{"id":1354,"date":"2026-11-05T19:03:14","date_gmt":"2026-11-05T19:03:14","guid":{"rendered":"https:\/\/totonacapan.com\/?page_id=1354"},"modified":"2026-11-06T18:56:35","modified_gmt":"2026-11-06T18:56:35","slug":"quetzalin-y-voladores-dos-danzas-que-no-se-explican-con-una-sola-imagen","status":"publish","type":"page","link":"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/quetzalin-y-voladores-dos-danzas-que-no-se-explican-con-una-sola-imagen\/","title":{"rendered":"Quetzal\u00edn y Voladores: dos danzas que no se explican con una sola imagen"},"content":{"rendered":"<style id=\"iict-free-voladores-photo-style\">figure.iict-free-voladores-photo{display:block!important;float:none!important;clear:both;width:100%!important;max-width:100%!important;box-sizing:border-box;margin:2.5rem 0!important;padding:1.2rem!important;background:rgba(244,239,225,.45);border-top:1px solid 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article .research-hypotheses h3{font-size:1.17rem!important}#research-r18-release.iict-journal article .research-hypotheses p{font-size:1rem!important}}\n\n\/* IICT VISUALES FINAL 20261106 *\/\n#research-r18-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-r18-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-r18-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=\"#r18-es\">Espa\u00f1ol<\/a><a href=\"#r18-en\">English \u00b7 full article<\/a><a href=\"#r18-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=\"r18-es\" lang=\"es\"><header class=\"hero\"><div class=\"kicker\">R18 \u00b7 Mirar, escuchar y distinguir<\/div><h1>Quetzal\u00edn y Voladores<\/h1><p class=\"subtitle\">Dos danzas que no se explican con una sola imagen<\/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>Dos fotograf\u00edas de Puebla, dos danzas y una pregunta: \u00bfqu\u00e9 hace falta para comprender lo que vemos? Una imagen muestra Quetzales en Cuetzalan; la otra, Voladores en Huehuetla. La comparaci\u00f3n sigue m\u00fasica, aprendizaje y vida comunitaria, conserva el contexto de cada imagen y pone el reconocimiento patrimonial junto a estudios locales, entre ellos una investigaci\u00f3n sobre mujeres voladoras.<\/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=\"#r18-es-section-0\">Una primera diferencia<\/a><a href=\"#r18-es-section-1\">El nombre no sustituye al lugar<\/a><a href=\"#r18-es-section-2\">La m\u00fasica distingue lo que la vista acerca<\/a><a href=\"#r18-es-section-3\">Qu\u00e9 reconoce una inscripci\u00f3n patrimonial<\/a><a href=\"#r18-es-section-4\">Lo que cambia cuando tambi\u00e9n vuelan mujeres<\/a><a href=\"#r18-es-section-5\">Una fotograf\u00eda muestra; el aprendizaje sostiene<\/a><a href=\"#r18-es-sources\">Fuentes y contraste<\/a><\/nav><\/details><section class=\"prose\" id=\"r18-es-section-0\"><h2>Una primera diferencia<\/h2><p>En una fiesta de la Sierra Norte, el movimiento puede elevarse por encima de las cabezas sin contar siempre la misma historia. Un penacho de Quetzal\u00edn, registrado por el INAH, remite a referencias de aves y ciclos del entorno; la ceremonia ritual de los Voladores, inscrita por UNESCO como patrimonio cultural inmaterial, posee sus propios momentos y relaciones de sentido. Ambas requieren m\u00fasica, formaci\u00f3n y comunidad, pero ser\u00eda un error confundirlas porque el visitante vea plumas o altura.<\/p><\/section><figure class=\"visual\"><h3>Parecidos visibles, preguntas distintas<\/h3><div class=\"photo-pair\"><figure class=\"photo\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-quetzales-cuetzalan-20261104.jpg\" alt=\"Participantes de la danza de Quetzales en Cuetzalan, con grandes tocados circulares.\" width=\"1920\" height=\"1280\" loading=\"lazy\"><figcaption>Quetzales \u00b7 Cuetzalan, Puebla \u00b7 4 de octubre de 2012 \u00b7 Luce051 \/ Wikimedia Commons \u00b7 CC BY-SA 4.0. Imagen ajustada proporcionalmente, sin recorte.<span class=\"figlinks\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Danza_Los_Quetzales_de_Cuetzalan.jpg\">Ficha de la fotograf\u00eda<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a><\/span><\/figcaption><\/figure><figure class=\"photo\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-voladores-huehuetla-20261104.jpg\" alt=\"Ceremonia de los Voladores en Huehuetla, Puebla, con participantes en el poste.\" width=\"1920\" height=\"1440\" loading=\"lazy\"><figcaption>Voladores \u00b7 Huehuetla, Puebla \u00b7 6 de agosto de 2022 \u00b7 Raxa.Kame \/ Wikimedia Commons \u00b7 CC BY-SA 4.0. Imagen ajustada proporcionalmente, sin recorte.<span class=\"figlinks\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Ritual_de_Los_Voladores_en_Huehuetla,_Puebla.jpg\">Ficha de la fotograf\u00eda<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a><\/span><\/figcaption><\/figure><\/div><\/figure><section class=\"prose\" id=\"r18-es-section-1\"><h2>El nombre no sustituye al lugar<\/h2><p>La nota del INAH dedicada al penacho Quetzalin relaciona esa pieza con danzas de la Sierra Norte de Puebla, en particular Cuetzalan, y con referencias a aves y ciclos del entorno. Es una entrada \u00fatil para mirar el objeto; no contiene por s\u00ed sola la historia completa de una agrupaci\u00f3n ni prueba que cada persona atribuya el mismo sentido a sus materiales. En las fuentes y fotograf\u00edas aparecen las denominaciones Quetzal\u00edn, Quetzalines y Quetzales: conservamos el nombre que utiliza cada una, sin declarar id\u00e9nticas todas las variantes.<sup class=\"cite\"><a href=\"#r18-es-ref-1\">[1]<\/a><\/sup><\/p><p>Para situar una celebraci\u00f3n concreta conviene contrastar sus calendarios. Moya Ram\u00edrez relata una visita de septiembre de 2012 a San Miguel Tzinacapan durante la fiesta de San Miguel Arc\u00e1ngel. La ficha cultural de Cuetzalan describe, en cambio, la fiesta de San Francisco de As\u00eds del 4 de octubre. Comparten un \u00e1mbito municipal y la presencia de danzas, pero no son una misma fiesta ni una fecha intercambiable.<sup class=\"cite\"><a href=\"#r18-es-ref-5\">[5]<\/a><\/sup><sup class=\"cite\"><a href=\"#r18-es-ref-6\">[6]<\/a><\/sup><\/p><p>La imagen de Quetzales seleccionada aqu\u00ed est\u00e1 identificada como Cuetzalan y fechada el 4 de octubre de 2012. Esa coincidencia de fecha no autoriza a asignarla a la visita de septiembre descrita por Moya Ram\u00edrez ni a nombrar a sus protagonistas. La fotograf\u00eda de Voladores corresponde a Huehuetla, Puebla, el 6 de agosto de 2022, seg\u00fan su ficha. No es Huehuetla, Hidalgo, ni una escena de Papantla.<\/p><\/section><figure class=\"iict-free-voladores-photo\" id=\"foto-voladores-cuetzalan-es\" lang=\"es\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026\/11\/iict-voladores-cuetzalan-fernandez-tarrio-2016-1024x791.jpg&#038;origen=1354&#038;idioma=es\" target=\"_blank\" rel=\"noopener\" aria-label=\"Ficha y lecturas relacionadas\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-voladores-cuetzalan-fernandez-tarrio-2016-1024x791.jpg\" width=\"1024\" height=\"791\" alt=\"Un danzante asciende por el palo en Cuetzalan, Puebla, el 10 de abril de 2016. La fotograf\u00eda documenta un momento previo al vuelo y ampl\u00eda la mirada m\u00e1s all\u00e1 de los grandes tocados y del descenso.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption><strong>La subida tambi\u00e9n forma parte de la ceremonia \u00b7 Cuetzalan<\/strong>Un danzante asciende por el palo en Cuetzalan, Puebla, el 10 de abril de 2016. La fotograf\u00eda documenta un momento previo al vuelo y ampl\u00eda la mirada m\u00e1s all\u00e1 de los grandes tocados y del descenso.<span class=\"iict-photo-credit\">Rosalia Fernandez Tarrio \/ Wikimedia Commons \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a> \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Subiendo_pa_volar.jpg\">Fuente<\/a>. Fotograf\u00eda completa; ajustada de tama\u00f1o, sin recorte.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026\/11\/iict-voladores-cuetzalan-fernandez-tarrio-2016-1024x791.jpg&#038;origen=1354&#038;idioma=es\" target=\"_blank\" rel=\"noopener\">Ficha y lecturas relacionadas \u2192<\/a><\/figcaption><\/figure>\n<section class=\"prose\" id=\"r18-es-section-2\"><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 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.viz-art{border:0;gap:0}#main figure.iict-viz:is(.viz-network,.viz-coordinates,.viz-cycle) .viz-cell{border:1px solid #cfc3a9;margin-bottom:12px!important}#main figure.iict-viz.viz-flow .viz-cell:not(:last-child)::after{content:'\u2193';top:auto;bottom:-15px;right:50%;font-size:20px}#main figure.iict-viz.viz-timeline .viz-art{border-top:0;border-left:1px solid #ad9453;padding:0 0 0 20px;gap:24px}#main figure.iict-viz.viz-timeline .viz-cell::before{top:8px;left:-25px}#main figure.iict-viz.viz-layers .viz-cell{padding:.9rem .6rem!important;grid-template-columns:27px 1fr;column-gap:8px}#main figure.iict-viz.viz-layers .viz-art{gap:0}#main figure.iict-viz:is(.viz-water,.viz-duet) .viz-cell{padding:1rem!important}#main figure.iict-viz.viz-triptych .viz-cell{display:grid;grid-template-columns:65px 1fr;column-gap:14px}#main figure.iict-viz.viz-triptych .viz-cell svg{grid-row:1\/4;height:65px!important;margin:0!important}#main figure.iict-viz.viz-triptych .viz-number{display:none}}\n@media print{#main figure.iict-viz{box-shadow:none!important;background:#fff!important}#main figure.iict-viz .viz-cell{break-inside:avoid}}\n@media(max-width:620px){#main figure.iict-viz.viz-vanilla .viz-cell{display:grid;grid-template-columns:72px minmax(0,1fr);column-gap:14px;align-content:start}#main figure.iict-viz.viz-vanilla .viz-cell svg{grid-row:1\/4;width:72px!important;height:100px!important;margin:0!important}#main figure.iict-viz.viz-vanilla .viz-number{display:none}#main figure.iict-viz.viz-vanilla h4{font-size:16px!important}#main figure.iict-viz.viz-vanilla .viz-cell p{font-size:15px!important}}<\/style>\n<figure class=\"iict-viz viz-duet\" id=\"iict-viz-r18-es\" lang=\"es\" aria-labelledby=\"iict-viz-r18-es-title\"><header><div class=\"viz-kicker\"><span>Cuadernos visuales<\/span><span>R18 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r18-es-title\">Escuchar tambi\u00e9n ayuda a distinguir<\/h3><p>Reconocer un instrumento no basta para identificar una pr\u00e1ctica.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:2\"><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=\"M74 90l83-75 10 12-82 76zM103 65l5 6M118 51l5 6M133 37l5 6\"\/><ellipse cx=\"189\" cy=\"67\" rx=\"27\" ry=\"12\"\/><path d=\"M162 67v27q28 18 54 0V67M174 75l9 28M204 75l-9 28\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>Quetzales en Tzinacapan<\/h4><p>El informe de Moya Ram\u00edrez registra flauta y tambor en su contexto de observaci\u00f3n.<\/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=\"M74 90l83-75 10 12-82 76zM103 65l5 6M118 51l5 6M133 37l5 6\"\/><ellipse cx=\"189\" cy=\"67\" rx=\"27\" ry=\"12\"\/><path d=\"M162 67v27q28 18 54 0V67M174 75l9 28M204 75l-9 28\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>Voladores<\/h4><p>La documentaci\u00f3n patrimonial describe al caporal y sus funciones musicales.<\/p><\/div><\/div><figcaption>Instrumentos compartidos no demuestran repertorios, se\u00f1ales ni sentidos id\u00e9nticos.<span class=\"viz-source\">S\u00edntesis visual original del Instituto \u00b7 <a href=\"#r18-es-sources\">Fuentes y contraste<\/a><\/span><\/figcaption><\/figure>\n<h2>La m\u00fasica distingue lo que la vista acerca<\/h2><p>El informe de Moya Ram\u00edrez describe flauta y tambor en la danza de Quetzales observada en Tzinacapan. Su texto incluye la explicaci\u00f3n de un m\u00fasico acerca del aprendizaje y de la adaptaci\u00f3n de sus instrumentos. Ese testimonio fue recogido por aquel equipo en 2012; aqu\u00ed se atribuye al informe, no a una conversaci\u00f3n realizada por el Instituto. La descripci\u00f3n vale para el contexto que documenta y no establece un plazo obligatorio de aprendizaje para todos los m\u00fasicos.<sup class=\"cite\"><a href=\"#r18-es-ref-5\">[5]<\/a><\/sup><\/p><p>La fotograf\u00eda no deja o\u00edr la m\u00fasica. La ficha de UNESCO describe al caporal tocando flauta y tambor en la ceremonia de los Voladores. Que otra danza use esos tipos de instrumento no prueba que comparta m\u00fasica, secuencias o responsabilidades. Para compararlas de forma completa hacen falta grabaciones identificadas por lugar y situaci\u00f3n, nombres locales de los sones y explicaciones de quienes los interpretan.<sup class=\"cite\"><a href=\"#r18-es-ref-2\">[2]<\/a><\/sup><\/p><p>El contraste ayuda a formular una observaci\u00f3n sencilla: reconocer una flauta no equivale a reconocer una pieza musical. Del mismo modo, una forma circular en un tocado y un movimiento circular en el aire no son una clave que permita descifrar conjuntamente dos ceremonias. Las semejanzas visuales abren preguntas; las respuestas requieren fuentes propias de cada pr\u00e1ctica.