de su traducci\u00f3n?<\/h3><p>Se conservan b\u00e4di y las graf\u00edas citadas nzahki y nz\u00e1ki. Reinoso Niche reconoce el apoyo de maestras de Ixtololoya para traducci\u00f3n y escritura; el estudio de Hidalgo registra otras formas y usos. Una glosa espa\u00f1ola orienta al lector, pero no reemplaza la explicaci\u00f3n en la variante local. Sigue pendiente la revisi\u00f3n de este manuscrito con una persona especialista autorizada. [1, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">06<\/span>\u00bfPor qu\u00e9 hay varias fechas para una misma fuente?<\/h3><p>El art\u00edculo sobre las Antiguas pertenece al n\u00famero impreso de enero\u2013junio de 2021 y el portal se\u00f1ala publicaci\u00f3n en 2024. Saber ritual otom\u00ed aparece en un n\u00famero rotulado 2019, fue aceptado en 2020 y se public\u00f3 electr\u00f3nicamente en 2021. Se conservan esos datos en la referencia: la fecha de carga digital no fecha autom\u00e1ticamente el trabajo de campo. [2, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">07<\/span>\u00bfQu\u00e9 significa hablar de cuidado sin afirmar eficacia cl\u00ednica?<\/h3><p>Las fuentes permiten estudiar c\u00f3mo se interpretan aflicciones, relaciones y atenci\u00f3n en sus contextos. No presentan aqu\u00ed un ensayo cl\u00ednico comparativo. Las categor\u00edas rituales se atribuyen a las etnograf\u00edas y a sus interlocutores; no se convierten en diagn\u00f3stico para el lector ni en prueba de un mecanismo f\u00edsico. Respeto cultural y precisi\u00f3n sobre el tipo de evidencia son compatibles. [1\u20133]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">08<\/span>\u00bfQu\u00e9 podr\u00eda cambiar tras una revisi\u00f3n local?<\/h3><p>Podr\u00edan precisarse la graf\u00eda, los l\u00edmites de una traducci\u00f3n, el tratamiento de ciertos t\u00e9rminos y qu\u00e9 im\u00e1genes pueden circular. Antes de una cr\u00f3nica con fuentes vivas se requerir\u00e1n consentimiento y acuerdos de uso. La ilustraci\u00f3n neutra permite entregar ahora un an\u00e1lisis documental sin suplir esa revisi\u00f3n ni reproducir dise\u00f1os cuya exposici\u00f3n necesita una decisi\u00f3n espec\u00edfica.<\/p><\/section><section class=\"bibliography\"><h3>Referencias documentales<\/h3><ol><li id=\"r17-es-ref-1\"><a href=\"https:\/\/www.redalyc.org\/journal\/5295\/529566709007\/529566709007.pdf\">Jorgelina Reinoso Niche, \u00abEl Costumbre en el cuerpo del b\u00e4di. Las energ\u00edas an\u00edmicas del especialista ritual otom\u00ed en Pantepec, Puebla\u00bb, Cuicuilco 27(78) (mayo\u2013agosto de 2020), pp. 97\u2013115. Texto completo consultado en Redalyc.<\/a><\/li><li id=\"r17-es-ref-2\"><a href=\"https:\/\/www.revistas.inah.gob.mx\/index.php\/diariodecampo\/article\/view\/20184\">Jorgelina Reinoso Niche, \u00abEl don sagrado de recortar a las Antiguas y el chamanismo otom\u00ed\u00bb, Diario de Campo 12, pp. 12\u201334. N\u00famero impreso enero\u2013junio de 2021; publicaci\u00f3n en el portal: 7 de junio de 2024. Se consultaron introducci\u00f3n, discusi\u00f3n de las figuras y conclusiones del PDF.<\/a><\/li><li id=\"r17-es-ref-3\"><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/diariodecampo\/article\/view\/17213\">Lourdes Baez Cubero, Mar\u00eda Berenice Morales Aguilar, Mar\u00eda Guadalupe Ram\u00edrez Ramos y David P\u00e9rez Gonz\u00e1lez, \u00abSaber ritual otom\u00ed. T\u00e9cnicas del cuerpo y del esp\u00edritu\u00bb, Diario de Campo 8\u20139, pp. 110\u2013124. N\u00famero rotulado 2019; aceptaci\u00f3n en 2020 y publicaci\u00f3n electr\u00f3nica el 12 de octubre de 2021. Se consultaron resumen, introducci\u00f3n y secci\u00f3n sobre recorte de papel, pp. 110\u2013115.<\/a><\/li><\/ol><\/section><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r17-es-source\" lang=\"es\"><h4>Un autor firma el papel<\/h4><p>Se utiliza la presentaci\u00f3n editorial para identificar autor\u00eda y formato, no como lectura del libro completo. San Pablito y los casos etnogr\u00e1ficos de Pantepec\/Hidalgo conservan sus contextos.<\/p><p><a href=\"https:\/\/www.societe-ethnologie.fr\/collections-ecritures.php\">Soci\u00e9t\u00e9 d\u2019ethnologie \u00b7 \u00c9crits, Alfonso M. Garc\u00eda T\u00e9llez, 2018<\/a> \u00b7 <a href=\"#iict-reading-r17-es\">Volver al pasaje<\/a><\/p><\/section>\n<\/details><nav class=\"endnav\"><div><a href=\"https:\/\/totonacapan.com\/?page_id=1225#indice-articulos-es\">\u2190 Volver al \u00edndice de investigaciones<\/a><small>Cuadernos de investigaci\u00f3n \u00b7 R17<\/small><\/div><div><span class=\"eyebrow\">Lectura relacionada<\/span><a href=\"https:\/\/totonacapan.com\/?page_id=1253\">R03 \u00b7 Lenguas del Totonacapan: variantes, territorios y transmisi\u00f3n \u2192<\/a><\/div><\/nav><!-- IICT-CITE R17 es --><aside class=\"iict-citation\" id=\"citar-r17-es\" aria-labelledby=\"citar-r17-es-title\"><h2 id=\"citar-r17-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. \u00abFiguras de papel, cuerpo y cuidado: la tarea de un b\u00e4di otom\u00ed\u00bb. <cite>Cuadernos de investigaci\u00f3n<\/cite>, <strong>R17<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1351#r17-es\">https:\/\/totonacapan.com\/?page_id=1351#r17-es<\/a>.<\/blockquote><p><strong>Referencia interna:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1351#r17-es\">R17<\/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 R17 es --><\/article><details class=\"research-lang-version\" id=\"r17-en-version\"><summary>Read the full English article<\/summary><article id=\"r17-en\" lang=\"en\"><header class=\"hero\"><div class=\"kicker\">R17 \u00b7 People, materials and knowledge<\/div><h1>Paper figures, body and care<\/h1><p class=\"subtitle\">The work of an Otom\u00ed b\u00e4di<\/p><div class=\"date\">Documentary review \u00b7 5 November 2026<\/div><\/header><div class=\"abstract\"><div class=\"eyebrow\">At a glance<\/div><p>A paper cutting can be much more than a visible shape. Ethnographies from Pantepec, Puebla, and eastern Hidalgo invite us to ask what makes an object part of a ceremonial relationship. This study compares their concepts of body, knowledge and responsibility, preserves local differences and explains why photographing a figure does not amount to understanding it.<\/p><\/div><details class=\"iict-journal-toc\"><summary>In this article<\/summary><nav class=\"toc\" aria-label=\"In this article\"><div class=\"eyebrow\">In this article<\/div><a href=\"#r17-en-section-0\">Looking is not enough to understand<\/a><a href=\"#r17-en-section-1\">Research has a place<\/a><a href=\"#r17-en-section-2\">What changes when paper has a context<\/a><a href=\"#r17-en-section-3\">The body and the words that explain it<\/a><a href=\"#r17-en-section-4\">Learning involves responsibility<\/a><a href=\"#r17-en-section-5\">Research that keeps the context<\/a><a href=\"#r17-en-sources\">Sources and comparison<\/a><\/nav><\/details><section class=\"prose\" id=\"r17-en-section-0\"><h2>Looking is not enough to understand<\/h2><p>A cut-out figure may look fragile. Its material is paper; its shape seems simple; a display case allows us to observe it from a distance. Yet when that object forms part of situated ceremonial work, understanding it solely through its outline is like reading a letter without knowing its language. The figure belongs to relationships that do not become visible merely because it has been photographed.<\/p><\/section><figure class=\"visual\"><h3>Before identifying a figure, understand its history<\/h3><svg class=\"material-art\" viewBox=\"0 0 960 300\" role=\"img\" aria-label=\"Editorial illustration of uncut sheets and an everyday tool. It represents neither a ceremony, an archive object nor an Otom\u00ed ritual design.\"><defs><linearGradient id=\"sheet-en\" x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\"><stop stop-color=\"#fffdf4\"\/><stop offset=\"1\" stop-color=\"#e3d9c0\"\/><\/linearGradient><filter id=\"shadow-en\" x=\"-20%\" y=\"-30%\" width=\"150%\" height=\"160%\"><feDropShadow dx=\"0\" dy=\"6\" stdDeviation=\"8\" flood-color=\"#6c6651\" flood-opacity=\".15\"\/><\/filter><\/defs><path d=\"M90 264H876\" stroke=\"#b4ad95\" stroke-width=\"1\"\/><g transform=\"translate(112 47) rotate(-8 220 110)\" filter=\"url(#shadow-en)\"><rect width=\"375\" height=\"200\" fill=\"#d6cdb6\" stroke=\"#bdb59e\"\/><rect x=\"10\" y=\"-7\" width=\"375\" height=\"200\" fill=\"#eae2cf\" stroke=\"#cfc5ad\"\/><rect x=\"23\" y=\"-14\" width=\"375\" height=\"200\" fill=\"url(#sheet-en)\" stroke=\"#ccc1a5\"\/><path d=\"M55 15H367M55 23H367M55 31H367\" stroke=\"#b9b29e\" stroke-width=\".5\" opacity=\".25\"\/><\/g><g transform=\"translate(545 65) rotate(8 130 80)\" stroke=\"#6a7978\" stroke-width=\"3\" fill=\"none\"><path d=\"M99 121L282 12Q297 5 285 23L151 146Z\" fill=\"#c6d0cc\"\/><path d=\"M122 126L265 190Q284 197 271 180L154 108Z\" fill=\"#e5e8dc\"\/><circle cx=\"139\" cy=\"125\" r=\"7\" fill=\"#a38a4b\" stroke=\"#7d754f\"\/><ellipse cx=\"91\" cy=\"151\" rx=\"39\" ry=\"26\" transform=\"rotate(-29 91 151)\" fill=\"#e1e7df\" stroke=\"#3c5d5c\" stroke-width=\"9\"\/><ellipse cx=\"111\" cy=\"82\" rx=\"36\" ry=\"24\" transform=\"rotate(23 111 82)\" fill=\"#e1e7df\" stroke=\"#3c5d5c\" stroke-width=\"9\"\/><\/g><\/svg><div class=\"material-labels\"><span>Material<\/span><span>Provenance<\/span><span>Context<\/span><span>Responsibility<\/span><\/div><figcaption>Editorial illustration of uncut sheets and an everyday tool. It represents neither a ceremony, an archive object nor an Otom\u00ed ritual design.