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ol.research-hypotheses.research-hypotheses>li{grid-template-columns:1.65rem minmax(0,1fr)!important;gap:.65rem!important}#research-r21-release.iict-journal article .research-hypotheses h3{font-size:1.17rem!important}#research-r21-release.iict-journal article .research-hypotheses p{font-size:1rem!important}}\n#research-r21-release.iict-journal article .prose.opening{border:0!important;padding:0!important;background:none!important}\n\n\/* IICT VISUALES FINAL 20261106 *\/\n#research-r21-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-r21-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-r21-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=\"#r21-es\">Espa\u00f1ol<\/a> \u00b7 <a href=\"#r21-en\">English<\/a> \u00b7 <a href=\"#r21-fr\">Fran\u00e7ais<\/a><\/nav><article id=\"r21-es\" lang=\"es\"><header class=\"hero\"><div class=\"kicker\">R21 \u00b7 CUADERNOS DE INVESTIGACI\u00d3N<\/div><h1>El m\u00fasico que hace posible la danza<\/h1><p class=\"deck\">Escuchar al caporal cambia la manera de mirar el vuelo.<\/p><div class=\"date\">Revisi\u00f3n documental \u00b7 5 de noviembre de 2026<\/div><\/header><section class=\"abstract\"><span class=\"eyebrow\">En pocas palabras<\/span><p>El caporal permanece arriba mientras otros descienden. En el entorno de Papantla y El Taj\u00edn, su oficio re\u00fane m\u00fasica, conducci\u00f3n y responsabilidad ritual. \u00bfQu\u00e9 dejamos fuera al mirar solo a quienes bajan del poste? Este estudio documental pone en conversaci\u00f3n una s\u00edntesis de UNESCO, investigaci\u00f3n etnogr\u00e1fica y entrevistas publicadas. Distingue el instrumento visible, sus nombres registrados y lo que cada fuente explica del sonido. Conservar una melod\u00eda exige tambi\u00e9n conservar qui\u00e9n puede ense\u00f1arla, c\u00f3mo se aprende y qu\u00e9 decide compartir: el oficio se comprende al situarlo en sus relaciones.<\/p><\/section><details class=\"iict-journal-toc\"><summary>En este art\u00edculo<\/summary><nav class=\"toc\" aria-label=\"En esta lectura\"><span class=\"eyebrow\">En esta lectura<\/span><a href=\"#r21-es-section-0\">Papantla y El Taj\u00edn: elegir un lugar para escuchar<\/a><a href=\"#r21-es-section-1\">Una flauta, un tambor y una responsabilidad<\/a><a href=\"#r21-es-section-2\">Lo que explica una melod\u00eda y lo que interpreta un estudio<\/a><a href=\"#r21-es-section-3\">Aprender tambi\u00e9n es asumir un compromiso<\/a><a href=\"#r21-es-section-4\">Cu\u00e1ndo se toca, cu\u00e1ndo se escucha y cu\u00e1ndo se reserva<\/a><a href=\"#r21-es-section-5\">Devolver al m\u00fasico al encuadre<\/a><a href=\"#r21-es-sources\">Fuentes y contraste<\/a><\/nav><\/details><figure class=\"photo portrait\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r21-voladores-tajin-giovanny-2025-scaled.jpg\" width=\"1400\" height=\"2100\" alt=\"Integrantes de los Voladores en la parte superior del poste, en El Taj\u00edn, con un tambor visible junto al participante central.\"><figcaption><span class=\"eyebrow\">Documento visual<\/span>El Taj\u00edn, 3 de enero de 2025. Giovanny Gonzalez \u00b7 CC BY-SA 4.0. Fotograf\u00eda completa, reducida t\u00e9cnicamente para esta edici\u00f3n. La ficha localiza la escena; no identifica nombres ni repertorio.<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Rito_de_los_Voladores,_Taj%C3%ADn.jpg\">Giovanny Gonzalez \u00b7 Wikimedia Commons<\/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>El espectador mira a quienes bailan, pero el ritmo tambi\u00e9n es memoria. Un m\u00fasico conoce se\u00f1ales de inicio, cambios de paso y finales que solo existen porque otras personas saben escucharlos. Seguir al ejecutante y la transmisi\u00f3n entre generaciones devuelve al centro a quien suele quedar fuera del encuadre de una danza ceremonial.<\/p><\/div><section class=\"prose\" id=\"r21-es-section-0\"><h2>Papantla y El Taj\u00edn: elegir un lugar para escuchar<\/h2><p>El caso principal es el caporal de la ceremonia de los Voladores en el entorno de Papantla, con una fotograf\u00eda localizada en El Taj\u00edn. Elegir ese \u00e1mbito permite formular preguntas concretas. No convierte a Papantla en propietario de todas las variantes: la s\u00edntesis de UNESCO sit\u00faa la pr\u00e1ctica en varias comunidades de M\u00e9xico y Centroam\u00e9rica y registra su inscripci\u00f3n en 2009. Aqu\u00ed no se atribuye a una sola localidad un repertorio compartido.<sup class=\"cite\"><a href=\"#r21-es-s1\">S1<\/a>, <a href=\"#r21-es-s6\">S6<\/a><\/sup><\/p><p>La hip\u00f3tesis de lectura es sencilla: si la m\u00fasica fuera un acompa\u00f1amiento intercambiable, describir el descenso bastar\u00eda para explicar la ceremonia. Las fuentes consultadas permiten cuestionarlo. Para comprobarlo en una cuadrilla concreta har\u00eda falta escuchar c\u00f3mo sus integrantes reconocen cada momento. La foto demuestra una escena y un lugar; no demuestra por s\u00ed misma qu\u00e9 son estaba sonando ni qui\u00e9n ense\u00f1\u00f3 a tocarlo.<\/p><\/section><section class=\"prose\" id=\"r21-es-section-1\"><h2>Una flauta, un tambor y una responsabilidad<\/h2><p>UNESCO identifica al caporal como quien toca flauta y tambor en la plataforma superior. Esta funci\u00f3n introduce una diferencia decisiva para el visitante: permanecer arriba no equivale a quedar fuera de la acci\u00f3n. Nuestra interpretaci\u00f3n es que atender a esa posici\u00f3n permite comprender la ceremonia como coordinaci\u00f3n entre personas que escuchan, se mueven y reconocen un orden compartido.<sup class=\"cite\"><a href=\"#r21-es-s1\">S1<\/a><\/sup><\/p><p>Villani registra en 2025 el nombre lis-kgolh para la flauta, atribuido a V\u00edctor, danzante de El Taj\u00edn; tambi\u00e9n recoge de Bertels la forma puskol y, para el tambor, putlakut, con putlakui en la nota de traducci\u00f3n. Son graf\u00edas transmitidas por fuentes concretas. No elegimos una como nombre universal, ni inferimos que cada diferencia escrita designe otro instrumento. Esa comprobaci\u00f3n corresponde a hablantes y ejecutantes de la localidad.<sup class=\"cite\"><a href=\"#r21-es-s2\">S2<\/a><\/sup><\/p><\/section><figure class=\"visual\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 640 580\" role=\"img\" aria-labelledby=\"r21-rel-es\"><title id=\"r21-rel-es\">El sonido como relaci\u00f3n<\/title><rect width=\"640\" height=\"580\" fill=\"#edeedf\"\/><path d=\"M32 35H608\" stroke=\"#a58a47\" stroke-width=\"2\"\/><text x=\"32\" y=\"87\" fill=\"#264b61\" font-size=\"32\" font-family=\"Georgia,serif\" font-weight=\"normal\">El sonido como relaci\u00f3n<\/text><rect x=\"32\" y=\"128\" width=\"576\" height=\"108\" fill=\"#f8f3e9\"\/><circle cx=\"65\" cy=\"167\" r=\"18\" fill=\"#264b61\"\/><text x=\"58\" y=\"175\" fill=\"#fff\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">1<\/text><text x=\"102\" y=\"171\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Ejecutar<\/text><text x=\"102\" y=\"209\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Flauta y tambor<\/text><rect x=\"32\" y=\"258\" width=\"576\" height=\"108\" fill=\"#e1e8e8\"\/><circle cx=\"65\" cy=\"297\" r=\"18\" fill=\"#264b61\"\/><text x=\"58\" y=\"305\" fill=\"#fff\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">2<\/text><text x=\"102\" y=\"301\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Escuchar<\/text><text x=\"102\" y=\"339\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Momento y contexto<\/text><rect x=\"32\" y=\"388\" width=\"576\" height=\"108\" fill=\"#f8f3e9\"\/><circle cx=\"65\" cy=\"427\" r=\"18\" fill=\"#264b61\"\/><text x=\"58\" y=\"435\" fill=\"#fff\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">3<\/text><text x=\"102\" y=\"431\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Transmitir<\/text><text x=\"102\" y=\"469\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Aprendizaje y responsabilidad<\/text><path d=\"M32 545H608\" stroke=\"#a58a47\"\/><text x=\"32\" y=\"571\" fill=\"#264b61\" font-size=\"19\" font-family=\"Georgia,serif\" font-weight=\"normal\">R21 \u00b7 Lectura del oficio<\/text><\/svg><figcaption>Esquema editorial original \u00b7 no es una secuencia ritual.<\/figcaption><\/figure><section class=\"prose\" id=\"r21-es-section-2\"><figure class=\"iict-plate\" id=\"iict-plate-r21-a-es\" lang=\"es\" aria-labelledby=\"iict-plate-r21-a-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 I<\/p><h3 id=\"iict-plate-r21-a-es-title\">Escuchar dos instrumentos como una sola tarea<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r21-a-es-art-title iict-plate-r21-a-es-art-desc\"><title id=\"iict-plate-r21-a-es-art-title\">Escuchar dos instrumentos como una sola tarea<\/title><desc id=\"iict-plate-r21-a-es-art-desc\">1. Soplo y digitaci\u00f3n requieren coordinaci\u00f3n. 2. La percusi\u00f3n entra en relaci\u00f3n con la l\u00ednea de flauta. 3. El m\u00fasico aprende cu\u00e1ndo tocar y c\u00f3mo responder a la ocasi\u00f3n. Relaci\u00f3n de capacidades, no partitura ni demostraci\u00f3n de una ejecuci\u00f3n ritual concreta.