<\/p><\/section><figure class=\"visual\"><h3>Parecidos visibles, preguntas distintas<\/h3><div class=\"table-wrap\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Tabla de datos\" style=\"--journal-table-min:32rem\"><table><thead><tr><th scope=\"col\">Qu\u00e9 observamos<\/th><th scope=\"col\">Qu\u00e9 podemos decir<\/th><th scope=\"col\">Qu\u00e9 exige otra fuente<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Tocado y vestimenta<\/th><td>Forma y color en ese instante.<\/td><td>Uso local, autor\u00eda y sentido atribuido.<\/td><\/tr><tr><th scope=\"row\">Instrumentos o postura<\/th><td>Lo que efectivamente aparece en la imagen.<\/td><td>Repertorio, aprendizaje y responsabilidades.<\/td><\/tr><tr><th scope=\"row\">Lugar y fecha de la ficha<\/th><td>La procedencia declarada de cada fotograf\u00eda.<\/td><td>Identidades personales y relaci\u00f3n con otros estudios.<\/td><\/tr><tr><th scope=\"row\">Participaci\u00f3n visible<\/th><td>Qui\u00e9n aparece, sin asignar identidades no documentadas.<\/td><td>Decisiones, preparaci\u00f3n y tareas fuera de campo.<\/td><\/tr><\/tbody><\/table><\/div><\/div><\/figure><section class=\"prose\" id=\"r18-es-section-3\"><section class=\"iict-reading-addition\" data-kind=\"inline\" id=\"iict-reading-r18-es\" lang=\"es\" aria-labelledby=\"iict-reading-r18-es-title\"><h3 id=\"iict-reading-r18-es-title\">Una vara de caf\u00e9 tambi\u00e9n marca el comp\u00e1s<\/h3><p>En la observaci\u00f3n publicada por Alejandro Moya Ram\u00edrez sobre Tzinacapan aparece un detalle que acerca m\u00fasica y paisaje: el tambor se golpea con una vara de caf\u00e9. El informe describe sus dos caras de cuero y una flauta de carrizo tocada por la misma persona. Son materiales y destrezas del contexto que aquel equipo document\u00f3. <a class=\"reading-ref\" href=\"#iict-reading-r18-es-source\" aria-label=\"Ver fuentes y contraste\">\u2197<\/a><\/p><p>El cafetal vuelve a entrar en la fiesta por un camino distinto de la bebida o de la venta. Una rama se convierte en herramienta musical cuando alguien sabe elegirla y usarla. El detalle deja escuchar el aprendizaje detr\u00e1s del sonido y prepara otra pregunta: c\u00f3mo se reconoce y transmite ese trabajo.<\/p><p class=\"reading-links\"><a href=\"https:\/\/repository.uaeh.edu.mx\/revistas\/index.php\/ia\/article\/download\/624\/4373?inline=1\">Alejandro Moya Ram\u00edrez \u00b7 La Danza de los Quetzales, apartado M\u00fasica<\/a> \u00b7 <a href=\"#r18-es-sources\">Fuentes y contraste<\/a><\/p><\/section>\n<figure class=\"iict-plate\" id=\"iict-plate-r18-a-es\" lang=\"es\" aria-labelledby=\"iict-plate-r18-a-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 I<\/p><h3 id=\"iict-plate-r18-a-es-title\">Dos instrumentos, una coordinaci\u00f3n aprendida<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r18-a-es-art-title iict-plate-r18-a-es-art-desc\"><title id=\"iict-plate-r18-a-es-art-title\">Dos instrumentos, una coordinaci\u00f3n aprendida<\/title><desc id=\"iict-plate-r18-a-es-art-desc\">1. La flauta conduce una l\u00ednea sonora. 2. El tambor participa en la organizaci\u00f3n r\u00edtmica. 3. En el caso de Quetzal\u00edn de Tzinacapan, el estudio documenta a una persona tocando ambos. Instrumentos esquem\u00e1ticos a partir del estudio de Moya Ram\u00edrez; no es una transcripci\u00f3n ni un plano de fabricaci\u00f3n.<\/desc><defs><pattern id=\"iict-plate-r18-a-es-grain\" patternUnits=\"userSpaceOnUse\" width=\"17\" height=\"19\"><circle cx=\"2\" cy=\"3\" r=\".6\" fill=\"#a9a384\" opacity=\".15\"\/><circle cx=\"11\" cy=\"14\" r=\".5\" fill=\"#b3a98a\" opacity=\".16\"\/><\/pattern><\/defs><rect width=\"750\" height=\"420\" fill=\"url(#iict-plate-r18-a-es-grain)\"\/><g transform=\"translate(228 204) rotate(-22) scale(1.08)\"><rect x=\"-12\" y=\"-126\" width=\"24\" height=\"252\" rx=\"6\" fill=\"#d6bd86\" stroke=\"#88734b\" stroke-width=\"2\"\/><circle cx=\"0\" cy=\"-65\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-40\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-15\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"10\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"35\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"60\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><path d=\"M-12 -96 L12 -96 M-12 97 L12 97\" fill=\"none\" stroke=\"#88734b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><g transform=\"translate(476 224) scale(1.05)\"><path d=\"M-59 -38 L-52 68 Q0 99 52 68 L59 -38Z\" fill=\"#c9b48c\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-59 -38 Q0 -69 59 -38 Q0 -8 -59 -38Z\" fill=\"#e1d4b8\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-52 68 Q0 42 52 68\" fill=\"none\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-51 -32 L-42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-34 -32 L-28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-17 -32 L-14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -32 L0 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M17 -32 L14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M34 -32 L28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M51 -32 L42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M508 129 L618 80 L626 92 L516 141Z\" fill=\"#aa9360\" stroke=\"#837249\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M615 81 Q639 47 643 72 Q647 84 626 92\" fill=\"none\" stroke=\"#837249\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M308 80 Q366 37 413 81 M316 96 Q362 65 403 96\" fill=\"none\" stroke=\"#b5bba3\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"154\" cy=\"98\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"154\" y=\"106\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"479\" cy=\"352\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"479\" y=\"360\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"644\" cy=\"174\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"644\" y=\"182\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>La flauta conduce una l\u00ednea sonora.<\/li><li>El tambor participa en la organizaci\u00f3n r\u00edtmica.<\/li><li>En el caso de Quetzal\u00edn de Tzinacapan, el estudio documenta a una persona tocando ambos.<\/li><\/ol><figcaption class=\"plate-caption\">Instrumentos esquem\u00e1ticos a partir del estudio de Moya Ram\u00edrez; no es una transcripci\u00f3n ni un plano de fabricaci\u00f3n. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r18-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>Qu\u00e9 reconoce una inscripci\u00f3n patrimonial<\/h2><p>La ceremonia ritual de los Voladores fue inscrita en 2009 en la Lista Representativa del Patrimonio Cultural Inmaterial de la Humanidad. La ficha la sit\u00faa en varias comunidades y grupos; su asociaci\u00f3n emblem\u00e1tica con el Totonacapan no limita toda su pr\u00e1ctica a Papantla. La decisi\u00f3n de inscripci\u00f3n valora transmisi\u00f3n, recreaci\u00f3n, participaci\u00f3n comunitaria y medidas de salvaguardia.<sup class=\"cite\"><a href=\"#r18-es-ref-2\">[2]<\/a><\/sup><sup class=\"cite\"><a href=\"#r18-es-ref-3\">[3]<\/a><\/sup><\/p><p>Esa decisi\u00f3n no entrega una plantilla de vestuario que permita certificar a simple vista cada versi\u00f3n local. Tampoco convierte el reconocimiento de una pr\u00e1ctica en respaldo de UNESCO a cualquier organizaci\u00f3n que la mencione. El expediente y la decisi\u00f3n responden a preguntas patrimoniales; para saber c\u00f3mo aprende una agrupaci\u00f3n, c\u00f3mo organiza sus compromisos o qu\u00e9 cambios considera leg\u00edtimos hacen falta otras fuentes.<\/p><p>Recreaci\u00f3n es una palabra clave del reconocimiento patrimonial: la tradici\u00f3n vuelve a hacerse en cada transmisi\u00f3n. Puede cambiar de materiales, contextos o participantes. Para estudiar su valor no basta compararla con una imagen ideal del pasado. Hay que preguntar qui\u00e9n introduce cada cambio, c\u00f3mo se discute y qu\u00e9 consecuencias tiene para quienes sostienen la pr\u00e1ctica. Esa pregunta de investigaci\u00f3n no da una autorizaci\u00f3n externa para redise\u00f1arla.<\/p><\/section><section class=\"prose\" id=\"r18-es-section-4\"><h2>Lo que cambia cuando tambi\u00e9n vuelan mujeres<\/h2><p>El estudio de Rodr\u00edguez Blanco abre una pregunta que la ficha general deja pendiente: la participaci\u00f3n de mujeres en Cuetzalan. Se public\u00f3 en 2011 a partir de testimonios recogidos en 2009, con especial atenci\u00f3n a participantes del barrio de Cuapech. Permite distinguir entre hacerse visible, realizar tareas y acceder a decisiones. Describe esos casos; no es un censo de 2026 ni un retrato de todas las agrupaciones de Puebla y Veracruz.<sup class=\"cite\"><a href=\"#r18-es-ref-4\">[4]<\/a><\/sup><\/p><p>La descripci\u00f3n de cuatro j\u00f3venes varones en la ficha de UNESCO no debe convertirse, al citarla, en la afirmaci\u00f3n de que solo los hombres han volado o pueden volar en cualquier comunidad. A la vez, el estudio local no demuestra por s\u00ed solo c\u00f3mo se organiza hoy cada grupo. Hay una diferencia de escala y de prop\u00f3sito entre ambos documentos; presentarla aclara m\u00e1s que ocultarla.<\/p><p>Tambi\u00e9n es necesario leer cr\u00edticamente el art\u00edculo acad\u00e9mico. En la p\u00e1gina 128, la autora contrapone su clasificaci\u00f3n de algunas participantes como mestizas con la autoidentificaci\u00f3n ind\u00edgena que ellas expresan, y utiliza el uso del n\u00e1huatl entre sus argumentos. Este art\u00edculo mantiene visible esa discrepancia: la clasificaci\u00f3n de la investigadora y la manera en que las participantes se reconocen no son la misma voz. No adoptamos la ausencia de una lengua como criterio suficiente para negar una identidad.<sup class=\"cite\"><a href=\"#r18-es-ref-4\">[4]<\/a><\/sup><\/p><p>El mismo cuidado vale para el turismo. Cobrar por una presentaci\u00f3n, bailar en una fiesta y aprender en una familia plantean relaciones que pueden coincidir o entrar en tensi\u00f3n. La investigaci\u00f3n de 2011 recoge desacuerdos; no basta para declarar que toda presentaci\u00f3n tur\u00edstica carece de sentido ceremonial. Esa conclusi\u00f3n exigir\u00eda escuchar a las personas implicadas y estudiar el contexto concreto, en vez de deducirlo de la presencia de espectadores.<\/p><\/section><figure class=\"visual\"><h3>Una imagen no re\u00fane todos los tiempos<\/h3><div class=\"timeline\"><div class=\"time\"><b>2009<\/b><p>Inscripci\u00f3n UNESCO y testimonios del estudio de Cuetzalan.<\/p><\/div><div class=\"time\"><b>2011<\/b><p>Publicaci\u00f3n de Las mujeres que vuelan.<\/p><\/div><div class=\"time\"><b>2012<\/b><p>Visita a Tzinacapan y fotograf\u00eda distinta en Cuetzalan.<\/p><\/div><div class=\"time\"><b>2022<\/b><p>Fotograf\u00eda de Voladores en Huehuetla, Puebla.<\/p><\/div><div class=\"time\"><b>2024<\/b><p>Nota del INAH sobre el penacho Quetzalin.<\/p><\/div><\/div><figcaption>Fechas de documentos, observaciones y fotograf\u00edas; no cronolog\u00eda de origen de las danzas.<\/figcaption><\/figure><section class=\"prose\" id=\"r18-es-section-5\"><figure class=\"iict-plate\" id=\"iict-plate-r18-b-es\" lang=\"es\" aria-labelledby=\"iict-plate-r18-b-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 II<\/p><h3 id=\"iict-plate-r18-b-es-title\">Una misma fiesta no vuelve iguales las danzas<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r18-b-es-art-title iict-plate-r18-b-es-art-desc\"><title id=\"iict-plate-r18-b-es-art-title\">Una misma fiesta no vuelve iguales las danzas<\/title><desc id=\"iict-plate-r18-b-es-art-desc\">1. El nombre y la localidad precisan qu\u00e9 pr\u00e1ctica se estudia. 2. M\u00fasica, movimiento y responsabilidades ayudan a distinguirla. 3. Compartir un escenario abre comparaci\u00f3n, conservando diferencias. Diagrama de comparaci\u00f3n; no reconstruye coreograf\u00edas, atuendos ni figuras rituales.<\/desc><defs><pattern id=\"iict-plate-r18-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-r18-b-es-grain)\"\/><circle cx=\"221\" cy=\"201\" r=\"106\" fill=\"#dfe5d7\" stroke=\"#a1b095\" stroke-width=\"1\"\/><circle cx=\"534\" cy=\"201\" r=\"106\" fill=\"#ebe0c6\" stroke=\"#b9a471\" stroke-width=\"1\"\/><path d=\"M143 201 Q167 157 190 201 T237 201 T284 201\" fill=\"none\" stroke=\"#6d9292\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M452 201 Q472 165 493 201 T535 201 T577 201 T619 201\" fill=\"none\" stroke=\"#b29456\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M254 310 Q373 371 495 310 M316 102 Q377 64 438 102\" fill=\"none\" stroke=\"#b5a675\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"4 8\"\/><circle cx=\"221\" cy=\"77\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"221\" y=\"85\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"534\" cy=\"77\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"534\" y=\"85\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"375\" cy=\"342\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"350\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>El nombre y la localidad precisan qu\u00e9 pr\u00e1ctica se estudia.