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article .research-hypotheses h3{font-size:1.17rem!important}#research-r19-release.iict-journal article .research-hypotheses p{font-size:1rem!important}}\n\n\/* IICT VISUALES FINAL 20261106 *\/\n#research-r19-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-r19-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-r19-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=\"Idiomas \/ Languages \/ Langues\"><a href=\"#r19-es\">Espa\u00f1ol<\/a><a href=\"#r19-en\">English<\/a><a href=\"#r19-fr\">Fran\u00e7ais<\/a><\/nav><!-- IICT-CITE-CSS --><style>.iict-citation{display:block!important;max-width:780px!important;margin:2.8rem auto!important;padding:1.6rem 1.7rem!important;border-block:1px solid #b6a06b!important;border-left:2px solid #a58a47!important;background:#edf0e7!important;color:#344c53!important;grid-column:1\/-1!important}.iict-citation h2{display:block!important;margin:0 0 1.1rem!important;font:400 1.65rem\/1.25 Georgia,serif!important;color:#264b61!important;text-align:left!important;letter-spacing:0!important}.iict-citation p,.iict-citation blockquote{display:block!important;margin:0 0 1rem!important;padding:0!important;border:0!important;background:none!important;text-align:left!important;text-indent:0!important;letter-spacing:normal!important;hyphens:none!important}.iict-citation p{font:400 .93rem\/1.7 var(--sans,system-ui,sans-serif)!important}.iict-citation blockquote{font:400 1.08rem\/1.8 Georgia,serif!important;overflow-wrap:anywhere!important}.iict-citation a{display:inline!important;overflow-wrap:anywhere!important;color:#264b61!important}.iict-citation .iict-citation-label{font:400 .72rem\/1.6 var(--sans,system-ui,sans-serif)!important;letter-spacing:.08em!important;text-transform:uppercase!important;color:#596b58!important}.iict-citation-policy li{margin-block:.7rem!important;font:400 1rem\/1.75 Georgia,serif!important}.iict-citation-policy ol{padding-left:1.3rem!important}.iict-citation-policy .iict-citation-format{font:400 1.02rem\/1.8 Georgia,serif!important}.iict-citation a:focus-visible{outline:2px solid #a58a47;outline-offset:4px}@media(max-width:650px){.iict-citation{padding:1.3rem 1.1rem!important;margin:2rem auto!important}.iict-citation h2{font-size:1.5rem!important}.iict-citation blockquote{font-size:1rem!important}}<\/style><!-- \/IICT-CITE-CSS --><article id=\"r19-es\" lang=\"es\"><header class=\"hero\"><div class=\"kicker\">R19 \u00b7 Cuadernos de investigaci\u00f3n<\/div><h1>La palabra y el huipil: mujeres en la celebraci\u00f3n de Cuetzalan<\/h1><p class=\"subtitle\">Una prenda puede mirarse. La voz de quien la lleva exige escuchar.<\/p><div class=\"date\">Revisi\u00f3n documental \u00b7 5 de noviembre de 2026<\/div><\/header><section class=\"abstract\"><div class=\"eyebrow\">En pocas palabras<\/div><p>\u00bfQu\u00e9 se escucha cuando una mujer habla de la prenda que lleva? La elecci\u00f3n de la Reina del Huipil re\u00fane indumentaria, lengua y representaci\u00f3n comunitaria. Para entenderlas comparamos dos fichas del Museo Nacional de Antropolog\u00eda, un registro cultural de 2016 y estudios sobre tejido y participaci\u00f3n: qu\u00e9 muestran y d\u00f3nde discrepan. Reconocer a las mujeres como interlocutoras exige distinguir tres cosas: conocer el oficio textil, estar presente en una celebraci\u00f3n y poder decidir c\u00f3mo se cuenta.<\/p><\/section><details class=\"iict-journal-toc\"><summary>En este art\u00edculo<\/summary><nav class=\"toc\" aria-label=\"En este art\u00edculo\"><span class=\"eyebrow\">En este art\u00edculo<\/span><a href=\"#r19-es-section-0\">Una escena p\u00fablica, dos registros fechados<\/a><a href=\"#r19-es-section-1\">Leer la prenda sin convertirla en una etiqueta<\/a><a href=\"#r19-es-section-2\">Estar en la imagen y tener la palabra<\/a><a href=\"#r19-es-section-3\">Una fotograf\u00eda de 2012 abre preguntas<\/a><a href=\"#r19-es-section-4\">Escuchar sin convertir la conversaci\u00f3n en un tr\u00e1mite<\/a><a href=\"#r19-es-sources\">Fuentes y contraste<\/a><\/nav><\/details><figure class=\"photo prep-visual\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r19-reina-huipil-cuetzalan-luce051-2012.jpg\" alt=\"Escena de la elecci\u00f3n de la Reina del Huipil en Cuetzalan, fotografiada por Luce051 en 2012.\" width=\"1280\" height=\"906\"><figcaption>Elecci\u00f3n de la Reina del Huipil, Cuetzalan, 4 de octubre de 2012. Luce051 \/ Wikimedia Commons \/ CC BY-SA 4.0. Escena p\u00fablica fechada; no es una fotograf\u00eda de 2026. Reproducci\u00f3n \u00edntegra, ajustada solo de tama\u00f1o. <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Elecci%C3%B3n_de_la_Reina_del_Huipil_en_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><\/figcaption><\/figure><div class=\"prose opening\"><p>A veces una celebraci\u00f3n se mira desde el bordado y se olvida escuchar a quien lo lleva. En Cuetzalan, el huipil contiene conocimientos textiles, pero tambi\u00e9n entra en una escena p\u00fablica donde importan las palabras, la lengua y la pertenencia a una comunidad. El Museo Nacional de Antropolog\u00eda ha documentado la elecci\u00f3n de la Reina del Huipil en un momento hist\u00f3rico concreto. La tarea de hoy consiste en preguntar qu\u00e9 se mantiene y qu\u00e9 ha cambiado, escuchando a las mujeres que participan.<\/p><\/div><section class=\"prose\" id=\"r19-es-section-0\"><h2>Una escena p\u00fablica, dos registros fechados<\/h2><p>Las fuentes valoran cosas diferentes. La ficha del mastahual, el tocado, publicada por el MNA en febrero de 2024 sit\u00faa la elecci\u00f3n junto a la fiesta de San Francisco, el 4 de octubre. Relaciona la exposici\u00f3n de las participantes sobre su comunidad con el requisito de hablar n\u00e1huatl y espa\u00f1ol. El SIC, en su registro actualizado en 2016, destaca adem\u00e1s el conocimiento del telar y la belleza. Tomar la palabra, saber hacer y ser valorada por la apariencia no son la misma cosa.<sup class=\"cite\"><a href=\"#r19-es-s1\">S1<\/a>, <a href=\"#r19-es-s3\">S3<\/a><\/sup><\/p><p>Surge tambi\u00e9n una diferencia verificable: el MNA menciona edades entre 15 y 20 a\u00f1os; el SIC, entre 14 y 20. Ninguna ficha permite establecer por s\u00ed sola las bases de una edici\u00f3n posterior. Para conocer las condiciones de 2026 har\u00edan falta la convocatoria de ese a\u00f1o y las explicaciones de participantes y organizadoras. Mantener las dos fechas documentales permite investigar un cambio, sin decretarlo ni borrarlo.<sup class=\"cite\"><a href=\"#r19-es-s1\">S1<\/a>, <a href=\"#r19-es-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r19-es-section-1\"><style id=\"iict-visual-essays-20261106\">\n#main figure.iict-viz{box-sizing:border-box;width:100%;max-width:100%;margin:2.3rem auto!important;padding:clamp(20px,3vw,34px)!important;border:1px solid #cfc3a9!important;border-top:3px solid #a68b46!important;border-radius:2px!important;background:linear-gradient(135deg,#fffcf4,#f5efdf)!important;color:#254761!important;box-shadow:0 18px 30px -32px #17314480;overflow:visible!important;float:none!important;clear:both;isolation:isolate;break-inside:avoid;}\n#main figure.iict-viz *,#main figure.iict-viz *::before,#main figure.iict-viz *::after{box-sizing:border-box}#main figure.iict-viz>header{display:block!important;width:100%!important;margin:0 0 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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-timeline\" id=\"iict-viz-r19-es\" lang=\"es\" aria-labelledby=\"iict-viz-r19-es-title\"><header><div class=\"viz-kicker\"><span>Cuadernos visuales<\/span><span>R19 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r19-es-title\">Tres fechas para leer una celebraci\u00f3n<\/h3><p>Cada registro tiene su propio momento y su propia pregunta.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:3\"><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>2012 \u00b7 Fotograf\u00eda<\/h4><p>La imagen de Luce051 documenta una escena fechada de la elecci\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=\"M140 34q-25-20-65-9v65q35-11 65 5 30-16 65-5V25q-40-11-65 9v61M91 43q20-3 34 5M91 59q20-3 34 5M155 48q17-8 34-5M155 64q17-8 34-5\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>2016 \u00b7 SIC<\/h4><p>El registro cultural menciona edades de 14 a 20 a\u00f1os y determinados criterios.<\/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=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>2024 \u00b7 MNA<\/h4><p>La ficha del museo menciona edades de 15 a 20 a\u00f1os y otros \u00e9nfasis.<\/p><\/div><\/div><figcaption>Fechas de las fuentes; sus diferencias se conservan y no fijan un reglamento actual.<span class=\"viz-source\">S\u00edntesis visual original del Instituto \u00b7 <a href=\"#r19-es-sources\">Fuentes y contraste<\/a><\/span><\/figcaption><\/figure>\n<aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r19-es\" lang=\"es\" aria-labelledby=\"iict-reading-r19-es-title\"><span class=\"reading-kicker\">Una historia concreta<\/span><h3 id=\"iict-reading-r19-es-title\">El tocado empieza antes de llegar a la plaza<\/h3><p>El mastahual permite seguir trabajo que comienza antes de la escena p\u00fablica. Mar\u00eda Eugenia S\u00e1nchez Santa Ana explica en la ficha del MNA de febrero de 2024 que el tocado se forma con veinte a treinta cordones de lana entretejidos en el cabello, con ayuda de mujeres mayores. Sit\u00faa la elaboraci\u00f3n hist\u00f3rica de esos cordones en Hueyapan o Tlatlauquitepec, lugares vinculados al trabajo de la lana. <a class=\"reading-ref\" href=\"#iict-reading-r19-es-source\" aria-label=\"Ver fuentes y contraste\">\u2197<\/a><\/p><p>La indumentaria re\u00fane as\u00ed manos, aprendizajes y relaciones entre localidades. Mirar solo el resultado oculta el tiempo de preparaci\u00f3n y la colaboraci\u00f3n que sostiene su forma. Ese recorrido invita a continuar desde la prenda expuesta hacia quienes conocen sus materiales y sus maneras de hacerse.<\/p><p class=\"reading-links\"><a href=\"https:\/\/mna.inah.gob.mx\/detalle_pieza_mes.php?id=321\">Mar\u00eda Eugenia S\u00e1nchez Santa Ana \u00b7 MNA, Mastahual, febrero 2024, inv.143006<\/a> \u00b7 <a href=\"#r19-es-sources\">Fuentes y contraste<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r19-a-es\" lang=\"es\" aria-labelledby=\"iict-plate-r19-a-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 I<\/p><h3 id=\"iict-plate-r19-a-es-title\">Antes del tocado est\u00e1n el hilo y las manos<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r19-a-es-art-title iict-plate-r19-a-es-art-desc\"><title id=\"iict-plate-r19-a-es-art-title\">Antes del tocado est\u00e1n el hilo y las manos<\/title><desc id=\"iict-plate-r19-a-es-art-desc\">1. El registro del MNA describe entre veinte y treinta cordones de lana. 2. Se entretejen en el cabello con ayuda de mujeres mayores. 3. Hueyapan y Tlatlauquitepec aparecen en la historia de elaboraci\u00f3n de los cordones. Estudio ilustrado del material, no retrato de una participante ni reconstrucci\u00f3n exacta de un mastahual.