<\/desc><defs><pattern id=\"iict-plate-r21-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-r21-a-es-grain)\"\/><circle cx=\"222\" cy=\"191\" r=\"122\" fill=\"#e9e7d6\" stroke=\"#b8b69a\" stroke-width=\"1\"\/><g transform=\"translate(217 192) rotate(-18) scale(0.92)\"><rect x=\"-12\" y=\"-126\" width=\"24\" height=\"252\" rx=\"6\" fill=\"#d6bd86\" stroke=\"#88734b\" stroke-width=\"2\"\/><circle cx=\"0\" cy=\"-65\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-40\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-15\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"10\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"35\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"60\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><path d=\"M-12 -96 L12 -96 M-12 97 L12 97\" fill=\"none\" stroke=\"#88734b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><circle cx=\"526\" cy=\"226\" r=\"110\" fill=\"#dfe5d7\" stroke=\"#a1b095\" stroke-width=\"1\"\/><g transform=\"translate(522 211) scale(0.86)\"><path d=\"M-59 -38 L-52 68 Q0 99 52 68 L59 -38Z\" fill=\"#c9b48c\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-59 -38 Q0 -69 59 -38 Q0 -8 -59 -38Z\" fill=\"#e1d4b8\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-52 68 Q0 42 52 68\" fill=\"none\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-51 -32 L-42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-34 -32 L-28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-17 -32 L-14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -32 L0 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M17 -32 L14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M34 -32 L28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M51 -32 L42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M310 92 Q435 33 555 84 M308 308 Q421 370 542 340\" fill=\"none\" stroke=\"#b39a61\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M305 203 Q326 164 346 203 T386 203 T426 203\" fill=\"none\" stroke=\"#9aab96\" stroke-width=\"3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"91\" cy=\"147\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"91\" y=\"155\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"662\" cy=\"247\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"662\" y=\"255\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"385\" cy=\"343\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"385\" y=\"351\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Soplo y digitaci\u00f3n requieren coordinaci\u00f3n.<\/li><li>La percusi\u00f3n entra en relaci\u00f3n con la l\u00ednea de flauta.<\/li><li>El m\u00fasico aprende cu\u00e1ndo tocar y c\u00f3mo responder a la ocasi\u00f3n.<\/li><\/ol><figcaption class=\"plate-caption\">Relaci\u00f3n de capacidades, no partitura ni demostraci\u00f3n de una ejecuci\u00f3n ritual concreta. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r21-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>Lo que explica una melod\u00eda y lo que interpreta un estudio<\/h2><p>Las fuentes escuchan relaciones distintas. La ficha patrimonial vincula las melod\u00edas con el sol, los vientos y las direcciones. Villani destaca el ciclo acu\u00e1tico al estudiar una variante recordada en la sierra. No comparan dos mediciones id\u00e9nticas: cambian las preguntas, los materiales estudiados y las escalas. Ese contraste permite investigar c\u00f3mo se relacionan las interpretaciones solares y acu\u00e1ticas, en lugar de declarar err\u00f3nea una de ellas.<sup class=\"cite\"><a href=\"#r21-es-s1\">S1<\/a>, <a href=\"#r21-es-s2\">S2<\/a><\/sup><\/p><p>El art\u00edculo de 2025 re\u00fane datos recogidos entre 2017 y 2021 y memoria de una variante con pescador. La entrevista divulgativa de 2026 vuelve a dar la palabra a la misma investigadora. Su coincidencia ampl\u00eda la circulaci\u00f3n de una interpretaci\u00f3n; no constituye una segunda comprobaci\u00f3n independiente. Para el lector, reconocer esa relaci\u00f3n es tan importante como disponer de dos enlaces.<sup class=\"cite\"><a href=\"#r21-es-s2\">S2<\/a>, <a href=\"#r21-es-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r21-es-section-3\"><style id=\"iict-visual-essays-20261106\">\n#main figure.iict-viz{box-sizing:border-box;width:100%;max-width:100%;margin:2.3rem auto!important;padding:clamp(20px,3vw,34px)!important;border:1px solid #cfc3a9!important;border-top:3px solid #a68b46!important;border-radius:2px!important;background:linear-gradient(135deg,#fffcf4,#f5efdf)!important;color:#254761!important;box-shadow:0 18px 30px -32px #17314480;overflow:visible!important;float:none!important;clear:both;isolation:isolate;break-inside:avoid;}\n#main figure.iict-viz *,#main figure.iict-viz *::before,#main figure.iict-viz *::after{box-sizing:border-box}#main figure.iict-viz>header{display:block!important;width:100%!important;margin:0 0 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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-r21-es\" lang=\"es\" aria-labelledby=\"iict-viz-r21-es-title\"><header><div class=\"viz-kicker\"><span>Cuadernos visuales<\/span><span>R21 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r21-es-title\">Tres publicaciones, relaciones entre las voces<\/h3><p>La procedencia importa tanto como la coincidencia entre afirmaciones.<\/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>2022 \u00b7 INAH<\/h4><p>El bolet\u00edn presenta el trabajo de H\u00e9ctor Manuel Enr\u00edquez Andrade.<\/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>2025 \u00b7 Investigaci\u00f3n<\/h4><p>Luisa Villani publica un estudio entre costa y sierra.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M80 22h120v56h-67l-24 20V78H80zM98 42h84M98 57h62\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>2026 \u00b7 Entrevista<\/h4><p>La entrevista vuelve a dar la palabra a la misma investigadora.<\/p><\/div><\/div><figcaption>El estudio de 2025 y la entrevista de 2026 comparten investigadora: no son dos confirmaciones independientes.<span class=\"viz-source\">S\u00edntesis visual original del Instituto \u00b7 <a href=\"#r21-es-sources\">Fuentes y contraste<\/a><\/span><\/figcaption><\/figure>\n<section class=\"iict-reading-addition\" data-kind=\"inline\" id=\"iict-reading-r21-es\" lang=\"es\" aria-labelledby=\"iict-reading-r21-es-title\"><h3 id=\"iict-reading-r21-es-title\">La m\u00fasica ya estaba en el camino<\/h3><p>La entrevista de Luisa Villani publicada por UNAM Global en 2026 devuelve el sonido a un momento anterior al ascenso: durante el traslado del \u00e1rbol hacia la comunidad, el caporal interpreta sones que acompa\u00f1an a la comitiva y marcan su paso. La m\u00fasica aparece ligada al desplazamiento y al trabajo colectivo. <a class=\"reading-ref\" href=\"#iict-reading-r21-es-source\" aria-label=\"Ver fuentes y contraste\">\u2197<\/a><\/p><p>Este detalle permite escuchar de otra manera la escena m\u00e1s conocida. El m\u00fasico interviene en una relaci\u00f3n que ya ven\u00eda form\u00e1ndose en tierra. Aprender su oficio incluye reconocer ocasiones y responder a otras personas, una responsabilidad que el encuadre del vuelo muestra solo parcialmente.<\/p><p class=\"reading-links\"><a href=\"https:\/\/unamglobal.unam.mx\/global_revista\/ritual-voladores-significado\/\">Pepe Herrera \/ Luisa Villani \u00b7 UNAM Global, 14\/08\/2026, Del \u00e1rbol al poste ceremonial<\/a> \u00b7 <a href=\"#r21-es-sources\">Fuentes y contraste<\/a><\/p><\/section>\n<figure class=\"iict-plate\" id=\"iict-plate-r21-b-es\" lang=\"es\" aria-labelledby=\"iict-plate-r21-b-es-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Cuaderno ilustrado \u00b7 II<\/p><h3 id=\"iict-plate-r21-b-es-title\">La m\u00fasica acompa\u00f1a un recorrido antes de la altura<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r21-b-es-art-title iict-plate-r21-b-es-art-desc\"><title id=\"iict-plate-r21-b-es-art-title\">La m\u00fasica acompa\u00f1a un recorrido antes de la altura<\/title><desc id=\"iict-plate-r21-b-es-art-desc\">1. 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Secuencia conceptual del relato de UNAM Global; no reconstruye el trazado de una procesi\u00f3n ni su repertorio.<\/desc><defs><pattern id=\"iict-plate-r21-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-r21-b-es-grain)\"\/><path d=\"M28 310 Q209 227 391 296 T723 278\" fill=\"none\" stroke=\"#bba473\" stroke-width=\"3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"4 8\"\/><path d=\"M75 229 L262 184 L270 203 L81 248Z\" fill=\"#c3aa7b\" stroke=\"#927d51\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M103 223 L95 202 M159 210 L167 225 M218 196 L215 178\" fill=\"none\" stroke=\"#927d51\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><g transform=\"translate(406 242) scale(0.55)\"><path d=\"M-59 -38 L-52 68 Q0 99 52 68 L59 -38Z\" fill=\"#c9b48c\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-59 -38 Q0 -69 59 -38 Q0 -8 -59 -38Z\" fill=\"#e1d4b8\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-52 68 Q0 42 52 68\" fill=\"none\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-51 -32 L-42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-34 -32 L-28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-17 -32 L-14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -32 L0 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M17 -32 L14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M34 -32 L28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M51 -32 L42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><g transform=\"translate(451 208) rotate(-22) scale(0.45)\"><rect x=\"-12\" y=\"-126\" width=\"24\" height=\"252\" rx=\"6\" fill=\"#d6bd86\" stroke=\"#88734b\" stroke-width=\"2\"\/><circle cx=\"0\" cy=\"-65\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-40\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-15\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"10\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"35\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"60\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><path d=\"M-12 -96 L12 -96 M-12 97 L12 97\" fill=\"none\" stroke=\"#88734b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M478 156 Q496 134 515 156 M485 178 Q514 146 543 178\" fill=\"none\" stroke=\"#aab49a\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"645\" y=\"95\" width=\"13\" height=\"226\" rx=\"5\" fill=\"#cdb17e\" stroke=\"#927c4e\" stroke-width=\"2\"\/><circle cx=\"651\" cy=\"92\" r=\"13\" fill=\"#decda7\" stroke=\"#927c4e\" stroke-width=\"2\"\/><circle cx=\"165\" cy=\"333\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"165\" y=\"341\" 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=\"650\" cy=\"367\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"650\" y=\"375\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Trasladar el \u00e1rbol re\u00fane cuerpos y coordinaci\u00f3n.