<\/figcaption><\/figure><section class=\"prose\" id=\"r17-en-section-1\"><h2>Research has a place<\/h2><p>Anthropological research published in INAH journals examines ritual specialists known as b\u00e4di in Otom\u00ed communities of Pantepec, Puebla, including Ixtololoya and other localities. Some studies consider paper representations and their relationships with entities, the body, vital force and well-being. Each investigation\u2019s concepts belong to linguistic and ceremonial contexts that should not be transferred automatically to all Otom\u00ed people in Mexico.<sup class=\"cite\"><a href=\"#r17-en-ref-1\">[1]<\/a><\/sup><\/p><p>In her 2020 study, Reinoso Niche identifies four Pantepec communities: Acalmancillo, Ixtololoya, El Pozo and Tenexco. The starting point is the specialist\u2019s work and bodily experience, rather than an inventory of pieces. The author explains that her research draws on more than fifteen years of ethnographic engagement. That duration contextualizes the analysis; it does not turn four localities into a statistical sample of all Otom\u00ed peoples.<sup class=\"cite\"><a href=\"#r17-en-ref-1\">[1]<\/a><\/sup><\/p><p>Baez Cubero, Morales Aguilar, Ram\u00edrez Ramos and P\u00e9rez Gonz\u00e1lez work in another setting: eastern Hidalgo, focusing on Tenango de Doria, Santa M\u00f3nica, San Nicol\u00e1s and Santa Ana Hueytlalpan in Tulancingo. Comparing this with Pantepec reveals connections without erasing distances. Both studies describe relationships between knowledge, body and ritual action; each claim retains its place and source.<sup class=\"cite\"><a href=\"#r17-en-ref-3\">[3]<\/a><\/sup><\/p><\/section><figure class=\"visual\"><h3>Two research settings<\/h3><div class=\"places\"><div class=\"place\"><b>Pantepec \u00b7 Puebla<\/b><p>Acalmancillo \u00b7 Ixtololoya \u00b7 El Pozo \u00b7 Tenexco<\/p><small>Reinoso Niche \u00b7 2020<\/small><\/div><div class=\"place\"><b>Eastern Hidalgo<\/b><p>Tenango de Doria \u00b7 Santa M\u00f3nica \u00b7 San Nicol\u00e1s \u00b7 Santa Ana Hueytlalpan<\/p><small>Baez Cubero and coauthors \u00b7 issue 2019 \/ portal 2021<\/small><\/div><\/div><figcaption>Documentary location diagram, without a cartographic scale. Each claim retains its setting of origin.<\/figcaption><\/figure><section class=\"prose\" id=\"r17-en-section-2\"><h2>What changes when paper has a context<\/h2><p>An article on this practice carries responsibilities different from those of a craft catalogue. Manufacture may be visible; the figures\u2019 meaning is not open to a visitor\u2019s unrestricted interpretation. Cuttings called \u201cAntiguas\u201d in some sources are not necessarily a repertoire of decorative objects available for anyone to reproduce. Depending on the circumstances, a specialist or the community should explain their function, and knowledge holders may reserve certain knowledge.<sup class=\"cite\"><a href=\"#r17-en-ref-2\">[2]<\/a><\/sup><\/p><p>It seems simple to say that a figure represents something: an object stands for something else. The studies ask us to pause. In their cases, a cutting may be understood through relationships of presence, body and intention exceeding that equivalence. This changes the question from which image we see to who can make it, in which situation it acts and which responsibilities people recognize around it.<sup class=\"cite\"><a href=\"#r17-en-ref-2\">[2]<\/a><\/sup><sup class=\"cite\"><a href=\"#r17-en-ref-3\">[3]<\/a><\/sup><\/p><p>Reinoso Niche\u2019s discussion considers several anthropological readings of the figures: bodies, faces, portraits or forms of relationship with entities. These are not a dictionary assigning a fixed meaning to every silhouette. They are interpretative tools from different investigations, assembled and examined by an author. Presenting them as universal explanations offered directly by a community would erase two essential steps: the local context and the interpretation of the person writing.<sup class=\"cite\"><a href=\"#r17-en-ref-2\">[2]<\/a><\/sup><\/p><p>Support and function also need distinguishing. Identifying a piece\u2019s paper answers a material question; it does not establish its use, whether it was made for sale or ceremony, or who authorized its circulation. A museum photograph, a commercial piece and a cutting used in a situated practice require different provenance histories. Similar shapes do not make them equivalent.<\/p><\/section><section class=\"prose\" id=\"r17-en-section-3\"><figure class=\"iict-viz viz-fold\" id=\"iict-viz-r17-en\" lang=\"en\" aria-labelledby=\"iict-viz-r17-en-title\"><header><div class=\"viz-kicker\"><span>Visual notebooks<\/span><span>R17 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r17-en-title\">From material to responsibility<\/h3><p>Understanding an object requires retaining the relationships that give it meaning.<\/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=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>What is visible<\/h4><p>Paper, cut and shape: what material observation can describe.<\/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\">02<\/span><h4>Context<\/h4><p>Place, words and relationships documented by each ethnography.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M80 22h120v56h-67l-24 20V78H80zM98 42h84M98 57h62\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>Decision<\/h4><p>Who can explain, teach or authorise something to be shared.<\/p><\/div><\/div><figcaption>A reading diagram; decorative forms do not reproduce ritual paper cuts.<span class=\"viz-source\">Original visual synthesis by the Institute \u00b7 <a href=\"#r17-en-sources\">Sources and comparison<\/a><\/span><\/figcaption><\/figure>\n<h2>The body and the words that explain it<\/h2><p>The studies also remind us that the body is not always understood as an isolated unit. In the documented cases, the b\u00e4di\u2019s work belongs to ways of thinking about relationships between health, feelings, surroundings and agents involved in life. It would be misleading either to equate this conception with contemporary clinical medicine or to treat it as a curiosity without value to participants. Rigorous description respects local words, where they were recorded and the ethical decisions of those sharing knowledge.<\/p><p>A term does not always fit a single translation. In the Pantepec article, j\u00e4i connects notions of body, person and people; nzahki is used in explaining vital force. The Hidalgo study writes nz\u00e1ki. We preserve these spellings with attribution: their difference is neither a typo to correct nor sufficient evidence that the terms have precisely the same range of meaning.<sup class=\"cite\"><a href=\"#r17-en-ref-1\">[1]<\/a><\/sup><sup class=\"cite\"><a href=\"#r17-en-ref-3\">[3]<\/a><\/sup><\/p><p>Precision begins by acknowledging those who made the writing possible. Reinoso Niche credits Lorena Cruz T\u00e9llez and Estela Francisco Tolentino, CONAFE teachers in Ixtololoya, for help with translation and spelling. This records a collaboration within that research. It does not mean they reviewed this article or authorize us to present our translation as locally approved.<sup class=\"cite\"><a href=\"#r17-en-ref-1\">[1]<\/a><\/sup><\/p><p>In Spanish, fuerza can mean physical strength, authority, intensity or a principle of life. Two texts using that word need not refer to a quantity measurable with identical instruments. Here we describe categories found in ethnographies. Comparing them requires explaining how they are used and which relationships they help people think about, rather than turning them into clinical findings or demonstrated physical phenomena.<\/p><\/section><figure class=\"visual\"><h3>Four questions before an object<\/h3><div class=\"questions\"><div class=\"question\"><b>Who?<\/b><p>Authorship, learning and recognition.<\/p><\/div><div class=\"question\"><b>Where?<\/b><p>Locality and the object\u2019s trajectory.<\/p><\/div><div class=\"question\"><b>For what purpose?<\/b><p>Declared context, not inferred from its outline.<\/p><\/div><div class=\"question\"><b>With which permission?<\/b><p>Scope of display and reproduction.