<\/desc><defs><pattern id=\"iict-plate-r19-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-r19-a-es-grain)\"\/><path d=\"M80 96 C180 133 79 236 179 317\" fill=\"none\" stroke=\"#b79a61\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M80 96 C180 133 79 236 179 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M112 96 C209 133 124 236 219 317\" fill=\"none\" stroke=\"#9ba97e\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M112 96 C209 133 124 236 219 317\" fill=\"none\" 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stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M240 96 C325 133 304 236 379 317\" fill=\"none\" stroke=\"#c4b28c\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M240 96 C325 133 304 236 379 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M272 96 C354 133 349 236 419 317\" fill=\"none\" stroke=\"#b79a61\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M272 96 C354 133 349 236 419 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M304 96 C383 133 394 236 459 317\" fill=\"none\" stroke=\"#9ba97e\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M304 96 C383 133 394 236 459 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M336 96 C412 133 439 236 499 317\" fill=\"none\" stroke=\"#c4b28c\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M336 96 C412 133 439 236 499 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M368 96 C441 133 484 236 539 317\" fill=\"none\" stroke=\"#b79a61\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M368 96 C441 133 484 236 539 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M400 96 C470 133 529 236 579 317\" fill=\"none\" stroke=\"#9ba97e\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M400 96 C470 133 529 236 579 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M125 95 Q280 62 408 95 M196 324 Q371 363 602 317\" fill=\"none\" stroke=\"#aa9260\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"91\" cy=\"68\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"91\" y=\"76\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"608\" cy=\"187\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"608\" y=\"195\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"376\" cy=\"376\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"376\" y=\"384\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>El registro del MNA describe entre veinte y treinta cordones de lana.<\/li><li>Se entretejen en el cabello con ayuda de mujeres mayores.<\/li><li>Hueyapan y Tlatlauquitepec aparecen en la historia de elaboraci\u00f3n de los cordones.<\/li><\/ol><figcaption class=\"plate-caption\">Estudio ilustrado del material, no retrato de una participante ni reconstrucci\u00f3n exacta de un mastahual. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r19-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>Leer la prenda sin convertirla en una etiqueta<\/h2><p>En abril de 2024, Lourdes B\u00e1ez Cubero dedic\u00f3 otra ficha del MNA al tencahuipil: una prenda festiva de Cuetzalan, con tejido de gasa y bordados. La ficha vincula materia, relatos y conocimientos de las tejedoras. Identifica un objeto de colecci\u00f3n concreto; no demuestra que todas las prendas usadas en la elecci\u00f3n sean de su mismo tipo, material o manufactura.<sup class=\"cite\"><a href=\"#r19-es-s2\">S2<\/a><\/sup><\/p><p>Las gasas. Arte textil nahua, en su edici\u00f3n electr\u00f3nica de 2019, distingue pr\u00e1cticas y vocabularios documentados en San Andr\u00e9s Tzicuilan. Explica el nombre local huipil para una prenda que en otros contextos se llama quechqu\u00e9mitl. Esa precisi\u00f3n impide reconocer una pieza solo por una etiqueta general. Aqu\u00ed conservamos el nombre de la celebraci\u00f3n y dejamos abierta la identificaci\u00f3n t\u00e9cnica de cada prenda fotografiada.<sup class=\"cite\"><a href=\"#r19-es-s4\">S4<\/a><\/sup><\/p><p>La descripci\u00f3n del tejido abre otra diferencia entre las fuentes. El MNA relaciona tencahuipil con gasa. Las gasas, en las p\u00e1ginas 83\u201384, describe el tenkuauipil con ligamento cerrado tateijtik y lo distingue de las prendas de tejido abierto. Nombres parecidos no prueban que se trate de un mismo objeto o una misma categor\u00eda. Puede haber variaciones locales, piezas diferentes o formas distintas de describirlas. Comparar la prenda inventariada y consultar a quienes la conocen permitir\u00eda precisarlo; igualar ahora los t\u00e9rminos ocultar\u00eda la cuesti\u00f3n.<sup class=\"cite\"><a href=\"#r19-es-s2\">S2<\/a>, <a href=\"#r19-es-s4\">S4<\/a><\/sup><\/p><p>Describir el tejido plantea preguntas muy concretas: qui\u00e9n hizo la pieza, qui\u00e9n eligi\u00f3 los hilos, cu\u00e1nto trabajo reuni\u00f3 y c\u00f3mo se aprendi\u00f3 a resolverla. Son preguntas sobre conocimiento y autor\u00eda. Una imagen frontal no las responde. Tampoco permite asignar autom\u00e1ticamente un significado a cada motivo. Escuchar una explicaci\u00f3n autorizada evita convertir la habilidad de una persona en un repertorio an\u00f3nimo de adornos.<\/p><\/section><figure class=\"visual prep-visual\"><span class=\"eyebrow\">R19 \u00b7 Cuadernos de investigaci\u00f3n<\/span><h3>Tres tareas para mirar con cuidado<\/h3><div class=\"clocks\"><div class=\"clock\"><span class=\"number\">01<\/span><b>Observar<\/b><p>Fecha, encuadre y procedencia de la escena.<\/p><\/div><div class=\"clock\"><span class=\"number\">02<\/span><b>Identificar<\/b><p>Prenda, autor\u00eda y vocabulario local: comprobar, no adivinar.<\/p><\/div><div class=\"clock\"><span class=\"number\">03<\/span><b>Escuchar<\/b><p>Prioridades y palabras de las participantes: ampliaci\u00f3n de campo pendiente.<\/p><\/div><\/div><figcaption>Esquema editorial original. No representa una secuencia ritual ni reproduce dise\u00f1os textiles.<\/figcaption><\/figure><section class=\"prose\" id=\"r19-es-section-2\"><h2>Estar en la imagen y tener la palabra<\/h2><p>Una mujer puede hablar ante un jurado, tejer para su familia, vender una pieza o decidir que una explicaci\u00f3n no se publique. Esas acciones merecen describirse por separado. La presencia en una ceremonia hace visible una participaci\u00f3n; conocer sus condiciones exige saber qui\u00e9n organiza, qui\u00e9n eval\u00faa y qui\u00e9n controla la circulaci\u00f3n de las im\u00e1genes. Esta distinci\u00f3n sostiene nuestra lectura: la fotograf\u00eda registra presencia, mientras la capacidad de decidir requiere otra evidencia.<\/p><p>Eugenia Rodr\u00edguez Blanco distingue entre acceder a una pr\u00e1ctica y transformar las relaciones de g\u00e9nero en su estudio de 2011 sobre las voladoras de Cuetzalan. Son otra actividad y otro conjunto de testimonios. Aqu\u00ed esa diferencia permite preguntar qu\u00e9 posibilidades acompa\u00f1an una nueva presencia p\u00fablica; no se trasladan sus conclusiones a las participantes de la Reina del Huipil.<sup class=\"cite\"><a href=\"#r19-es-s6\">S6<\/a><\/sup><\/p><p>\u00bfQui\u00e9n da forma a las im\u00e1genes de la Feria? El resumen de la investigaci\u00f3n de Lucia Victoria Mora Tirado, publicada por El Colegio de Tlaxcala en 2026, estudia c\u00f3mo se representa en espacios f\u00edsicos y digitales. Su atenci\u00f3n a los actores locales ayuda a preguntar qui\u00e9n produce y contextualiza esas im\u00e1genes. Aqu\u00ed solo se utiliza esa sinopsis o resumen, no se presenta como le\u00eddo el texto completo de la tesis.<sup class=\"cite\"><a href=\"#r19-es-s5\">S5<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r19-es-section-3\"><h2>Una fotograf\u00eda de 2012 abre preguntas<\/h2><p>La fotograf\u00eda de Luce051 muestra una escena de la elecci\u00f3n en Cuetzalan el 4 de octubre de 2012. Su procedencia permite fechar el encuadre y usarlo con cr\u00e9dito y licencia. No identifica las opiniones de las personas retratadas. Tampoco describe la organizaci\u00f3n de una edici\u00f3n celebrada catorce a\u00f1os despu\u00e9s. Por eso el pie conserva lugar, autor y a\u00f1o, y evita atribuir nombres, declaraciones o funciones individuales no documentadas.<sup class=\"cite\"><a href=\"#r19-es-s8\">S8<\/a><\/sup><\/p><p>Mirar esta escena puede ser un comienzo de lectura: c\u00f3mo se distribuyen las personas, d\u00f3nde se dirige la atenci\u00f3n y qu\u00e9 queda fuera del encuadre. La interpretaci\u00f3n debe detenerse antes de adivinar un sentimiento. Un gesto no equivale a una opini\u00f3n sobre la celebraci\u00f3n. Una foto de grupo tampoco representa a todas las mujeres de un municipio. La imagen aporta una situaci\u00f3n concreta; la conversaci\u00f3n puede mostrar sus sentidos y desacuerdos.<\/p><\/section><section class=\"prose\" id=\"r19-es-section-4\"><figure class=\"iict-plate\" id=\"iict-plate-r19-b-es\" lang=\"es\" aria-labelledby=\"iict-plate-r19-b-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 II<\/p><h3 id=\"iict-plate-r19-b-es-title\">La imagen abre una pregunta; la voz la ampl\u00eda<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r19-b-es-art-title iict-plate-r19-b-es-art-desc\"><title id=\"iict-plate-r19-b-es-art-title\">La imagen abre una pregunta; la voz la ampl\u00eda<\/title><desc id=\"iict-plate-r19-b-es-art-desc\">1. Una fotograf\u00eda registra lo visible en un momento. 2. La palabra permite explicar saberes, decisiones y cambios. 3. Participar en la representaci\u00f3n incluye decidir c\u00f3mo se cuenta. Relaci\u00f3n conceptual entre imagen, palabra y decisi\u00f3n, sin atribuir testimonios nuevos a participantes.<\/desc><defs><pattern id=\"iict-plate-r19-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-r19-b-es-grain)\"\/><rect x=\"69\" y=\"98\" width=\"184\" height=\"234\" rx=\"4\" fill=\"#f5eedc\" stroke=\"#b5a47c\" stroke-width=\"2\"\/><rect x=\"88\" y=\"117\" width=\"146\" height=\"141\" rx=\"2\" fill=\"#b3c3ac\" stroke=\"#93a289\" stroke-width=\"2\"\/><path d=\"M89 245 Q156 155 234 245\" fill=\"none\" stroke=\"#8e9e80\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M340 110 H491 Q515 110 515 134 V213 Q515 237 491 237 H421 L374 275 L386 237 H340 Q316 237 316 213 V134 Q316 110 340 110Z\" fill=\"#e0e7db\" stroke=\"#95ab98\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M343 157 Q359 133 375 157 T407 157 T439 157 T471 157 M344 190 H480\" fill=\"none\" stroke=\"#8fa78f\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M590 126 C672 99 707 187 665 232 C638 255 655 284 617 290 Q594 289 591 269 M614 152 Q664 145 659 195 Q655 216 637 211 Q617 205 625 185\" fill=\"none\" stroke=\"#a18d60\" stroke-width=\"5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"159\" cy=\"374\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"159\" y=\"382\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"417\" cy=\"333\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"417\" y=\"341\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"632\" cy=\"344\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"632\" y=\"352\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Una fotograf\u00eda registra lo visible en un momento.<\/li><li>La palabra permite explicar saberes, decisiones y cambios.<\/li><li>Participar en la representaci\u00f3n incluye decidir c\u00f3mo se cuenta.<\/li><\/ol><figcaption class=\"plate-caption\">Relaci\u00f3n conceptual entre imagen, palabra y decisi\u00f3n, sin atribuir testimonios nuevos a participantes. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r19-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>Escuchar sin convertir la conversaci\u00f3n en un tr\u00e1mite<\/h2><p>Una ampliaci\u00f3n de campo partir\u00eda de una invitaci\u00f3n abierta a participantes, tejedoras y organizadoras que quisieran conversar. La lengua, la traducci\u00f3n, los tiempos y la forma de aparecer en el art\u00edculo se acordar\u00edan con cada interlocutora. Una pregunta inicial \u00fatil ser\u00eda qu\u00e9 considera importante que el lector comprenda antes de mirar su indumentaria. Otras atender\u00edan a los cambios que ella reconoce y a las palabras con las que desea nombrarlos.<\/p><p>Esa conversaci\u00f3n todav\u00eda no se ha realizado para este art\u00edculo. El siguiente paso re\u00fane preguntas contrastables: qu\u00e9 criterios rigen una edici\u00f3n determinada, c\u00f3mo se aprende una intervenci\u00f3n p\u00fablica y qui\u00e9n puede revisar una traducci\u00f3n o retirar una imagen. Se procurar\u00eda recoger posiciones distintas sin convertir a una sola participante en portavoz de todas. El pago o reconocimiento del trabajo de explicaci\u00f3n tambi\u00e9n debe formar parte del acuerdo editorial.<\/p><p>El hilo de esta investigaci\u00f3n vuelve as\u00ed a la apertura: mirar el bordado y escuchar a quien lo lleva son tareas relacionadas. Una edici\u00f3n cultural cuidada puede conservar la belleza de la prenda, explicar la precisi\u00f3n del oficio y reconocer la autoridad de las mujeres para contar su experiencia. El conocimiento crece cuando la documentaci\u00f3n deja espacio para una respuesta que todav\u00eda no conoce.