<\/li><li>M\u00fasica, movimiento y responsabilidades ayudan a distinguirla.<\/li><li>Compartir un escenario abre comparaci\u00f3n, conservando diferencias.<\/li><\/ol><figcaption class=\"plate-caption\">Diagrama de comparaci\u00f3n; no reconstruye coreograf\u00edas, atuendos ni figuras rituales. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r18-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>Una fotograf\u00eda muestra; el aprendizaje sostiene<\/h2><p>Las fotograf\u00edas conservan detalles valiosos: un tocado, una postura, la disposici\u00f3n de los participantes, un lugar y un instante. No registran autom\u00e1ticamente ensayos, reparaciones, acuerdos, cuidados ni las decisiones sobre qui\u00e9n puede aprender. La belleza de la imagen es una entrada al conocimiento, no su sustituto.<\/p><p>Para la comparaci\u00f3n de Quetzal\u00edn y Voladores, el resultado es preciso: se pueden reconocer afinidades regionales sin fusionar las pr\u00e1cticas. Lugar, fecha, m\u00fasica, transmisi\u00f3n y autoridad necesitan descripci\u00f3n propia. La coincidencia en una fiesta no elimina esas diferencias; ayuda a comprender c\u00f3mo conviven expresiones distintas dentro de una vida comunitaria m\u00e1s amplia.<\/p><p>Una futura cr\u00f3nica podr\u00e1 seguir una jornada de aprendizaje y contrastar la voz de m\u00fasicos, aprendices y responsables de la agrupaci\u00f3n, con acuerdos de registro y publicaci\u00f3n. Mientras tanto, el trabajo documental permite mejorar la mirada: ver la imagen entera, leer su pie y preguntar por lo que queda fuera del encuadre. El panorama regional de Voladores se desarrolla en R11; aqu\u00ed el centro es aprender a comparar sin confundir.<\/p><\/section><section class=\"method\"><h2>C\u00f3mo se elabor\u00f3<\/h2><p>Investigaci\u00f3n documental revisada el 5 de noviembre de 2026. Se contrastaron la nota del INAH, la ficha y decisi\u00f3n de UNESCO, el informe completo de Moya Ram\u00edrez, el estudio de Rodr\u00edguez Blanco y la ficha cultural de Cuetzalan. Se distinguen observaciones de 2009 y 2012, publicaciones y fechas fotogr\u00e1ficas. No se realizaron entrevistas ni grabaciones nuevas.<\/p><\/section><details class=\"sources\" id=\"r18-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 se compara realmente?<\/h3><p>Dos pr\u00e1cticas y dos modos de documentarlas: el objeto y la escena visibles, frente a las relaciones que explican m\u00fasica, aprendizaje y participaci\u00f3n. La hip\u00f3tesis de trabajo es que compartir rasgos visuales no implica compartir un mismo significado. Los estudios locales y la documentaci\u00f3n patrimonial permiten diferenciar las preguntas, no construir una ceremonia combinada. [1\u20136]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">02<\/span>\u00bfLas dos fotograf\u00edas son del mismo lugar o del mismo acto?<\/h3><p>No. Luce051 identifica su fotograf\u00eda como Danza Los Quetzales de Cuetzalan, 4 de octubre de 2012. Raxa.Kame documenta Voladores en Huehuetla, Puebla, 6 de agosto de 2022. Ninguna se atribuye a la visita de Moya Ram\u00edrez a Tzinacapan en septiembre de 2012. Tampoco identificamos a sus personas como interlocutores del estudio de 2009. Son documentos visuales con procedencias distintas.<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">03<\/span>\u00bfQu\u00e9 sabemos de instrumentos y aprendizaje?<\/h3><p>Moya Ram\u00edrez describe flauta y tambor en el caso observado de Quetzales e incorpora una explicaci\u00f3n del m\u00fasico. UNESCO describe flauta y tambor en el papel del caporal de los Voladores. Estos datos no prueban equivalencia de repertorios ni fijan una norma para todas las variantes. No se analizaron grabaciones musicales para este art\u00edculo; los sones y las t\u00e9cnicas necesitan una comparaci\u00f3n espec\u00edfica. [2, 5]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">04<\/span>\u00bfQu\u00e9 aporta UNESCO y qu\u00e9 queda fuera?<\/h3><p>La decisi\u00f3n de 2009 explica por qu\u00e9 procede la inscripci\u00f3n: transmisi\u00f3n, recreaci\u00f3n, diversidad y salvaguardia, con participaci\u00f3n de las comunidades en la candidatura. No certifica a cada agrupaci\u00f3n actual ni define toda variante de indumentaria. La ficha presenta una s\u00edntesis; la decisi\u00f3n recoge criterios patrimoniales. Son documentos relacionados del mismo proceso, no dos comprobaciones de campo independientes. [2, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">05<\/span>\u00bfPor qu\u00e9 contrastar la descripci\u00f3n masculina con las voladoras?<\/h3><p>La f\u00f3rmula divulgativa de la ficha no agota todas las trayectorias de participaci\u00f3n. Rodr\u00edguez Blanco documenta un caso local con testimonios de 2009 y \u00e9nfasis en Cuapech. Su estudio permite preguntar por posiciones y reconocimiento, adem\u00e1s del acceso al vuelo. No prueba las condiciones de cada grupo en 2026 ni permite identificar el g\u00e9nero de una persona en las fotograf\u00edas por su vestimenta. [2, 4]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">06<\/span>\u00bfD\u00f3nde discrepamos de una fuente acad\u00e9mica?<\/h3><p>En la p\u00e1gina 128 del estudio de 2011 hay una tensi\u00f3n expl\u00edcita entre autoidentificaci\u00f3n y clasificaci\u00f3n de la investigadora. La exponemos sin hacer de esta \u00faltima la voz de las participantes. Tambi\u00e9n discutimos la inferencia de que turismo y sentido ceremonial se excluyan necesariamente. Son problemas de interpretaci\u00f3n; no se resuelven negando el valor del trabajo de campo ni repitiendo sus conclusiones como hechos universales. [4]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">07<\/span>\u00bfQu\u00e9 fechas o generalizaciones requieren cuidado?<\/h3><p>La visita descrita por Moya Ram\u00edrez ocurri\u00f3 en septiembre de 2012; su texto tambi\u00e9n reproduce una referencia al 4 de octubre que no debe borrar esa fecha de visita. La ficha del SIC sit\u00faa San Francisco de As\u00eds el 4 de octubre y fue actualizada en 2016. Una afirmaci\u00f3n divulgativa sobre ra\u00edces antiguas no equivale a una demostraci\u00f3n hist\u00f3rica de continuidad ininterrumpida. [1, 5, 6]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">08<\/span>\u00bfQu\u00e9 aportar\u00eda la siguiente investigaci\u00f3n?<\/h3><p>Un registro autorizado de aprendizaje permitir\u00eda comparar repertorios, tareas, ocasiones y cambios desde las palabras de sus practicantes. Har\u00eda falta distinguir agrupaci\u00f3n, localidad y a\u00f1o, ofrecer revisi\u00f3n de las identificaciones y acordar el uso de las im\u00e1genes. Esta ampliaci\u00f3n sigue pendiente; el art\u00edculo entrega ahora el contraste documental y la lectura cr\u00edtica de dos fotograf\u00edas, sin inventar voz local ni reconstruir una ceremonia.<\/p><\/section><section class=\"bibliography\"><h3>Referencias documentales<\/h3><ol><li id=\"r18-es-ref-1\"><a href=\"https:\/\/www.inah.gob.mx\/foto-del-dia\/penacho-de-la-danza-quetzalin\">INAH, \u00abPenacho de la danza Quetzalin\u00bb, Foto del d\u00eda, 16 de abril de 2024. Texto completo consultado. La fotograf\u00eda institucional se enlaza; no se reproduce sin licencia espec\u00edfica.<\/a><\/li><li id=\"r18-es-ref-2\"><a href=\"https:\/\/ich.unesco.org\/en\/RL\/ritual-ceremony-of-the-voladores-00175\">UNESCO, \u00abRitual ceremony of the Voladores\u00bb, expediente 00175, inscrito en 2009 en la Lista Representativa del Patrimonio Cultural Inmaterial de la Humanidad. Ficha consultada mediante el texto indexado de la fuente primaria; el acceso directo present\u00f3 CAPTCHA.<\/a><\/li><li id=\"r18-es-ref-3\"><a href=\"https:\/\/ich.unesco.org\/en\/Decisions\/4.COM\/13.62\">UNESCO, decisi\u00f3n 4.COM 13.62 (2009). Texto completo de la decisi\u00f3n consultado; se diferencia de la descripci\u00f3n divulgativa del expediente.<\/a><\/li><li id=\"r18-es-ref-4\"><a href=\"https:\/\/perfilesla.flacso.edu.mx\/index.php\/perfilesla\/article\/download\/127\/72\/158\">Eugenia Rodr\u00edguez Blanco, \u00abLas mujeres que vuelan: g\u00e9nero y cambio cultural en Cuetzalan\u00bb, Perfiles Latinoamericanos 38 (julio\u2013diciembre de 2011), pp. 115\u2013143. Texto consultado, con atenci\u00f3n a m\u00e9todo, testimonios de 2009, an\u00e1lisis y conclusiones.<\/a><\/li><li id=\"r18-es-ref-5\"><a href=\"https:\/\/repository.uaeh.edu.mx\/revistas\/index.php\/ia\/article\/view\/624\">Alejandro Moya Ram\u00edrez, \u00abLa Danza de los Quetzales\u00bb, MAGOTZI Bolet\u00edn Cient\u00edfico de Artes del IA 2(3), 5 de enero de 2014. Informe de visita a San Miguel Tzinacapan los d\u00edas 27\u201329 de septiembre de 2012. Texto completo consultado. DOI: 10.29057\/ia.v2i3.624.<\/a><\/li><li id=\"r18-es-ref-6\"><a href=\"https:\/\/sic.cultura.gob.mx\/ficha.php?table=festividad&#038;table_id=564\">Sistema de Informaci\u00f3n Cultural, Secretar\u00eda de Cultura, \u00abFiesta de San Francisco de As\u00eds\u00bb, Cuetzalan del Progreso, ficha 564. \u00daltima modificaci\u00f3n visible: 8 de agosto de 2016. Texto completo de la ficha consultado.<\/a><\/li><\/ol><\/section><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r18-es-source\" lang=\"es\"><h4>Una vara de caf\u00e9 tambi\u00e9n marca el comp\u00e1s<\/h4><p>La descripci\u00f3n procede de Quetzales en Tzinacapan y del trabajo de 2012 rese\u00f1ado por el autor. No se atribuyen esa baqueta ni el mismo repertorio al caporal de los Voladores.<\/p><p><a href=\"https:\/\/repository.uaeh.edu.mx\/revistas\/index.php\/ia\/article\/download\/624\/4373?inline=1\">Alejandro Moya Ram\u00edrez \u00b7 La Danza de los Quetzales, apartado M\u00fasica<\/a> \u00b7 <a href=\"#iict-reading-r18-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 R18<\/small><\/div><div><span class=\"eyebrow\">Lectura relacionada<\/span><a href=\"https:\/\/totonacapan.com\/?page_id=1317\">R11 \u00b7 Voladores y otras ceremonias: expresiones que cruzan pueblos \u2192<\/a><\/div><\/nav><!-- IICT-CITE R18 es --><aside class=\"iict-citation\" id=\"citar-r18-es\" aria-labelledby=\"citar-r18-es-title\"><h2 id=\"citar-r18-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. \u00abQuetzal\u00edn y Voladores: dos danzas que no se explican con una sola imagen\u00bb. <cite>Cuadernos de investigaci\u00f3n<\/cite>, <strong>R18<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1354#r18-es\">https:\/\/totonacapan.com\/?page_id=1354#r18-es<\/a>.<\/blockquote><p><strong>Referencia interna:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1354#r18-es\">R18<\/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 R18 es --><\/article><details class=\"research-lang-version\" id=\"r18-en-version\"><summary>Read the full English article<\/summary><article id=\"r18-en\" lang=\"en\"><header class=\"hero\"><div class=\"kicker\">R18 \u00b7 Looking, listening and distinguishing<\/div><h1>Quetzal\u00edn and Voladores<\/h1><p class=\"subtitle\">Two dances that one image cannot explain<\/p><div class=\"date\">Documentary review \u00b7 5 November 2026<\/div><\/header><div class=\"abstract\"><div class=\"eyebrow\">At a glance<\/div><p>Two photographs from Puebla open a comparison of music, learning and community life. One shows Quetzales in Cuetzalan; the other, Voladores in Huehuetla. This article distinguishes their contexts and compares heritage recognition with local studies, including research on women flyers. It asks what we see in a dance and what we need to investigate to understand 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=\"#r18-en-section-0\">A first distinction<\/a><a href=\"#r18-en-section-1\">A name does not replace a place<\/a><a href=\"#r18-en-section-2\">Music distinguishes what the eye brings together<\/a><a href=\"#r18-en-section-3\">What a heritage inscription recognizes<\/a><a href=\"#r18-en-section-4\">What changes when women also fly<\/a><a href=\"#r18-en-section-5\">A photograph shows; learning sustains<\/a><a href=\"#r18-en-sources\">Sources and comparison<\/a><\/nav><\/details><section class=\"prose\" id=\"r18-en-section-0\"><h2>A first distinction<\/h2><p>At a celebration in the Sierra Norte, movement may rise above people\u2019s heads without always telling the same story. A Quetzal\u00edn headdress documented by INAH evokes references to birds and environmental cycles; the ritual ceremony of the Voladores, inscribed by UNESCO as intangible cultural heritage, has its own moments and relationships of meaning. Both require music, training and community, but confusing them because visitors see feathers or height would be a mistake.<\/p><\/section><figure class=\"visual\"><h3>Visible similarities, different questions<\/h3><div class=\"photo-pair\"><figure class=\"photo\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-quetzales-cuetzalan-20261104.jpg\" alt=\"Quetzales dancers in Cuetzalan wearing large circular headdresses.