<\/li><li>Los sones marcan el paso de la procesi\u00f3n en el caso documentado.<\/li><li>La ocasi\u00f3n de tocar cambia a lo largo de la ceremonia.<\/li><\/ol><figcaption class=\"plate-caption\">Secuencia conceptual del relato de UNAM Global; no reconstruye el trazado de una procesi\u00f3n ni su repertorio. \u00b7 Ilustraci\u00f3n original del Instituto \u00b7 <a href=\"#r21-es-sources\">Fuentes y contraste<\/a><\/figcaption><\/figure>\n<h2>Aprender tambi\u00e9n es asumir un compromiso<\/h2><p>En el bolet\u00edn del 16 de junio de 2022, Enr\u00edquez Andrade vincula la preparaci\u00f3n del danzante con aprendizaje exigente y compromiso comunitario. La referencia permite plantear la transmisi\u00f3n como un proceso m\u00e1s amplio que repetir notas. No permite calcular cu\u00e1ntos a\u00f1os necesita hoy cada aprendiz, qui\u00e9n autoriza a ense\u00f1ar en cada grupo ni si todas las familias siguen el mismo recorrido.<sup class=\"cite\"><a href=\"#r21-es-s3\">S3<\/a><\/sup><\/p><p>Proponemos distinguir tres aprendizajes al investigar este oficio: producir el sonido, reconocer cu\u00e1ndo corresponde y responder ante quienes participan. Es una herramienta de an\u00e1lisis del art\u00edculo, no una clasificaci\u00f3n local atribuida a los m\u00fasicos. Permite preguntar por correcciones, ensayo y memoria sin inventar el relato de un maestro o una aprendiz. La futura entrevista debe poder modificar tambi\u00e9n nuestras preguntas.<\/p><\/section><figure class=\"visual\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 640 580\" role=\"img\" aria-labelledby=\"r21-sca-es\"><title id=\"r21-sca-es\">Fuentes: mirar su relaci\u00f3n<\/title><rect width=\"640\" height=\"580\" fill=\"#edeedf\"\/><path d=\"M32 35H608\" stroke=\"#a58a47\" stroke-width=\"2\"\/><text x=\"32\" y=\"87\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Fuentes: mirar su relaci\u00f3n<\/text><rect x=\"32\" y=\"127\" width=\"576\" height=\"110\" fill=\"#f8f3e9\"\/><path d=\"M32 127V237\" stroke=\"#a58a47\" stroke-width=\"4\"\/><text x=\"52\" y=\"170\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">UNESCO \u00b7 2009<\/text><text x=\"52\" y=\"210\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">S\u00edntesis de alcance amplio<\/text><rect x=\"32\" y=\"257\" width=\"576\" height=\"110\" fill=\"#f8f3e9\"\/><path d=\"M32 257V367\" stroke=\"#264b61\" stroke-width=\"4\"\/><text x=\"52\" y=\"300\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Villani \u00b7 2025<\/text><text x=\"52\" y=\"340\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Investigaci\u00f3n \u00b7 corpus 2017\u20132021<\/text><rect x=\"32\" y=\"387\" width=\"576\" height=\"110\" fill=\"#f8f3e9\"\/><path d=\"M32 387V497\" stroke=\"#264b61\" stroke-width=\"4\"\/><text x=\"52\" y=\"430\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Entrevista \u00b7 2026<\/text><text x=\"52\" y=\"470\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Vuelve a hablar la misma investigadora<\/text><text x=\"32\" y=\"563\" fill=\"#264b61\" font-size=\"21\" font-family=\"Georgia,serif\" font-weight=\"normal\">S1\u2013S4 \u00b7 Comparar no es contar enlaces<\/text><\/svg><figcaption>La entrevista de 2026 y el estudio de 2025 comparten investigadora; no son dos comprobaciones de campo independientes. S1\u2013S4.<\/figcaption><\/figure><section class=\"prose\" id=\"r21-es-section-4\"><h2>Cu\u00e1ndo se toca, cu\u00e1ndo se escucha y cu\u00e1ndo se reserva<\/h2><p>Una presentaci\u00f3n para visitantes, una fiesta y el proceso completo de preparaci\u00f3n no son contextos equivalentes. La entrevista de 2026 distingue el vuelo p\u00fablico de un ciclo ceremonial m\u00e1s extenso. Por eso no convertimos una descripci\u00f3n publicada en un horario que valga para todas las comunidades. Tampoco se incluyen aqu\u00ed secuencias para ejecutar la ceremonia ni un repertorio sonoro separado de sus responsables.<sup class=\"cite\"><a href=\"#r21-es-s4\">S4<\/a><\/sup><\/p><p>La pregunta por cu\u00e1ndo no se toca sigue abierta para la cuadrilla que se documente. Preguntarla puede revelar l\u00edmites de ocasi\u00f3n, de ense\u00f1anza o de acceso que el visitante no percibe. La decisi\u00f3n sobre qu\u00e9 registrar debe hacerse con quienes sostienen la pr\u00e1ctica. Una autorizaci\u00f3n para fotografiar una presentaci\u00f3n no equivale autom\u00e1ticamente a consentimiento para grabar, traducir, reutilizar o publicar un aprendizaje.<sup class=\"cite\"><a href=\"#r21-es-s5\">S5<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r21-es-section-5\"><h2>Devolver al m\u00fasico al encuadre<\/h2><p>La fotograf\u00eda de Giovanny Gonzalez est\u00e1 fechada el 3 de enero de 2025 y localizada en El Taj\u00edn. Se ofrece \u00edntegra, con su procedencia y licencia, como testimonio visual de esa escena. No se identifican participantes por conjetura ni se presenta como entrevista realizada por el Instituto. El archivo V03 propuesto en la bandeja muestra, seg\u00fan su autor, un flautista junto a Quetzales en Puebla: queda identificado para otro contexto, sin convertirlo en caporal papanteco.<sup class=\"cite\"><a href=\"#r21-es-s6\">S6<\/a>, <a href=\"#r21-es-s7\">S7<\/a><\/sup><\/p><p>El paso siguiente es un encuentro acordado con un ejecutante y una persona que aprenda: escuchar sus t\u00e9rminos, comprobar qu\u00e9 funci\u00f3n tiene cada instrumento y decidir juntos qu\u00e9 puede circular. La investigaci\u00f3n documental ya permite una conclusi\u00f3n: mostrar el vuelo sin preguntar por quien sostiene su sonido deja una parte del trabajo fuera de la historia. Conocer esa parte exige una relaci\u00f3n, adem\u00e1s de un encuadre.<\/p><\/section><aside class=\"method\"><h2>C\u00f3mo se investig\u00f3<\/h2><p>La revisi\u00f3n documental se cerr\u00f3 el 5 de noviembre de 2026. Se distinguieron la s\u00edntesis patrimonial, el art\u00edculo de investigaci\u00f3n, las entrevistas publicadas y los datos que identifican las fotograf\u00edas. Del libro se ley\u00f3 el bolet\u00edn que lo presenta, no el texto completo. Las citas hist\u00f3ricas de Bertels se conocen mediante Villani. No se realizaron entrevistas ni grabaciones de campo; la revisi\u00f3n local prevista sigue identificada.<\/p><\/aside><details class=\"sources\" id=\"r21-es-sources\"><summary>Fuentes y contraste<small>Desplegar hip\u00f3tesis, diferencias, alcance y referencias<\/small><\/summary><div class=\"sourcebody\"><section class=\"contrast-item\"><h3>1. Hip\u00f3tesis y resultado<\/h3><p>Se contrast\u00f3 la idea de una m\u00fasica intercambiable que solo acompa\u00f1a al descenso. Las funciones registradas del caporal permiten rechazarla como explicaci\u00f3n suficiente. El art\u00edculo interpreta esa relaci\u00f3n como coordinaci\u00f3n y responsabilidad; no afirma haber medido causalmente c\u00f3mo reconoce una cuadrilla cada se\u00f1al.<sup class=\"cite\"><a href=\"#r21-es-s1\">S1<\/a>, <a href=\"#r21-es-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>2. Dos escalas que no deben confundirse<\/h3><p>La s\u00edntesis de UNESCO describe una pr\u00e1ctica extendida. El estudio de Villani de 2025 delimita los materiales de costa y sierra que analiza y una variante recordada con pescador. Este art\u00edculo centra su caso en Papantla\/El Taj\u00edn. Los datos serranos permiten comparar interpretaciones; no describen necesariamente todas las presentaciones actuales de esa localidad.<sup class=\"cite\"><a href=\"#r21-es-s1\">S1<\/a>, <a href=\"#r21-es-s2\">S2<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>3. Solar y acu\u00e1tico: \u00bfoposici\u00f3n o relaci\u00f3n?<\/h3><p>La menci\u00f3n patrimonial del sol y los vientos y la hip\u00f3tesis acu\u00e1tica de Villani proceden de marcos diferentes. La documentaci\u00f3n no obliga a elegir una interpretaci\u00f3n excluyente. Una investigaci\u00f3n local deber\u00eda preguntar qu\u00e9 relaciones establecen los ejecutantes y registrar tambi\u00e9n desacuerdos, sin resolverlos mediante una etiqueta \u00fanica.<sup class=\"cite\"><a href=\"#r21-es-s1\">S1<\/a>, <a href=\"#r21-es-s2\">S2<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>4. Nombres: conservar la cadena de atribuci\u00f3n<\/h3><p>Lis-kgolh aparece en el testimonio de V\u00edctor publicado por Villani; puskol y las graf\u00edas del tambor llegan mediante su cita y traducci\u00f3n de Bertels. No se consult\u00f3 directamente la edici\u00f3n alemana de 1993. Deben verificarse pronunciaci\u00f3n, variante ling\u00fc\u00edstica y ortograf\u00eda con hablantes, sin uniformarlas en silencio.<sup class=\"cite\"><a href=\"#r21-es-s2\">S2<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>5. Dos publicaciones no siempre son dos comprobaciones<\/h3><p>La investigaci\u00f3n de 2025 y la entrevista de 2026 comparten investigadora. El bolet\u00edn de 2022 presenta otro autor, Enr\u00edquez Andrade, pero resume su libro. Estas relaciones se hacen visibles para que el n\u00famero de enlaces no aparente m\u00e1s independencia de la que existe.<sup class=\"cite\"><a href=\"#r21-es-s2\">S2<\/a>, <a href=\"#r21-es-s3\">S3<\/a>, <a href=\"#r21-es-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>6. Qu\u00e9 documenta una imagen<\/h3><p>La foto de 2025 acredita un lugar y una escena seg\u00fan la ficha del fot\u00f3grafo; no identifica nombres, repertorio ni permisos de investigaci\u00f3n. V03 acredita otro contexto danc\u00edstico. Licencia de reproducci\u00f3n y consentimiento para nuevas grabaciones resuelven cuestiones distintas.