<\/p><\/section><aside class=\"method\"><h2>C\u00f3mo se elabor\u00f3<\/h2><p>Investigaci\u00f3n documental comparada, cerrada el 5 de noviembre de 2026. Fichas muse\u00edsticas y culturales, estudio acad\u00e9mico completo, libro etnogr\u00e1fico y registros de archivo y fotograf\u00eda. Las inferencias editoriales se distinguen de los hechos atribuidos; no se realizaron entrevistas nuevas.<\/p><\/aside><details class=\"sources\" id=\"r19-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>1. \u00bfQu\u00e9 hip\u00f3tesis se contrasta?<\/h3><p>Hip\u00f3tesis inicial: describir la elecci\u00f3n como certamen est\u00e9tico basta para explicarla. La ficha MNA 2024 registra palabra y pertenencia, mientras el SIC 2016 a\u00f1ade destreza textil y valoraci\u00f3n de belleza. La comparaci\u00f3n debilita esa explicaci\u00f3n \u00fanica. No demuestra, por s\u00ed misma, que unas dimensiones pesen m\u00e1s que otras en la experiencia de cada participante.<sup class=\"cite\"><a href=\"#r19-es-s1\">S1<\/a>, <a href=\"#r19-es-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>2. \u00bfD\u00f3nde existe una diferencia literal?<\/h3><p>Edades: 15\u201320 en MNA 2024 frente a 14\u201320 en SIC 2016. Conservamos ambas formulaciones como datos de sus respectivos registros. Su diferencia no prueba un cambio reglamentario entre 2016 y 2024: podr\u00eda responder tambi\u00e9n a selecci\u00f3n, actualizaci\u00f3n o error de documentaci\u00f3n. La convocatoria y las voces de una edici\u00f3n identificada resolver\u00edan el punto.<sup class=\"cite\"><a href=\"#r19-es-s1\">S1<\/a>, <a href=\"#r19-es-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>3. \u00bfSon intercambiables los nombres textiles?<\/h3><p>La ficha MNA 2024 menciona gasa para tencahuipil; el libro de 2019 describe tenkuauipil con ligamento cerrado en pp. 83\u201384. No corregimos una fuente por la otra ni homologamos autom\u00e1ticamente ambas graf\u00edas. Objeto inventariado, localidad, \u00e9poca y clasificaci\u00f3n t\u00e9cnica deben cotejarse. Esta diferencia hace visible por qu\u00e9 identificar una prenda requiere algo m\u00e1s que reconocer un nombre.<sup class=\"cite\"><a href=\"#r19-es-s2\">S2<\/a>, <a href=\"#r19-es-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>4. \u00bfLa visibilidad acredita capacidad de decisi\u00f3n?<\/h3><p>El estudio sobre voladoras propone examinar acceso y relaciones de poder por separado. Aplicamos esa distinci\u00f3n como pregunta de investigaci\u00f3n, sin asumir que sus resultados describan otra celebraci\u00f3n. Una presencia visible puede abrir posibilidades, pero para conocerlas necesitamos evidencia sobre decisiones, recursos y condiciones de participaci\u00f3n.<sup class=\"cite\"><a href=\"#r19-es-s6\">S6<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>5. \u00bfQu\u00e9 se ley\u00f3 de la investigaci\u00f3n de 2026?<\/h3><p>Se consult\u00f3 la ficha y sinopsis de Mora Tirado. Permiten identificar objetivo, enfoque y resultados resumidos por la autora. El PDF no pudo recuperarse: no se citan p\u00e1ginas, entrevistas ni detalles metodol\u00f3gicos del cuerpo no le\u00eddo. Queda identificado para ampliar el contraste, sin confundir una sinopsis con la tesis completa.<sup class=\"cite\"><a href=\"#r19-es-s5\">S5<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>6. \u00bfQu\u00e9 aporta el archivo hist\u00f3rico?<\/h3><p>El CID Alberto Beltr\u00e1n cataloga un informe sobre la XXVI Feria del Caf\u00e9 y la XIII del Huipil, signatura D\/FO-VAR\/261, 116 hojas. Se verific\u00f3 el registro, no se consultaron esas hojas. Es una pista documental para reconstruir transformaciones; su t\u00edtulo no autoriza a calcular una fecha fundacional ni a inventar su contenido.<sup class=\"cite\"><a href=\"#r19-es-s7\">S7<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>7. \u00bfQu\u00e9 prueba la fotograf\u00eda?<\/h3><p>La ficha acredita autor, fecha, descripci\u00f3n y licencia de una escena de 2012. Autoriza la reutilizaci\u00f3n bajo CC BY-SA 4.0 con atribuci\u00f3n; no prueba entrevistas, aprobaci\u00f3n personal de este art\u00edculo ni las reglas de 2026. La fotograf\u00eda se presenta como documento de aquella escena p\u00fablica, sin identificaci\u00f3n individual a\u00f1adida.<sup class=\"cite\"><a href=\"#r19-es-s8\">S8<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>8. \u00bfC\u00f3mo cambiar\u00eda la conclusi\u00f3n con nueva evidencia?<\/h3><p>Una convocatoria fechada permitir\u00eda fijar criterios de esa edici\u00f3n; conversaciones autorizadas aportar\u00edan las prioridades y desacuerdos de las participantes; fichas de autor\u00eda permitir\u00edan seguir piezas concretas. Hasta entonces, la conclusi\u00f3n documental es precisa: existen varios planos de valoraci\u00f3n y distintas mediaciones. El art\u00edculo conserva la pregunta sobre c\u00f3mo los viven las mujeres, sin responder en su nombre.<\/p><\/section><div class=\"bibliography\"><h3>Referencias documentales<\/h3><ol><li id=\"r19-es-s1\"><b>S1<\/b> \u00b7 <a href=\"https:\/\/mna.inah.gob.mx\/detalle_pieza_mes.php?id=321\"><cite lang=\"es\">Mastahual<\/cite><\/a> \u00b7 2024-02<br>MNA \u00b7 cat. (73)9.31g10\u20132809 \u00b7 inv.143006<\/li><li id=\"r19-es-s2\"><b>S2<\/b> \u00b7 <a href=\"https:\/\/mna.inah.gob.mx\/detalle_pieza_mes.php?id=325\"><cite lang=\"es\">Tencahuipil<\/cite><\/a> \u00b7 2024-04<br>MNA \u00b7 Lourdes B\u00e1ez Cubero \u00b7 cat. (99)9.31g10-6471 \u00b7 inv.595423<\/li><li id=\"r19-es-s3\"><b>S3<\/b> \u00b7 <a href=\"https:\/\/sic.cultura.gob.mx\/ficha.php?table=festividad&#038;table_id=564\"><cite lang=\"es\">Fiesta de San Francisco de As\u00eds<\/cite><\/a> \u00b7 2016-08-08<br>SIC \u00b7 Datos generales<\/li><li id=\"r19-es-s4\"><b>S4<\/b> \u00b7 <a href=\"https:\/\/docs.wixstatic.com\/ugd\/2cee56_77f0f0290b174fb9874227b4c2a1e7d3.pdf\"><cite lang=\"es\">Las gasas. Arte textil nahua<\/cite><\/a> \u00b7 2019<br>Heiras Rodr\u00edguez \u00b7 Mora Mart\u00ednez \u00b7 Diez Barroso Repizo \u00b7 ISBN 978-607-631-041-0 \u00b7 pp. 23\u201355,53\u201384<\/li><li id=\"r19-es-s5\"><b>S5<\/b> \u00b7 <a href=\"https:\/\/revistacoltlax.mx\/omp\/index.php\/repositoriocoltlax\/catalog\/book\/164\"><cite lang=\"es\">Representaciones sociales del Patrimonio biocultural en la Feria Nacional del Huipil<\/cite><\/a> \u00b7 2026-06-18<br>Lucia Victoria Mora Tirado \u00b7 DOI 10.63042\/Coltlax.164<\/li><li id=\"r19-es-s6\"><b>S6<\/b> \u00b7 <a href=\"https:\/\/perfilesla.flacso.edu.mx\/index.php\/perfilesla\/article\/view\/127\"><cite lang=\"es\">Las mujeres que vuelan: g\u00e9nero y cambio cultural en Cuetzalan<\/cite><\/a> \u00b7 2011<br>Eugenia Rodr\u00edguez Blanco \u00b7 Perfiles Latinoamericanos 19(38), pp. 115\u2013143;139\u2013142<\/li><li id=\"r19-es-s7\"><b>S7<\/b> \u00b7 <a href=\"https:\/\/cid-albertobeltran.cultura.gob.mx\/catalogo-en-linea-documental\/informe-sobre-la-investigacion-de-campo-en-cuetzalan-puebla-festejos-religiosos-paganos-xxvi-feria-del-cafe-y-xiii-feria-del-huipil\/\"><cite lang=\"es\">Informe sobre la investigaci\u00f3n de campo en Cuetzal\u00e1n\u2026 XXVI Feria del caf\u00e9 y XIII Feria del Huipil<\/cite><\/a> \u00b7 s.f.<br>CID Alberto Beltr\u00e1n \u00b7 D\/FO-VAR\/261 \u00b7116 h.<\/li><li id=\"r19-es-s8\"><b>S8<\/b> \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Elecci%C3%B3n_de_la_Reina_del_Huipil_en_Cuetzalan.jpg\"><cite lang=\"es\">Elecci\u00f3n de la Reina del Huipil en Cuetzalan<\/cite><\/a> \u00b7 2012-10-04<br>Luce051 \u00b7 CC BY-SA 4.0 \u00b7 Wikimedia Commons<\/li><\/ol><\/div><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r19-es-source\" lang=\"es\"><h4>El tocado empieza antes de llegar a la plaza<\/h4><p>La ficha documenta el mastahual y una explicaci\u00f3n curatorial. No resuelve la diferencia t\u00e9cnica gasa\/tateijtik entre las fuentes sobre tencahuipil ni identifica a las mujeres de la foto de 2012.<\/p><p><a href=\"https:\/\/mna.inah.gob.mx\/detalle_pieza_mes.php?id=321\">Mar\u00eda Eugenia S\u00e1nchez Santa Ana \u00b7 MNA, Mastahual, febrero 2024, inv.143006<\/a> \u00b7 <a href=\"#iict-reading-r19-es\">Volver al pasaje<\/a><\/p><\/section>\n<\/details><nav class=\"endnav\"><a href=\"https:\/\/totonacapan.com\/?page_id=1225#indice-articulos-es\">\u2190 Volver al \u00edndice de investigaciones<\/a><a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-es\">Lectura relacionada \u2192<\/a><\/nav><!-- IICT-CITE R19 es --><aside class=\"iict-citation\" id=\"citar-r19-es\" aria-labelledby=\"citar-r19-es-title\"><h2 id=\"citar-r19-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. \u00abLa palabra y el huipil: mujeres en la celebraci\u00f3n de Cuetzalan\u00bb. <cite>Cuadernos de investigaci\u00f3n<\/cite>, <strong>R19<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1368#r19-es\">https:\/\/totonacapan.com\/?page_id=1368#r19-es<\/a>.<\/blockquote><p><strong>Referencia interna:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1368#r19-es\">R19<\/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 R19 es --><\/article><details class=\"research-lang-version\" id=\"r19-en-version\"><summary>English \u00b7 Full article<\/summary><article id=\"r19-en\" lang=\"en\"><header class=\"hero\"><div class=\"kicker\">R19 \u00b7 Research notebooks<\/div><h1>Words and the huipil: women in Cuetzalan\u2019s celebration<\/h1><p class=\"subtitle\">A garment invites a look. The voice of its wearer asks us to listen.<\/p><div class=\"date\">Documentary review \u00b7 5 November 2026<\/div><\/header><section class=\"abstract\"><div class=\"eyebrow\">At a glance<\/div><p>The election of the Reina del Huipil brings together clothing, language and community representation. This study compares two National Museum of Anthropology records, a 2016 cultural entry and studies of weaving and participation. It examines what they establish and where they differ. Its argument: recognising women as people whose own voices must be heard requires distinguishing textile knowledge, presence at a celebration and the power to decide how it is narrated.<\/p><\/section><details class=\"iict-journal-toc\"><summary>In this article<\/summary><nav class=\"toc\" aria-label=\"In this article\"><span class=\"eyebrow\">In this article<\/span><a href=\"#r19-en-section-0\">A public setting, two dated records<\/a><a href=\"#r19-en-section-1\">Reading a garment without reducing it to a label<\/a><a href=\"#r19-en-section-2\">Being pictured and having a voice<\/a><a href=\"#r19-en-section-3\">A 2012 photograph opens questions<\/a><a href=\"#r19-en-section-4\">Listening without turning conversation into a formality<\/a><a href=\"#r19-en-sources\">Sources and comparison<\/a><\/nav><\/details><figure class=\"photo prep-visual\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r19-reina-huipil-cuetzalan-luce051-2012.jpg\" alt=\"A scene from the election of the Reina del Huipil in Cuetzalan, photographed by Luce051 in 2012.\" width=\"1280\" height=\"906\"><figcaption>Election of the Reina del Huipil, Cuetzalan, 4 October 2012. Luce051 \/ Wikimedia Commons \/ CC BY-SA 4.0. A dated public scene, not a 2026 photograph. Full image, resized only. <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Elecci%C3%B3n_de_la_Reina_del_Huipil_en_Cuetzalan.jpg\">Photograph record<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a><\/figcaption><\/figure><div class=\"prose opening\"><p>Sometimes a celebration is viewed through its embroidery, and we forget to listen to the person wearing it. In Cuetzalan, the huipil embodies textile knowledge, but also enters a public setting where words, language and community belonging matter. The National Museum of Anthropology has documented the election of the Reina del Huipil at a particular historical moment. The task today is to ask what remains and what has changed, listening to the women who participate.