\" width=\"1920\" height=\"1280\" loading=\"lazy\"><figcaption>Quetzales \u00b7 Cuetzalan, Puebla \u00b7 4 October 2012 \u00b7 Luce051 \/ Wikimedia Commons \u00b7 CC BY-SA 4.0. Proportionally resized, uncropped.<span class=\"figlinks\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Danza_Los_Quetzales_de_Cuetzalan.jpg\">Photograph record<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a><\/span><\/figcaption><\/figure><figure class=\"photo\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-voladores-huehuetla-20261104.jpg\" alt=\"Voladores ceremony in Huehuetla, Puebla, with participants on the pole.\" width=\"1920\" height=\"1440\" loading=\"lazy\"><figcaption>Voladores \u00b7 Huehuetla, Puebla \u00b7 6 August 2022 \u00b7 Raxa.Kame \/ Wikimedia Commons \u00b7 CC BY-SA 4.0. Proportionally resized, uncropped.<span class=\"figlinks\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Ritual_de_Los_Voladores_en_Huehuetla,_Puebla.jpg\">Photograph record<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a><\/span><\/figcaption><\/figure><\/div><\/figure><section class=\"prose\" id=\"r18-en-section-1\"><h2>A name does not replace a place<\/h2><p>INAH\u2019s note on the Quetzalin headdress connects it with dances of the Sierra Norte de Puebla, particularly Cuetzalan, and with references to birds and environmental cycles. It provides an entry into looking at the object, rather than a complete history of a group or proof that everyone gives its materials the same meaning. Sources and photographs use Quetzal\u00edn, Quetzalines and Quetzales: we retain each source\u2019s wording without declaring every variant identical.<sup class=\"cite\"><a href=\"#r18-en-ref-1\">[1]<\/a><\/sup><\/p><p>To locate a particular celebration, its calendar needs comparison. Moya Ram\u00edrez describes a September 2012 visit to San Miguel Tzinacapan during Saint Michael the Archangel\u2019s celebration. The Cuetzalan cultural record instead describes Saint Francis of Assisi\u2019s festival on 4 October. They share a municipal setting and the presence of dances, but are neither one celebration nor interchangeable dates.<sup class=\"cite\"><a href=\"#r18-en-ref-5\">[5]<\/a><\/sup><sup class=\"cite\"><a href=\"#r18-en-ref-6\">[6]<\/a><\/sup><\/p><p>The selected Quetzales image is identified as Cuetzalan and dated 4 October 2012. That date does not authorize assigning it to Moya Ram\u00edrez\u2019s September visit or naming its participants. The Voladores photograph is recorded as Huehuetla, Puebla, on 6 August 2022. It is neither Huehuetla in Hidalgo nor a scene in Papantla.<\/p><\/section><figure class=\"iict-free-voladores-photo\" id=\"foto-voladores-cuetzalan-en\" lang=\"en\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026\/11\/iict-voladores-cuetzalan-fernandez-tarrio-2016-1024x791.jpg&#038;origen=1354&#038;idioma=en\" target=\"_blank\" rel=\"noopener\" aria-label=\"Image record and related reading\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-voladores-cuetzalan-fernandez-tarrio-2016-1024x791.jpg\" width=\"1024\" height=\"791\" alt=\"A dancer climbs the pole in Cuetzalan, Puebla, on 10 April 2016. The photograph records a moment before the flight, extending the view beyond large headdresses and the descent.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption><strong>The climb is also part of the ceremony \u00b7 Cuetzalan<\/strong>A dancer climbs the pole in Cuetzalan, Puebla, on 10 April 2016. The photograph records a moment before the flight, extending the view beyond large headdresses and the descent.<span class=\"iict-photo-credit\">Rosalia Fernandez Tarrio \/ Wikimedia Commons \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a> \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Subiendo_pa_volar.jpg\">Source<\/a>. Full photograph; resized, not cropped.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026\/11\/iict-voladores-cuetzalan-fernandez-tarrio-2016-1024x791.jpg&#038;origen=1354&#038;idioma=en\" target=\"_blank\" rel=\"noopener\">Image record and related reading \u2192<\/a><\/figcaption><\/figure>\n<section class=\"prose\" id=\"r18-en-section-2\"><figure class=\"iict-viz viz-duet\" id=\"iict-viz-r18-en\" lang=\"en\" aria-labelledby=\"iict-viz-r18-en-title\"><header><div class=\"viz-kicker\"><span>Visual notebooks<\/span><span>R18 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r18-en-title\">Listening also helps distinguish<\/h3><p>Recognising an instrument is not enough to identify a practice.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:2\"><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=\"M74 90l83-75 10 12-82 76zM103 65l5 6M118 51l5 6M133 37l5 6\"\/><ellipse cx=\"189\" cy=\"67\" rx=\"27\" ry=\"12\"\/><path d=\"M162 67v27q28 18 54 0V67M174 75l9 28M204 75l-9 28\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>Quetzales in Tzinacapan<\/h4><p>Moya Ram\u00edrez\u2019s report records flute and drum within its observation context.<\/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=\"M74 90l83-75 10 12-82 76zM103 65l5 6M118 51l5 6M133 37l5 6\"\/><ellipse cx=\"189\" cy=\"67\" rx=\"27\" ry=\"12\"\/><path d=\"M162 67v27q28 18 54 0V67M174 75l9 28M204 75l-9 28\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>Voladores<\/h4><p>Heritage documentation describes the caporal and his musical roles.<\/p><\/div><\/div><figcaption>Shared instruments do not demonstrate identical repertoires, signals or meanings.<span class=\"viz-source\">Original visual synthesis by the Institute \u00b7 <a href=\"#r18-en-sources\">Sources and comparison<\/a><\/span><\/figcaption><\/figure>\n<h2>Music distinguishes what the eye brings together<\/h2><p>Moya Ram\u00edrez\u2019s report describes flute and drum in the Quetzales dance observed in Tzinacapan. It includes a musician\u2019s explanation of learning and adapting his instruments. That testimony was recorded by the visiting team in 2012; here it is attributed to their report, not a conversation conducted by the Institute. The description applies to its documented context and sets no compulsory learning period for every musician.<sup class=\"cite\"><a href=\"#r18-en-ref-5\">[5]<\/a><\/sup><\/p><p>UNESCO\u2019s record describes the caporal playing flute and drum in the Voladores ceremony. Sharing instrument types does not establish identical music, sequences or responsibilities. A full musical comparison would require recordings identified by place and occasion, local names of pieces and explanations by performers. No photograph can provide that listening on its own.<sup class=\"cite\"><a href=\"#r18-en-ref-2\">[2]<\/a><\/sup><\/p><p>The comparison helps formulate a simple observation: recognizing a flute is not the same as recognizing a piece of music. Likewise, a circular headdress and circular movement in the air are not a key for decoding two ceremonies together. Visual similarities open questions; answers require sources specific to each practice.<\/p><\/section><figure class=\"visual\"><h3>Visible similarities, different questions<\/h3><div class=\"table-wrap\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Data table\" style=\"--journal-table-min:32rem\"><table><thead><tr><th scope=\"col\">What we observe<\/th><th scope=\"col\">What we can say<\/th><th scope=\"col\">What needs another source<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Headdress and clothing<\/th><td>Shape and colour at that moment.<\/td><td>Local use, authorship and attributed meaning.<\/td><\/tr><tr><th scope=\"row\">Instruments or posture<\/th><td>What actually appears in the image.<\/td><td>Repertoire, learning and responsibilities.<\/td><\/tr><tr><th scope=\"row\">Recorded place and date<\/th><td>Each photograph\u2019s declared provenance.<\/td><td>Personal identities and connections to other studies.<\/td><\/tr><tr><th scope=\"row\">Visible participation<\/th><td>Who appears, without assigning undocumented identities.<\/td><td>Decisions, preparation and tasks outside the frame.<\/td><\/tr><\/tbody><\/table><\/div><\/div><\/figure><section class=\"prose\" id=\"r18-en-section-3\"><section class=\"iict-reading-addition\" data-kind=\"inline\" id=\"iict-reading-r18-en\" lang=\"en\" aria-labelledby=\"iict-reading-r18-en-title\"><h3 id=\"iict-reading-r18-en-title\">A coffee branch can also mark the beat<\/h3><p>Alejandro Moya Ram\u00edrez\u2019s published observation from Tzinacapan includes a detail linking music and landscape: the drum is struck with a coffee branch. The report describes its two skin-covered heads and a reed flute played by the same person. These are materials and skills from the context documented by that team. <a class=\"reading-ref\" href=\"#iict-reading-r18-en-source\" aria-label=\"See sources and comparison\">\u2197<\/a><\/p><p>The coffee plot thus enters the celebration by a route other than a drink or a sale. A branch becomes a musical tool when someone knows how to choose and use it. The detail brings the learning behind the sound into view and opens another question: how is that work recognized and passed on?<\/p><p class=\"reading-links\"><a href=\"https:\/\/repository.uaeh.edu.mx\/revistas\/index.php\/ia\/article\/download\/624\/4373?inline=1\">Alejandro Moya Ram\u00edrez \u00b7 La Danza de los Quetzales, apartado M\u00fasica<\/a> \u00b7 <a href=\"#r18-en-sources\">Sources and comparison<\/a><\/p><\/section>\n<figure class=\"iict-plate\" id=\"iict-plate-r18-a-en\" lang=\"en\" aria-labelledby=\"iict-plate-r18-a-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 I<\/p><h3 id=\"iict-plate-r18-a-en-title\">Two instruments, one learned coordination<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r18-a-en-art-title iict-plate-r18-a-en-art-desc\"><title id=\"iict-plate-r18-a-en-art-title\">Two instruments, one learned coordination<\/title><desc id=\"iict-plate-r18-a-en-art-desc\">1. The flute carries a melodic line. 2. The drum participates in rhythmic organisation. 3. For Quetzal\u00edn in Tzinacapan, the study documents one person playing both. Schematic instruments based on Moya Ram\u00edrez\u2019s study; neither a transcription nor a construction plan.<\/desc><defs><pattern id=\"iict-plate-r18-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-r18-a-en-grain)\"\/><g transform=\"translate(228 204) rotate(-22) scale(1.08)\"><rect x=\"-12\" y=\"-126\" width=\"24\" height=\"252\" rx=\"6\" fill=\"#d6bd86\" stroke=\"#88734b\" stroke-width=\"2\"\/><circle cx=\"0\" cy=\"-65\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-40\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-15\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"10\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"35\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"60\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><path d=\"M-12 -96 L12 -96 M-12 97 L12 97\" fill=\"none\" stroke=\"#88734b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><g transform=\"translate(476 224) scale(1.05)\"><path d=\"M-59 -38 L-52 68 Q0 99 52 68 L59 -38Z\" fill=\"#c9b48c\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-59 -38 Q0 -69 59 -38 Q0 -8 -59 -38Z\" fill=\"#e1d4b8\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-52 68 Q0 42 52 68\" fill=\"none\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-51 -32 L-42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-34 -32 L-28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-17 -32 L-14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -32 L0 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M17 -32 L14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M34 -32 L28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M51 -32 L42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M508 129 L618 80 L626 92 L516 141Z\" fill=\"#aa9360\" stroke=\"#837249\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M615 81 Q639 47 643 72 Q647 84 626 92\" fill=\"none\" stroke=\"#837249\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M308 80 Q366 37 413 81 M316 96 Q362 65 403 96\" fill=\"none\" stroke=\"#b5bba3\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"154\" cy=\"98\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"154\" y=\"106\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"479\" cy=\"352\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"479\" y=\"360\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"644\" cy=\"174\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"644\" y=\"182\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>The flute carries a melodic line.<\/li><li>The drum participates in rhythmic organisation.<\/li><li>For Quetzal\u00edn in Tzinacapan, the study documents one person playing both.<\/li><\/ol><figcaption class=\"plate-caption\">Schematic instruments based on Moya Ram\u00edrez\u2019s study; neither a transcription nor a construction plan. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r18-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>What a heritage inscription recognizes<\/h2><p>The ritual ceremony of the Voladores was inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity. The record locates it among several communities and groups; its emblematic association with the Totonacapan does not confine the practice to Papantla. The inscription decision values transmission, recreation, community participation and safeguarding measures.<sup class=\"cite\"><a href=\"#r18-en-ref-2\">[2]<\/a><\/sup><sup class=\"cite\"><a href=\"#r18-en-ref-3\">[3]<\/a><\/sup><\/p><p>That decision does not supply a costume template for certifying every local version at a glance. Nor does recognizing a practice mean UNESCO endorses any organization mentioning it. The record and decision address heritage questions; learning how a group teaches, organizes commitments or considers changes legitimate requires other sources.<\/p><p>Recreation here means making a tradition anew as it is passed on. A transmitted tradition may change materials, settings or participants without researchers judging its value solely against an idealized image of the past. The questions are who introduces change, how it is debated and what consequences it has for those sustaining the practice. That is a research question, not external permission to redesign it.<\/p><\/section><section class=\"prose\" id=\"r18-en-section-4\"><h2>What changes when women also fly<\/h2><p>Rodr\u00edguez Blanco\u2019s study adds a comparison undeveloped in the general record: women\u2019s participation in Cuetzalan. Published in 2011, it uses testimonies collected in 2009 and pays particular attention to participants from Cuapech. It allows analysis of differences between visible presence, tasks and access to decision-making positions. It is neither a 2026 census nor a description of every group in Puebla and Veracruz.<sup class=\"cite\"><a href=\"#r18-en-ref-4\">[4]<\/a><\/sup><\/p><p>UNESCO\u2019s description of four young men should not become a claim that only men have flown or may fly in every community. At the same time, the local study does not establish how each group is organized today. The two documents have different scales and purposes; making this explicit clarifies more than hiding it.<\/p><p>The academic article also needs critical reading. On page 128, the author contrasts her classification of some participants as mestizas with their own expressed Indigenous identification, using knowledge of Nahuatl among her arguments. This article makes that discrepancy visible: the researcher\u2019s classification and participants\u2019 self-recognition are not the same voice. We do not adopt absence of a language as sufficient grounds for denying an identity.<sup class=\"cite\"><a href=\"#r18-en-ref-4\">[4]<\/a><\/sup><\/p><p>Tourism calls for similar care. Charging for a performance, dancing at a celebration and learning within a family involve relationships that may coincide or conflict. The 2011 research records disagreements; it is insufficient to declare that every tourist performance lacks ceremonial meaning. Such a conclusion would require listening to the people involved and examining a particular context, rather than inferring meaning from spectators\u2019 presence.<\/p><\/section><figure class=\"visual\"><h3>One image cannot combine every time<\/h3><div class=\"timeline\"><div class=\"time\"><b>2009<\/b><p>UNESCO inscription and testimonies for the Cuetzalan study.<\/p><\/div><div class=\"time\"><b>2011<\/b><p>Publication of Las mujeres que vuelan.<\/p><\/div><div class=\"time\"><b>2012<\/b><p>Tzinacapan visit and a separate Cuetzalan photograph.<\/p><\/div><div class=\"time\"><b>2022<\/b><p>Voladores photograph in Huehuetla, Puebla.<\/p><\/div><div class=\"time\"><b>2024<\/b><p>INAH note on the Quetzalin headdress.<\/p><\/div><\/div><figcaption>Dates of documents, observations and photographs; not an origin timeline of the dances.<\/figcaption><\/figure><section class=\"prose\" id=\"r18-en-section-5\"><figure class=\"iict-plate\" id=\"iict-plate-r18-b-en\" lang=\"en\" aria-labelledby=\"iict-plate-r18-b-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 II<\/p><h3 id=\"iict-plate-r18-b-en-title\">One celebration does not make dances identical<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r18-b-en-art-title iict-plate-r18-b-en-art-desc\"><title id=\"iict-plate-r18-b-en-art-title\">One celebration does not make dances identical<\/title><desc id=\"iict-plate-r18-b-en-art-desc\">1. Name and locality specify the practice studied. 2. Music, movement and responsibilities help distinguish it. 3. Sharing a setting opens comparison while retaining differences. Comparison diagram; no reconstruction of choreographies, costumes or ritual figures.<\/desc><defs><pattern id=\"iict-plate-r18-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-r18-b-en-grain)\"\/><circle cx=\"221\" cy=\"201\" r=\"106\" fill=\"#dfe5d7\" stroke=\"#a1b095\" stroke-width=\"1\"\/><circle cx=\"534\" cy=\"201\" r=\"106\" fill=\"#ebe0c6\" stroke=\"#b9a471\" stroke-width=\"1\"\/><path d=\"M143 201 Q167 157 190 201 T237 201 T284 201\" fill=\"none\" stroke=\"#6d9292\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M452 201 Q472 165 493 201 T535 201 T577 201 T619 201\" fill=\"none\" stroke=\"#b29456\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M254 310 Q373 371 495 310 M316 102 Q377 64 438 102\" fill=\"none\" stroke=\"#b5a675\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"4 8\"\/><circle cx=\"221\" cy=\"77\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"221\" y=\"85\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"534\" cy=\"77\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"534\" y=\"85\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"375\" cy=\"342\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"350\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Name and locality specify the practice studied.<\/li><li>Music, movement and responsibilities help distinguish it.<\/li><li>Sharing a setting opens comparison while retaining differences.<\/li><\/ol><figcaption class=\"plate-caption\">Comparison diagram; no reconstruction of choreographies, costumes or ritual figures. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r18-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>A photograph shows; learning sustains<\/h2><p>Photographs preserve valuable details: a headdress, a posture, participants\u2019 arrangement, a place and a moment. They do not automatically record rehearsals, repairs, agreements, care or decisions about who may learn. An image\u2019s beauty offers an entry to knowledge, rather than a replacement for it.<\/p><p>The result of comparing Quetzal\u00edn and Voladores is precise: regional affinities can be recognized without merging practices. Place, date, music, transmission and authority each need their own description. Sharing a celebration does not remove differences; it helps explain how distinct expressions coexist within a wider community life.<\/p><p>A future account could follow a day of learning and compare the voices of musicians, apprentices and group leaders, with agreements on recording and publication. Meanwhile, documentary work improves how we look: see the entire image, read its caption and ask what lies outside the frame. R11 develops the regional overview of Voladores; this article focuses on learning to compare without confusing.<\/p><\/section><section class=\"method\"><h2>How this article was developed<\/h2><p>Documentary research reviewed on 5 November 2026. The INAH note, UNESCO record and decision, Moya Ram\u00edrez\u2019s complete report, Rodr\u00edguez Blanco\u2019s study and the Cuetzalan cultural record were compared. Observations from 2009 and 2012 are distinguished from publication and photographic dates. No new interviews or recordings were made.<\/p><\/section><details class=\"sources\" id=\"r18-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>What is actually being compared?<\/h3><p>Two practices and two ways of documenting them: the visible object and scene, versus relationships explaining music, learning and participation. The working hypothesis is that shared visual features do not imply identical meaning. Local studies and heritage documentation distinguish the questions rather than construct a combined ceremony. [1\u20136]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">02<\/span>Are the photographs from one place or event?<\/h3><p>No. Luce051 identifies the image as Danza Los Quetzales de Cuetzalan, 4 October 2012. Raxa.Kame records Voladores in Huehuetla, Puebla, 6 August 2022. Neither is attributed to Moya Ram\u00edrez\u2019s September 2012 Tzinacapan visit. Nor do we identify the people pictured as interlocutors in the 2009 study. These are visual documents with different origins.<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">03<\/span>What do we know about instruments and learning?<\/h3><p>Moya Ram\u00edrez describes flute and drum in the observed Quetzales case and includes the musician\u2019s explanation. UNESCO describes flute and drum in the Voladores caporal\u2019s role. This does not establish equivalent repertoires or a rule for every variant. No musical recordings were analyzed for this article; pieces and techniques require specific comparison. [2, 5]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">04<\/span>What does UNESCO contribute, and what falls outside it?<\/h3><p>The 2009 decision explains the grounds for inscription: transmission, recreation, diversity and safeguarding, with community involvement in the nomination. It neither certifies every current group nor defines every costume variant. The record is a synthesis; the decision sets out heritage criteria. They belong to the same process, rather than two independent field verifications. [2, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">05<\/span>Why compare the male description with women flyers?<\/h3><p>The record\u2019s public-facing formula does not exhaust every trajectory of participation. Rodr\u00edguez Blanco documents a local case through 2009 testimonies, emphasizing Cuapech. Her study enables questions about positions and recognition alongside access to flight. It neither establishes every group\u2019s conditions in 2026 nor permits assigning a photographed person\u2019s gender from clothing. [2, 4]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">06<\/span>Where do we differ from an academic source?<\/h3><p>Page 128 of the 2011 study contains an explicit tension between self-identification and the researcher\u2019s classification. We show it without making the latter the participants\u2019 voice. We also question whether tourism and ceremonial meaning necessarily exclude each other. These are interpretative issues; neither dismissing the fieldwork nor repeating its conclusions as universal facts resolves them. [4]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">07<\/span>Which dates and generalizations need care?<\/h3><p>Moya Ram\u00edrez\u2019s visit occurred in September 2012; his report also reproduces a reference to 4 October which should not erase the visit date. The SIC record places Saint Francis\u2019s festival on 4 October and was updated in 2016. A public-facing statement about ancient roots is not historical proof of uninterrupted continuity. [1, 5, 6]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">08<\/span>What would the next investigation add?<\/h3><p>An authorized record of learning would enable comparison of repertoires, tasks, occasions and changes through practitioners\u2019 words. It would need to distinguish group, locality and year, offer review of identifications and agree image uses. This extension remains pending; the article now delivers documentary comparison and critical reading of two photographs without inventing local voices or reconstructing a ceremony.<\/p><\/section><section class=\"bibliography\"><h3>Documentary references<\/h3><ol><li id=\"r18-en-ref-1\"><a href=\"https:\/\/www.inah.gob.mx\/foto-del-dia\/penacho-de-la-danza-quetzalin\">INAH. \u201cPenacho de la danza Quetzalin\u201d. Foto del d\u00eda, 16 April 2024. Full note read. Institutional photograph linked, not reproduced without a specific license.<\/a><\/li><li id=\"r18-en-ref-2\"><a href=\"https:\/\/ich.unesco.org\/en\/RL\/ritual-ceremony-of-the-voladores-00175\">UNESCO. \u201cRitual ceremony of the Voladores\u201d, file 00175. Inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity. Primary-source indexed text consulted; direct access displayed a CAPTCHA.<\/a><\/li><li id=\"r18-en-ref-3\"><a href=\"https:\/\/ich.unesco.org\/en\/Decisions\/4.COM\/13.62\">UNESCO. Decision 4.COM 13.62 (2009). Complete decision read and distinguished from the file\u2019s public-facing description.