<\/p><\/div><\/div><\/figure><section class=\"prose\" id=\"r17-en-section-4\"><aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r17-en\" lang=\"en\" aria-labelledby=\"iict-reading-r17-en-title\"><span class=\"reading-kicker\">A closer story<\/span><h3 id=\"iict-reading-r17-en-title\">An author signs the paper<\/h3><p>Alfonso Margarito Garc\u00eda T\u00e9llez, from San Pablito, offers another way to approach paper. In 2018 the Soci\u00e9t\u00e9 d\u2019ethnologie published \u00c9crits. Manuscrits \u00e0 miniatures otomi with his name as author. Its presentation describes handmade books produced since the 1970s: accordion-folded sheets combining writing in regional Spanish and cut-out figures. <a class=\"reading-ref\" href=\"#iict-reading-r17-en-source\" aria-label=\"See sources and comparison\">\u2197<\/a><\/p><p>The change of viewpoint matters: a person composes a book, chooses what to tell and makes copies that differ. Knowledge has authorship and a way of circulating. Recognizing this puts the writer\u2019s decisions at the centre and invites questions about each object\u2019s uses before reproducing it.<\/p><p class=\"reading-links\"><a href=\"https:\/\/www.societe-ethnologie.fr\/collections-ecritures.php\">Soci\u00e9t\u00e9 d\u2019ethnologie \u00b7 \u00c9crits, Alfonso M. Garc\u00eda T\u00e9llez, 2018<\/a> \u00b7 <a href=\"#r17-en-sources\">Sources and comparison<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r17-a-en\" lang=\"en\" aria-labelledby=\"iict-plate-r17-a-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 I<\/p><h3 id=\"iict-plate-r17-a-en-title\">A book that opens in folds<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r17-a-en-art-title iict-plate-r17-a-en-art-desc\"><title id=\"iict-plate-r17-a-en-art-title\">A book that opens in folds<\/title><desc id=\"iict-plate-r17-a-en-art-desc\">1. The folding support connects text and paper. 2. The edition identifies Alfonso Margarito Garc\u00eda T\u00e9llez as author. 3. Reading requires preserving origin and context. Drawing of the format described by the Soci\u00e9t\u00e9 d\u2019ethnologie, without copying cut-outs, texts or ritual figures.<\/desc><defs><pattern id=\"iict-plate-r17-a-en-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r17-a-en-grain)\"\/><path d=\"M85 98 L198 152 V332 L85 278Z\" fill=\"#f0e5cd\" stroke=\"#b9a476\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M97 123 L185 177\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M97 144 L185 198\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M97 165 L185 219\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" 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stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M323 186 L411 240\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M323 207 L411 261\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M323 228 L411 282\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M424 152 L537 98 V278 L424 332Z\" fill=\"#e5d7b8\" stroke=\"#b9a476\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M436 177 L524 123\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M436 198 L524 144\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M436 219 L524 165\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M436 240 L524 186\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M436 261 L524 207\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M436 282 L524 228\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M537 98 L650 152 V332 L537 278Z\" fill=\"#f0e5cd\" stroke=\"#b9a476\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 123 L637 177\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 144 L637 198\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 165 L637 219\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 186 L637 240\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 207 L637 261\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 228 L637 282\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M76 92 L76 283 M650 94 V280\" fill=\"none\" stroke=\"#9e8351\" stroke-width=\"5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"114\" cy=\"353\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"114\" y=\"361\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"375\" cy=\"63\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"71\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"643\" cy=\"353\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"643\" y=\"361\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>The folding support connects text and paper.<\/li><li>The edition identifies Alfonso Margarito Garc\u00eda T\u00e9llez as author.<\/li><li>Reading requires preserving origin and context.<\/li><\/ol><figcaption class=\"plate-caption\">Drawing of the format described by the Soci\u00e9t\u00e9 d\u2019ethnologie, without copying cut-outs, texts or ritual figures. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r17-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>Learning involves responsibility<\/h2><p>If manual skill were sufficient, a good copy would qualify its maker. The consulted texts place recognition of the specialist within a wider network of knowledge, experience and recognition by other people. This reading yields a useful distinction for visitors: reproducing a piece\u2019s appearance does not transfer the position of someone entitled to work with it.<sup class=\"cite\"><a href=\"#r17-en-ref-1\">[1]<\/a><\/sup><sup class=\"cite\"><a href=\"#r17-en-ref-3\">[3]<\/a><\/sup><\/p><p>That responsibility also extends to museums and screens. Displaying an object requires establishing its origin, maker, intended context and the permission covering reproduction. The photographer\u2019s permission and decisions by people or communities connected with the object answer different questions. Finding an image online does not settle both.<\/p><p>This approach invites us to look at paper without appropriating its symbols. The best introductory visual may be a composition of everyday materials and tools rather than an exact reproduction of a figure with restricted meanings, followed by archive photographs whose consent and context are known. An image can introduce the subject; it should not pretend to hold authority over the ceremony.<\/p><p>This article\u2019s visual shows only uncut sheets and ordinary tools. It neither reproduces ritual designs nor reconstructs a ceremony. Its purpose is to ask how everyday material becomes a situated object, rather than teach the manufacture of a figure or attribute efficacy to it.<\/p><\/section><section class=\"prose\" id=\"r17-en-section-5\"><figure class=\"iict-plate\" id=\"iict-plate-r17-b-en\" lang=\"en\" aria-labelledby=\"iict-plate-r17-b-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 II<\/p><h3 id=\"iict-plate-r17-b-en-title\">The author\u2019s name also belongs to the image<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r17-b-en-art-title iict-plate-r17-b-en-art-desc\"><title id=\"iict-plate-r17-b-en-art-title\">The author\u2019s name also belongs to the image<\/title><desc id=\"iict-plate-r17-b-en-art-desc\">1. Authorship: who decides what to communicate. 2. Circulation: how work is published and presented. 3. Context: where, for whom and why it makes sense. Reading and attribution relationships; not ritual transmission or permission for every use of published work.<\/desc><defs><pattern id=\"iict-plate-r17-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-r17-b-en-grain)\"\/><g transform=\"translate(375 203) scale(1.45)\"><path d=\"M0 -67 C-36 -92 -83 -82 -105 -76 L-105 65 C-61 53 -24 57 0 76 C24 57 61 53 105 65 L105 -76 C70 -86 30 -90 0 -67Z\" fill=\"#f6efde\" stroke=\"#9c8e6b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><line x1=\"0\" y1=\"-65\" x2=\"0\" y2=\"73\" stroke=\"#9c8e6b\" stroke-width=\"2\" \/><path d=\"M-88 -45 Q-46 -54 -15 -35 M15 -35 Q46 -54 88 -45\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 -29 Q-46 -38 -15 -19 M15 -19 Q46 -38 88 -29\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 -13 Q-46 -22 -15 -3 M15 -3 Q46 -22 88 -13\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 3 Q-46 -6 -15 13 M15 13 Q46 -6 88 3\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 19 Q-46 10 -15 29 M15 29 Q46 10 88 19\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 35 Q-46 26 -15 45 M15 45 Q46 26 88 35\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M104 316 L181 86 L194 91 L117 321Z\" fill=\"#cab281\" stroke=\"#917747\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M104 316 L103 333 L117 321Z\" fill=\"#8b7854\" stroke=\"#8b7854\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M538 111 Q598 45 658 128 Q677 176 631 220 M633 219 L646 194 M633 219 L612 204\" fill=\"none\" stroke=\"#a8b39a\" stroke-width=\"3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M120 349 Q378 392 635 345\" fill=\"none\" stroke=\"#b39b65\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"5 8\"\/><circle cx=\"159\" cy=\"354\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"159\" y=\"362\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"634\" cy=\"282\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"634\" y=\"290\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"375\" cy=\"63\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"71\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Authorship: who decides what to communicate.