<\/p><\/div><section class=\"prose\" id=\"r19-en-section-0\"><h2>A public setting, two dated records<\/h2><p>The MNA\u2019s mastahual headdress record, published in February 2024, places the election alongside the feast of Saint Francis on 4 October. It connects participants\u2019 presentations about their communities with a requirement to speak Nahuatl and Spanish. The SIC entry, updated in 2016, also emphasises weaving knowledge and beauty. Their emphases differ: speaking, knowing how to make something and being judged visually are different things.<sup class=\"cite\"><a href=\"#r19-en-s1\">S1<\/a>, <a href=\"#r19-en-s3\">S3<\/a><\/sup><\/p><p>There is also a verifiable difference: the MNA specifies ages 15 to 20, while the SIC gives 14 to 20. Neither record independently establishes the rules of a later edition. To know the conditions in 2026, we would need that year\u2019s call and explanations from participants and organisers. Keeping both documentary dates allows us to investigate change without declaring or erasing it.<sup class=\"cite\"><a href=\"#r19-en-s1\">S1<\/a>, <a href=\"#r19-en-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r19-en-section-1\"><figure class=\"iict-viz viz-timeline\" id=\"iict-viz-r19-en\" lang=\"en\" aria-labelledby=\"iict-viz-r19-en-title\"><header><div class=\"viz-kicker\"><span>Visual notebooks<\/span><span>R19 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r19-en-title\">Three dates for reading a celebration<\/h3><p>Each record has its own moment and its own question.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:3\"><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>2012 \u00b7 Photograph<\/h4><p>Luce051\u2019s image documents a dated scene of the selection.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M140 34q-25-20-65-9v65q35-11 65 5 30-16 65-5V25q-40-11-65 9v61M91 43q20-3 34 5M91 59q20-3 34 5M155 48q17-8 34-5M155 64q17-8 34-5\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>2016 \u00b7 SIC<\/h4><p>The cultural record gives ages 14 to 20 and particular criteria.<\/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=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>2024 \u00b7 MNA<\/h4><p>The museum entry gives ages 15 to 20 and different emphases.<\/p><\/div><\/div><figcaption>Source dates; their differences are retained and do not establish current rules.<span class=\"viz-source\">Original visual synthesis by the Institute \u00b7 <a href=\"#r19-en-sources\">Sources and comparison<\/a><\/span><\/figcaption><\/figure>\n<aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r19-en\" lang=\"en\" aria-labelledby=\"iict-reading-r19-en-title\"><span class=\"reading-kicker\">A closer story<\/span><h3 id=\"iict-reading-r19-en-title\">The headdress begins before reaching the square<\/h3><p>The mastahual reveals work that begins before the public scene. In the MNA\u2019s February 2024 record, Mar\u00eda Eugenia S\u00e1nchez Santa Ana explains that the headdress is formed from twenty to thirty wool cords intertwined with the hair, with help from older women. She locates the historical making of those cords in Hueyapan or Tlatlauquitepec, places associated with wool work. <a class=\"reading-ref\" href=\"#iict-reading-r19-en-source\" aria-label=\"See sources and comparison\">\u2197<\/a><\/p><p>Clothing thus brings together hands, learning and connections between places. Looking only at the result hides preparation time and the collaboration that holds its shape. Following that route leads from the displayed garment to people who know its materials and how it is made.<\/p><p class=\"reading-links\"><a href=\"https:\/\/mna.inah.gob.mx\/detalle_pieza_mes.php?id=321\">Mar\u00eda Eugenia S\u00e1nchez Santa Ana \u00b7 MNA, Mastahual, febrero 2024, inv.143006<\/a> \u00b7 <a href=\"#r19-en-sources\">Sources and comparison<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r19-a-en\" lang=\"en\" aria-labelledby=\"iict-plate-r19-a-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 I<\/p><h3 id=\"iict-plate-r19-a-en-title\">Before the headdress come thread and hands<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r19-a-en-art-title iict-plate-r19-a-en-art-desc\"><title id=\"iict-plate-r19-a-en-art-title\">Before the headdress come thread and hands<\/title><desc id=\"iict-plate-r19-a-en-art-desc\">1. The MNA record describes twenty to thirty wool cords. 2. They are woven into the hair with the help of older women. 3. Hueyapan and Tlatlauquitepec appear in the history of cord production. Illustrated material study, not a participant portrait or an exact reconstruction of a mastahual.<\/desc><defs><pattern id=\"iict-plate-r19-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-r19-a-en-grain)\"\/><path d=\"M80 96 C180 133 79 236 179 317\" fill=\"none\" stroke=\"#b79a61\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M80 96 C180 133 79 236 179 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M112 96 C209 133 124 236 219 317\" fill=\"none\" stroke=\"#9ba97e\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M112 96 C209 133 124 236 219 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M144 96 C238 133 169 236 259 317\" fill=\"none\" stroke=\"#c4b28c\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M144 96 C238 133 169 236 259 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M176 96 C267 133 214 236 299 317\" fill=\"none\" stroke=\"#b79a61\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M176 96 C267 133 214 236 299 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M208 96 C296 133 259 236 339 317\" fill=\"none\" stroke=\"#9ba97e\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M208 96 C296 133 259 236 339 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M240 96 C325 133 304 236 379 317\" fill=\"none\" stroke=\"#c4b28c\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M240 96 C325 133 304 236 379 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M272 96 C354 133 349 236 419 317\" fill=\"none\" stroke=\"#b79a61\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M272 96 C354 133 349 236 419 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M304 96 C383 133 394 236 459 317\" fill=\"none\" stroke=\"#9ba97e\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M304 96 C383 133 394 236 459 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M336 96 C412 133 439 236 499 317\" fill=\"none\" stroke=\"#c4b28c\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M336 96 C412 133 439 236 499 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M368 96 C441 133 484 236 539 317\" fill=\"none\" stroke=\"#b79a61\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M368 96 C441 133 484 236 539 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M400 96 C470 133 529 236 579 317\" fill=\"none\" stroke=\"#9ba97e\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M400 96 C470 133 529 236 579 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M125 95 Q280 62 408 95 M196 324 Q371 363 602 317\" fill=\"none\" stroke=\"#aa9260\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"91\" cy=\"68\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"91\" y=\"76\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"608\" cy=\"187\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"608\" y=\"195\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"376\" cy=\"376\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"376\" y=\"384\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>The MNA record describes twenty to thirty wool cords.<\/li><li>They are woven into the hair with the help of older women.<\/li><li>Hueyapan and Tlatlauquitepec appear in the history of cord production.<\/li><\/ol><figcaption class=\"plate-caption\">Illustrated material study, not a participant portrait or an exact reconstruction of a mastahual. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r19-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>Reading a garment without reducing it to a label<\/h2><p>In April 2024, Lourdes B\u00e1ez Cubero devoted another MNA record to the tencahuipil: a festive garment from Cuetzalan, with gauze weaving and embroidery. The record connects materials, narratives and weavers\u2019 knowledge. It identifies a particular collection object; it does not demonstrate that every garment worn during the election shares its type, materials or manufacture.<sup class=\"cite\"><a href=\"#r19-en-s2\">S2<\/a><\/sup><\/p><p>The 2019 electronic edition of Las gasas. Arte textil nahua distinguishes practices and vocabulary documented in San Andr\u00e9s Tzicuilan. It explains the local name huipil for a garment called quechqu\u00e9mitl elsewhere. This precision prevents us from identifying a piece through a general label alone. Here we retain the celebration\u2019s name while leaving the technical identification of each photographed garment open.<sup class=\"cite\"><a href=\"#r19-en-s4\">S4<\/a><\/sup><\/p><p>There is also a technical tension worth retaining. The MNA record associates tencahuipil with gauze; Las gasas, on pages 83\u201384, describes tenkuauipil with the closed tateijtik weave and distinguishes open-weave garments. Similar names do not establish an identical object or category. Local variation, differences between pieces or different descriptive criteria may be involved. Comparing the inventory object and consulting knowledgeable makers could clarify the point; standardising the terms now would conceal the problem.<sup class=\"cite\"><a href=\"#r19-en-s2\">S2<\/a>, <a href=\"#r19-en-s4\">S4<\/a><\/sup><\/p><p>Describing weaving raises concrete questions: who made the piece, who selected the threads, how much work it involved and how its maker learned to resolve it. These concern knowledge and authorship. A frontal photograph cannot answer them. Nor can it automatically assign a meaning to every motif. Listening to an authorised explanation prevents a person\u2019s skill from becoming an anonymous stock of ornaments.<\/p><\/section><figure class=\"visual prep-visual\"><span class=\"eyebrow\">R19 \u00b7 Research notebooks<\/span><h3>Three tasks for looking carefully<\/h3><div class=\"clocks\"><div class=\"clock\"><span class=\"number\">01<\/span><b>Observe<\/b><p>Date, framing and provenance of the scene.<\/p><\/div><div class=\"clock\"><span class=\"number\">02<\/span><b>Identify<\/b><p>Garment, authorship and local vocabulary: verify rather than guess.<\/p><\/div><div class=\"clock\"><span class=\"number\">03<\/span><b>Listen<\/b><p>Participants\u2019 priorities and words: fieldwork extension pending.<\/p><\/div><\/div><figcaption>Original editorial diagram. It does not depict a ritual sequence or reproduce textile designs.<\/figcaption><\/figure><section class=\"prose\" id=\"r19-en-section-2\"><h2>Being pictured and having a voice<\/h2><p>A woman may speak before a jury, weave for her family, sell a piece or decide that an explanation should remain unpublished. These actions deserve separate descriptions. Presence at a ceremony makes participation visible; understanding its conditions requires knowing who organises, who evaluates and who controls the circulation of images. Our reading rests on this distinction: a photograph records presence, while decision-making power requires other evidence.<\/p><p>Eugenia Rodr\u00edguez Blanco\u2019s 2011 study of women Voladores in Cuetzalan distinguishes access to a practice from changes in gender relations. It concerns another activity and another body of testimony. We use it to formulate a comparative question, without transferring its conclusions to Reina del Huipil participants: what powers accompany a new public presence?