<sup class=\"cite\"><a href=\"#r21-es-s6\">S6<\/a>, <a href=\"#r21-es-s7\">S7<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>7. Trabajo de campo que falta<\/h3><p>Pendientes: acuerdo con una cuadrilla, conversaci\u00f3n con m\u00fasico y aprendiz, revisi\u00f3n local de t\u00e9rminos, situaciones en que el sonido se reserva y autorizaciones diferenciadas de fotograf\u00eda\/audio\/texto. No se han realizado esas entrevistas. El texto actual es investigaci\u00f3n documental; sus preguntas no se presentan como respuestas de participantes.<\/p><\/section><section class=\"contrast-item\"><h3>8. Criterio para ampliar el art\u00edculo<\/h3><p>La ampliaci\u00f3n incorporar\u00e1 voces con atribuci\u00f3n y condiciones de uso acordadas, y conservar\u00e1 la posibilidad de no publicar determinados contenidos. El protagonismo comunitario y el consentimiento sostenido de los principios \u00e9ticos de UNESCO orientan el procedimiento; no certifican que el Instituto ya lo haya realizado.<sup class=\"cite\"><a href=\"#r21-es-s5\">S5<\/a><\/sup><\/p><\/section><div class=\"bibliography\"><h3>Referencias documentales<\/h3><ol><li id=\"r21-es-s1\"><b>S1<\/b> \u00b7 UNESCO<br><a href=\"https:\/\/ich.unesco.org\/en\/RL\/ritual-ceremony-of-the-voladores-00175?RL=00175\"><cite lang=\"es\">Ritual ceremony of the Voladores<\/cite><\/a><br>Inscripci\u00f3n 2009 \u00b7 expediente 00175<\/li><li id=\"r21-es-s2\"><b>S2<\/b> \u00b7 Luisa Villani<br><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/cuicuilco\/article\/download\/23503\/25032\/51760\"><cite lang=\"es\">La Danza de los Voladores entre Costa y Sierra totonacas: un Axis Mundi que equilibra el ciclo acu\u00e1tico y c\u00f3smico<\/cite><\/a><br>Cuicuilco 93 \u00b7 mayo\u2013agosto 2025 \u00b7 pp. 61\u201385; especialmente 63\u201364 y 75\u201376<\/li><li id=\"r21-es-s3\"><b>S3<\/b> \u00b7 INAH \/ H\u00e9ctor Manuel Enr\u00edquez Andrade<br><a href=\"https:\/\/www.inah.gob.mx\/boletines\/las-danzas-totonacas-de-origen-prehispanico-en-papantla-libro-editado-por-el-inah-disponible-en-la-red\"><cite lang=\"es\">Las danzas totonacas de origen prehisp\u00e1nico en Papantla, libro editado por el INAH disponible en la red<\/cite><\/a><br>Bolet\u00edn 280 \u00b716 junio 2022; presentaci\u00f3n del libro INAH2021<\/li><li id=\"r21-es-s4\"><b>S4<\/b> \u00b7 Pepe Herrera \/ Luisa Villani<br><a href=\"https:\/\/unamglobal.unam.mx\/global_revista\/ritual-voladores-significado\/\"><cite lang=\"es\">M\u00e1s all\u00e1 de un espect\u00e1culo: el verdadero significado del ritual danzante de los voladores<\/cite><\/a><br>UNAM Global \u00b714 agosto 2026<\/li><li id=\"r21-es-s5\"><b>S5<\/b> \u00b7 UNESCO<br><a href=\"https:\/\/ich.unesco.org\/en\/ethics-and-ich-00866\"><cite lang=\"es\">Ethical Principles for Safeguarding Intangible Cultural Heritage<\/cite><\/a><br>2015 \u00b7 principios 1, 4, 5, 7\u201310<\/li><li id=\"r21-es-s6\"><b>S6<\/b> \u00b7 Giovanny Gonzalez<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Rito_de_los_Voladores,_Taj%C3%ADn.jpg\"><cite lang=\"es\">Rito de los Voladores, Taj\u00edn.jpg<\/cite><\/a><br>Fotograf\u00eda 3 enero 2025 \u00b7 CC BY-SA 4.0<\/li><li id=\"r21-es-s7\"><b>S7<\/b> \u00b7 HectoradQuintanar<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:M%C3%BAsico_tradicional.jpg\"><cite lang=\"es\">M\u00fasico tradicional.jpg<\/cite><\/a><br>Fotograf\u00eda 11 abril 2014 \u00b7 CC BY-SA 4.0<\/li><\/ol><\/div><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r21-es-source\" lang=\"es\"><h4>La m\u00fasica ya estaba en el camino<\/h4><p>Se ampl\u00eda la lectura de la entrevista ya citada. Es la misma investigadora del art\u00edculo de 2025, no una segunda confirmaci\u00f3n independiente ni una descripci\u00f3n de toda cuadrilla.<\/p><p><a href=\"https:\/\/unamglobal.unam.mx\/global_revista\/ritual-voladores-significado\/\">Pepe Herrera \/ Luisa Villani \u00b7 UNAM Global, 14\/08\/2026, Del \u00e1rbol al poste ceremonial<\/a> \u00b7 <a href=\"#iict-reading-r21-es\">Volver al pasaje<\/a><\/p><\/section>\n<\/details><nav class=\"backlinks\"><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=1317\">Continuar la lectura \u2192<\/a><\/nav><!-- IICT-CITE R21 es --><aside class=\"iict-citation\" id=\"citar-r21-es\" aria-labelledby=\"citar-r21-es-title\"><h2 id=\"citar-r21-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. \u00abEl m\u00fasico que hace posible la danza\u00bb. <cite>Cuadernos de investigaci\u00f3n<\/cite>, <strong>R21<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1403#r21-es\">https:\/\/totonacapan.com\/?page_id=1403#r21-es<\/a>.<\/blockquote><p><strong>Referencia interna:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1403#r21-es\">R21<\/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 R21 es --><\/article><details class=\"research-lang-version\" id=\"r21-en-version\"><summary>English \u00b7 Full article<\/summary><article id=\"r21-en\" lang=\"en\"><header class=\"hero\"><div class=\"kicker\">R21 \u00b7 RESEARCH NOTEBOOKS<\/div><h1>The musician who makes the dance possible<\/h1><p class=\"deck\">Listening to the caporal changes the way we see the flight.<\/p><div class=\"date\">Documentary review \u00b7 5 November 2026<\/div><\/header><section class=\"abstract\"><span class=\"eyebrow\">In a few words<\/span><p>Around Papantla and El Taj\u00edn, the caporal brings together music, leadership and ritual responsibility. This documentary study asks what is lost when attention rests on the performers descending from the pole. It compares a UNESCO overview, ethnographic research and published interviews, distinguishing the visible instrument, its recorded names and each source\u2019s explanation of sound. Its argument is grounded in this specific setting: preserving a melody also means preserving who may teach it, how it is learnt and what its practitioners choose to share.<\/p><\/section><details class=\"iict-journal-toc\"><summary>In this article<\/summary><nav class=\"toc\" aria-label=\"In this reading\"><span class=\"eyebrow\">In this reading<\/span><a href=\"#r21-en-section-0\">Papantla and El Taj\u00edn: choosing a place to listen<\/a><a href=\"#r21-en-section-1\">A flute, a drum and a responsibility<\/a><a href=\"#r21-en-section-2\">What a melody explains and what a study interprets<\/a><a href=\"#r21-en-section-3\">Learning also means accepting a commitment<\/a><a href=\"#r21-en-section-4\">When to play, when to listen and when to reserve knowledge<\/a><a href=\"#r21-en-section-5\">Bringing the musician back into the frame<\/a><a href=\"#r21-en-sources\">Sources and comparison<\/a><\/nav><\/details><figure class=\"photo portrait\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r21-voladores-tajin-giovanny-2025-scaled.jpg\" width=\"1400\" height=\"2100\" alt=\"Voladores participants at the top of the pole at El Taj\u00edn, with a drum visible beside the central participant.\"><figcaption><span class=\"eyebrow\">Visual document<\/span>El Taj\u00edn, 3 January 2025. Giovanny Gonzalez \u00b7 CC BY-SA 4.0. Full photograph, technically resized for this edition. The record locates the scene; it does not identify names or repertoire.<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Rito_de_los_Voladores,_Taj%C3%ADn.jpg\">Giovanny Gonzalez \u00b7 Wikimedia Commons<\/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>The spectator watches the dancers, but rhythm is also memory. A musician knows beginnings, changes of step and endings that exist because others know how to listen. Following the performer and transmission between generations brings back into focus someone often left outside the frame of a ceremonial dance.<\/p><\/div><section class=\"prose\" id=\"r21-en-section-0\"><h2>Papantla and El Taj\u00edn: choosing a place to listen<\/h2><p>The principal case is the caporal in the Voladores ceremony around Papantla, illustrated by a photograph located at El Taj\u00edn. Choosing this setting makes specific questions possible. It does not make Papantla the owner of every variant: UNESCO\u2019s overview places the practice in several communities in Mexico and Central America and records its inscription in 2009. A shared repertoire is not assigned here to one locality.<sup class=\"cite\"><a href=\"#r21-en-s1\">S1<\/a>, <a href=\"#r21-en-s6\">S6<\/a><\/sup><\/p><p>Our reading hypothesis is straightforward: if music were interchangeable accompaniment, describing the descent would explain the ceremony. The sources give reason to question that assumption. Testing it with a particular group would require listening to how its members recognise each moment. A photograph documents a scene and a place; it does not establish which son was being played or who taught it.<\/p><\/section><section class=\"prose\" id=\"r21-en-section-1\"><h2>A flute, a drum and a responsibility<\/h2><p>UNESCO identifies the caporal as the person playing flute and drum on the upper platform. For a visitor, that function introduces a significant distinction: staying above does not mean being outside the action. Our interpretation is that attending to this position helps us understand the ceremony as coordination among people who listen, move and recognise a shared order.<sup class=\"cite\"><a href=\"#r21-en-s1\">S1<\/a><\/sup><\/p><p>In 2025 Villani records lis-kgolh for the flute, attributed to V\u00edctor, a dancer at El Taj\u00edn. She also cites Bertels\u2019s puskol and, for the drum, putlakut, with putlakui in the translation note. These spellings come through specific sources. We do not select a universal name or assume each spelling describes a different instrument. That comparison belongs with speakers and performers in the locality.