<\/li><li>Circulation: how work is published and presented.<\/li><li>Context: where, for whom and why it makes sense.<\/li><\/ol><figcaption class=\"plate-caption\">Reading and attribution relationships; not ritual transmission or permission for every use of published work. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r17-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>Research that keeps the context<\/h2><p>The eventual account should ask about transmission and responsibility: how is a practice learned, what distinguishes a specialist from someone who simply cuts paper, who decides whether a scene should be explained or remain private, and how does the work change when an object moves into a museum or onto a screen? These questions allow rigorous writing without inventing ceremonies or reconstructing secrets.<\/p><p>The comparison supports a concrete conclusion: isolating a silhouette impoverishes the explanation of the b\u00e4di\u2019s work. Understanding it requires keeping place, words, people and responsibilities together. Local review of terms and approaches remains open. It may correct our categories of interpretation; accumulating reproductions or speaking on behalf of knowledge holders cannot replace it.<\/p><\/section><section class=\"method\"><h2>How this article was developed<\/h2><p>Documentary research reviewed on 5 November 2026. The 2020 Pantepec study was read in full; the specified sections of the other two studies were compared. No specialists were interviewed for this article. Illustrations are editorial and do not reproduce ritual paper cuttings.<\/p><\/section><details class=\"sources\" id=\"r17-en-sources\"><summary>Sources and comparison<small>Open the research: hypotheses, differences, scope and references<\/small><\/summary><div class=\"sourcebody\"><section class=\"contrast-item\"><h3><span class=\"number\">01<\/span>Which hypothesis guides the comparison?<\/h3><p>We test whether material form alone explains a figure. The sources place it within relationships of body, knowledge and social action; a purely decorative explanation is therefore insufficient for the cases studied. This does not make every Otom\u00ed paper object ceremonial or identify its function without provenance. [1\u20133]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">02<\/span>What is compared, and what remains separate?<\/h3><p>Reinoso Niche works in Pantepec communities in Puebla. Baez Cubero and coauthors examine eastern Hidalgo localities. We compare problems\u2014body, force and recognition\u2014without merging repertoires. Regional connections do not establish that every word, figure or practice is interchangeable between Ixtololoya, Tenango de Doria and Santa Ana Hueytlalpan. [1, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">03<\/span>Are these three independent confirmations?<\/h3><p>No. The first two articles share an author and a research trajectory; agreement is not independent corroboration. The third adds different authors and localities but engages with shared literature. The comparison offers variation in perspective and field setting, not three independent experiments proving the same proposition. [1\u20133]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">04<\/span>How do explanations of the figures differ?<\/h3><p>Reinoso Niche reviews categories including body, face and portrait; the Hidalgo study emphasizes relationships and capacities for action attributed to cuttings. These perspectives can illuminate different dimensions. Selecting a single label or translating them all as decorative symbols does not resolve their differences. Authorship and the context of each reading remain explicit. [2, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">05<\/span>What do we know about words and translation?<\/h3><p>We retain b\u00e4di and the attributed spellings nzahki and nz\u00e1ki. Reinoso Niche acknowledges teachers from Ixtololoya who assisted with translation and writing; the Hidalgo study records other forms and uses. A Spanish gloss guides the reader but does not replace explanation in the local language variety. Review of this manuscript by an authorized specialist remains pending. [1, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">06<\/span>Why does one source have several dates?<\/h3><p>The Antiguas article belongs to the printed January\u2013June 2021 issue, while the portal dates publication to 2024. Saber ritual otom\u00ed appears in an issue labelled 2019, was accepted in 2020 and published electronically in 2021. The references preserve those details: an upload date does not automatically date fieldwork. [2, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">07<\/span>What does care mean without asserting clinical efficacy?<\/h3><p>The sources allow study of interpretations of affliction, relationships and attention within their contexts. They do not provide a comparative clinical trial here. Ritual categories are attributed to the ethnographies and their interlocutors; they become neither a diagnosis for readers nor proof of a physical mechanism. Cultural respect is compatible with precision about evidence. [1\u20133]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">08<\/span>What could local review change?<\/h3><p>It could refine spelling, the limits of translation, treatment of certain terms and which images may circulate. An account involving living sources would require consent and agreements on use. The neutral illustration enables a documentary analysis now without replacing that review or reproducing designs whose display needs a specific decision.<\/p><\/section><section class=\"bibliography\"><h3>Documentary references<\/h3><ol><li id=\"r17-en-ref-1\"><a href=\"https:\/\/www.redalyc.org\/journal\/5295\/529566709007\/529566709007.pdf\">Jorgelina Reinoso Niche. \u201cEl Costumbre en el cuerpo del b\u00e4di. Las energ\u00edas an\u00edmicas del especialista ritual otom\u00ed en Pantepec, Puebla\u201d. Cuicuilco 27(78) (May\u2013August 2020), 97\u2013115. Full text read through Redalyc.<\/a><\/li><li id=\"r17-en-ref-2\"><a href=\"https:\/\/www.revistas.inah.gob.mx\/index.php\/diariodecampo\/article\/view\/20184\">Jorgelina Reinoso Niche. \u201cEl don sagrado de recortar a las Antiguas y el chamanismo otom\u00ed\u201d. Diario de Campo 12, 12\u201334. Printed issue January\u2013June 2021; portal publication 7 June 2024. Introduction, discussion of figures and conclusions consulted.<\/a><\/li><li id=\"r17-en-ref-3\"><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/diariodecampo\/article\/view\/17213\">Lourdes Baez Cubero, Mar\u00eda Berenice Morales Aguilar, Mar\u00eda Guadalupe Ram\u00edrez Ramos and David P\u00e9rez Gonz\u00e1lez. \u201cSaber ritual otom\u00ed. T\u00e9cnicas del cuerpo y del esp\u00edritu\u201d. Diario de Campo 8\u20139, 110\u2013124. Issue labelled 2019; accepted 2020; electronic publication 12 October 2021. Abstract, introduction and paper-cutting section, 110\u2013115, consulted.<\/a><\/li><\/ol><\/section><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r17-en-source\" lang=\"en\"><h4>An author signs the paper<\/h4><p>The publisher\u2019s presentation identifies authorship and format; it is not presented as a reading of the complete book. San Pablito and the Pantepec\/Hidalgo ethnographic cases retain their contexts.<\/p><p><a href=\"https:\/\/www.societe-ethnologie.fr\/collections-ecritures.php\">Soci\u00e9t\u00e9 d\u2019ethnologie \u00b7 \u00c9crits, Alfonso M. Garc\u00eda T\u00e9llez, 2018<\/a> \u00b7 <a href=\"#iict-reading-r17-en\">Return to the passage<\/a><\/p><\/section>\n<\/details><nav class=\"endnav\"><div><a href=\"https:\/\/totonacapan.com\/?page_id=1225#indice-articulos-en\">\u2190 Return to the research index<\/a><small>Research notebooks \u00b7 R17<\/small><\/div><div><span class=\"eyebrow\">Related reading<\/span><a href=\"https:\/\/totonacapan.com\/?page_id=1253#r03-en-text\">R03 \u00b7 Languages of the Totonacapan: varieties, territories and transmission \u2192<\/a><\/div><\/nav><!-- IICT-CITE R17 en --><aside class=\"iict-citation\" id=\"citar-r17-en\" aria-labelledby=\"citar-r17-en-title\"><h2 id=\"citar-r17-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. \u00abPaper figures, body and care: the work of an Otom\u00ed b\u00e4di\u00bb. <cite>Research notebooks<\/cite>, <strong>R17<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1351#r17-en\">https:\/\/totonacapan.com\/?page_id=1351#r17-en<\/a>.