<sup class=\"cite\"><a href=\"#r19-en-s6\">S6<\/a><\/sup><\/p><p>The published summary of Lucia Victoria Mora Tirado\u2019s research, published by El Colegio de Tlaxcala in 2026, studies representations of the fair in physical and digital settings. Its attention to local actors helps us ask who produces and contextualises images. Only that summary is used here; the full thesis is not represented as having been read.<sup class=\"cite\"><a href=\"#r19-en-s5\">S5<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r19-en-section-3\"><h2>A 2012 photograph opens questions<\/h2><p>Luce051\u2019s photograph records a scene from the election in Cuetzalan on 4 October 2012. Its provenance allows us to date the frame and reproduce it with attribution and a licence. It does not identify the views of the people pictured, or explain an edition held fourteen years later. The caption therefore retains place, author and year, adding no undocumented names, statements or individual roles.<sup class=\"cite\"><a href=\"#r19-en-s8\">S8<\/a><\/sup><\/p><p>Looking at this scene can begin a reading: how people are arranged, where attention is directed and what lies outside the frame. Interpretation must stop before guessing a feeling. A gesture is not an opinion about the celebration. Nor does a group photograph represent every woman in a municipality. The image offers a particular situation; conversation may reveal its meanings and disagreements.<\/p><\/section><section class=\"prose\" id=\"r19-en-section-4\"><figure class=\"iict-plate\" id=\"iict-plate-r19-b-en\" lang=\"en\" aria-labelledby=\"iict-plate-r19-b-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 II<\/p><h3 id=\"iict-plate-r19-b-en-title\">The image opens a question; the voice expands it<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r19-b-en-art-title iict-plate-r19-b-en-art-desc\"><title id=\"iict-plate-r19-b-en-art-title\">The image opens a question; the voice expands it<\/title><desc id=\"iict-plate-r19-b-en-art-desc\">1. A photograph records what is visible at a moment. 2. Speech makes knowledge, decisions and changes explainable. 3. Participating in representation includes deciding how the story is told. Conceptual relationship between image, voice and decision, without attributing new testimony to participants.<\/desc><defs><pattern id=\"iict-plate-r19-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-r19-b-en-grain)\"\/><rect x=\"69\" y=\"98\" width=\"184\" height=\"234\" rx=\"4\" fill=\"#f5eedc\" stroke=\"#b5a47c\" stroke-width=\"2\"\/><rect x=\"88\" y=\"117\" width=\"146\" height=\"141\" rx=\"2\" fill=\"#b3c3ac\" stroke=\"#93a289\" stroke-width=\"2\"\/><path d=\"M89 245 Q156 155 234 245\" fill=\"none\" stroke=\"#8e9e80\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M340 110 H491 Q515 110 515 134 V213 Q515 237 491 237 H421 L374 275 L386 237 H340 Q316 237 316 213 V134 Q316 110 340 110Z\" fill=\"#e0e7db\" stroke=\"#95ab98\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M343 157 Q359 133 375 157 T407 157 T439 157 T471 157 M344 190 H480\" fill=\"none\" stroke=\"#8fa78f\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M590 126 C672 99 707 187 665 232 C638 255 655 284 617 290 Q594 289 591 269 M614 152 Q664 145 659 195 Q655 216 637 211 Q617 205 625 185\" fill=\"none\" stroke=\"#a18d60\" stroke-width=\"5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"159\" cy=\"374\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"159\" y=\"382\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"417\" cy=\"333\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"417\" y=\"341\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"632\" cy=\"344\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"632\" y=\"352\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>A photograph records what is visible at a moment.<\/li><li>Speech makes knowledge, decisions and changes explainable.<\/li><li>Participating in representation includes deciding how the story is told.<\/li><\/ol><figcaption class=\"plate-caption\">Conceptual relationship between image, voice and decision, without attributing new testimony to participants. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r19-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>Listening without turning conversation into a formality<\/h2><p>A fieldwork extension would begin with an open invitation to participants, weavers and organisers willing to converse. Language, translation, timing and how each person appears in the article would be agreed with her. A useful opening question would ask what she considers important for readers to understand before looking at her clothing. Others would address the changes she recognises and the words she chooses to name them.<\/p><p>That conversation has not yet taken place for this article. The next step brings together questions that can be tested: which criteria govern a particular edition, how a public contribution is learned and who can review a translation or withdraw an image. Different positions would be sought without making one participant everyone\u2019s spokesperson. Payment or recognition for explanatory work must also form part of the editorial agreement.<\/p><p>The investigation thus returns to its opening: looking at embroidery and listening to its wearer are connected tasks. A carefully edited cultural publication can retain the garment\u2019s beauty, explain the craft\u2019s precision and recognise women\u2019s authority to recount their experience. Knowledge grows when documentation leaves room for an answer it does not yet know.<\/p><\/section><aside class=\"method\"><h2>How this article was developed<\/h2><p>Comparative documentary research, closed on 5 November 2026. Museum and cultural records, a complete academic study, an ethnographic book and archive and photographic records. Editorial inferences are distinguished from attributed facts; no new interviews were conducted.<\/p><\/aside><details class=\"sources\" id=\"r19-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>1. Which hypothesis is being tested?<\/h3><p>Initial hypothesis: describing the election as a beauty contest adequately explains it. The 2024 MNA record includes speech and belonging, while the 2016 SIC entry adds textile skill and assessment of beauty. Comparison weakens a single explanation. It does not, by itself, establish how much each dimension matters to every participant.<sup class=\"cite\"><a href=\"#r19-en-s1\">S1<\/a>, <a href=\"#r19-en-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>2. Where is there a literal difference?<\/h3><p>Ages: 15\u201320 in MNA 2024 versus 14\u201320 in SIC 2016. Both formulations remain data from their respective records. Their difference does not prove a rule change between 2016 and 2024: selection, updating or a documentation error could also explain it. A dated call and the voices from a particular edition would clarify the point.<sup class=\"cite\"><a href=\"#r19-en-s1\">S1<\/a>, <a href=\"#r19-en-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>3. Are textile names interchangeable?<\/h3><p>The 2024 MNA record mentions gauze for tencahuipil; the 2019 book describes tenkuauipil with a closed weave on pages 83\u201384. We neither correct one source with the other nor automatically equate their spellings. Inventory object, locality, period and technical classification must be compared. This difference reveals why identifying a garment requires more than recognising a name.<sup class=\"cite\"><a href=\"#r19-en-s2\">S2<\/a>, <a href=\"#r19-en-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>4. Does visibility establish decision-making power?<\/h3><p>The Voladores study proposes examining access and power relations separately. We apply that distinction as a research question, without assuming its findings describe another celebration. Visible presence can open possibilities, but understanding them requires evidence about decisions, resources and participation conditions.<sup class=\"cite\"><a href=\"#r19-en-s6\">S6<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>5. What was read of the 2026 research?<\/h3><p>Mora Tirado\u2019s catalogue record and synopsis were consulted. They identify the objective, approach and findings as summarised by the author. The PDF could not be retrieved: no pages, interviews or methodological details from the unread body are cited. It remains identified for further comparison, without confusing a synopsis with the complete thesis.<sup class=\"cite\"><a href=\"#r19-en-s5\">S5<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>6. What does the historical archive contribute?<\/h3><p>The Alberto Beltr\u00e1n documentation centre catalogues a report on the 26th Coffee Fair and 13th Huipil Fair, reference D\/FO-VAR\/261, 116 leaves. The record was verified; the leaves were not consulted. It is a documentary lead for tracing change. Its title does not authorise calculating a foundation date or inventing its contents.<sup class=\"cite\"><a href=\"#r19-en-s7\">S7<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>7. What does the photograph establish?<\/h3><p>The record establishes author, date, description and licence for a 2012 scene. Reuse requires CC BY-SA 4.0 attribution; it establishes neither interviews nor personal approval of this article, nor the rules for 2026. It is presented as a document of that public scene, without added individual identification.<sup class=\"cite\"><a href=\"#r19-en-s8\">S8<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>8. How could new evidence change the conclusion?<\/h3><p>A dated call could establish one edition\u2019s criteria; authorised conversations could reveal participants\u2019 priorities and disagreements; authorship records could trace particular garments. Until then, the documentary conclusion is precise: there are several dimensions of assessment and different mediations. The article retains the question of how women experience them, without answering on their behalf.<\/p><\/section><div class=\"bibliography\"><h3>Documentary references<\/h3><ol><li id=\"r19-en-s1\"><b>S1<\/b> \u00b7 <a href=\"https:\/\/mna.inah.gob.mx\/detalle_pieza_mes.php?id=321\"><cite lang=\"es\">Mastahual<\/cite><\/a> \u00b7 2024-02<br>MNA \u00b7 cat. (73)9.31g10\u20132809 \u00b7 inv.143006<\/li><li id=\"r19-en-s2\"><b>S2<\/b> \u00b7 <a href=\"https:\/\/mna.inah.gob.mx\/detalle_pieza_mes.php?id=325\"><cite lang=\"es\">Tencahuipil<\/cite><\/a> \u00b7 2024-04<br>MNA \u00b7 Lourdes B\u00e1ez Cubero \u00b7 cat. (99)9.31g10-6471 \u00b7 inv.595423<\/li><li id=\"r19-en-s3\"><b>S3<\/b> \u00b7 <a href=\"https:\/\/sic.cultura.gob.mx\/ficha.php?table=festividad&#038;table_id=564\"><cite lang=\"es\">Fiesta de San Francisco de As\u00eds<\/cite><\/a> \u00b7 2016-08-08<br>SIC \u00b7 Datos generales<\/li><li id=\"r19-en-s4\"><b>S4<\/b> \u00b7 <a href=\"https:\/\/docs.wixstatic.com\/ugd\/2cee56_77f0f0290b174fb9874227b4c2a1e7d3.pdf\"><cite lang=\"es\">Las gasas. Arte textil nahua<\/cite><\/a> \u00b7 2019<br>Heiras Rodr\u00edguez \u00b7 Mora Mart\u00ednez \u00b7 Diez Barroso Repizo \u00b7 ISBN 978-607-631-041-0 \u00b7 pp. 23\u201355,53\u201384<\/li><li id=\"r19-en-s5\"><b>S5<\/b> \u00b7 <a href=\"https:\/\/revistacoltlax.mx\/omp\/index.php\/repositoriocoltlax\/catalog\/book\/164\"><cite lang=\"es\">Representaciones sociales del Patrimonio biocultural en la Feria Nacional del Huipil<\/cite><\/a> \u00b7 2026-06-18<br>Lucia Victoria Mora Tirado \u00b7 DOI 10.63042\/Coltlax.164<\/li><li id=\"r19-en-s6\"><b>S6<\/b> \u00b7 <a href=\"https:\/\/perfilesla.flacso.edu.mx\/index.php\/perfilesla\/article\/view\/127\"><cite lang=\"es\">Las mujeres que vuelan: g\u00e9nero y cambio cultural en Cuetzalan<\/cite><\/a> \u00b7 2011<br>Eugenia Rodr\u00edguez Blanco \u00b7 Perfiles Latinoamericanos 19(38), pp. 115\u2013143;139\u2013142<\/li><li id=\"r19-en-s7\"><b>S7<\/b> \u00b7 <a href=\"https:\/\/cid-albertobeltran.cultura.gob.mx\/catalogo-en-linea-documental\/informe-sobre-la-investigacion-de-campo-en-cuetzalan-puebla-festejos-religiosos-paganos-xxvi-feria-del-cafe-y-xiii-feria-del-huipil\/\"><cite lang=\"es\">Informe sobre la investigaci\u00f3n de campo en Cuetzal\u00e1n\u2026 XXVI Feria del caf\u00e9 y XIII Feria del Huipil<\/cite><\/a> \u00b7 s.f.