<\/a><\/li><li id=\"r18-en-ref-4\"><a href=\"https:\/\/perfilesla.flacso.edu.mx\/index.php\/perfilesla\/article\/download\/127\/72\/158\">Eugenia Rodr\u00edguez Blanco. \u201cLas mujeres que vuelan: g\u00e9nero y cambio cultural en Cuetzalan\u201d. Perfiles Latinoamericanos 38 (July\u2013December 2011), 115\u2013143. Text consulted, focusing on method, 2009 testimonies, analysis and conclusions.<\/a><\/li><li id=\"r18-en-ref-5\"><a href=\"https:\/\/repository.uaeh.edu.mx\/revistas\/index.php\/ia\/article\/view\/624\">Alejandro Moya Ram\u00edrez. \u201cLa Danza de los Quetzales\u201d. MAGOTZI Bolet\u00edn Cient\u00edfico de Artes del IA 2(3), 5 January 2014. Report of a 27\u201329 September 2012 visit to San Miguel Tzinacapan. Full text read. DOI: 10.29057\/ia.v2i3.624.<\/a><\/li><li id=\"r18-en-ref-6\"><a href=\"https:\/\/sic.cultura.gob.mx\/ficha.php?table=festividad&#038;table_id=564\">Secretar\u00eda de Cultura, Sistema de Informaci\u00f3n Cultural. \u201cFiesta de San Francisco de As\u00eds\u201d, Cuetzalan del Progreso, record 564. Last visible update: 8 August 2016. Full record read.<\/a><\/li><\/ol><\/section><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r18-en-source\" lang=\"en\"><h4>A coffee branch can also mark the beat<\/h4><p>The description concerns Quetzales in Tzinacapan and the author\u2019s account of 2012 fieldwork. Neither that beater nor the same repertoire is assigned to the Voladores\u2019 caporal.<\/p><p><a href=\"https:\/\/repository.uaeh.edu.mx\/revistas\/index.php\/ia\/article\/download\/624\/4373?inline=1\">Alejandro Moya Ram\u00edrez \u00b7 La Danza de los Quetzales, apartado M\u00fasica<\/a> \u00b7 <a href=\"#iict-reading-r18-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 R18<\/small><\/div><div><span class=\"eyebrow\">Related reading<\/span><a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-en\">R11 \u00b7 Voladores and other ceremonies across peoples \u2192<\/a><\/div><\/nav><!-- IICT-CITE R18 en --><aside class=\"iict-citation\" id=\"citar-r18-en\" aria-labelledby=\"citar-r18-en-title\"><h2 id=\"citar-r18-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. \u00abQuetzal\u00edn and Voladores: two dances that one image cannot explain\u00bb. <cite>Research notebooks<\/cite>, <strong>R18<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1354#r18-en\">https:\/\/totonacapan.com\/?page_id=1354#r18-en<\/a>.<\/blockquote><p><strong>Internal reference:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1354#r18-en\">R18<\/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 R18 en --><\/article><\/details><details class=\"research-lang-version\" id=\"r18-fr-version\"><summary>Lire l\u2019article int\u00e9gral en fran\u00e7ais<\/summary><article id=\"r18-fr\" lang=\"fr\"><header class=\"hero\"><div class=\"kicker\">R18 \u00b7 Regarder, \u00e9couter et distinguer<\/div><h1>Quetzal\u00edn et Voladores<\/h1><p class=\"subtitle\">Deux danses qu\u2019une seule image ne peut expliquer<\/p><div class=\"date\">R\u00e9vision documentaire \u00b7 5 novembre 2026<\/div><\/header><div class=\"abstract\"><div class=\"eyebrow\">L\u2019essentiel<\/div><p>Deux photographies de Puebla ouvrent une comparaison sur la musique, l\u2019apprentissage et la vie communautaire. L\u2019une montre les Quetzales \u00e0 Cuetzalan\u202f; l\u2019autre, les Voladores \u00e0 Huehuetla. Cet article distingue leurs contextes et confronte la reconnaissance patrimoniale aux \u00e9tudes locales, dont une recherche sur les femmes voladoras. Que voit-on dans une danse, et que faut-il \u00e9tudier pour la comprendre\u202f?<\/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=\"#r18-fr-section-0\">Une premi\u00e8re diff\u00e9rence<\/a><a href=\"#r18-fr-section-1\">Le nom ne remplace pas le lieu<\/a><a href=\"#r18-fr-section-2\">La musique distingue ce que le regard rapproche<\/a><a href=\"#r18-fr-section-3\">Ce que reconna\u00eet une inscription patrimoniale<\/a><a href=\"#r18-fr-section-4\">Ce qui change lorsque des femmes volent aussi<\/a><a href=\"#r18-fr-section-5\">La photographie montre\u202f; l\u2019apprentissage soutient<\/a><a href=\"#r18-fr-sources\">Sources et confrontation<\/a><\/nav><\/details><section class=\"prose\" id=\"r18-fr-section-0\"><h2>Une premi\u00e8re diff\u00e9rence<\/h2><p>Dans une f\u00eate de la Sierra Norte, le mouvement peut s\u2019\u00e9lever au-dessus des t\u00eates sans raconter toujours la m\u00eame histoire. Un panache de Quetzal\u00edn document\u00e9 par l\u2019INAH renvoie aux oiseaux et aux cycles du milieu\u202f; la c\u00e9r\u00e9monie rituelle des Voladores, inscrite par l\u2019UNESCO au patrimoine culturel immat\u00e9riel, poss\u00e8de ses propres moments et relations de sens. Toutes deux demandent musique, formation et communaut\u00e9, mais les confondre parce que le visiteur voit plumes ou hauteur serait une erreur.<\/p><\/section><figure class=\"visual\"><h3>Ressemblances visibles, questions distinctes<\/h3><div class=\"photo-pair\"><figure class=\"photo\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-quetzales-cuetzalan-20261104.jpg\" alt=\"Danseurs de Quetzales \u00e0 Cuetzalan portant de grandes coiffures circulaires.\" width=\"1920\" height=\"1280\" loading=\"lazy\"><figcaption>Quetzales \u00b7 Cuetzalan, Puebla \u00b7 4 octobre 2012 \u00b7 Luce051 \/ Wikimedia Commons \u00b7 CC BY-SA 4.0. Image redimensionn\u00e9e proportionnellement, sans recadrage.<span class=\"figlinks\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Danza_Los_Quetzales_de_Cuetzalan.jpg\">Fiche photographique<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a><\/span><\/figcaption><\/figure><figure class=\"photo\"><img decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-territorio-voladores-huehuetla-20261104.jpg\" alt=\"C\u00e9r\u00e9monie des Voladores \u00e0 Huehuetla, Puebla, avec des participants sur le m\u00e2t.\" width=\"1920\" height=\"1440\" loading=\"lazy\"><figcaption>Voladores \u00b7 Huehuetla, Puebla \u00b7 6 ao\u00fbt 2022 \u00b7 Raxa.Kame \/ Wikimedia Commons \u00b7 CC BY-SA 4.0. Image redimensionn\u00e9e proportionnellement, sans recadrage.<span class=\"figlinks\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Ritual_de_Los_Voladores_en_Huehuetla,_Puebla.jpg\">Fiche photographique<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a><\/span><\/figcaption><\/figure><\/div><\/figure><section class=\"prose\" id=\"r18-fr-section-1\"><h2>Le nom ne remplace pas le lieu<\/h2><p>La note de l\u2019INAH sur le panache Quetzalin le relie \u00e0 des danses de la Sierra Norte de Puebla, particuli\u00e8rement \u00e0 Cuetzalan, ainsi qu\u2019aux oiseaux et aux cycles du milieu. Elle offre une entr\u00e9e pour regarder l\u2019objet\u202f; elle ne contient pas l\u2019histoire enti\u00e8re d\u2019un groupe et ne prouve pas que chacun attribue le m\u00eame sens \u00e0 ses mati\u00e8res. Les sources et photographies emploient Quetzal\u00edn, Quetzalines et Quetzales\u202f: nous conservons leur d\u00e9nomination, sans d\u00e9clarer toutes les variantes identiques.<sup class=\"cite\"><a href=\"#r18-fr-ref-1\">[1]<\/a><\/sup><\/p><p>Pour situer une c\u00e9l\u00e9bration concr\u00e8te, il faut comparer ses calendriers. Moya Ram\u00edrez relate une visite de septembre 2012 \u00e0 San Miguel Tzinacapan pendant la f\u00eate de saint Michel Archange. La fiche culturelle de Cuetzalan d\u00e9crit, elle, saint Fran\u00e7ois d\u2019Assise le 4 octobre. Elles partagent un cadre municipal et la pr\u00e9sence de danses, mais ne constituent ni une m\u00eame f\u00eate ni des dates interchangeables.<sup class=\"cite\"><a href=\"#r18-fr-ref-5\">[5]<\/a><\/sup><sup class=\"cite\"><a href=\"#r18-fr-ref-6\">[6]<\/a><\/sup><\/p><p>L\u2019image de Quetzales retenue ici est identifi\u00e9e comme Cuetzalan et dat\u00e9e du 4 octobre 2012. Cette date n\u2019autorise ni \u00e0 l\u2019attribuer \u00e0 la visite de septembre de Moya Ram\u00edrez ni \u00e0 nommer ses participants. La photographie des Voladores correspond \u00e0 Huehuetla, Puebla, le 6 ao\u00fbt 2022, selon sa fiche. Il ne s\u2019agit ni de Huehuetla dans l\u2019Hidalgo ni d\u2019une sc\u00e8ne de Papantla.<\/p><\/section><figure class=\"iict-free-voladores-photo\" id=\"foto-voladores-cuetzalan-fr\" lang=\"fr\"><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026\/11\/iict-voladores-cuetzalan-fernandez-tarrio-2016-1024x791.jpg&#038;origen=1354&#038;idioma=fr\" target=\"_blank\" rel=\"noopener\" aria-label=\"Fiche et lectures associ\u00e9es\"><img src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-voladores-cuetzalan-fernandez-tarrio-2016-1024x791.jpg\" width=\"1024\" height=\"791\" alt=\"Un danseur gravit le m\u00e2t \u00e0 Cuetzalan, Puebla, le 10 avril 2016. La photographie documente un moment avant le vol et \u00e9largit le regard au-del\u00e0 des grandes coiffures et de la descente.\" loading=\"lazy\" decoding=\"async\"><\/a><figcaption><strong>La mont\u00e9e fait aussi partie de la c\u00e9r\u00e9monie \u00b7 Cuetzalan<\/strong>Un danseur gravit le m\u00e2t \u00e0 Cuetzalan, Puebla, le 10 avril 2016. La photographie documente un moment avant le vol et \u00e9largit le regard au-del\u00e0 des grandes coiffures et de la descente.<span class=\"iict-photo-credit\">Rosalia Fernandez Tarrio \/ Wikimedia Commons \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a> \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Subiendo_pa_volar.jpg\">Source<\/a>. Photographie enti\u00e8re ; redimensionn\u00e9e, sans recadrage.<\/span><a href=\"https:\/\/totonacapan.com\/?iict_ficha=2026\/11\/iict-voladores-cuetzalan-fernandez-tarrio-2016-1024x791.jpg&#038;origen=1354&#038;idioma=fr\" target=\"_blank\" rel=\"noopener\">Fiche et lectures associ\u00e9es \u2192<\/a><\/figcaption><\/figure>\n<section class=\"prose\" id=\"r18-fr-section-2\"><figure class=\"iict-viz viz-duet\" id=\"iict-viz-r18-fr\" lang=\"fr\" aria-labelledby=\"iict-viz-r18-fr-title\"><header><div class=\"viz-kicker\"><span>Carnets visuels<\/span><span>R18 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r18-fr-title\">\u00c9couter aide aussi \u00e0 distinguer<\/h3><p>Reconna\u00eetre un instrument ne suffit pas \u00e0 identifier une pratique.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:2\"><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=\"M74 90l83-75 10 12-82 76zM103 65l5 6M118 51l5 6M133 37l5 6\"\/><ellipse cx=\"189\" cy=\"67\" rx=\"27\" ry=\"12\"\/><path d=\"M162 67v27q28 18 54 0V67M174 75l9 28M204 75l-9 28\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>Quetzales \u00e0 Tzinacapan<\/h4><p>Le rapport de Moya Ram\u00edrez d\u00e9crit fl\u00fbte et tambour dans son contexte d\u2019observation.<\/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=\"M74 90l83-75 10 12-82 76zM103 65l5 6M118 51l5 6M133 37l5 6\"\/><ellipse cx=\"189\" cy=\"67\" rx=\"27\" ry=\"12\"\/><path d=\"M162 67v27q28 18 54 0V67M174 75l9 28M204 75l-9 28\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>Voladores<\/h4><p>La documentation patrimoniale d\u00e9crit le caporal et ses fonctions musicales.<\/p><\/div><\/div><figcaption>Des instruments communs ne prouvent pas des r\u00e9pertoires, des signaux ou des sens identiques.<span class=\"viz-source\">Synth\u00e8se visuelle originale de l\u2019Institut \u00b7 <a href=\"#r18-fr-sources\">Sources et confrontation<\/a><\/span><\/figcaption><\/figure>\n<h2>La musique distingue ce que le regard rapproche<\/h2><p>Le rapport de Moya Ram\u00edrez d\u00e9crit fl\u00fbte et tambour dans la danse des Quetzales observ\u00e9e \u00e0 Tzinacapan. Il comprend l\u2019explication d\u2019un musicien sur son apprentissage et l\u2019adaptation de ses instruments. Ce t\u00e9moignage fut recueilli par cette \u00e9quipe en 2012\u202f; nous l\u2019attribuons au rapport, non \u00e0 une conversation men\u00e9e par l\u2019Institut. La description vaut pour le contexte document\u00e9 et ne fixe pas de dur\u00e9e d\u2019apprentissage obligatoire \u00e0 tous les musiciens.<sup class=\"cite\"><a href=\"#r18-fr-ref-5\">[5]<\/a><\/sup><\/p><p>La fiche de l\u2019UNESCO d\u00e9crit le caporal jouant fl\u00fbte et tambour dans la c\u00e9r\u00e9monie des Voladores. Partager des types d\u2019instruments ne d\u00e9montre pas une musique, des s\u00e9quences ou des responsabilit\u00e9s identiques. Une comparaison musicale compl\u00e8te exigerait des enregistrements identifi\u00e9s par lieu et occasion, les noms locaux des morceaux et les explications de leurs interpr\u00e8tes. Aucune photographie ne peut fournir \u00e0 elle seule cette \u00e9coute.<sup class=\"cite\"><a href=\"#r18-fr-ref-2\">[2]<\/a><\/sup><\/p><p>Le contraste permet une observation simple\u202f: reconna\u00eetre une fl\u00fbte ne signifie pas reconna\u00eetre une pi\u00e8ce musicale. De m\u00eame, un cercle dans une coiffure et un mouvement circulaire dans les airs ne constituent pas une clef permettant de d\u00e9chiffrer ensemble deux c\u00e9r\u00e9monies. Les ressemblances visuelles ouvrent des questions\u202f; les r\u00e9ponses demandent des sources propres \u00e0 chaque pratique.