<\/blockquote><p><strong>Internal reference:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1351#r17-en\">R17<\/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 R17 en --><\/article><\/details><details class=\"research-lang-version\" id=\"r17-fr-version\"><summary>Lire l\u2019article int\u00e9gral en fran\u00e7ais<\/summary><article id=\"r17-fr\" lang=\"fr\"><header class=\"hero\"><div class=\"kicker\">R17 \u00b7 Personnes, mati\u00e8res et savoirs<\/div><h1>Figures de papier, corps et soin<\/h1><p class=\"subtitle\">Le travail d\u2019un b\u00e4di otom\u00ed<\/p><div class=\"date\">R\u00e9vision documentaire \u00b7 5 novembre 2026<\/div><\/header><div class=\"abstract\"><div class=\"eyebrow\">L\u2019essentiel<\/div><p>Un papier d\u00e9coup\u00e9 peut \u00eatre bien davantage qu\u2019une forme visible. Les ethnographies de Pantepec, Puebla, et de l\u2019est de l\u2019Hidalgo permettent de demander ce qui fait d\u2019un objet un \u00e9l\u00e9ment d\u2019une relation c\u00e9r\u00e9monielle. Cette recherche compare leurs notions de corps, de savoir et de responsabilit\u00e9, conserve les diff\u00e9rences locales et explique pourquoi photographier une figure ne suffit pas \u00e0 la comprendre.<\/p><\/div><details class=\"iict-journal-toc\"><summary>Dans cet article<\/summary><nav class=\"toc\" aria-label=\"Dans cet article\"><div class=\"eyebrow\">Dans cet article<\/div><a href=\"#r17-fr-section-0\">Regarder ne suffit pas \u00e0 comprendre<\/a><a href=\"#r17-fr-section-1\">Une recherche poss\u00e8de un lieu<\/a><a href=\"#r17-fr-section-2\">Ce qui change lorsque le papier a un contexte<\/a><a href=\"#r17-fr-section-3\">Le corps et les mots qui l\u2019expliquent<\/a><a href=\"#r17-fr-section-4\">Apprendre, c\u2019est assumer des responsabilit\u00e9s<\/a><a href=\"#r17-fr-section-5\">Une recherche qui garde le contexte<\/a><a href=\"#r17-fr-sources\">Sources et confrontation<\/a><\/nav><\/details><section class=\"prose\" id=\"r17-fr-section-0\"><h2>Regarder ne suffit pas \u00e0 comprendre<\/h2><p>Une figure d\u00e9coup\u00e9e peut sembler fragile. Sa mati\u00e8re est le papier\u202f; sa forme para\u00eet simple\u202f; une vitrine permet de l\u2019observer \u00e0 distance. Mais lorsque cet objet intervient dans un travail c\u00e9r\u00e9moniel situ\u00e9, le comprendre seulement par ses contours revient \u00e0 lire une lettre sans en conna\u00eetre la langue. La figure participe \u00e0 des relations que la photographie ne rend pas automatiquement visibles.<\/p><\/section><figure class=\"visual\"><h3>Avant d\u2019identifier une figure, conna\u00eetre son histoire<\/h3><svg class=\"material-art\" viewBox=\"0 0 960 300\" role=\"img\" aria-label=\"Illustration \u00e9ditoriale de feuilles non d\u00e9coup\u00e9es et d\u2019un outil quotidien. Elle ne repr\u00e9sente ni c\u00e9r\u00e9monie, ni pi\u00e8ce d\u2019archives, ni dessin rituel otom\u00ed.\"><defs><linearGradient id=\"sheet-fr\" x1=\"0\" y1=\"0\" x2=\"1\" y2=\"1\"><stop stop-color=\"#fffdf4\"\/><stop offset=\"1\" stop-color=\"#e3d9c0\"\/><\/linearGradient><filter id=\"shadow-fr\" x=\"-20%\" y=\"-30%\" width=\"150%\" height=\"160%\"><feDropShadow dx=\"0\" dy=\"6\" stdDeviation=\"8\" flood-color=\"#6c6651\" flood-opacity=\".15\"\/><\/filter><\/defs><path d=\"M90 264H876\" stroke=\"#b4ad95\" stroke-width=\"1\"\/><g transform=\"translate(112 47) rotate(-8 220 110)\" filter=\"url(#shadow-fr)\"><rect width=\"375\" height=\"200\" fill=\"#d6cdb6\" stroke=\"#bdb59e\"\/><rect x=\"10\" y=\"-7\" width=\"375\" height=\"200\" fill=\"#eae2cf\" stroke=\"#cfc5ad\"\/><rect x=\"23\" y=\"-14\" width=\"375\" height=\"200\" fill=\"url(#sheet-fr)\" stroke=\"#ccc1a5\"\/><path d=\"M55 15H367M55 23H367M55 31H367\" stroke=\"#b9b29e\" stroke-width=\".5\" opacity=\".25\"\/><\/g><g transform=\"translate(545 65) rotate(8 130 80)\" stroke=\"#6a7978\" stroke-width=\"3\" fill=\"none\"><path d=\"M99 121L282 12Q297 5 285 23L151 146Z\" fill=\"#c6d0cc\"\/><path d=\"M122 126L265 190Q284 197 271 180L154 108Z\" fill=\"#e5e8dc\"\/><circle cx=\"139\" cy=\"125\" r=\"7\" fill=\"#a38a4b\" stroke=\"#7d754f\"\/><ellipse cx=\"91\" cy=\"151\" rx=\"39\" ry=\"26\" transform=\"rotate(-29 91 151)\" fill=\"#e1e7df\" stroke=\"#3c5d5c\" stroke-width=\"9\"\/><ellipse cx=\"111\" cy=\"82\" rx=\"36\" ry=\"24\" transform=\"rotate(23 111 82)\" fill=\"#e1e7df\" stroke=\"#3c5d5c\" stroke-width=\"9\"\/><\/g><\/svg><div class=\"material-labels\"><span>Mati\u00e8re<\/span><span>Provenance<\/span><span>Contexte<\/span><span>Responsabilit\u00e9<\/span><\/div><figcaption>Illustration \u00e9ditoriale de feuilles non d\u00e9coup\u00e9es et d\u2019un outil quotidien. Elle ne repr\u00e9sente ni c\u00e9r\u00e9monie, ni pi\u00e8ce d\u2019archives, ni dessin rituel otom\u00ed.<\/figcaption><\/figure><section class=\"prose\" id=\"r17-fr-section-1\"><h2>Une recherche poss\u00e8de un lieu<\/h2><p>Des recherches anthropologiques publi\u00e9es dans des revues de l\u2019INAH \u00e9tudient l\u2019activit\u00e9 de sp\u00e9cialistes rituels appel\u00e9s b\u00e4di dans des communaut\u00e9s otom\u00edes de Pantepec, Puebla, dont Ixtololoya. Certains travaux examinent des repr\u00e9sentations en papier et leurs rapports aux entit\u00e9s, au corps, \u00e0 la force vitale et au bien-\u00eatre. Les concepts pr\u00e9sent\u00e9s appartiennent \u00e0 des contextes linguistiques et c\u00e9r\u00e9moniels qu\u2019on ne peut transf\u00e9rer automatiquement \u00e0 tous les Otom\u00eds du Mexique.<sup class=\"cite\"><a href=\"#r17-fr-ref-1\">[1]<\/a><\/sup><\/p><p>Dans son \u00e9tude de 2020, Reinoso Niche identifie quatre communaut\u00e9s de Pantepec\u202f: Acalmancillo, Ixtololoya, El Pozo et Tenexco. Le point de d\u00e9part est le travail du sp\u00e9cialiste et son exp\u00e9rience corporelle, non un inventaire de pi\u00e8ces. L\u2019autrice pr\u00e9cise que sa recherche repose sur plus de quinze ans de fr\u00e9quentation ethnographique. Cette dur\u00e9e donne un contexte \u00e0 l\u2019analyse\u202f; elle ne transforme pas quatre localit\u00e9s en \u00e9chantillon statistique de tous les peuples otom\u00eds.<sup class=\"cite\"><a href=\"#r17-fr-ref-1\">[1]<\/a><\/sup><\/p><p>Baez Cubero, Morales Aguilar, Ram\u00edrez Ramos et P\u00e9rez Gonz\u00e1lez travaillent dans un autre cadre\u202f: l\u2019est de l\u2019Hidalgo, notamment Tenango de Doria, Santa M\u00f3nica, San Nicol\u00e1s et Santa Ana Hueytlalpan, \u00e0 Tulancingo. La comparaison avec Pantepec permet de reconna\u00eetre des liens sans effacer les distances. Les deux \u00e9tudes d\u00e9crivent des relations entre savoir, corps et action rituelle\u202f; chaque affirmation conserve sa localit\u00e9 et sa source.<sup class=\"cite\"><a href=\"#r17-fr-ref-3\">[3]<\/a><\/sup><\/p><\/section><figure class=\"visual\"><h3>Deux cadres de recherche<\/h3><div class=\"places\"><div class=\"place\"><b>Pantepec \u00b7 Puebla<\/b><p>Acalmancillo \u00b7 Ixtololoya \u00b7 El Pozo \u00b7 Tenexco<\/p><small>Reinoso Niche \u00b7 2020<\/small><\/div><div class=\"place\"><b>Est de l\u2019Hidalgo<\/b><p>Tenango de Doria \u00b7 Santa M\u00f3nica \u00b7 San Nicol\u00e1s \u00b7 Santa Ana Hueytlalpan<\/p><small>Baez Cubero et coauteurs \u00b7 num\u00e9ro 2019 \/ portail 2021<\/small><\/div><\/div><figcaption>Sch\u00e9ma de localisation documentaire, sans \u00e9chelle cartographique. Chaque affirmation conserve son cadre d\u2019origine.<\/figcaption><\/figure><section class=\"prose\" id=\"r17-fr-section-2\"><h2>Ce qui change lorsque le papier a un contexte<\/h2><p>Un article consacr\u00e9 \u00e0 cette pratique n\u2019a pas les m\u00eames obligations qu\u2019une fiche d\u2019artisanat. La fabrication peut \u00eatre visible\u202f; le sens des figures n\u2019est pas livr\u00e9 \u00e0 la libre interpr\u00e9tation du visiteur. Les d\u00e9coupages que certaines sources nomment \u00ab Antiguas \u00bb ne constituent pas n\u00e9cessairement un r\u00e9pertoire d\u2019objets d\u00e9coratifs reproductibles par tous. Selon les circonstances, leur fonction doit \u00eatre expliqu\u00e9e par un sp\u00e9cialiste ou la communaut\u00e9, et les d\u00e9tenteurs de savoirs peuvent en r\u00e9server certains.<sup class=\"cite\"><a href=\"#r17-fr-ref-2\">[2]<\/a><\/sup><\/p><p>Dire qu\u2019une figure repr\u00e9sente quelque chose para\u00eet simple\u202f: un objet tient lieu d\u2019autre chose. Les \u00e9tudes invitent \u00e0 s\u2019arr\u00eater. Dans les cas analys\u00e9s, le d\u00e9coupage peut s\u2019inscrire dans des rapports de pr\u00e9sence, de corps et d\u2019intention qui d\u00e9passent cette \u00e9quivalence. La question change\u202f: au-del\u00e0 de l\u2019image vue, qui peut la r\u00e9aliser, dans quelle situation intervient-elle et quelles responsabilit\u00e9s reconna\u00eet-on autour d\u2019elle\u202f?<sup class=\"cite\"><a href=\"#r17-fr-ref-2\">[2]<\/a><\/sup><sup class=\"cite\"><a href=\"#r17-fr-ref-3\">[3]<\/a><\/sup><\/p><p>La discussion de Reinoso Niche examine plusieurs lectures anthropologiques : corps, visages, portraits ou formes de relation \u00e0 des entit\u00e9s. Elles ne constituent pas un dictionnaire donnant un sens fixe \u00e0 chaque silhouette. Ce sont des outils interpr\u00e9tatifs issus de recherches diff\u00e9rentes, rassembl\u00e9s et examin\u00e9s par une autrice. Les citer comme des explications universelles directement fournies par une communaut\u00e9 effacerait deux \u00e9tapes essentielles : le contexte local et l\u2019interpr\u00e9tation de la personne qui \u00e9crit.