<br>CID Alberto Beltr\u00e1n \u00b7 D\/FO-VAR\/261 \u00b7116 h.<\/li><li id=\"r19-en-s8\"><b>S8<\/b> \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Elecci%C3%B3n_de_la_Reina_del_Huipil_en_Cuetzalan.jpg\"><cite lang=\"es\">Elecci\u00f3n de la Reina del Huipil en Cuetzalan<\/cite><\/a> \u00b7 2012-10-04<br>Luce051 \u00b7 CC BY-SA 4.0 \u00b7 Wikimedia Commons<\/li><\/ol><\/div><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r19-en-source\" lang=\"en\"><h4>The headdress begins before reaching the square<\/h4><p>The record documents the mastahual and a curatorial explanation. It does not resolve the gauze\/tateijtik difference in tencahuipil sources or identify the women in the 2012 photograph.<\/p><p><a href=\"https:\/\/mna.inah.gob.mx\/detalle_pieza_mes.php?id=321\">Mar\u00eda Eugenia S\u00e1nchez Santa Ana \u00b7 MNA, Mastahual, febrero 2024, inv.143006<\/a> \u00b7 <a href=\"#iict-reading-r19-en\">Return to the passage<\/a><\/p><\/section>\n<\/details><nav class=\"endnav\"><a href=\"https:\/\/totonacapan.com\/?page_id=1225#indice-articulos-en\">\u2190 Return to the research index<\/a><a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-en\">Related reading \u2192<\/a><\/nav><!-- IICT-CITE R19 en --><aside class=\"iict-citation\" id=\"citar-r19-en\" aria-labelledby=\"citar-r19-en-title\"><h2 id=\"citar-r19-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. \u00abWords and the huipil: women in Cuetzalan\u2019s celebration\u00bb. <cite>Research notebooks<\/cite>, <strong>R19<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1368#r19-en\">https:\/\/totonacapan.com\/?page_id=1368#r19-en<\/a>.<\/blockquote><p><strong>Internal reference:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1368#r19-en\">R19<\/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 R19 en --><\/article><\/details><details class=\"research-lang-version\" id=\"r19-fr-version\"><summary>Fran\u00e7ais \u00b7 Article int\u00e9gral<\/summary><article id=\"r19-fr\" lang=\"fr\"><header class=\"hero\"><div class=\"kicker\">R19 \u00b7 Cahiers de recherche<\/div><h1>La parole et le huipil : les femmes dans la c\u00e9l\u00e9bration de Cuetzalan<\/h1><p class=\"subtitle\">Un v\u00eatement invite \u00e0 regarder. La voix de celle qui le porte demande une \u00e9coute.<\/p><div class=\"date\">R\u00e9vision documentaire \u00b7 5 novembre 2026<\/div><\/header><section class=\"abstract\"><div class=\"eyebrow\">L\u2019essentiel<\/div><p>L\u2019\u00e9lection de la Reina del Huipil r\u00e9unit v\u00eatement, langue et repr\u00e9sentation communautaire. Cette \u00e9tude compare deux notices du Mus\u00e9e national d\u2019anthropologie, une fiche culturelle de 2016 et des travaux sur le tissage et la participation. Elle examine leurs apports et leurs diff\u00e9rences. Son argument : reconna\u00eetre les femmes comme interlocutrices \u00e0 \u00e9couter pour elles-m\u00eames exige de distinguer savoir textile, pr\u00e9sence dans une c\u00e9l\u00e9bration et pouvoir de d\u00e9cider comment celle-ci est racont\u00e9e.<\/p><\/section><details class=\"iict-journal-toc\"><summary>Dans cet article<\/summary><nav class=\"toc\" aria-label=\"Dans cet article\"><span class=\"eyebrow\">Dans cet article<\/span><a href=\"#r19-fr-section-0\">Une sc\u00e8ne publique, deux notices dat\u00e9es<\/a><a href=\"#r19-fr-section-1\">Lire le v\u00eatement sans le r\u00e9duire \u00e0 une \u00e9tiquette<\/a><a href=\"#r19-fr-section-2\">\u00catre dans l\u2019image et avoir la parole<\/a><a href=\"#r19-fr-section-3\">Une photographie de 2012 ouvre des questions<\/a><a href=\"#r19-fr-section-4\">\u00c9couter sans faire de la conversation une formalit\u00e9<\/a><a href=\"#r19-fr-sources\">Sources et confrontation<\/a><\/nav><\/details><figure class=\"photo prep-visual\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r19-reina-huipil-cuetzalan-luce051-2012.jpg\" alt=\"Sc\u00e8ne de l\u2019\u00e9lection de la Reina del Huipil \u00e0 Cuetzalan, photographi\u00e9e par Luce051 en 2012.\" width=\"1280\" height=\"906\"><figcaption>\u00c9lection de la Reina del Huipil, Cuetzalan, 4 octobre 2012. Luce051 \/ Wikimedia Commons \/ CC BY-SA 4.0. Sc\u00e8ne publique dat\u00e9e, et non photographie de 2026. Image int\u00e9grale, redimensionn\u00e9e uniquement. <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Elecci%C3%B3n_de_la_Reina_del_Huipil_en_Cuetzalan.jpg\">Fiche photographique<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a><\/figcaption><\/figure><div class=\"prose opening\"><p>Il arrive que l\u2019on regarde une c\u00e9l\u00e9bration \u00e0 travers la broderie, en oubliant d\u2019\u00e9couter celle qui la porte. \u00c0 Cuetzalan, le huipil contient des savoirs textiles, mais il entre aussi dans une sc\u00e8ne publique o\u00f9 comptent les paroles, la langue et l\u2019appartenance \u00e0 une communaut\u00e9. Le Mus\u00e9e national d\u2019anthropologie a document\u00e9 l\u2019\u00e9lection de la Reina del Huipil \u00e0 un moment historique pr\u00e9cis. La t\u00e2che consiste aujourd\u2019hui \u00e0 demander ce qui demeure et ce qui a chang\u00e9, en \u00e9coutant les femmes qui y participent.<\/p><\/div><section class=\"prose\" id=\"r19-fr-section-0\"><h2>Une sc\u00e8ne publique, deux notices dat\u00e9es<\/h2><p>La notice du mastahual, le couvre-chef, publi\u00e9e par le MNA en f\u00e9vrier 2024 situe l\u2019\u00e9lection pendant la f\u00eate de saint Fran\u00e7ois, le 4 octobre. Elle relie l\u2019expos\u00e9 des participantes sur leur communaut\u00e9 \u00e0 l\u2019exigence de parler nahuatl et espagnol. La fiche du SIC, actualis\u00e9e en 2016, souligne aussi la ma\u00eetrise du m\u00e9tier \u00e0 tisser et la beaut\u00e9. Les accents diff\u00e8rent : parler, savoir fabriquer et \u00eatre \u00e9valu\u00e9e visuellement ne signifient pas la m\u00eame chose.<sup class=\"cite\"><a href=\"#r19-fr-s1\">S1<\/a>, <a href=\"#r19-fr-s3\">S3<\/a><\/sup><\/p><p>Une diff\u00e9rence peut \u00e9galement \u00eatre v\u00e9rifi\u00e9e : le MNA mentionne des \u00e2ges de 15 \u00e0 20 ans, le SIC de 14 \u00e0 20 ans. Aucune de ces notices ne permet, \u00e0 elle seule, d\u2019\u00e9tablir les r\u00e8gles d\u2019une \u00e9dition ult\u00e9rieure. Pour conna\u00eetre les conditions de 2026, il faudrait l\u2019appel de cette ann\u00e9e et les explications des participantes et organisatrices. Conserver les deux dates documentaires permet d\u2019\u00e9tudier un changement sans le d\u00e9cr\u00e9ter ni l\u2019effacer.<sup class=\"cite\"><a href=\"#r19-fr-s1\">S1<\/a>, <a href=\"#r19-fr-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r19-fr-section-1\"><figure class=\"iict-viz viz-timeline\" id=\"iict-viz-r19-fr\" lang=\"fr\" aria-labelledby=\"iict-viz-r19-fr-title\"><header><div class=\"viz-kicker\"><span>Carnets visuels<\/span><span>R19 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r19-fr-title\">Trois dates pour lire une c\u00e9l\u00e9bration<\/h3><p>Chaque document a son moment et sa question.<\/p><\/header><div class=\"viz-art\" style=\"--viz-cols:3\"><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">01<\/span><h4>2012 \u00b7 Photographie<\/h4><p>L\u2019image de Luce051 documente une sc\u00e8ne dat\u00e9e de l\u2019\u00e9lection.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M140 34q-25-20-65-9v65q35-11 65 5 30-16 65-5V25q-40-11-65 9v61M91 43q20-3 34 5M91 59q20-3 34 5M155 48q17-8 34-5M155 64q17-8 34-5\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">02<\/span><h4>2016 \u00b7 SIC<\/h4><p>Le registre culturel mentionne des \u00e2ges de 14 \u00e0 20 ans et certains crit\u00e8res.<\/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=\"M90 14h82l22 22v60H90z\"\/><path d=\"M172 14v22h22M106 47h64M106 59h56M106 71h65M106 83h38\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>2024 \u00b7 MNA<\/h4><p>La fiche du mus\u00e9e mentionne des \u00e2ges de 15 \u00e0 20 ans et d\u2019autres accents.<\/p><\/div><\/div><figcaption>Dates des sources ; leurs diff\u00e9rences sont conserv\u00e9es et ne fixent pas un r\u00e8glement actuel.<span class=\"viz-source\">Synth\u00e8se visuelle originale de l\u2019Institut \u00b7 <a href=\"#r19-fr-sources\">Sources et confrontation<\/a><\/span><\/figcaption><\/figure>\n<aside class=\"iict-reading-addition\" data-kind=\"aside\" id=\"iict-reading-r19-fr\" lang=\"fr\" aria-labelledby=\"iict-reading-r19-fr-title\"><span class=\"reading-kicker\">Une histoire concr\u00e8te<\/span><h3 id=\"iict-reading-r19-fr-title\">La coiffe commence avant l\u2019arriv\u00e9e sur la place<\/h3><p>Le mastahual r\u00e9v\u00e8le un travail qui commence avant la sc\u00e8ne publique. Dans la fiche du MNA de f\u00e9vrier 2024, Mar\u00eda Eugenia S\u00e1nchez Santa Ana explique que la coiffe se forme de vingt \u00e0 trente cordons de laine entrelac\u00e9s dans les cheveux, avec l\u2019aide de femmes plus \u00e2g\u00e9es. Elle situe la fabrication historique de ces cordons \u00e0 Hueyapan ou Tlatlauquitepec, lieux associ\u00e9s au travail de la laine. <a class=\"reading-ref\" href=\"#iict-reading-r19-fr-source\" aria-label=\"Voir sources et comparaison\">\u2197<\/a><\/p><p>L\u2019habillement rassemble ainsi des mains, des apprentissages et des liens entre localit\u00e9s. Le seul r\u00e9sultat visible cache le temps de pr\u00e9paration et la collaboration qui maintient sa forme. Ce parcours m\u00e8ne du v\u00eatement expos\u00e9 vers les personnes qui connaissent ses mati\u00e8res et sa fabrication.<\/p><p class=\"reading-links\"><a href=\"https:\/\/mna.inah.gob.mx\/detalle_pieza_mes.php?id=321\">Mar\u00eda Eugenia S\u00e1nchez Santa Ana \u00b7 MNA, Mastahual, febrero 2024, inv.143006<\/a> \u00b7 <a href=\"#r19-fr-sources\">Sources et confrontation<\/a><\/p><\/aside>\n<figure class=\"iict-plate\" id=\"iict-plate-r19-a-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r19-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-r19-a-fr-title\">Avant la coiffe, il y a le fil et les mains<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r19-a-fr-art-title iict-plate-r19-a-fr-art-desc\"><title id=\"iict-plate-r19-a-fr-art-title\">Avant la coiffe, il y a le fil et les mains<\/title><desc id=\"iict-plate-r19-a-fr-art-desc\">1. La notice du MNA d\u00e9crit vingt \u00e0 trente cordons de laine. 2. Ils s\u2019entrelacent dans la chevelure avec l\u2019aide de femmes plus \u00e2g\u00e9es. 3. Hueyapan et Tlatlauquitepec figurent dans l\u2019histoire de fabrication des cordons. \u00c9tude illustr\u00e9e de la mati\u00e8re, non portrait d\u2019une participante ou restitution exacte d\u2019un mastahual.