<\/p><\/section><figure class=\"visual\"><h3>Ressemblances visibles, questions distinctes<\/h3><div class=\"table-wrap\"><div class=\"iict-journal-table\" role=\"region\" tabindex=\"0\" aria-label=\"Tableau de donn\u00e9es\" style=\"--journal-table-min:32rem\"><table><thead><tr><th scope=\"col\">Ce que nous observons<\/th><th scope=\"col\">Ce que nous pouvons dire<\/th><th scope=\"col\">Ce qui exige une autre source<\/th><\/tr><\/thead><tbody><tr><th scope=\"row\">Coiffure et v\u00eatements<\/th><td>Forme et couleur \u00e0 cet instant.<\/td><td>Usage local, auteur et sens attribu\u00e9.<\/td><\/tr><tr><th scope=\"row\">Instruments ou posture<\/th><td>Ce qui appara\u00eet effectivement sur l\u2019image.<\/td><td>R\u00e9pertoire, apprentissage et responsabilit\u00e9s.<\/td><\/tr><tr><th scope=\"row\">Lieu et date de la fiche<\/th><td>Provenance d\u00e9clar\u00e9e de chaque photographie.<\/td><td>Identit\u00e9s et rapports avec d\u2019autres \u00e9tudes.<\/td><\/tr><tr><th scope=\"row\">Participation visible<\/th><td>Personnes pr\u00e9sentes, sans identit\u00e9 non document\u00e9e.<\/td><td>D\u00e9cisions, pr\u00e9paration et t\u00e2ches hors champ.<\/td><\/tr><\/tbody><\/table><\/div><\/div><\/figure><section class=\"prose\" id=\"r18-fr-section-3\"><section class=\"iict-reading-addition\" data-kind=\"inline\" id=\"iict-reading-r18-fr\" lang=\"fr\" aria-labelledby=\"iict-reading-r18-fr-title\"><h3 id=\"iict-reading-r18-fr-title\">Une branche de caf\u00e9ier peut aussi marquer la mesure<\/h3><p>L\u2019observation publi\u00e9e par Alejandro Moya Ram\u00edrez \u00e0 Tzinacapan contient un d\u00e9tail reliant musique et paysage : le tambour est frapp\u00e9 avec une branche de caf\u00e9ier. Le rapport d\u00e9crit ses deux faces de peau et une fl\u00fbte de roseau jou\u00e9e par la m\u00eame personne. Ce sont les mat\u00e9riaux et les savoir-faire du contexte document\u00e9 par cette \u00e9quipe. <a class=\"reading-ref\" href=\"#iict-reading-r18-fr-source\" aria-label=\"Voir sources et comparaison\">\u2197<\/a><\/p><p>La caf\u00e9i\u00e8re entre ainsi dans la f\u00eate par un autre chemin que la boisson ou la vente. Une branche devient un outil musical quand quelqu\u2019un sait la choisir et l\u2019employer. Le d\u00e9tail rend perceptible l\u2019apprentissage derri\u00e8re le son et ouvre une autre question : comment ce travail est-il reconnu et transmis ?<\/p><p class=\"reading-links\"><a href=\"https:\/\/repository.uaeh.edu.mx\/revistas\/index.php\/ia\/article\/download\/624\/4373?inline=1\">Alejandro Moya Ram\u00edrez \u00b7 La Danza de los Quetzales, apartado M\u00fasica<\/a> \u00b7 <a href=\"#r18-fr-sources\">Sources et confrontation<\/a><\/p><\/section>\n<figure class=\"iict-plate\" id=\"iict-plate-r18-a-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r18-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-r18-a-fr-title\">Deux instruments, une coordination apprise<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r18-a-fr-art-title iict-plate-r18-a-fr-art-desc\"><title id=\"iict-plate-r18-a-fr-art-title\">Deux instruments, une coordination apprise<\/title><desc id=\"iict-plate-r18-a-fr-art-desc\">1. La fl\u00fbte porte une ligne sonore. 2. Le tambour participe \u00e0 l\u2019organisation rythmique. 3. Pour Quetzal\u00edn \u00e0 Tzinacapan, l\u2019\u00e9tude documente une personne jouant des deux. Instruments sch\u00e9matiques d\u2019apr\u00e8s Moya Ram\u00edrez ; ce n\u2019est ni une transcription ni un plan de fabrication.<\/desc><defs><pattern id=\"iict-plate-r18-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-r18-a-fr-grain)\"\/><g transform=\"translate(228 204) rotate(-22) scale(1.08)\"><rect x=\"-12\" y=\"-126\" width=\"24\" height=\"252\" rx=\"6\" fill=\"#d6bd86\" stroke=\"#88734b\" stroke-width=\"2\"\/><circle cx=\"0\" cy=\"-65\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-40\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-15\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"10\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"35\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"60\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><path d=\"M-12 -96 L12 -96 M-12 97 L12 97\" fill=\"none\" stroke=\"#88734b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><g transform=\"translate(476 224) scale(1.05)\"><path d=\"M-59 -38 L-52 68 Q0 99 52 68 L59 -38Z\" fill=\"#c9b48c\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-59 -38 Q0 -69 59 -38 Q0 -8 -59 -38Z\" fill=\"#e1d4b8\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-52 68 Q0 42 52 68\" fill=\"none\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-51 -32 L-42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-34 -32 L-28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-17 -32 L-14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -32 L0 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M17 -32 L14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M34 -32 L28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M51 -32 L42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M508 129 L618 80 L626 92 L516 141Z\" fill=\"#aa9360\" stroke=\"#837249\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M615 81 Q639 47 643 72 Q647 84 626 92\" fill=\"none\" stroke=\"#837249\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M308 80 Q366 37 413 81 M316 96 Q362 65 403 96\" fill=\"none\" stroke=\"#b5bba3\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"154\" cy=\"98\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"154\" y=\"106\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"479\" cy=\"352\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"479\" y=\"360\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"644\" cy=\"174\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"644\" y=\"182\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>La fl\u00fbte porte une ligne sonore.<\/li><li>Le tambour participe \u00e0 l\u2019organisation rythmique.<\/li><li>Pour Quetzal\u00edn \u00e0 Tzinacapan, l\u2019\u00e9tude documente une personne jouant des deux.<\/li><\/ol><figcaption class=\"plate-caption\">Instruments sch\u00e9matiques d\u2019apr\u00e8s Moya Ram\u00edrez ; ce n\u2019est ni une transcription ni un plan de fabrication. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r18-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>Ce que reconna\u00eet une inscription patrimoniale<\/h2><p>La c\u00e9r\u00e9monie rituelle des Voladores fut inscrite en 2009 sur la Liste repr\u00e9sentative du patrimoine culturel immat\u00e9riel de l\u2019humanit\u00e9. La fiche la situe dans plusieurs communaut\u00e9s et groupes\u202f; son association embl\u00e9matique au Totonacapan ne limite pas sa pratique \u00e0 Papantla. La d\u00e9cision d\u2019inscription valorise transmission, recr\u00e9ation, participation communautaire et mesures de sauvegarde.<sup class=\"cite\"><a href=\"#r18-fr-ref-2\">[2]<\/a><\/sup><sup class=\"cite\"><a href=\"#r18-fr-ref-3\">[3]<\/a><\/sup><\/p><p>Cette d\u00e9cision ne fournit pas un mod\u00e8le vestimentaire permettant de certifier chaque version locale d\u2019un regard. Reconna\u00eetre une pratique ne signifie pas non plus que l\u2019UNESCO soutient toute organisation qui la mentionne. Fiche et d\u00e9cision r\u00e9pondent \u00e0 des questions patrimoniales\u202f; comprendre comment un groupe apprend, organise ses engagements ou juge l\u00e9gitimes certains changements n\u00e9cessite d\u2019autres sources.<\/p><p>Le mot recr\u00e9ation d\u00e9signe ici le fait de faire revivre une tradition \u00e0 chaque transmission. Une tradition transmise peut changer de mati\u00e8res, de contextes ou de participants sans que le chercheur doive en juger la valeur uniquement \u00e0 partir d\u2019une image id\u00e9ale du pass\u00e9. Les questions sont : qui introduit le changement, comment en discute-t-on et quelles cons\u00e9quences entra\u00eene-t-il pour ceux qui soutiennent la pratique ? C\u2019est une question de recherche, non une autorisation ext\u00e9rieure de la redessiner.<\/p><\/section><section class=\"prose\" id=\"r18-fr-section-4\"><h2>Ce qui change lorsque des femmes volent aussi<\/h2><p>L\u2019\u00e9tude de Rodr\u00edguez Blanco ajoute un contraste que la fiche g\u00e9n\u00e9rale ne d\u00e9veloppe pas\u202f: la participation des femmes \u00e0 Cuetzalan. Publi\u00e9e en 2011, elle utilise des t\u00e9moignages recueillis en 2009 et porte une attention particuli\u00e8re aux participantes du quartier de Cuapech. Elle permet d\u2019analyser les \u00e9carts entre pr\u00e9sence visible, t\u00e2ches et acc\u00e8s aux d\u00e9cisions. Ce n\u2019est ni un recensement de 2026 ni une description de tous les groupes de Puebla et de Veracruz.<sup class=\"cite\"><a href=\"#r18-fr-ref-4\">[4]<\/a><\/sup><\/p><p>La description de quatre jeunes hommes dans la fiche de l\u2019UNESCO ne doit pas devenir l\u2019affirmation que seuls les hommes ont vol\u00e9 ou peuvent voler dans toutes les communaut\u00e9s. L\u2019\u00e9tude locale, de son c\u00f4t\u00e9, ne prouve pas l\u2019organisation actuelle de chaque groupe. Les deux documents diff\u00e8rent par leur \u00e9chelle et leur objectif\u202f; l\u2019expliciter \u00e9claire davantage que le dissimuler.<\/p><p>L\u2019article acad\u00e9mique demande \u00e9galement une lecture critique. \u00c0 la page 128, l\u2019autrice oppose sa classification de certaines participantes comme m\u00e9tisses \u00e0 leur auto-identification autochtone, en utilisant notamment la pratique du nahuatl parmi ses arguments. Nous maintenons cet \u00e9cart visible\u202f: la classification de la chercheuse et la mani\u00e8re dont les participantes se reconnaissent ne sont pas la m\u00eame voix. Nous ne retenons pas l\u2019absence d\u2019une langue comme crit\u00e8re suffisant pour nier une identit\u00e9.<sup class=\"cite\"><a href=\"#r18-fr-ref-4\">[4]<\/a><\/sup><\/p><p>Le tourisme demande la m\u00eame attention. \u00catre r\u00e9mun\u00e9r\u00e9 pour une pr\u00e9sentation, danser dans une f\u00eate et apprendre en famille posent des relations qui peuvent coexister ou entrer en tension. La recherche de 2011 recueille des d\u00e9saccords\u202f; elle ne suffit pas \u00e0 d\u00e9clarer que toute pr\u00e9sentation touristique est priv\u00e9e de sens c\u00e9r\u00e9moniel. Il faudrait \u00e9couter les personnes concern\u00e9es et \u00e9tudier le contexte pr\u00e9cis, au lieu de d\u00e9duire le sens de la pr\u00e9sence de spectateurs.<\/p><\/section><figure class=\"visual\"><h3>Une image ne r\u00e9unit pas tous les temps<\/h3><div class=\"timeline\"><div class=\"time\"><b>2009<\/b><p>Inscription UNESCO et t\u00e9moignages de l\u2019\u00e9tude de Cuetzalan.<\/p><\/div><div class=\"time\"><b>2011<\/b><p>Publication de Las mujeres que vuelan.<\/p><\/div><div class=\"time\"><b>2012<\/b><p>Visite \u00e0 Tzinacapan et photographie distincte de Cuetzalan.<\/p><\/div><div class=\"time\"><b>2022<\/b><p>Photographie des Voladores \u00e0 Huehuetla, Puebla.<\/p><\/div><div class=\"time\"><b>2024<\/b><p>Note de l\u2019INAH sur le panache Quetzalin.<\/p><\/div><\/div><figcaption>Dates de documents, observations et photographies\u202f; non une chronologie des origines des danses.<\/figcaption><\/figure><section class=\"prose\" id=\"r18-fr-section-5\"><figure class=\"iict-plate\" id=\"iict-plate-r18-b-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r18-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-r18-b-fr-title\">Une m\u00eame f\u00eate ne rend pas les danses identiques<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r18-b-fr-art-title iict-plate-r18-b-fr-art-desc\"><title id=\"iict-plate-r18-b-fr-art-title\">Une m\u00eame f\u00eate ne rend pas les danses identiques<\/title><desc id=\"iict-plate-r18-b-fr-art-desc\">1. Le nom et la localit\u00e9 pr\u00e9cisent la pratique \u00e9tudi\u00e9e. 2. Musique, mouvement et responsabilit\u00e9s aident \u00e0 la distinguer. 3. Partager une sc\u00e8ne permet de comparer en conservant les diff\u00e9rences. Diagramme de comparaison ; il ne reconstitue ni chor\u00e9graphies, ni costumes, ni figures rituelles.