<sup class=\"cite\"><a href=\"#r17-fr-ref-2\">[2]<\/a><\/sup><\/p><p>Il faut \u00e9galement distinguer support et fonction. Identifier le papier d\u2019une pi\u00e8ce r\u00e9pond \u00e0 une question mat\u00e9rielle\u202f; cela ne dit pas son usage, si elle a \u00e9t\u00e9 produite pour la vente ou une c\u00e9r\u00e9monie, ni qui a autoris\u00e9 sa circulation. Une photographie de mus\u00e9e, une pi\u00e8ce commerciale et un d\u00e9coupage utilis\u00e9 dans une pratique situ\u00e9e demandent des histoires de provenance distinctes. Une ressemblance formelle ne les rend pas \u00e9quivalents.<\/p><\/section><section class=\"prose\" id=\"r17-fr-section-3\"><figure class=\"iict-viz viz-fold\" id=\"iict-viz-r17-fr\" lang=\"fr\" aria-labelledby=\"iict-viz-r17-fr-title\"><header><div class=\"viz-kicker\"><span>Carnets visuels<\/span><span>R17 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r17-fr-title\">Du mat\u00e9riau \u00e0 la responsabilit\u00e9<\/h3><p>Comprendre une pi\u00e8ce exige de conserver les relations qui lui donnent sens.<\/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=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>Ce qui est visible<\/h4><p>Papier, d\u00e9coupe et forme : ce qu\u2019une observation mat\u00e9rielle peut d\u00e9crire.<\/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\">02<\/span><h4>Le contexte<\/h4><p>Lieu, mots et relations document\u00e9s par chaque ethnographie.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M80 22h120v56h-67l-24 20V78H80zM98 42h84M98 57h62\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>La d\u00e9cision<\/h4><p>Qui peut expliquer, enseigner ou autoriser une diffusion.<\/p><\/div><\/div><figcaption>Sch\u00e9ma de lecture ; les formes d\u00e9coratives ne reproduisent pas de d\u00e9coupes rituelles.<span class=\"viz-source\">Synth\u00e8se visuelle originale de l\u2019Institut \u00b7 <a href=\"#r17-fr-sources\">Sources et confrontation<\/a><\/span><\/figcaption><\/figure>\n<h2>Le corps et les mots qui l\u2019expliquent<\/h2><p>Les \u00e9tudes rappellent aussi que le corps n\u2019est pas toujours compris comme une unit\u00e9 isol\u00e9e. Dans les cas document\u00e9s, le travail du b\u00e4di appartient \u00e0 des fa\u00e7ons de penser les rapports entre sant\u00e9, affects, milieu et agents intervenant dans la vie. Il serait inexact d\u2019assimiler cette conception \u00e0 la m\u00e9decine clinique contemporaine ou de la traiter comme une curiosit\u00e9 sans valeur pour ses participants. D\u00e9crire avec rigueur exige de respecter les mots locaux, leur lieu de collecte et les choix \u00e9thiques des personnes partageant le savoir.<\/p><p>Un terme ne tient pas toujours dans une seule traduction. Dans l\u2019article sur Pantepec, j\u00e4i relie les notions de corps, de personne et de gens\u202f; nzahki intervient dans l\u2019explication de la force vitale. L\u2019\u00e9tude de l\u2019Hidalgo \u00e9crit nz\u00e1ki. Nous conservons ces graphies en les attribuant \u00e0 leurs sources\u202f: leur diff\u00e9rence n\u2019est ni une coquille \u00e0 corriger ni la preuve suffisante d\u2019un champ de sens exactement identique.<sup class=\"cite\"><a href=\"#r17-fr-ref-1\">[1]<\/a><\/sup><sup class=\"cite\"><a href=\"#r17-fr-ref-3\">[3]<\/a><\/sup><\/p><p>La pr\u00e9cision commence par reconna\u00eetre les personnes ayant rendu cette \u00e9criture possible. Reinoso Niche remercie en note Lorena Cruz T\u00e9llez et Estela Francisco Tolentino, enseignantes du CONAFE \u00e0 Ixtololoya, pour leur aide \u00e0 la traduction et \u00e0 la graphie. Cette mention documente une collaboration \u00e0 cette recherche. Elle ne signifie pas qu\u2019elles ont relu cet article et n\u2019autorise pas \u00e0 pr\u00e9senter notre traduction comme approuv\u00e9e localement.<sup class=\"cite\"><a href=\"#r17-fr-ref-1\">[1]<\/a><\/sup><\/p><p>En espagnol, fuerza peut d\u00e9signer capacit\u00e9 physique, autorit\u00e9, intensit\u00e9 ou principe de vie. Deux textes utilisant ce mot ne parlent pas n\u00e9cessairement d\u2019une grandeur mesurable avec les m\u00eames instruments. Nous d\u00e9crivons ici des cat\u00e9gories pr\u00e9sentes dans les ethnographies. Leur comparaison demande d\u2019expliquer leurs usages et les relations qu\u2019elles permettent de penser, sans les transformer en r\u00e9sultats cliniques ou en ph\u00e9nom\u00e8nes physiques d\u00e9montr\u00e9s.<\/p><\/section><figure class=\"visual\"><h3>Quatre questions devant une pi\u00e8ce<\/h3><div class=\"questions\"><div class=\"question\"><b>Qui\u202f?<\/b><p>Auteur, apprentissage et reconnaissance.<\/p><\/div><div class=\"question\"><b>O\u00f9\u202f?<\/b><p>Localit\u00e9 et trajectoire de l\u2019objet.<\/p><\/div><div class=\"question\"><b>Pour quoi\u202f?<\/b><p>Contexte d\u00e9clar\u00e9, non d\u00e9duit de la silhouette.<\/p><\/div><div class=\"question\"><b>Avec quelle autorisation\u202f?<\/b><p>Port\u00e9e de l\u2019exposition et de la reproduction.<\/p><\/div><\/div><\/figure><section class=\"prose\" id=\"r17-fr-section-4\"><aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r17-fr\" lang=\"fr\" aria-labelledby=\"iict-reading-r17-fr-title\"><span class=\"reading-kicker\">Une histoire concr\u00e8te<\/span><h3 id=\"iict-reading-r17-fr-title\">Un auteur signe le papier<\/h3><p>Alfonso Margarito Garc\u00eda T\u00e9llez, de San Pablito, propose une autre approche du papier. La Soci\u00e9t\u00e9 d\u2019ethnologie a publi\u00e9 en 2018 \u00c9crits. Manuscrits \u00e0 miniatures otomi, sous son nom d\u2019auteur. Sa pr\u00e9sentation d\u00e9crit des livres faits \u00e0 la main depuis les ann\u00e9es 1970 : des feuilles pli\u00e9es en accord\u00e9on associant \u00e9criture en espagnol r\u00e9gional et figures d\u00e9coup\u00e9es. <a class=\"reading-ref\" href=\"#iict-reading-r17-fr-source\" aria-label=\"Voir sources et comparaison\">\u2197<\/a><\/p><p>Le d\u00e9placement du regard est important : une personne compose un livre, choisit ce qu\u2019elle raconte et produit des exemplaires diff\u00e9rents. Le savoir a un auteur et un mode de circulation. Le reconna\u00eetre remet au centre la d\u00e9cision de celui qui \u00e9crit et invite \u00e0 questionner l\u2019usage de chaque objet avant de le reproduire.<\/p><p class=\"reading-links\"><a href=\"https:\/\/www.societe-ethnologie.fr\/collections-ecritures.php\">Soci\u00e9t\u00e9 d\u2019ethnologie \u00b7 \u00c9crits, Alfonso M. Garc\u00eda T\u00e9llez, 2018<\/a> \u00b7 <a href=\"#r17-fr-sources\">Sources et confrontation<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r17-a-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r17-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-r17-a-fr-title\">Un livre qui s\u2019ouvre en accord\u00e9on<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r17-a-fr-art-title iict-plate-r17-a-fr-art-desc\"><title id=\"iict-plate-r17-a-fr-art-title\">Un livre qui s\u2019ouvre en accord\u00e9on<\/title><desc id=\"iict-plate-r17-a-fr-art-desc\">1. Le support d\u00e9pliable relie texte et papier. 2. L\u2019\u00e9dition identifie Alfonso Margarito Garc\u00eda T\u00e9llez comme auteur. 3. Lire demande de conserver provenance et contexte. Dessin du format d\u00e9crit par la Soci\u00e9t\u00e9 d\u2019ethnologie, sans copier d\u00e9coupes, textes ou figures rituelles.<\/desc><defs><pattern id=\"iict-plate-r17-a-fr-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r17-a-fr-grain)\"\/><path d=\"M85 98 L198 152 V332 L85 278Z\" fill=\"#f0e5cd\" stroke=\"#b9a476\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M97 123 L185 177\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M97 144 L185 198\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M97 165 L185 219\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" 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stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M210 240 L298 186\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M210 261 L298 207\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M210 282 L298 228\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M311 98 L424 152 V332 L311 278Z\" fill=\"#f0e5cd\" stroke=\"#b9a476\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M323 123 L411 177\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M323 144 L411 198\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M323 165 L411 219\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" 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stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M436 240 L524 186\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M436 261 L524 207\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M436 282 L524 228\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M537 98 L650 152 V332 L537 278Z\" fill=\"#f0e5cd\" stroke=\"#b9a476\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 123 L637 177\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 144 L637 198\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 165 L637 219\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 186 L637 240\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 207 L637 261\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M549 228 L637 282\" fill=\"none\" stroke=\"#cab994\" stroke-width=\"0.9\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M76 92 L76 283 M650 94 V280\" fill=\"none\" stroke=\"#9e8351\" stroke-width=\"5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"114\" cy=\"353\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"114\" y=\"361\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"375\" cy=\"63\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"71\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"643\" cy=\"353\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"643\" y=\"361\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Le support d\u00e9pliable relie texte et papier.