<\/desc><defs><pattern id=\"iict-plate-r19-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-r19-a-fr-grain)\"\/><path d=\"M80 96 C180 133 79 236 179 317\" fill=\"none\" stroke=\"#b79a61\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M80 96 C180 133 79 236 179 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M112 96 C209 133 124 236 219 317\" fill=\"none\" stroke=\"#9ba97e\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M112 96 C209 133 124 236 219 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M144 96 C238 133 169 236 259 317\" fill=\"none\" stroke=\"#c4b28c\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M144 96 C238 133 169 236 259 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M176 96 C267 133 214 236 299 317\" fill=\"none\" stroke=\"#b79a61\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M176 96 C267 133 214 236 299 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M208 96 C296 133 259 236 339 317\" fill=\"none\" stroke=\"#9ba97e\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M208 96 C296 133 259 236 339 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M240 96 C325 133 304 236 379 317\" fill=\"none\" stroke=\"#c4b28c\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M240 96 C325 133 304 236 379 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M272 96 C354 133 349 236 419 317\" fill=\"none\" stroke=\"#b79a61\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M272 96 C354 133 349 236 419 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M304 96 C383 133 394 236 459 317\" fill=\"none\" stroke=\"#9ba97e\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M304 96 C383 133 394 236 459 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M336 96 C412 133 439 236 499 317\" fill=\"none\" stroke=\"#c4b28c\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M336 96 C412 133 439 236 499 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M368 96 C441 133 484 236 539 317\" fill=\"none\" stroke=\"#b79a61\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M368 96 C441 133 484 236 539 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M400 96 C470 133 529 236 579 317\" fill=\"none\" stroke=\"#9ba97e\" stroke-width=\"12\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M400 96 C470 133 529 236 579 317\" fill=\"none\" stroke=\"#f3ebd5\" stroke-width=\"1.1\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"2 7\"\/><path d=\"M125 95 Q280 62 408 95 M196 324 Q371 363 602 317\" fill=\"none\" stroke=\"#aa9260\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"91\" cy=\"68\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"91\" y=\"76\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"608\" cy=\"187\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"608\" y=\"195\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"376\" cy=\"376\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"376\" y=\"384\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>La notice du MNA d\u00e9crit vingt \u00e0 trente cordons de laine.<\/li><li>Ils s\u2019entrelacent dans la chevelure avec l\u2019aide de femmes plus \u00e2g\u00e9es.<\/li><li>Hueyapan et Tlatlauquitepec figurent dans l\u2019histoire de fabrication des cordons.<\/li><\/ol><figcaption class=\"plate-caption\">\u00c9tude illustr\u00e9e de la mati\u00e8re, non portrait d\u2019une participante ou restitution exacte d\u2019un mastahual. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r19-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>Lire le v\u00eatement sans le r\u00e9duire \u00e0 une \u00e9tiquette<\/h2><p>En avril 2024, Lourdes B\u00e1ez Cubero a consacr\u00e9 une autre notice du MNA au tencahuipil : un v\u00eatement de f\u00eate de Cuetzalan, tiss\u00e9 en gaze et brod\u00e9. La notice relie mati\u00e8res, r\u00e9cits et connaissances des tisserandes. Elle identifie un objet pr\u00e9cis de collection ; elle ne prouve pas que tous les v\u00eatements port\u00e9s lors de l\u2019\u00e9lection soient de m\u00eame type, mati\u00e8re ou fabrication.<sup class=\"cite\"><a href=\"#r19-fr-s2\">S2<\/a><\/sup><\/p><p>L\u2019\u00e9dition \u00e9lectronique de 2019 de Las gasas. Arte textil nahua distingue pratiques et vocabulaire document\u00e9s \u00e0 San Andr\u00e9s Tzicuilan. Elle explique l\u2019emploi local de huipil pour un v\u00eatement appel\u00e9 ailleurs quechqu\u00e9mitl. Cette pr\u00e9cision emp\u00eache d\u2019identifier une pi\u00e8ce \u00e0 partir d\u2019une seule \u00e9tiquette g\u00e9n\u00e9rale. Nous conservons ici le nom de la c\u00e9l\u00e9bration et laissons ouverte l\u2019identification technique de chaque v\u00eatement photographi\u00e9.<sup class=\"cite\"><a href=\"#r19-fr-s4\">S4<\/a><\/sup><\/p><p>Une tension technique m\u00e9rite \u00e9galement d\u2019\u00eatre conserv\u00e9e. La notice du MNA associe tencahuipil \u00e0 la gaze ; Las gasas, aux pages 83\u201384, d\u00e9crit le tenkuauipil avec le tissage ferm\u00e9 tateijtik et distingue les v\u00eatements \u00e0 tissage ajour\u00e9. Des noms proches ne prouvent pas une identit\u00e9 d\u2019objet ou de cat\u00e9gorie. Il peut s\u2019agir de variations locales, de pi\u00e8ces diff\u00e9rentes ou de crit\u00e8res descriptifs distincts. Comparer l\u2019objet inventori\u00e9 et consulter ses connaisseuses pr\u00e9ciserait ce point ; uniformiser d\u00e8s maintenant les termes masquerait le probl\u00e8me.<sup class=\"cite\"><a href=\"#r19-fr-s2\">S2<\/a>, <a href=\"#r19-fr-s4\">S4<\/a><\/sup><\/p><p>D\u00e9crire le tissage pose des questions concr\u00e8tes : qui a r\u00e9alis\u00e9 la pi\u00e8ce, choisi les fils, r\u00e9uni le travail n\u00e9cessaire et appris \u00e0 r\u00e9soudre sa fabrication ? Ces questions concernent savoir et cr\u00e9ation. Une vue de face n\u2019y r\u00e9pond pas. Elle ne permet pas davantage d\u2019attribuer automatiquement un sens \u00e0 chaque motif. Une explication autoris\u00e9e \u00e9vite de transformer la comp\u00e9tence d\u2019une personne en un r\u00e9pertoire anonyme d\u2019ornements.<\/p><\/section><figure class=\"visual prep-visual\"><span class=\"eyebrow\">R19 \u00b7 Cahiers de recherche<\/span><h3>Trois t\u00e2ches pour regarder avec soin<\/h3><div class=\"clocks\"><div class=\"clock\"><span class=\"number\">01<\/span><b>Observer<\/b><p>Date, cadrage et provenance de la sc\u00e8ne.<\/p><\/div><div class=\"clock\"><span class=\"number\">02<\/span><b>Identifier<\/b><p>V\u00eatement, cr\u00e9ation et vocabulaire local : v\u00e9rifier sans deviner.<\/p><\/div><div class=\"clock\"><span class=\"number\">03<\/span><b>\u00c9couter<\/b><p>Priorit\u00e9s et paroles des participantes : prolongement de terrain \u00e0 r\u00e9aliser.<\/p><\/div><\/div><figcaption>Sch\u00e9ma \u00e9ditorial original. Il ne repr\u00e9sente pas une s\u00e9quence rituelle et ne reproduit aucun dessin textile.<\/figcaption><\/figure><section class=\"prose\" id=\"r19-fr-section-2\"><h2>\u00catre dans l\u2019image et avoir la parole<\/h2><p>Une femme peut parler devant un jury, tisser pour sa famille, vendre une pi\u00e8ce ou d\u00e9cider qu\u2019une explication ne sera pas publi\u00e9e. Ces actions m\u00e9ritent des descriptions distinctes. La pr\u00e9sence dans une c\u00e9r\u00e9monie rend une participation visible ; en comprendre les conditions demande de savoir qui organise, \u00e9value et contr\u00f4le la circulation des images. Notre lecture repose sur cette distinction : la photographie enregistre une pr\u00e9sence, tandis que le pouvoir de d\u00e9cider exige une autre preuve.<\/p><p>L\u2019\u00e9tude d\u2019Eugenia Rodr\u00edguez Blanco sur les femmes Voladores de Cuetzalan, publi\u00e9e en 2011, distingue acc\u00e8s \u00e0 une pratique et transformation des rapports de genre. Elle concerne une autre activit\u00e9 et un autre ensemble de t\u00e9moignages. Nous l\u2019utilisons pour formuler une question comparative, sans transf\u00e9rer ses conclusions aux participantes de la Reina del Huipil : quels pouvoirs accompagnent une nouvelle pr\u00e9sence publique ?<sup class=\"cite\"><a href=\"#r19-fr-s6\">S6<\/a><\/sup><\/p><p>Le r\u00e9sum\u00e9 de la recherche de Lucia Victoria Mora Tirado, publi\u00e9 par El Colegio de Tlaxcala en 2026, \u00e9tudie les repr\u00e9sentations de la Foire dans les espaces physiques et num\u00e9riques. Son attention aux acteurs locaux aide \u00e0 demander qui produit et contextualise les images. Seul ce r\u00e9sum\u00e9 est utilis\u00e9 ici ; la th\u00e8se compl\u00e8te n\u2019est pas pr\u00e9sent\u00e9e comme ayant \u00e9t\u00e9 lue.<sup class=\"cite\"><a href=\"#r19-fr-s5\">S5<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r19-fr-section-3\"><h2>Une photographie de 2012 ouvre des questions<\/h2><p>La photographie de Luce051 montre une sc\u00e8ne de l\u2019\u00e9lection \u00e0 Cuetzalan le 4 octobre 2012. Sa provenance permet de dater le cadrage et de la reproduire avec cr\u00e9dit et licence. Elle n\u2019identifie pas les opinions des personnes repr\u00e9sent\u00e9es ni l\u2019organisation d\u2019une \u00e9dition quatorze ans plus tard. La l\u00e9gende conserve donc lieu, auteur et ann\u00e9e, sans ajouter de noms, d\u00e9clarations ou fonctions individuelles non document\u00e9s.<sup class=\"cite\"><a href=\"#r19-fr-s8\">S8<\/a><\/sup><\/p><p>Regarder cette sc\u00e8ne peut commencer une lecture : comment se r\u00e9partissent les personnes, o\u00f9 va l\u2019attention et ce qui reste hors champ. L\u2019interpr\u00e9tation doit s\u2019arr\u00eater avant de deviner un sentiment. Un geste ne constitue pas une opinion sur la c\u00e9l\u00e9bration. Une photographie de groupe ne repr\u00e9sente pas non plus toutes les femmes d\u2019une commune. L\u2019image donne une situation pr\u00e9cise ; la conversation peut en r\u00e9v\u00e9ler les sens et les d\u00e9saccords.<\/p><\/section><section class=\"prose\" id=\"r19-fr-section-4\"><figure class=\"iict-plate\" id=\"iict-plate-r19-b-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r19-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-r19-b-fr-title\">L\u2019image ouvre une question ; la voix l\u2019\u00e9largit<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r19-b-fr-art-title iict-plate-r19-b-fr-art-desc\"><title id=\"iict-plate-r19-b-fr-art-title\">L\u2019image ouvre une question ; la voix l\u2019\u00e9largit<\/title><desc id=\"iict-plate-r19-b-fr-art-desc\">1. Une photographie enregistre le visible \u00e0 un instant. 2. La parole permet d\u2019expliquer savoirs, d\u00e9cisions et changements. 3. Participer \u00e0 la repr\u00e9sentation suppose aussi de d\u00e9cider comment raconter. Relation conceptuelle entre image, parole et d\u00e9cision, sans attribuer de nouveaux t\u00e9moignages aux participantes.<\/desc><defs><pattern id=\"iict-plate-r19-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-r19-b-fr-grain)\"\/><rect x=\"69\" y=\"98\" width=\"184\" height=\"234\" rx=\"4\" fill=\"#f5eedc\" stroke=\"#b5a47c\" stroke-width=\"2\"\/><rect x=\"88\" y=\"117\" width=\"146\" height=\"141\" rx=\"2\" fill=\"#b3c3ac\" stroke=\"#93a289\" stroke-width=\"2\"\/><path d=\"M89 245 Q156 155 234 245\" fill=\"none\" stroke=\"#8e9e80\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M340 110 H491 Q515 110 515 134 V213 Q515 237 491 237 H421 L374 275 L386 237 H340 Q316 237 316 213 V134 Q316 110 340 110Z\" fill=\"#e0e7db\" stroke=\"#95ab98\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M343 157 Q359 133 375 157 T407 157 T439 157 T471 157 M344 190 H480\" fill=\"none\" stroke=\"#8fa78f\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M590 126 C672 99 707 187 665 232 C638 255 655 284 617 290 Q594 289 591 269 M614 152 Q664 145 659 195 Q655 216 637 211 Q617 205 625 185\" fill=\"none\" stroke=\"#a18d60\" stroke-width=\"5\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"159\" cy=\"374\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"159\" y=\"382\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"417\" cy=\"333\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"417\" y=\"341\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"632\" cy=\"344\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"632\" y=\"352\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Une photographie enregistre le visible \u00e0 un instant.<\/li><li>La parole permet d\u2019expliquer savoirs, d\u00e9cisions et changements.<\/li><li>Participer \u00e0 la repr\u00e9sentation suppose aussi de d\u00e9cider comment raconter.<\/li><\/ol><figcaption class=\"plate-caption\">Relation conceptuelle entre image, parole et d\u00e9cision, sans attribuer de nouveaux t\u00e9moignages aux participantes. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r19-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>\u00c9couter sans faire de la conversation une formalit\u00e9<\/h2><p>Un prolongement de terrain commencerait par une invitation ouverte aux participantes, tisserandes et organisatrices souhaitant converser. Langue, traduction, temps et mani\u00e8re de figurer dans l\u2019article seraient convenus avec chaque interlocutrice. Une premi\u00e8re question utile demanderait ce qu\u2019elle juge important de comprendre avant de regarder son v\u00eatement. D\u2019autres porteraient sur les changements qu\u2019elle reconna\u00eet et les mots qu\u2019elle choisit pour les nommer.