<sup class=\"cite\"><a href=\"#r21-en-s2\">S2<\/a><\/sup><\/p><\/section><figure class=\"visual\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 640 580\" role=\"img\" aria-labelledby=\"r21-rel-en\"><title id=\"r21-rel-en\">Sound as a relationship<\/title><rect width=\"640\" height=\"580\" fill=\"#edeedf\"\/><path d=\"M32 35H608\" stroke=\"#a58a47\" stroke-width=\"2\"\/><text x=\"32\" y=\"87\" fill=\"#264b61\" font-size=\"32\" font-family=\"Georgia,serif\" font-weight=\"normal\">Sound as a relationship<\/text><rect x=\"32\" y=\"128\" width=\"576\" height=\"108\" fill=\"#f8f3e9\"\/><circle cx=\"65\" cy=\"167\" r=\"18\" fill=\"#264b61\"\/><text x=\"58\" y=\"175\" fill=\"#fff\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">1<\/text><text x=\"102\" y=\"171\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Perform<\/text><text x=\"102\" y=\"209\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Flute and drum<\/text><rect x=\"32\" y=\"258\" width=\"576\" height=\"108\" fill=\"#e1e8e8\"\/><circle cx=\"65\" cy=\"297\" r=\"18\" fill=\"#264b61\"\/><text x=\"58\" y=\"305\" fill=\"#fff\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">2<\/text><text x=\"102\" y=\"301\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Listen<\/text><text x=\"102\" y=\"339\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Moment and context<\/text><rect x=\"32\" y=\"388\" width=\"576\" height=\"108\" fill=\"#f8f3e9\"\/><circle cx=\"65\" cy=\"427\" r=\"18\" fill=\"#264b61\"\/><text x=\"58\" y=\"435\" fill=\"#fff\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">3<\/text><text x=\"102\" y=\"431\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Transmit<\/text><text x=\"102\" y=\"469\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Learning and responsibility<\/text><path d=\"M32 545H608\" stroke=\"#a58a47\"\/><text x=\"32\" y=\"571\" fill=\"#264b61\" font-size=\"19\" font-family=\"Georgia,serif\" font-weight=\"normal\">R21 \u00b7 Reading the craft<\/text><\/svg><figcaption>Original editorial diagram \u00b7 not a ritual sequence.<\/figcaption><\/figure><section class=\"prose\" id=\"r21-en-section-2\"><figure class=\"iict-plate\" id=\"iict-plate-r21-a-en\" lang=\"en\" aria-labelledby=\"iict-plate-r21-a-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 I<\/p><h3 id=\"iict-plate-r21-a-en-title\">Hearing two instruments as one task<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r21-a-en-art-title iict-plate-r21-a-en-art-desc\"><title id=\"iict-plate-r21-a-en-art-title\">Hearing two instruments as one task<\/title><desc id=\"iict-plate-r21-a-en-art-desc\">1. Breath and fingering require coordination. 2. Percussion relates to the flute line. 3. The musician learns when to play and how to respond to the occasion. Relationship of capabilities, not a score or demonstration of a particular ritual performance.<\/desc><defs><pattern id=\"iict-plate-r21-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-r21-a-en-grain)\"\/><circle cx=\"222\" cy=\"191\" r=\"122\" fill=\"#e9e7d6\" stroke=\"#b8b69a\" stroke-width=\"1\"\/><g transform=\"translate(217 192) rotate(-18) scale(0.92)\"><rect x=\"-12\" y=\"-126\" width=\"24\" height=\"252\" rx=\"6\" fill=\"#d6bd86\" stroke=\"#88734b\" stroke-width=\"2\"\/><circle cx=\"0\" cy=\"-65\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-40\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-15\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"10\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"35\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"60\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><path d=\"M-12 -96 L12 -96 M-12 97 L12 97\" fill=\"none\" stroke=\"#88734b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><circle cx=\"526\" cy=\"226\" r=\"110\" fill=\"#dfe5d7\" stroke=\"#a1b095\" stroke-width=\"1\"\/><g transform=\"translate(522 211) scale(0.86)\"><path d=\"M-59 -38 L-52 68 Q0 99 52 68 L59 -38Z\" fill=\"#c9b48c\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-59 -38 Q0 -69 59 -38 Q0 -8 -59 -38Z\" fill=\"#e1d4b8\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-52 68 Q0 42 52 68\" fill=\"none\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-51 -32 L-42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-34 -32 L-28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-17 -32 L-14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -32 L0 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M17 -32 L14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M34 -32 L28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M51 -32 L42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M310 92 Q435 33 555 84 M308 308 Q421 370 542 340\" fill=\"none\" stroke=\"#b39a61\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M305 203 Q326 164 346 203 T386 203 T426 203\" fill=\"none\" stroke=\"#9aab96\" stroke-width=\"3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"91\" cy=\"147\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"91\" y=\"155\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"662\" cy=\"247\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"662\" y=\"255\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"385\" cy=\"343\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"385\" y=\"351\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Breath and fingering require coordination.<\/li><li>Percussion relates to the flute line.<\/li><li>The musician learns when to play and how to respond to the occasion.<\/li><\/ol><figcaption class=\"plate-caption\">Relationship of capabilities, not a score or demonstration of a particular ritual performance. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r21-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>What a melody explains and what a study interprets<\/h2><p>The heritage record connects melodies with the sun, winds and directions. Villani foregrounds the water cycle in examining a remembered mountain variant. These are not two measurements requiring a single winner: their questions, the material studied and their scales differ. Comparison invites us to examine relationships between solar and aquatic interpretations rather than dismissing one as an error.<sup class=\"cite\"><a href=\"#r21-en-s1\">S1<\/a>, <a href=\"#r21-en-s2\">S2<\/a><\/sup><\/p><p>The 2025 article brings together material collected between 2017 and 2021 and memories of a variant featuring a fisherman. The 2026 popular interview gives the same researcher a voice again. Agreement broadens the circulation of an interpretation; it is not a second independent verification. Recognising that relationship matters as much as having two links.<sup class=\"cite\"><a href=\"#r21-en-s2\">S2<\/a>, <a href=\"#r21-en-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r21-en-section-3\"><figure class=\"iict-viz viz-timeline\" id=\"iict-viz-r21-en\" lang=\"en\" aria-labelledby=\"iict-viz-r21-en-title\"><header><div class=\"viz-kicker\"><span>Visual notebooks<\/span><span>R21 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r21-en-title\">Three publications and relationships between voices<\/h3><p>Provenance matters as much as agreement between claims.<\/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>2022 \u00b7 INAH<\/h4><p>The bulletin presents the work of H\u00e9ctor Manuel Enr\u00edquez Andrade.<\/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>2025 \u00b7 Research<\/h4><p>Luisa Villani publishes a study spanning coast and highlands.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M80 22h120v56h-67l-24 20V78H80zM98 42h84M98 57h62\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>2026 \u00b7 Interview<\/h4><p>The interview again gives the floor to the same researcher.<\/p><\/div><\/div><figcaption>The 2025 study and 2026 interview share a researcher: they are not two independent confirmations.<span class=\"viz-source\">Original visual synthesis by the Institute \u00b7 <a href=\"#r21-en-sources\">Sources and comparison<\/a><\/span><\/figcaption><\/figure>\n<section class=\"iict-reading-addition\" data-kind=\"inline\" id=\"iict-reading-r21-en\" lang=\"en\" aria-labelledby=\"iict-reading-r21-en-title\"><h3 id=\"iict-reading-r21-en-title\">The music was already on the road<\/h3><p>Luisa Villani\u2019s interview published by UNAM Global in 2026 restores sound to a moment before the ascent: as the tree is taken towards the community, the caporal plays sones accompanying the procession and marking its pace. Music is connected to movement and collective work. <a class=\"reading-ref\" href=\"#iict-reading-r21-en-source\" aria-label=\"See sources and comparison\">\u2197<\/a><\/p><p>This detail offers a different way to hear the best-known scene. The musician takes part in a relationship already developing on the ground. Learning the craft includes recognizing occasions and responding to other people, a responsibility only partly visible in a photograph of the flight.<\/p><p class=\"reading-links\"><a href=\"https:\/\/unamglobal.unam.mx\/global_revista\/ritual-voladores-significado\/\">Pepe Herrera \/ Luisa Villani \u00b7 UNAM Global, 14\/08\/2026, Del \u00e1rbol al poste ceremonial<\/a> \u00b7 <a href=\"#r21-en-sources\">Sources and comparison<\/a><\/p><\/section>\n<figure class=\"iict-plate\" id=\"iict-plate-r21-b-en\" lang=\"en\" aria-labelledby=\"iict-plate-r21-b-en-title\" style=\"--plate-cols:3\"><div class=\"plate-top\"><p class=\"plate-kicker\">Illustrated notebook \u00b7 II<\/p><h3 id=\"iict-plate-r21-b-en-title\">Music accompanies a journey before the height<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r21-b-en-art-title iict-plate-r21-b-en-art-desc\"><title id=\"iict-plate-r21-b-en-art-title\">Music accompanies a journey before the height<\/title><desc id=\"iict-plate-r21-b-en-art-desc\">1. Moving the tree gathers people and coordination. 