<\/li><li>L\u2019\u00e9dition identifie Alfonso Margarito Garc\u00eda T\u00e9llez comme auteur.<\/li><li>Lire demande de conserver provenance et contexte.<\/li><\/ol><figcaption class=\"plate-caption\">Dessin du format d\u00e9crit par la Soci\u00e9t\u00e9 d\u2019ethnologie, sans copier d\u00e9coupes, textes ou figures rituelles. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r17-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>Apprendre, c\u2019est assumer des responsabilit\u00e9s<\/h2><p>Si l\u2019habilet\u00e9 manuelle suffisait, une bonne copie qualifierait son auteur. Les textes consult\u00e9s situent la reconnaissance du sp\u00e9cialiste dans un ensemble plus large de savoirs, d\u2019exp\u00e9riences et de reconnaissance par d\u2019autres personnes. Une distinction en d\u00e9coule pour le visiteur : reproduire l\u2019apparence d\u2019une pi\u00e8ce ne transmet pas la position de la personne habilit\u00e9e \u00e0 intervenir avec elle.<sup class=\"cite\"><a href=\"#r17-fr-ref-1\">[1]<\/a><\/sup><sup class=\"cite\"><a href=\"#r17-fr-ref-3\">[3]<\/a><\/sup><\/p><p>Cette responsabilit\u00e9 concerne aussi le mus\u00e9e et l\u2019\u00e9cran. Montrer un objet exige d\u2019\u00e9tablir sa provenance, son auteur, le contexte pour lequel il fut produit et l\u2019autorisation couvrant sa reproduction. Le consentement du photographe et les d\u00e9cisions des personnes ou communaut\u00e9s li\u00e9es \u00e0 l\u2019objet r\u00e9pondent \u00e0 des questions diff\u00e9rentes. La pr\u00e9sence d\u2019une image en ligne ne r\u00e8gle pas les deux.<\/p><p>Cette approche invite \u00e0 regarder le papier sans s\u2019approprier le symbole. La meilleure aide visuelle initiale pourrait \u00eatre une composition de mati\u00e8res et d\u2019outils quotidiens plut\u00f4t que la reproduction exacte d\u2019une figure aux significations r\u00e9serv\u00e9es, suivie de photographies d\u2019archives dont on conna\u00eet le consentement et le contexte. L\u2019image peut annoncer le sujet\u202f; elle ne doit pas pr\u00e9tendre \u00e0 une autorit\u00e9 sur la c\u00e9r\u00e9monie.<\/p><p>L\u2019illustration de cet article repr\u00e9sente uniquement des feuilles non d\u00e9coup\u00e9es et des outils ordinaires. Elle ne reproduit aucun dessin rituel et ne reconstitue aucune c\u00e9r\u00e9monie. Elle ouvre une question sur le passage d\u2019une mati\u00e8re quotidienne \u00e0 un objet situ\u00e9\u202f; elle n\u2019enseigne pas la fabrication d\u2019une figure et ne lui attribue aucune efficacit\u00e9.<\/p><\/section><section class=\"prose\" id=\"r17-fr-section-5\"><figure class=\"iict-plate\" id=\"iict-plate-r17-b-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r17-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-r17-b-fr-title\">Le nom de l\u2019auteur appartient aussi \u00e0 l\u2019image<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r17-b-fr-art-title iict-plate-r17-b-fr-art-desc\"><title id=\"iict-plate-r17-b-fr-art-title\">Le nom de l\u2019auteur appartient aussi \u00e0 l\u2019image<\/title><desc id=\"iict-plate-r17-b-fr-art-desc\">1. Auteur : qui d\u00e9cide ce qui est communiqu\u00e9. 2. Circulation : comment l\u2019\u0153uvre est publi\u00e9e et pr\u00e9sent\u00e9e. 3. Contexte : pour qui et pourquoi elle prend sens. Relations de lecture et d\u2019attribution ; ce n\u2019est ni une transmission rituelle ni une autorisation de tout usage de l\u2019\u0153uvre publi\u00e9e.<\/desc><defs><pattern id=\"iict-plate-r17-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-r17-b-fr-grain)\"\/><g transform=\"translate(375 203) scale(1.45)\"><path d=\"M0 -67 C-36 -92 -83 -82 -105 -76 L-105 65 C-61 53 -24 57 0 76 C24 57 61 53 105 65 L105 -76 C70 -86 30 -90 0 -67Z\" fill=\"#f6efde\" stroke=\"#9c8e6b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><line x1=\"0\" y1=\"-65\" x2=\"0\" y2=\"73\" stroke=\"#9c8e6b\" stroke-width=\"2\" \/><path d=\"M-88 -45 Q-46 -54 -15 -35 M15 -35 Q46 -54 88 -45\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 -29 Q-46 -38 -15 -19 M15 -19 Q46 -38 88 -29\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 -13 Q-46 -22 -15 -3 M15 -3 Q46 -22 88 -13\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 3 Q-46 -6 -15 13 M15 13 Q46 -6 88 3\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 19 Q-46 10 -15 29 M15 29 Q46 10 88 19\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-88 35 Q-46 26 -15 45 M15 45 Q46 26 88 35\" fill=\"none\" stroke=\"#b8af94\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M104 316 L181 86 L194 91 L117 321Z\" fill=\"#cab281\" stroke=\"#917747\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M104 316 L103 333 L117 321Z\" fill=\"#8b7854\" stroke=\"#8b7854\" stroke-width=\"1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M538 111 Q598 45 658 128 Q677 176 631 220 M633 219 L646 194 M633 219 L612 204\" fill=\"none\" stroke=\"#a8b39a\" stroke-width=\"3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M120 349 Q378 392 635 345\" fill=\"none\" stroke=\"#b39b65\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"5 8\"\/><circle cx=\"159\" cy=\"354\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"159\" y=\"362\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"634\" cy=\"282\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"634\" y=\"290\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"375\" cy=\"63\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"71\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Auteur : qui d\u00e9cide ce qui est communiqu\u00e9.<\/li><li>Circulation : comment l\u2019\u0153uvre est publi\u00e9e et pr\u00e9sent\u00e9e.<\/li><li>Contexte : pour qui et pourquoi elle prend sens.<\/li><\/ol><figcaption class=\"plate-caption\">Relations de lecture et d\u2019attribution ; ce n\u2019est ni une transmission rituelle ni une autorisation de tout usage de l\u2019\u0153uvre publi\u00e9e. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r17-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>Une recherche qui garde le contexte<\/h2><p>Le r\u00e9cit final devra interroger transmission et responsabilit\u00e9\u202f: comment apprend-on une pratique, qu\u2019est-ce qui distingue un sp\u00e9cialiste d\u2019une personne qui d\u00e9coupe, qui d\u00e9cide d\u2019expliquer une sc\u00e8ne ou de la garder priv\u00e9e, comment le travail se transforme-t-il lorsqu\u2019un objet passe au mus\u00e9e ou sur un \u00e9cran\u202f? Ces questions permettent un r\u00e9cit rigoureux sans inventer de c\u00e9r\u00e9monies ni reconstituer des secrets.<\/p><p>La comparaison soutient une conclusion pr\u00e9cise\u202f: isoler la silhouette appauvrit l\u2019explication du travail du b\u00e4di. Pour le comprendre, il faut maintenir ensemble lieu, mots, personnes et responsabilit\u00e9s entourant l\u2019objet. La r\u00e9vision locale des termes et des approches reste ouverte. Elle pourra corriger nos cat\u00e9gories de lecture\u202f; l\u2019accumulation de reproductions ou la parole prise au nom des d\u00e9tenteurs ne la remplace pas.<\/p><\/section><section class=\"method\"><h2>\u00c9laboration de cet article<\/h2><p>Recherche documentaire r\u00e9vis\u00e9e le 5 novembre 2026. L\u2019\u00e9tude de Pantepec de 2020 a \u00e9t\u00e9 lue int\u00e9gralement\u202f; les sections indiqu\u00e9es des deux autres travaux ont \u00e9t\u00e9 compar\u00e9es. Aucun sp\u00e9cialiste n\u2019a \u00e9t\u00e9 interrog\u00e9 pour cet article. Les illustrations sont \u00e9ditoriales et ne reproduisent pas de d\u00e9coupages rituels.<\/p><\/section><details class=\"sources\" id=\"r17-fr-sources\"><summary>Sources et confrontation<small>Ouvrir la recherche\u202f: hypoth\u00e8ses, diff\u00e9rences, port\u00e9e et r\u00e9f\u00e9rences<\/small><\/summary><div class=\"sourcebody\"><section class=\"contrast-item\"><h3><span class=\"number\">01<\/span>Quelle hypoth\u00e8se guide la comparaison\u202f?