<\/desc><defs><pattern id=\"iict-plate-r18-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-r18-b-fr-grain)\"\/><circle cx=\"221\" cy=\"201\" r=\"106\" fill=\"#dfe5d7\" stroke=\"#a1b095\" stroke-width=\"1\"\/><circle cx=\"534\" cy=\"201\" r=\"106\" fill=\"#ebe0c6\" stroke=\"#b9a471\" stroke-width=\"1\"\/><path d=\"M143 201 Q167 157 190 201 T237 201 T284 201\" fill=\"none\" stroke=\"#6d9292\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M452 201 Q472 165 493 201 T535 201 T577 201 T619 201\" fill=\"none\" stroke=\"#b29456\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M254 310 Q373 371 495 310 M316 102 Q377 64 438 102\" fill=\"none\" stroke=\"#b5a675\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"4 8\"\/><circle cx=\"221\" cy=\"77\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"221\" y=\"85\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"534\" cy=\"77\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"534\" y=\"85\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"375\" cy=\"342\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"375\" y=\"350\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Le nom et la localit\u00e9 pr\u00e9cisent la pratique \u00e9tudi\u00e9e.<\/li><li>Musique, mouvement et responsabilit\u00e9s aident \u00e0 la distinguer.<\/li><li>Partager une sc\u00e8ne permet de comparer en conservant les diff\u00e9rences.<\/li><\/ol><figcaption class=\"plate-caption\">Diagramme de comparaison ; il ne reconstitue ni chor\u00e9graphies, ni costumes, ni figures rituelles. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r18-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>La photographie montre\u202f; l\u2019apprentissage soutient<\/h2><p>Les photographies conservent des d\u00e9tails pr\u00e9cieux\u202f: coiffure, posture, disposition des participants, lieu et instant. Elles n\u2019enregistrent pas automatiquement r\u00e9p\u00e9titions, r\u00e9parations, accords, soins ni d\u00e9cisions sur les personnes pouvant apprendre. La beaut\u00e9 de l\u2019image est une entr\u00e9e dans la connaissance, non son substitut.<\/p><p>La comparaison de Quetzal\u00edn et des Voladores aboutit \u00e0 un r\u00e9sultat pr\u00e9cis\u202f: on peut reconna\u00eetre des affinit\u00e9s r\u00e9gionales sans fusionner les pratiques. Lieu, date, musique, transmission et autorit\u00e9 demandent chacun leur description. La pr\u00e9sence dans une m\u00eame f\u00eate n\u2019efface pas les diff\u00e9rences\u202f; elle aide \u00e0 comprendre la coexistence d\u2019expressions distinctes dans une vie communautaire plus large.<\/p><p>Une future chronique pourra suivre une journ\u00e9e d\u2019apprentissage et confronter les paroles de musiciens, d\u2019apprentis et de responsables, avec des accords d\u2019enregistrement et de publication. En attendant, le travail documentaire am\u00e9liore le regard\u202f: voir l\u2019image enti\u00e8re, lire sa l\u00e9gende et demander ce qui reste hors champ. R11 d\u00e9veloppe le panorama r\u00e9gional des Voladores\u202f; cet article se concentre sur l\u2019apprentissage d\u2019une comparaison sans confusion.<\/p><\/section><section class=\"method\"><h2>\u00c9laboration de cet article<\/h2><p>Recherche documentaire r\u00e9vis\u00e9e le 5 novembre 2026. La note de l\u2019INAH, la fiche et la d\u00e9cision de l\u2019UNESCO, le rapport int\u00e9gral de Moya Ram\u00edrez, l\u2019\u00e9tude de Rodr\u00edguez Blanco et la fiche culturelle de Cuetzalan ont \u00e9t\u00e9 confront\u00e9s. Observations de 2009 et de 2012, publications et dates photographiques sont distingu\u00e9es. Aucun nouvel entretien ni enregistrement n\u2019a \u00e9t\u00e9 r\u00e9alis\u00e9.<\/p><\/section><details class=\"sources\" id=\"r18-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>Que compare-t-on r\u00e9ellement\u202f?<\/h3><p>Deux pratiques et deux mani\u00e8res de les documenter\u202f: objet et sc\u00e8ne visibles, face aux relations expliquant musique, apprentissage et participation. L\u2019hypoth\u00e8se est qu\u2019un trait visuel partag\u00e9 n\u2019implique pas un sens identique. \u00c9tudes locales et documents patrimoniaux permettent de distinguer les questions, non de construire une c\u00e9r\u00e9monie combin\u00e9e. [1\u20136]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">02<\/span>Les photographies montrent-elles un m\u00eame lieu ou \u00e9v\u00e9nement\u202f?<\/h3><p>Non. Luce051 identifie sa photographie comme Danza Los Quetzales de Cuetzalan, le 4 octobre 2012. Raxa.Kame documente les Voladores \u00e0 Huehuetla, Puebla, le 6 ao\u00fbt 2022. Aucune n\u2019est attribu\u00e9e \u00e0 la visite de Moya Ram\u00edrez \u00e0 Tzinacapan en septembre 2012. Nous n\u2019identifions pas non plus les personnes photographi\u00e9es comme interlocutrices de l\u2019\u00e9tude de 2009. Les provenances sont distinctes.<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">03<\/span>Que sait-on des instruments et de l\u2019apprentissage\u202f?<\/h3><p>Moya Ram\u00edrez d\u00e9crit fl\u00fbte et tambour dans le cas observ\u00e9 des Quetzales et rapporte l\u2019explication du musicien. L\u2019UNESCO d\u00e9crit ces instruments dans le r\u00f4le du caporal des Voladores. Cela ne prouve ni l\u2019\u00e9quivalence des r\u00e9pertoires ni une norme pour toutes les variantes. Aucun enregistrement musical n\u2019a \u00e9t\u00e9 analys\u00e9 pour cet article\u202f; morceaux et techniques demandent une comparaison sp\u00e9cifique. [2, 5]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">04<\/span>Qu\u2019apporte l\u2019UNESCO et qu\u2019est-ce qui reste en dehors\u202f?<\/h3><p>La d\u00e9cision de 2009 explique les motifs de l\u2019inscription\u202f: transmission, recr\u00e9ation, diversit\u00e9 et sauvegarde, avec participation des communaut\u00e9s \u00e0 la candidature. Elle ne certifie pas tous les groupes actuels et ne d\u00e9finit pas chaque variante vestimentaire. La fiche synth\u00e9tise\u202f; la d\u00e9cision expose des crit\u00e8res patrimoniaux. Ce sont deux documents d\u2019un m\u00eame processus, non deux v\u00e9rifications de terrain ind\u00e9pendantes. [2, 3]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">05<\/span>Pourquoi confronter la description masculine aux voladoras\u202f?<\/h3><p>La formule de vulgarisation n\u2019\u00e9puise pas les trajectoires de participation. Rodr\u00edguez Blanco documente un cas local \u00e0 partir de t\u00e9moignages de 2009, avec un accent sur Cuapech. Son \u00e9tude permet de questionner positions et reconnaissance, au-del\u00e0 de l\u2019acc\u00e8s au vol. Elle ne prouve ni les conditions de tous les groupes en 2026 ni le genre d\u2019une personne photographi\u00e9e \u00e0 partir de sa tenue. [2, 4]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">06<\/span>O\u00f9 divergeons-nous d\u2019une source acad\u00e9mique\u202f?<\/h3><p>La page 128 de l\u2019\u00e9tude de 2011 pr\u00e9sente une tension explicite entre auto-identification et classification par la chercheuse. Nous l\u2019exposons sans faire de cette derni\u00e8re la voix des participantes. Nous interrogeons aussi l\u2019exclusion n\u00e9cessaire entre tourisme et sens c\u00e9r\u00e9moniel. Ces probl\u00e8mes d\u2019interpr\u00e9tation ne se r\u00e9solvent ni en niant la valeur du terrain ni en r\u00e9p\u00e9tant ses conclusions comme faits universels. [4]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">07<\/span>Quelles dates et g\u00e9n\u00e9ralisations demandent de l\u2019attention\u202f?<\/h3><p>La visite de Moya Ram\u00edrez eut lieu en septembre 2012\u202f; son texte reproduit aussi une r\u00e9f\u00e9rence au 4 octobre, qui ne doit pas effacer cette date de visite. La fiche du SIC place saint Fran\u00e7ois d\u2019Assise le 4 octobre et fut actualis\u00e9e en 2016. Une affirmation de vulgarisation sur des racines anciennes n\u2019\u00e9quivaut pas \u00e0 une d\u00e9monstration historique de continuit\u00e9 ininterrompue. [1, 5, 6]<\/p><\/section><section class=\"contrast-item\"><h3><span class=\"number\">08<\/span>Qu\u2019apporterait la prochaine recherche\u202f?<\/h3><p>Un enregistrement autoris\u00e9 de l\u2019apprentissage permettrait de comparer r\u00e9pertoires, t\u00e2ches, occasions et changements \u00e0 partir des mots des praticiens. Il faudrait distinguer groupe, localit\u00e9 et ann\u00e9e, offrir la r\u00e9vision des identifications et convenir des usages des images. Ce compl\u00e9ment reste \u00e0 faire\u202f; l\u2019article livre maintenant la comparaison documentaire et la lecture critique de deux photographies sans inventer de parole locale ni reconstituer une c\u00e9r\u00e9monie.<\/p><\/section><section class=\"bibliography\"><h3>R\u00e9f\u00e9rences documentaires<\/h3><ol><li id=\"r18-fr-ref-1\"><a href=\"https:\/\/www.inah.gob.mx\/foto-del-dia\/penacho-de-la-danza-quetzalin\">INAH. \u00ab Penacho de la danza Quetzalin \u00bb. Foto del d\u00eda, 16 avril 2024. Note int\u00e9gralement lue. Photographie institutionnelle li\u00e9e, non reproduite sans licence sp\u00e9cifique.<\/a><\/li><li id=\"r18-fr-ref-2\"><a href=\"https:\/\/ich.unesco.org\/en\/RL\/ritual-ceremony-of-the-voladores-00175\">UNESCO. \u00ab Ritual ceremony of the Voladores \u00bb, dossier 00175. Inscription en 2009 sur la Liste repr\u00e9sentative du patrimoine culturel immat\u00e9riel de l\u2019humanit\u00e9. Texte index\u00e9 de la source primaire consult\u00e9\u202f; acc\u00e8s direct soumis \u00e0 un CAPTCHA.<\/a><\/li><li id=\"r18-fr-ref-3\"><a href=\"https:\/\/ich.unesco.org\/en\/Decisions\/4.COM\/13.62\">UNESCO. D\u00e9cision 4.COM 13.62 (2009). Texte int\u00e9gral consult\u00e9, distingu\u00e9 de la pr\u00e9sentation de vulgarisation du dossier.<\/a><\/li><li id=\"r18-fr-ref-4\"><a href=\"https:\/\/perfilesla.flacso.edu.mx\/index.php\/perfilesla\/article\/download\/127\/72\/158\">Eugenia Rodr\u00edguez Blanco. \u00ab Las mujeres que vuelan: g\u00e9nero y cambio cultural en Cuetzalan \u00bb. Perfiles Latinoamericanos 38 (juillet\u2013d\u00e9cembre 2011), 115\u2013143. Texte consult\u00e9, notamment m\u00e9thode, t\u00e9moignages de 2009, analyse et conclusions.<\/a><\/li><li id=\"r18-fr-ref-5\"><a href=\"https:\/\/repository.uaeh.edu.mx\/revistas\/index.php\/ia\/article\/view\/624\">Alejandro Moya Ram\u00edrez. \u00ab La Danza de los Quetzales \u00bb. MAGOTZI Bolet\u00edn Cient\u00edfico de Artes del IA 2(3), 5 janvier 2014. Rapport d\u2019une visite \u00e0 San Miguel Tzinacapan les 27\u201329 septembre 2012. Texte int\u00e9gral consult\u00e9. DOI\u202f: 10.29057\/ia.v2i3.624.<\/a><\/li><li id=\"r18-fr-ref-6\"><a href=\"https:\/\/sic.cultura.gob.mx\/ficha.php?table=festividad&#038;table_id=564\">Secretar\u00eda de Cultura, Sistema de Informaci\u00f3n Cultural. \u00ab Fiesta de San Francisco de As\u00eds \u00bb, Cuetzalan del Progreso, fiche 564. Derni\u00e8re modification visible\u202f: 8 ao\u00fbt 2016. Fiche int\u00e9gralement lue.<\/a><\/li><\/ol><\/section><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r18-fr-source\" lang=\"fr\"><h4>Une branche de caf\u00e9ier peut aussi marquer la mesure<\/h4><p>La description concerne les Quetzales de Tzinacapan et le terrain de 2012 rapport\u00e9 par l\u2019auteur. Cette baguette et ce r\u00e9pertoire ne sont pas attribu\u00e9s au caporal des Voladores.<\/p><p><a href=\"https:\/\/repository.uaeh.edu.mx\/revistas\/index.php\/ia\/article\/download\/624\/4373?inline=1\">Alejandro Moya Ram\u00edrez \u00b7 La Danza de los Quetzales, apartado M\u00fasica<\/a> \u00b7 <a href=\"#iict-reading-r18-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 R18<\/small><\/div><div><span class=\"eyebrow\">Lecture associ\u00e9e<\/span><a href=\"https:\/\/totonacapan.com\/?page_id=1317#r11-fr\">R11 \u00b7 Voladores et autres c\u00e9r\u00e9monies entre les peuples \u2192<\/a><\/div><\/nav><!-- IICT-CITE R18 fr --><aside class=\"iict-citation\" id=\"citar-r18-fr\" aria-labelledby=\"citar-r18-fr-title\"><h2 id=\"citar-r18-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. \u00abQuetzal\u00edn et Voladores : deux danses qu\u2019une seule image ne peut expliquer\u00bb. <cite>Cahiers de recherche<\/cite>, <strong>R18<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1354#r18-fr\">https:\/\/totonacapan.com\/?page_id=1354#r18-fr<\/a>.<\/blockquote><p><strong>R\u00e9f\u00e9rence interne:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1354#r18-fr\">R18<\/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 R18 fr --><\/article><\/details><\/div><script>(function(){function openArticle(){var root=document.querySelector(\"#research-r18-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 R18 \u00b7 Mirar, escuchar y distinguir Quetzal\u00edn y Voladores Dos danzas que no se explican con una sola imagen Revisi\u00f3n documental \u00b7 5 de noviembre de 2026 En pocas palabras Dos fotograf\u00edas de Puebla, dos danzas y una pregunta: [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":1225,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1354","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1354","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1354"}],"version-history":[{"count":12,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1354\/revisions"}],"predecessor-version":[{"id":1777,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1354\/revisions\/1777"}],"up":[{"embeddable":true,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1225"}],"wp:attachment":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1354"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}