2. Tunes mark the procession\u2019s pace in the documented case. 3. The playing occasion changes during the ceremony. Conceptual sequence of UNAM Global\u2019s account; no reconstruction of a procession route or repertoire.<\/desc><defs><pattern id=\"iict-plate-r21-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-r21-b-en-grain)\"\/><path d=\"M28 310 Q209 227 391 296 T723 278\" fill=\"none\" stroke=\"#bba473\" stroke-width=\"3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"4 8\"\/><path d=\"M75 229 L262 184 L270 203 L81 248Z\" fill=\"#c3aa7b\" stroke=\"#927d51\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M103 223 L95 202 M159 210 L167 225 M218 196 L215 178\" fill=\"none\" stroke=\"#927d51\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><g transform=\"translate(406 242) scale(0.55)\"><path d=\"M-59 -38 L-52 68 Q0 99 52 68 L59 -38Z\" fill=\"#c9b48c\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-59 -38 Q0 -69 59 -38 Q0 -8 -59 -38Z\" fill=\"#e1d4b8\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-52 68 Q0 42 52 68\" fill=\"none\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-51 -32 L-42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-34 -32 L-28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-17 -32 L-14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -32 L0 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M17 -32 L14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M34 -32 L28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M51 -32 L42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><g transform=\"translate(451 208) rotate(-22) scale(0.45)\"><rect x=\"-12\" y=\"-126\" width=\"24\" height=\"252\" rx=\"6\" fill=\"#d6bd86\" stroke=\"#88734b\" stroke-width=\"2\"\/><circle cx=\"0\" cy=\"-65\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-40\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-15\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"10\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"35\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"60\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><path d=\"M-12 -96 L12 -96 M-12 97 L12 97\" fill=\"none\" stroke=\"#88734b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M478 156 Q496 134 515 156 M485 178 Q514 146 543 178\" fill=\"none\" stroke=\"#aab49a\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"645\" y=\"95\" width=\"13\" height=\"226\" rx=\"5\" fill=\"#cdb17e\" stroke=\"#927c4e\" stroke-width=\"2\"\/><circle cx=\"651\" cy=\"92\" r=\"13\" fill=\"#decda7\" stroke=\"#927c4e\" stroke-width=\"2\"\/><circle cx=\"165\" cy=\"333\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"165\" y=\"341\" 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=\"650\" cy=\"367\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"650\" y=\"375\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Moving the tree gathers people and coordination.<\/li><li>Tunes mark the procession\u2019s pace in the documented case.<\/li><li>The playing occasion changes during the ceremony.<\/li><\/ol><figcaption class=\"plate-caption\">Conceptual sequence of UNAM Global\u2019s account; no reconstruction of a procession route or repertoire. \u00b7 Original illustration by the Institute \u00b7 <a href=\"#r21-en-sources\">Sources and comparison<\/a><\/figcaption><\/figure>\n<h2>Learning also means accepting a commitment<\/h2><p>In the bulletin dated 16 June 2022, Enr\u00edquez Andrade links a dancer\u2019s preparation with demanding learning and community commitment. This makes it possible to investigate transmission as more than repeating notes. It does not establish how many years every present-day apprentice needs, who authorises teaching in each group or whether all families follow the same path.<sup class=\"cite\"><a href=\"#r21-en-s3\">S3<\/a><\/sup><\/p><p>We propose distinguishing three kinds of learning: producing sound, recognising its appropriate moment and answering to fellow participants. This is the article\u2019s analytical tool, not a local classification attributed to musicians. It opens questions about correction, rehearsal and memory without inventing a teacher\u2019s or apprentice\u2019s account. A future interview must also be able to change our questions.<\/p><\/section><figure class=\"visual\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 640 580\" role=\"img\" aria-labelledby=\"r21-sca-en\"><title id=\"r21-sca-en\">Sources: examine relationships<\/title><rect width=\"640\" height=\"580\" fill=\"#edeedf\"\/><path d=\"M32 35H608\" stroke=\"#a58a47\" stroke-width=\"2\"\/><text x=\"32\" y=\"87\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Sources: examine relationships<\/text><rect x=\"32\" y=\"127\" width=\"576\" height=\"110\" fill=\"#f8f3e9\"\/><path d=\"M32 127V237\" stroke=\"#a58a47\" stroke-width=\"4\"\/><text x=\"52\" y=\"170\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">UNESCO \u00b7 2009<\/text><text x=\"52\" y=\"210\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Wide-ranging synthesis<\/text><rect x=\"32\" y=\"257\" width=\"576\" height=\"110\" fill=\"#f8f3e9\"\/><path d=\"M32 257V367\" stroke=\"#264b61\" stroke-width=\"4\"\/><text x=\"52\" y=\"300\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Villani \u00b7 2025<\/text><text x=\"52\" y=\"340\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Research \u00b7 2017\u20132021 corpus<\/text><rect x=\"32\" y=\"387\" width=\"576\" height=\"110\" fill=\"#f8f3e9\"\/><path d=\"M32 387V497\" stroke=\"#264b61\" stroke-width=\"4\"\/><text x=\"52\" y=\"430\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Interview \u00b7 2026<\/text><text x=\"52\" y=\"470\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">The same researcher speaks again<\/text><text x=\"32\" y=\"563\" fill=\"#264b61\" font-size=\"21\" font-family=\"Georgia,serif\" font-weight=\"normal\">S1\u2013S4 \u00b7 Comparison is more than link counts<\/text><\/svg><figcaption>The 2026 interview and 2025 study share a researcher: they are not two independent field verifications. S1\u2013S4.<\/figcaption><\/figure><section class=\"prose\" id=\"r21-en-section-4\"><h2>When to play, when to listen and when to reserve knowledge<\/h2><p>A presentation for visitors, a festival and the complete preparation process are not equivalent settings. The 2026 interview distinguishes the public flight from a wider ceremonial cycle. We therefore do not turn a published description into a timetable valid in every community. Nor do we supply a sequence for performing the ceremony or detach a sound repertoire from its responsible practitioners.<sup class=\"cite\"><a href=\"#r21-en-s4\">S4<\/a><\/sup><\/p><p>When not to play remains an open question for the group eventually documented. Asking it may reveal limits of occasion, teaching or access that a visitor cannot see. Decisions about recording belong in conversation with those sustaining the practice. Permission to photograph a presentation does not automatically constitute consent to record sound, translate, reuse or publish a learning process.<sup class=\"cite\"><a href=\"#r21-en-s5\">S5<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r21-en-section-5\"><h2>Bringing the musician back into the frame<\/h2><p>Giovanny Gonzalez\u2019s photograph is dated 3 January 2025 and located at El Taj\u00edn. It appears complete, with provenance and licence, as visual evidence of that scene. Participants are not identified by guesswork, and it is not presented as an Institute interview. The proposed V03 image is described by its author as a flautist alongside Quetzales in Puebla: it remains identified for another context, without becoming a Papantla caporal.<sup class=\"cite\"><a href=\"#r21-en-s6\">S6<\/a>, <a href=\"#r21-en-s7\">S7<\/a><\/sup><\/p><p>The next step is an agreed encounter with a performer and someone learning: hearing their terms, checking each instrument\u2019s role and deciding together what may circulate. The documentary investigation already supports a conclusion: showing the flight without asking who sustains its sound leaves part of the work outside the story. Knowing that work requires a relationship as well as a frame.<\/p><\/section><aside class=\"method\"><h2>How this was researched<\/h2><p>Documentary review closed on 5 November 2026. Heritage synthesis, research article, published interviews and the information identifying the photographs were distinguished. Reading the bulletin about a book is not presented as reading the whole book; Bertels\u2019s historical passages are known through Villani. No field interviews or recordings were conducted. Planned local review remains identified.<\/p><\/aside><details class=\"sources\" id=\"r21-en-sources\"><summary>Sources and comparison<small>Open hypotheses, differences, scope and references<\/small><\/summary><div class=\"sourcebody\"><section class=\"contrast-item\"><h3>1. Hypothesis and finding<\/h3><p>We tested the idea of interchangeable music merely accompanying descent. Recorded functions of the caporal make it insufficient. The article interprets the relationship as coordination and responsibility; it does not claim to have measured causally how a group recognises each signal.<sup class=\"cite\"><a href=\"#r21-en-s1\">S1<\/a>, <a href=\"#r21-en-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>2. Two scales that must remain distinct<\/h3><p>UNESCO provides an overview of a widespread practice. Villani 2025 delimits coastal and mountain material and a remembered fisherman variant. Papantla\/El Taj\u00edn is our principal case. Mountain evidence serves to compare interpretations, not to describe every current presentation there.<sup class=\"cite\"><a href=\"#r21-en-s1\">S1<\/a>, <a href=\"#r21-en-s2\">S2<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>3. Solar and aquatic: opposition or relationship?