<\/h3><p>La forme mat\u00e9rielle suffit-elle \u00e0 expliquer la figure\u202f? Les sources la situent dans des relations de corps, de savoir et d\u2019action sociale\u202f; une explication purement d\u00e9corative est donc insuffisante pour les cas \u00e9tudi\u00e9s. Ce r\u00e9sultat ne transforme pas tout objet otom\u00ed en papier en pi\u00e8ce c\u00e9r\u00e9monielle et ne permet pas d\u2019en identifier la fonction sans provenance. [1\u20133]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">02<\/span>Que compare-t-on et que maintient-on s\u00e9par\u00e9\u202f?<\/h3><p>Reinoso Niche travaille dans des communaut\u00e9s de Pantepec, Puebla. Baez Cubero et ses coauteurs \u00e9tudient des localit\u00e9s de l\u2019est de l\u2019Hidalgo. Nous comparons des probl\u00e8mes \u2014 corps, force et reconnaissance \u2014 sans fusionner les r\u00e9pertoires. Le lien r\u00e9gional ne prouve pas que tous les mots, figures ou pratiques soient interchangeables entre Ixtololoya, Tenango de Doria et Santa Ana Hueytlalpan. [1, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">03<\/span>S\u2019agit-il de trois confirmations ind\u00e9pendantes\u202f?<\/h3><p>Non. Les deux premiers articles partagent une autrice et une trajectoire de recherche\u202f; leur accord ne compte pas comme corroboration ind\u00e9pendante. Le troisi\u00e8me apporte d\u2019autres auteurs et localit\u00e9s, mais dialogue avec une bibliographie partag\u00e9e. La comparaison fait varier approches et terrains\u202f; ce ne sont pas trois exp\u00e9riences ind\u00e9pendantes prouvant une m\u00eame proposition. [1\u20133]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">04<\/span>En quoi les explications des figures diff\u00e8rent-elles\u202f?<\/h3><p>Reinoso Niche examine notamment les cat\u00e9gories de corps, de visage et de portrait\u202f; l\u2019\u00e9tude de l\u2019Hidalgo insiste sur les relations et les capacit\u00e9s d\u2019action attribu\u00e9es au d\u00e9coupage. Ces perspectives peuvent \u00e9clairer des dimensions diff\u00e9rentes. Elles ne se r\u00e9solvent ni par une \u00e9tiquette unique ni par la traduction de toutes en symbole d\u00e9coratif. L\u2019attribution et le contexte de chaque lecture restent explicites. [2, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">05<\/span>Que sait-on des mots et de leur traduction\u202f?<\/h3><p>Nous conservons b\u00e4di ainsi que les graphies attribu\u00e9es nzahki et nz\u00e1ki. Reinoso Niche reconna\u00eet l\u2019aide d\u2019enseignantes d\u2019Ixtololoya pour la traduction et l\u2019\u00e9criture\u202f; l\u2019\u00e9tude de l\u2019Hidalgo rel\u00e8ve d\u2019autres formes et usages. Une glose espagnole oriente le lecteur sans remplacer l\u2019explication dans la variante locale. La r\u00e9vision de ce manuscrit avec une personne sp\u00e9cialiste autoris\u00e9e reste \u00e0 faire. [1, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">06<\/span>Pourquoi plusieurs dates pour une m\u00eame source\u202f?<\/h3><p>L\u2019article sur les Antiguas appartient au num\u00e9ro imprim\u00e9 de janvier\u2013juin 2021 et le portail indique une publication en 2024. Saber ritual otom\u00ed figure dans un num\u00e9ro dat\u00e9 2019, fut accept\u00e9 en 2020 et publi\u00e9 \u00e9lectroniquement en 2021. Ces \u00e9l\u00e9ments sont conserv\u00e9s dans les r\u00e9f\u00e9rences\u202f: une mise en ligne ne date pas automatiquement le terrain. [2, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">07<\/span>Comment parler de soin sans affirmer une efficacit\u00e9 clinique\u202f?<\/h3><p>Les sources permettent d\u2019\u00e9tudier les interpr\u00e9tations des afflictions, des relations et de l\u2019attention dans leurs contextes. Elles ne pr\u00e9sentent pas ici d\u2019essai clinique comparatif. Les cat\u00e9gories rituelles sont attribu\u00e9es aux ethnographies et \u00e0 leurs interlocuteurs\u202f; elles ne deviennent ni diagnostic pour le lecteur ni preuve d\u2019un m\u00e9canisme physique. Respect culturel et pr\u00e9cision sur la nature des preuves sont compatibles. [1\u20133]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">08<\/span>Que pourrait changer une r\u00e9vision locale\u202f?<\/h3><p>Elle pourrait pr\u00e9ciser graphies, limites de traduction, traitement de certains termes et images pouvant circuler. Une chronique avec des sources vivantes demanderait consentement et accords d\u2019utilisation. L\u2019illustration neutre permet de livrer d\u00e8s maintenant une analyse documentaire sans remplacer cette r\u00e9vision ni reproduire des dessins dont l\u2019exposition exige une d\u00e9cision sp\u00e9cifique.<\/p><\/section><section class=\"bibliography\"><h3>R\u00e9f\u00e9rences documentaires<\/h3><ol><li id=\"r17-fr-ref-1\"><a href=\"https:\/\/www.redalyc.org\/journal\/5295\/529566709007\/529566709007.pdf\">Jorgelina Reinoso Niche. \u00ab El Costumbre en el cuerpo del b\u00e4di. Las energ\u00edas an\u00edmicas del especialista ritual otom\u00ed en Pantepec, Puebla \u00bb. Cuicuilco 27(78) (mai\u2013ao\u00fbt 2020), 97\u2013115. Texte int\u00e9gral consult\u00e9 sur Redalyc.<\/a><\/li><li id=\"r17-fr-ref-2\"><a href=\"https:\/\/www.revistas.inah.gob.mx\/index.php\/diariodecampo\/article\/view\/20184\">Jorgelina Reinoso Niche. \u00ab El don sagrado de recortar a las Antiguas y el chamanismo otom\u00ed \u00bb. Diario de Campo 12, 12\u201334. Num\u00e9ro imprim\u00e9 janvier\u2013juin 2021\u202f; publication sur le portail le 7 juin 2024. Introduction, discussion des figures et conclusions consult\u00e9es.<\/a><\/li><li id=\"r17-fr-ref-3\"><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/diariodecampo\/article\/view\/17213\">Lourdes Baez Cubero, Mar\u00eda Berenice Morales Aguilar, Mar\u00eda Guadalupe Ram\u00edrez Ramos et David P\u00e9rez Gonz\u00e1lez. \u00ab Saber ritual otom\u00ed. T\u00e9cnicas del cuerpo y del esp\u00edritu \u00bb. Diario de Campo 8\u20139, 110\u2013124. Num\u00e9ro dat\u00e9 2019\u202f; acceptation en 2020\u202f; publication \u00e9lectronique le 12 octobre 2021. R\u00e9sum\u00e9, introduction et section sur le papier d\u00e9coup\u00e9, 110\u2013115, consult\u00e9s.<\/a><\/li><\/ol><\/section><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r17-fr-source\" lang=\"fr\"><h4>Un auteur signe le papier<\/h4><p>La pr\u00e9sentation \u00e9ditoriale identifie auteur et format ; elle n\u2019est pas donn\u00e9e pour une lecture du livre entier. San Pablito et les cas de Pantepec\/Hidalgo gardent leurs contextes.<\/p><p><a href=\"https:\/\/www.societe-ethnologie.fr\/collections-ecritures.php\">Soci\u00e9t\u00e9 d\u2019ethnologie \u00b7 \u00c9crits, Alfonso M. Garc\u00eda T\u00e9llez, 2018<\/a> \u00b7 <a href=\"#iict-reading-r17-fr\">Revenir au passage<\/a><\/p><\/section>\n<\/details><nav class=\"endnav\"><div><a href=\"https:\/\/totonacapan.com\/?page_id=1225#indice-articulos-fr\">\u2190 Retour \u00e0 l\u2019index des recherches<\/a><small>Cahiers de recherche \u00b7 R17<\/small><\/div><div><span class=\"eyebrow\">Lecture associ\u00e9e<\/span><a href=\"https:\/\/totonacapan.com\/?page_id=1253#r03-fr-text\">R03 \u00b7 Langues du Totonacapan\u202f: variantes, territoires et transmission \u2192<\/a><\/div><\/nav><!-- IICT-CITE R17 fr --><aside class=\"iict-citation\" id=\"citar-r17-fr\" aria-labelledby=\"citar-r17-fr-title\"><h2 id=\"citar-r17-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. \u00abFigures de papier, corps et soin : le travail d\u2019un b\u00e4di otom\u00ed\u00bb. <cite>Cahiers de recherche<\/cite>, <strong>R17<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1351#r17-fr\">https:\/\/totonacapan.com\/?page_id=1351#r17-fr<\/a>.<\/blockquote><p><strong>R\u00e9f\u00e9rence interne:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1351#r17-fr\">R17<\/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 R17 fr --><\/article><\/details><\/div><script>(function(){function openArticle(){var root=document.querySelector(\"#research-r17-release\"),t=document.getElementById(decodeURIComponent(location.hash.slice(1)));if(!root||!t||!root.contains(t))return;var p=t;while(p&&p!==root){if(p.tagName===\"DETAILS\")p.open=true;p=p.parentElement;}requestAnimationFrame(function(){requestAnimationFrame(function(){var q=t;while(q&&q!==root){if(q.tagName===\"DETAILS\")q.open=true;q=q.parentElement;}t.scrollIntoView({block:\"start\",behavior:\"instant\"});});});}addEventListener(\"hashchange\",openArticle);openArticle();})();<\/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 R17 \u00b7 Personas, materiales y conocimiento Figuras de papel, cuerpo y cuidado La tarea de un b\u00e4di otom\u00ed Revisi\u00f3n documental \u00b7 5 de noviembre de 2026 En pocas palabras Un recorte puede ser mucho m\u00e1s que una forma visible. 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