<\/p><p>Cette conversation n\u2019a pas encore eu lieu pour cet article. L\u2019\u00e9tape suivante rassemble des questions v\u00e9rifiables : quels crit\u00e8res r\u00e9gissent une \u00e9dition donn\u00e9e, comment s\u2019apprend une intervention publique et qui peut revoir une traduction ou retirer une image ? On chercherait diff\u00e9rentes positions sans faire d\u2019une seule participante la porte-parole de toutes. La r\u00e9mun\u00e9ration ou la reconnaissance du travail d\u2019explication doit aussi entrer dans l\u2019accord \u00e9ditorial.<\/p><p>L\u2019enqu\u00eate revient ainsi \u00e0 son ouverture : regarder la broderie et \u00e9couter celle qui la porte sont deux t\u00e2ches li\u00e9es. Une publication culturelle soign\u00e9e peut conserver la beaut\u00e9 du v\u00eatement, expliquer la pr\u00e9cision du m\u00e9tier et reconna\u00eetre l\u2019autorit\u00e9 des femmes pour raconter leur exp\u00e9rience. Le savoir grandit lorsque la documentation laisse une place \u00e0 une r\u00e9ponse qu\u2019elle ne conna\u00eet pas encore.<\/p><\/section><aside class=\"method\"><h2>\u00c9laboration de cet article<\/h2><p>Recherche documentaire compar\u00e9e arr\u00eat\u00e9e au 5 novembre 2026. Notices mus\u00e9ales et culturelles, \u00e9tude acad\u00e9mique compl\u00e8te, livre ethnographique et fiches d\u2019archive et de photographie. Les d\u00e9ductions \u00e9ditoriales sont distingu\u00e9es des faits attribu\u00e9s ; aucun nouvel entretien n\u2019a \u00e9t\u00e9 r\u00e9alis\u00e9.<\/p><\/aside><details class=\"sources\" id=\"r19-fr-sources\"><summary>Sources et confrontation<small>Ouvrir la recherche : hypoth\u00e8ses, diff\u00e9rences, port\u00e9e et r\u00e9f\u00e9rences<\/small><\/summary><div class=\"sourcebody\"><section class=\"contrast-item\"><h3>1. Quelle hypoth\u00e8se est confront\u00e9e aux sources ?<\/h3><p>Hypoth\u00e8se initiale : d\u00e9crire l\u2019\u00e9lection comme un concours esth\u00e9tique suffit \u00e0 l\u2019expliquer. La notice MNA 2024 retient parole et appartenance, tandis que le SIC 2016 ajoute savoir textile et appr\u00e9ciation de la beaut\u00e9. La comparaison fragilise cette explication unique. Elle ne d\u00e9montre pas, \u00e0 elle seule, le poids de chaque dimension dans l\u2019exp\u00e9rience de chaque participante.<sup class=\"cite\"><a href=\"#r19-fr-s1\">S1<\/a>, <a href=\"#r19-fr-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>2. O\u00f9 existe une diff\u00e9rence litt\u00e9rale ?<\/h3><p>\u00c2ges : 15\u201320 ans dans MNA 2024 contre 14\u201320 ans dans SIC 2016. Les deux formulations restent des donn\u00e9es de leurs notices respectives. La diff\u00e9rence ne prouve pas un changement de r\u00e8glement entre 2016 et 2024 : s\u00e9lection, actualisation ou erreur documentaire pourraient aussi l\u2019expliquer. L\u2019appel dat\u00e9 et les voix d\u2019une \u00e9dition pr\u00e9cise \u00e9claireraient ce point.<sup class=\"cite\"><a href=\"#r19-fr-s1\">S1<\/a>, <a href=\"#r19-fr-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>3. Les noms textiles sont-ils interchangeables ?<\/h3><p>La notice MNA 2024 mentionne la gaze pour tencahuipil ; le livre de 2019 d\u00e9crit tenkuauipil avec un tissage ferm\u00e9 aux pages 83\u201384. Nous ne corrigeons pas une source par l\u2019autre et n\u2019assimilons pas automatiquement les graphies. Objet inventori\u00e9, localit\u00e9, \u00e9poque et classification technique doivent \u00eatre confront\u00e9s. Cette diff\u00e9rence montre pourquoi identifier un v\u00eatement exige plus que reconna\u00eetre un nom.<sup class=\"cite\"><a href=\"#r19-fr-s2\">S2<\/a>, <a href=\"#r19-fr-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>4. La visibilit\u00e9 \u00e9tablit-elle le pouvoir de d\u00e9cider ?<\/h3><p>L\u2019\u00e9tude sur les Voladores propose d\u2019examiner s\u00e9par\u00e9ment acc\u00e8s et rapports de pouvoir. Nous appliquons cette distinction comme question, sans supposer que ses r\u00e9sultats d\u00e9crivent une autre c\u00e9l\u00e9bration. Une pr\u00e9sence visible peut ouvrir des possibilit\u00e9s ; les comprendre demande des preuves concernant d\u00e9cisions, ressources et conditions de participation.<sup class=\"cite\"><a href=\"#r19-fr-s6\">S6<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>5. Qu\u2019a-t-on lu de la recherche de 2026 ?<\/h3><p>La notice et le r\u00e9sum\u00e9 de Mora Tirado ont \u00e9t\u00e9 consult\u00e9s. Ils identifient objectif, approche et r\u00e9sultats r\u00e9sum\u00e9s par l\u2019autrice. Le PDF n\u2019a pas pu \u00eatre r\u00e9cup\u00e9r\u00e9 : aucune page, aucun entretien ni d\u00e9tail m\u00e9thodologique du corps non lu n\u2019est cit\u00e9. Il reste identifi\u00e9 pour approfondir le contraste, sans confondre r\u00e9sum\u00e9 et th\u00e8se compl\u00e8te.<sup class=\"cite\"><a href=\"#r19-fr-s5\">S5<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>6. Qu\u2019apporte l\u2019archive historique ?<\/h3><p>Le centre documentaire Alberto Beltr\u00e1n catalogue un rapport sur la XXVIe Foire du Caf\u00e9 et la XIIIe du Huipil, cote D\/FO-VAR\/261, 116 feuillets. La notice a \u00e9t\u00e9 v\u00e9rifi\u00e9e, mais les feuillets n\u2019ont pas \u00e9t\u00e9 consult\u00e9s. C\u2019est une piste pour reconstruire les transformations ; son titre n\u2019autorise ni \u00e0 calculer une date fondatrice ni \u00e0 inventer son contenu.<sup class=\"cite\"><a href=\"#r19-fr-s7\">S7<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>7. Que prouve la photographie ?<\/h3><p>La fiche \u00e9tablit auteur, date, description et licence d\u2019une sc\u00e8ne de 2012. Elle permet une r\u00e9utilisation avec attribution sous CC BY-SA 4.0 ; elle ne prouve ni entretiens, ni approbation personnelle de cet article, ni r\u00e8gles de 2026. La photographie documente cette sc\u00e8ne publique, sans identification individuelle ajout\u00e9e.<sup class=\"cite\"><a href=\"#r19-fr-s8\">S8<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>8. Comment de nouvelles preuves changeraient-elles la conclusion ?<\/h3><p>Un appel dat\u00e9 pr\u00e9ciserait les crit\u00e8res d\u2019une \u00e9dition ; des conversations autoris\u00e9es apporteraient priorit\u00e9s et d\u00e9saccords des participantes ; des fiches de cr\u00e9ation suivraient des v\u00eatements pr\u00e9cis. Pour l\u2019instant, la conclusion documentaire est d\u00e9limit\u00e9e : il existe plusieurs plans de valorisation et diff\u00e9rentes m\u00e9diations. L\u2019article conserve la question du v\u00e9cu des femmes, sans r\u00e9pondre \u00e0 leur place.<\/p><\/section><div class=\"bibliography\"><h3>R\u00e9f\u00e9rences documentaires<\/h3><ol><li id=\"r19-fr-s1\"><b>S1<\/b> \u00b7 <a href=\"https:\/\/mna.inah.gob.mx\/detalle_pieza_mes.php?id=321\"><cite lang=\"es\">Mastahual<\/cite><\/a> \u00b7 2024-02<br>MNA \u00b7 cat. (73)9.31g10\u20132809 \u00b7 inv.143006<\/li><li id=\"r19-fr-s2\"><b>S2<\/b> \u00b7 <a href=\"https:\/\/mna.inah.gob.mx\/detalle_pieza_mes.php?id=325\"><cite lang=\"es\">Tencahuipil<\/cite><\/a> \u00b7 2024-04<br>MNA \u00b7 Lourdes B\u00e1ez Cubero \u00b7 cat. (99)9.31g10-6471 \u00b7 inv.595423<\/li><li id=\"r19-fr-s3\"><b>S3<\/b> \u00b7 <a href=\"https:\/\/sic.cultura.gob.mx\/ficha.php?table=festividad&#038;table_id=564\"><cite lang=\"es\">Fiesta de San Francisco de As\u00eds<\/cite><\/a> \u00b7 2016-08-08<br>SIC \u00b7 Datos generales<\/li><li id=\"r19-fr-s4\"><b>S4<\/b> \u00b7 <a href=\"https:\/\/docs.wixstatic.com\/ugd\/2cee56_77f0f0290b174fb9874227b4c2a1e7d3.pdf\"><cite lang=\"es\">Las gasas. Arte textil nahua<\/cite><\/a> \u00b7 2019<br>Heiras Rodr\u00edguez \u00b7 Mora Mart\u00ednez \u00b7 Diez Barroso Repizo \u00b7 ISBN 978-607-631-041-0 \u00b7 pp. 23\u201355,53\u201384<\/li><li id=\"r19-fr-s5\"><b>S5<\/b> \u00b7 <a href=\"https:\/\/revistacoltlax.mx\/omp\/index.php\/repositoriocoltlax\/catalog\/book\/164\"><cite lang=\"es\">Representaciones sociales del Patrimonio biocultural en la Feria Nacional del Huipil<\/cite><\/a> \u00b7 2026-06-18<br>Lucia Victoria Mora Tirado \u00b7 DOI 10.63042\/Coltlax.164<\/li><li id=\"r19-fr-s6\"><b>S6<\/b> \u00b7 <a href=\"https:\/\/perfilesla.flacso.edu.mx\/index.php\/perfilesla\/article\/view\/127\"><cite lang=\"es\">Las mujeres que vuelan: g\u00e9nero y cambio cultural en Cuetzalan<\/cite><\/a> \u00b7 2011<br>Eugenia Rodr\u00edguez Blanco \u00b7 Perfiles Latinoamericanos 19(38), pp. 115\u2013143;139\u2013142<\/li><li id=\"r19-fr-s7\"><b>S7<\/b> \u00b7 <a href=\"https:\/\/cid-albertobeltran.cultura.gob.mx\/catalogo-en-linea-documental\/informe-sobre-la-investigacion-de-campo-en-cuetzalan-puebla-festejos-religiosos-paganos-xxvi-feria-del-cafe-y-xiii-feria-del-huipil\/\"><cite lang=\"es\">Informe sobre la investigaci\u00f3n de campo en Cuetzal\u00e1n\u2026 XXVI Feria del caf\u00e9 y XIII Feria del Huipil<\/cite><\/a> \u00b7 s.f.<br>CID Alberto Beltr\u00e1n \u00b7 D\/FO-VAR\/261 \u00b7116 h.<\/li><li id=\"r19-fr-s8\"><b>S8<\/b> \u00b7 <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Elecci%C3%B3n_de_la_Reina_del_Huipil_en_Cuetzalan.jpg\"><cite lang=\"es\">Elecci\u00f3n de la Reina del Huipil en Cuetzalan<\/cite><\/a> \u00b7 2012-10-04<br>Luce051 \u00b7 CC BY-SA 4.0 \u00b7 Wikimedia Commons<\/li><\/ol><\/div><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r19-fr-source\" lang=\"fr\"><h4>La coiffe commence avant l\u2019arriv\u00e9e sur la place<\/h4><p>La fiche documente le mastahual et une explication curatoriale. Elle ne r\u00e9sout pas l\u2019\u00e9cart gasa\/tateijtik des sources sur le tencahuipil et n\u2019identifie pas les femmes de la photo de 2012.<\/p><p><a href=\"https:\/\/mna.inah.gob.mx\/detalle_pieza_mes.php?id=321\">Mar\u00eda Eugenia S\u00e1nchez Santa Ana \u00b7 MNA, Mastahual, febrero 2024, inv.143006<\/a> \u00b7 <a href=\"#iict-reading-r19-fr\">Revenir au passage<\/a><\/p><\/section>\n<\/details><nav class=\"endnav\"><a href=\"https:\/\/totonacapan.com\/?page_id=1225#indice-articulos-fr\">\u2190 Retour \u00e0 l\u2019index des recherches<\/a><a href=\"https:\/\/totonacapan.com\/?page_id=1325#r12-fr\">Lecture associ\u00e9e \u2192<\/a><\/nav><!-- IICT-CITE R19 fr --><aside class=\"iict-citation\" id=\"citar-r19-fr\" aria-labelledby=\"citar-r19-fr-title\"><h2 id=\"citar-r19-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. \u00abLa parole et le huipil : les femmes dans la c\u00e9l\u00e9bration de Cuetzalan\u00bb. <cite>Cahiers de recherche<\/cite>, <strong>R19<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1368#r19-fr\">https:\/\/totonacapan.com\/?page_id=1368#r19-fr<\/a>.<\/blockquote><p><strong>R\u00e9f\u00e9rence interne:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1368#r19-fr\">R19<\/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 R19 fr --><\/article><\/details><\/div><script>(function(){function openArticle(){var root=document.querySelector(\"#research-r19-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\u00f1olEnglishFran\u00e7ais R19 \u00b7 Cuadernos de investigaci\u00f3n La palabra y el huipil: mujeres en la celebraci\u00f3n de Cuetzalan Una prenda puede mirarse. La voz de quien la lleva exige escuchar. Revisi\u00f3n documental \u00b7 5 de noviembre de 2026 En pocas palabras \u00bfQu\u00e9 se escucha cuando una mujer [&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-1368","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1368","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=1368"}],"version-history":[{"count":10,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1368\/revisions"}],"predecessor-version":[{"id":1663,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1368\/revisions\/1663"}],"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=1368"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}