<\/h3><p>The heritage reference to sun and winds and Villani\u2019s aquatic hypothesis use different frames. The documentation does not require one exclusive interpretation. Local research should ask how performers relate them and record disagreement, without settling it through a single label.<sup class=\"cite\"><a href=\"#r21-en-s1\">S1<\/a>, <a href=\"#r21-en-s2\">S2<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>4. Names and their chain of attribution<\/h3><p>Lis-kgolh appears in V\u00edctor\u2019s testimony published by Villani; puskol and the drum spellings come through her quotation and translation of Bertels. We did not consult the 1993 German edition directly. Pronunciation, language variety and spelling require checking with speakers rather than silent standardisation.<sup class=\"cite\"><a href=\"#r21-en-s2\">S2<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>5. Two publications do not always mean two checks<\/h3><p>The 2025 research and 2026 interview share a researcher. The 2022 bulletin presents another author, Enr\u00edquez Andrade, but summarises his book. These relationships are explicit so that link counts do not suggest more independence than exists.<sup class=\"cite\"><a href=\"#r21-en-s2\">S2<\/a>, <a href=\"#r21-en-s3\">S3<\/a>, <a href=\"#r21-en-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>6. What an image documents<\/h3><p>The 2025 photograph records a place and scene according to its photographer\u2019s description; it does not identify names, repertoire or research permissions. V03 records a different dance context. A reproduction licence and consent for new recordings address different questions.<sup class=\"cite\"><a href=\"#r21-en-s6\">S6<\/a>, <a href=\"#r21-en-s7\">S7<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>7. Fieldwork still required<\/h3><p>Pending work includes agreement with a group, conversations with musician and apprentice, local review of terminology, occasions when sound is reserved and separate permissions for photographs, audio and text. These interviews have not taken place. This is documentary research; its questions are not participants\u2019 answers.<\/p><\/section><section class=\"contrast-item\"><h3>8. How the article may grow<\/h3><p>Further work will include attributed voices under agreed conditions, preserving the option not to publish certain material. Community leadership and sustained consent in UNESCO\u2019s ethical principles guide the procedure; they do not certify that the Institute has already carried it out.<sup class=\"cite\"><a href=\"#r21-en-s5\">S5<\/a><\/sup><\/p><\/section><div class=\"bibliography\"><h3>Documentary references<\/h3><ol><li id=\"r21-en-s1\"><b>S1<\/b> \u00b7 UNESCO<br><a href=\"https:\/\/ich.unesco.org\/en\/RL\/ritual-ceremony-of-the-voladores-00175?RL=00175\"><cite lang=\"es\">Ritual ceremony of the Voladores<\/cite><\/a><br>Inscripci\u00f3n 2009 \u00b7 expediente 00175<\/li><li id=\"r21-en-s2\"><b>S2<\/b> \u00b7 Luisa Villani<br><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/cuicuilco\/article\/download\/23503\/25032\/51760\"><cite lang=\"es\">La Danza de los Voladores entre Costa y Sierra totonacas: un Axis Mundi que equilibra el ciclo acu\u00e1tico y c\u00f3smico<\/cite><\/a><br>Cuicuilco 93 \u00b7 mayo\u2013agosto 2025 \u00b7 pp. 61\u201385; especialmente 63\u201364 y 75\u201376<\/li><li id=\"r21-en-s3\"><b>S3<\/b> \u00b7 INAH \/ H\u00e9ctor Manuel Enr\u00edquez Andrade<br><a href=\"https:\/\/www.inah.gob.mx\/boletines\/las-danzas-totonacas-de-origen-prehispanico-en-papantla-libro-editado-por-el-inah-disponible-en-la-red\"><cite lang=\"es\">Las danzas totonacas de origen prehisp\u00e1nico en Papantla, libro editado por el INAH disponible en la red<\/cite><\/a><br>Bolet\u00edn 280 \u00b716 junio 2022; presentaci\u00f3n del libro INAH2021<\/li><li id=\"r21-en-s4\"><b>S4<\/b> \u00b7 Pepe Herrera \/ Luisa Villani<br><a href=\"https:\/\/unamglobal.unam.mx\/global_revista\/ritual-voladores-significado\/\"><cite lang=\"es\">M\u00e1s all\u00e1 de un espect\u00e1culo: el verdadero significado del ritual danzante de los voladores<\/cite><\/a><br>UNAM Global \u00b714 agosto 2026<\/li><li id=\"r21-en-s5\"><b>S5<\/b> \u00b7 UNESCO<br><a href=\"https:\/\/ich.unesco.org\/en\/ethics-and-ich-00866\"><cite lang=\"es\">Ethical Principles for Safeguarding Intangible Cultural Heritage<\/cite><\/a><br>2015 \u00b7 principios 1, 4, 5, 7\u201310<\/li><li id=\"r21-en-s6\"><b>S6<\/b> \u00b7 Giovanny Gonzalez<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Rito_de_los_Voladores,_Taj%C3%ADn.jpg\"><cite lang=\"es\">Rito de los Voladores, Taj\u00edn.jpg<\/cite><\/a><br>Fotograf\u00eda 3 enero 2025 \u00b7 CC BY-SA 4.0<\/li><li id=\"r21-en-s7\"><b>S7<\/b> \u00b7 HectoradQuintanar<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:M%C3%BAsico_tradicional.jpg\"><cite lang=\"es\">M\u00fasico tradicional.jpg<\/cite><\/a><br>Fotograf\u00eda 11 abril 2014 \u00b7 CC BY-SA 4.0<\/li><\/ol><\/div><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r21-en-source\" lang=\"en\"><h4>The music was already on the road<\/h4><p>This expands the reading of the interview already cited. It is the same researcher as the 2025 article, not a second independent confirmation or an account of every group.<\/p><p><a href=\"https:\/\/unamglobal.unam.mx\/global_revista\/ritual-voladores-significado\/\">Pepe Herrera \/ Luisa Villani \u00b7 UNAM Global, 14\/08\/2026, Del \u00e1rbol al poste ceremonial<\/a> \u00b7 <a href=\"#iict-reading-r21-en\">Return to the passage<\/a><\/p><\/section>\n<\/details><nav class=\"backlinks\"><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=1317\">Continue reading \u2192<\/a><\/nav><!-- IICT-CITE R21 en --><aside class=\"iict-citation\" id=\"citar-r21-en\" aria-labelledby=\"citar-r21-en-title\"><h2 id=\"citar-r21-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. \u00abThe musician who makes the dance possible\u00bb. <cite>Research notebooks<\/cite>, <strong>R21<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1403#r21-en\">https:\/\/totonacapan.com\/?page_id=1403#r21-en<\/a>.<\/blockquote><p><strong>Internal reference:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1403#r21-en\">R21<\/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 R21 en --><\/article><\/details><details class=\"research-lang-version\" id=\"r21-fr-version\"><summary>Fran\u00e7ais \u00b7 Article int\u00e9gral<\/summary><article id=\"r21-fr\" lang=\"fr\"><header class=\"hero\"><div class=\"kicker\">R21 \u00b7 CAHIERS DE RECHERCHE<\/div><h1>Le musicien qui rend la danse possible<\/h1><p class=\"deck\">\u00c9couter le caporal change notre mani\u00e8re de regarder le vol.<\/p><div class=\"date\">R\u00e9vision documentaire \u00b7 5 novembre 2026<\/div><\/header><section class=\"abstract\"><span class=\"eyebrow\">En quelques mots<\/span><p>Autour de Papantla et d\u2019El Taj\u00edn, le caporal r\u00e9unit musique, conduite et responsabilit\u00e9 rituelle. Cette \u00e9tude documentaire demande ce qui se perd lorsque l\u2019attention se concentre sur les personnes qui descendent du m\u00e2t. Elle confronte une synth\u00e8se de l\u2019UNESCO, une recherche ethnographique et des entretiens publi\u00e9s, en distinguant l\u2019instrument visible, ses noms consign\u00e9s et les explications du son. Son argument s\u2019ancre dans ce contexte pr\u00e9cis : conserver une m\u00e9lodie suppose aussi de pr\u00e9server qui peut l\u2019enseigner, comment elle s\u2019apprend et ce que ses praticiens choisissent de partager.<\/p><\/section><details class=\"iict-journal-toc\"><summary>Dans cet article<\/summary><nav class=\"toc\" aria-label=\"Dans cette lecture\"><span class=\"eyebrow\">Dans cette lecture<\/span><a href=\"#r21-fr-section-0\">Papantla et El Taj\u00edn : choisir un lieu pour \u00e9couter<\/a><a href=\"#r21-fr-section-1\">Une fl\u00fbte, un tambour et une responsabilit\u00e9<\/a><a href=\"#r21-fr-section-2\">Ce qu\u2019explique une m\u00e9lodie, ce qu\u2019interpr\u00e8te une \u00e9tude<\/a><a href=\"#r21-fr-section-3\">Apprendre, c\u2019est aussi accepter un engagement<\/a><a href=\"#r21-fr-section-4\">Quand jouer, quand \u00e9couter et quand r\u00e9server<\/a><a href=\"#r21-fr-section-5\">Remettre le musicien dans le cadre<\/a><a href=\"#r21-fr-sources\">Sources et confrontation<\/a><\/nav><\/details><figure class=\"photo portrait\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/totonacapan.com\/wordpress\/wp-content\/uploads\/2026\/11\/iict-r21-voladores-tajin-giovanny-2025-scaled.jpg\" width=\"1400\" height=\"2100\" alt=\"Participants des Voladores au sommet du m\u00e2t \u00e0 El Taj\u00edn ; un tambour est visible aupr\u00e8s du participant central.\"><figcaption><span class=\"eyebrow\">Document visuel<\/span>El Taj\u00edn, 3 janvier 2025. Giovanny Gonzalez \u00b7 CC BY-SA 4.0. Photographie enti\u00e8re, redimensionn\u00e9e pour cette \u00e9dition. La notice situe la sc\u00e8ne ; elle n\u2019identifie ni noms ni r\u00e9pertoire.<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Rito_de_los_Voladores,_Taj%C3%ADn.jpg\">Giovanny Gonzalez \u00b7 Wikimedia Commons<\/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>Le spectateur regarde les personnes qui dansent, mais le rythme est aussi m\u00e9moire. Un musicien conna\u00eet les d\u00e9buts, les changements de pas et les fins qui existent parce que d\u2019autres savent les \u00e9couter. Suivre l\u2019ex\u00e9cutant et la transmission entre g\u00e9n\u00e9rations remet au centre celui qui reste souvent hors du cadre d\u2019une danse c\u00e9r\u00e9monielle.<\/p><\/div><section class=\"prose\" id=\"r21-fr-section-0\"><h2>Papantla et El Taj\u00edn : choisir un lieu pour \u00e9couter<\/h2><p>Le cas principal est le caporal de la c\u00e9r\u00e9monie des Voladores dans l\u2019environnement de Papantla, illustr\u00e9 par une photographie situ\u00e9e \u00e0 El Taj\u00edn. Ce choix permet des questions pr\u00e9cises. Il ne fait pas de Papantla le propri\u00e9taire de toutes les variantes : la synth\u00e8se de l\u2019UNESCO situe la pratique dans plusieurs communaut\u00e9s du Mexique et d\u2019Am\u00e9rique centrale et consigne son inscription en 2009. Un r\u00e9pertoire partag\u00e9 n\u2019est pas attribu\u00e9 ici \u00e0 une seule localit\u00e9.<sup class=\"cite\"><a href=\"#r21-fr-s1\">S1<\/a>, <a href=\"#r21-fr-s6\">S6<\/a><\/sup><\/p><p>Notre hypoth\u00e8se de lecture est simple : si la musique \u00e9tait un accompagnement interchangeable, d\u00e9crire la descente suffirait \u00e0 expliquer la c\u00e9r\u00e9monie. Les sources invitent \u00e0 le remettre en question. Pour le v\u00e9rifier aupr\u00e8s d\u2019un groupe, il faudrait \u00e9couter comment ses membres reconnaissent chaque moment. Une photo atteste une sc\u00e8ne et un lieu ; elle ne prouve ni quel son \u00e9tait jou\u00e9 ni qui l\u2019a enseign\u00e9.<\/p><\/section><section class=\"prose\" id=\"r21-fr-section-1\"><h2>Une fl\u00fbte, un tambour et une responsabilit\u00e9<\/h2><p>L\u2019UNESCO identifie le caporal comme celui qui joue de la fl\u00fbte et du tambour sur la plateforme sup\u00e9rieure. Pour le visiteur, cette fonction introduit une diff\u00e9rence d\u00e9cisive : rester en haut ne signifie pas rester hors de l\u2019action. Nous interpr\u00e9tons cette position comme une invitation \u00e0 comprendre la c\u00e9r\u00e9monie \u00e0 travers la coordination de personnes qui \u00e9coutent, se d\u00e9placent et reconnaissent un ordre partag\u00e9.<sup class=\"cite\"><a href=\"#r21-fr-s1\">S1<\/a><\/sup><\/p><p>En 2025, Villani consigne lis-kgolh pour la fl\u00fbte, attribu\u00e9 \u00e0 V\u00edctor, danseur \u00e0 El Taj\u00edn. Elle reprend aussi de Bertels puskol et, pour le tambour, putlakut, avec putlakui dans la note de traduction. Ces graphies passent par des sources pr\u00e9cises. Nous n\u2019en retenons aucune comme nom universel et ne d\u00e9duisons pas qu\u2019elles d\u00e9signent des instruments diff\u00e9rents. Cette v\u00e9rification revient aux locuteurs et ex\u00e9cutants de la localit\u00e9.<sup class=\"cite\"><a href=\"#r21-fr-s2\">S2<\/a><\/sup><\/p><\/section><figure class=\"visual\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 640 580\" role=\"img\" aria-labelledby=\"r21-rel-fr\"><title id=\"r21-rel-fr\">Le son comme relation<\/title><rect width=\"640\" height=\"580\" fill=\"#edeedf\"\/><path d=\"M32 35H608\" stroke=\"#a58a47\" stroke-width=\"2\"\/><text x=\"32\" y=\"87\" fill=\"#264b61\" font-size=\"32\" font-family=\"Georgia,serif\" font-weight=\"normal\">Le son comme relation<\/text><rect x=\"32\" y=\"128\" width=\"576\" height=\"108\" fill=\"#f8f3e9\"\/><circle cx=\"65\" cy=\"167\" r=\"18\" fill=\"#264b61\"\/><text x=\"58\" y=\"175\" fill=\"#fff\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">1<\/text><text x=\"102\" y=\"171\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Ex\u00e9cuter<\/text><text x=\"102\" y=\"209\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Fl\u00fbte et tambour<\/text><rect x=\"32\" y=\"258\" width=\"576\" height=\"108\" fill=\"#e1e8e8\"\/><circle cx=\"65\" cy=\"297\" r=\"18\" fill=\"#264b61\"\/><text x=\"58\" y=\"305\" fill=\"#fff\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">2<\/text><text x=\"102\" y=\"301\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">\u00c9couter<\/text><text x=\"102\" y=\"339\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Moment et contexte<\/text><rect x=\"32\" y=\"388\" width=\"576\" height=\"108\" fill=\"#f8f3e9\"\/><circle cx=\"65\" cy=\"427\" r=\"18\" fill=\"#264b61\"\/><text x=\"58\" y=\"435\" fill=\"#fff\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">3<\/text><text x=\"102\" y=\"431\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Transmettre<\/text><text x=\"102\" y=\"469\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Apprentissage et responsabilit\u00e9<\/text><path d=\"M32 545H608\" stroke=\"#a58a47\"\/><text x=\"32\" y=\"571\" fill=\"#264b61\" font-size=\"19\" font-family=\"Georgia,serif\" font-weight=\"normal\">R21 \u00b7 Lire le m\u00e9tier<\/text><\/svg><figcaption>Sch\u00e9ma \u00e9ditorial original \u00b7 aucune s\u00e9quence rituelle.<\/figcaption><\/figure><section class=\"prose\" id=\"r21-fr-section-2\"><figure class=\"iict-plate\" id=\"iict-plate-r21-a-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r21-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-r21-a-fr-title\">\u00c9couter deux instruments comme une seule t\u00e2che<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r21-a-fr-art-title iict-plate-r21-a-fr-art-desc\"><title id=\"iict-plate-r21-a-fr-art-title\">\u00c9couter deux instruments comme une seule t\u00e2che<\/title><desc id=\"iict-plate-r21-a-fr-art-desc\">1. Souffle et doigt\u00e9 demandent de la coordination. 2. La percussion entre en relation avec la ligne de fl\u00fbte. 3. Le musicien apprend quand jouer et comment r\u00e9pondre \u00e0 l\u2019occasion. Relation de capacit\u00e9s, non partition ni d\u00e9monstration d\u2019une ex\u00e9cution rituelle pr\u00e9cise.<\/desc><defs><pattern id=\"iict-plate-r21-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-r21-a-fr-grain)\"\/><circle cx=\"222\" cy=\"191\" r=\"122\" fill=\"#e9e7d6\" stroke=\"#b8b69a\" stroke-width=\"1\"\/><g transform=\"translate(217 192) rotate(-18) scale(0.92)\"><rect x=\"-12\" y=\"-126\" width=\"24\" height=\"252\" rx=\"6\" fill=\"#d6bd86\" stroke=\"#88734b\" stroke-width=\"2\"\/><circle cx=\"0\" cy=\"-65\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-40\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-15\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"10\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"35\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"60\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><path d=\"M-12 -96 L12 -96 M-12 97 L12 97\" fill=\"none\" stroke=\"#88734b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><circle cx=\"526\" cy=\"226\" r=\"110\" fill=\"#dfe5d7\" stroke=\"#a1b095\" stroke-width=\"1\"\/><g transform=\"translate(522 211) scale(0.86)\"><path d=\"M-59 -38 L-52 68 Q0 99 52 68 L59 -38Z\" fill=\"#c9b48c\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-59 -38 Q0 -69 59 -38 Q0 -8 -59 -38Z\" fill=\"#e1d4b8\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-52 68 Q0 42 52 68\" fill=\"none\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-51 -32 L-42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-34 -32 L-28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-17 -32 L-14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -32 L0 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M17 -32 L14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M34 -32 L28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M51 -32 L42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M310 92 Q435 33 555 84 M308 308 Q421 370 542 340\" fill=\"none\" stroke=\"#b39a61\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M305 203 Q326 164 346 203 T386 203 T426 203\" fill=\"none\" stroke=\"#9aab96\" stroke-width=\"3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><circle cx=\"91\" cy=\"147\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"91\" y=\"155\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">1<\/text><circle cx=\"662\" cy=\"247\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"662\" y=\"255\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">2<\/text><circle cx=\"385\" cy=\"343\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"385\" y=\"351\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>Souffle et doigt\u00e9 demandent de la coordination.<\/li><li>La percussion entre en relation avec la ligne de fl\u00fbte.<\/li><li>Le musicien apprend quand jouer et comment r\u00e9pondre \u00e0 l\u2019occasion.<\/li><\/ol><figcaption class=\"plate-caption\">Relation de capacit\u00e9s, non partition ni d\u00e9monstration d\u2019une ex\u00e9cution rituelle pr\u00e9cise. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r21-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>Ce qu\u2019explique une m\u00e9lodie, ce qu\u2019interpr\u00e8te une \u00e9tude<\/h2><p>La notice patrimoniale relie les m\u00e9lodies au soleil, aux vents et aux directions. Villani met l\u2019accent sur le cycle aquatique dans l\u2019\u00e9tude d\u2019une variante montagnarde rem\u00e9mor\u00e9e. Ce ne sont pas deux mesures obligeant \u00e0 choisir un vainqueur : les questions, les documents et observations \u00e9tudi\u00e9s et les \u00e9chelles diff\u00e8rent. La comparaison invite \u00e0 examiner les relations entre interpr\u00e9tations solaires et aquatiques, sans d\u00e9clarer l\u2019une erron\u00e9e.<sup class=\"cite\"><a href=\"#r21-fr-s1\">S1<\/a>, <a href=\"#r21-fr-s2\">S2<\/a><\/sup><\/p><p>L\u2019article de 2025 r\u00e9unit des donn\u00e9es recueillies entre 2017 et 2021 et la m\u00e9moire d\u2019une variante avec p\u00eacheur. L\u2019entretien de vulgarisation de 2026 donne de nouveau la parole \u00e0 la m\u00eame chercheuse. Cette concordance \u00e9largit la circulation d\u2019une interpr\u00e9tation ; elle ne constitue pas une seconde v\u00e9rification ind\u00e9pendante. Reconna\u00eetre ce lien compte autant que disposer de deux liens internet.<sup class=\"cite\"><a href=\"#r21-fr-s2\">S2<\/a>, <a href=\"#r21-fr-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r21-fr-section-3\"><figure class=\"iict-viz viz-timeline\" id=\"iict-viz-r21-fr\" lang=\"fr\" aria-labelledby=\"iict-viz-r21-fr-title\"><header><div class=\"viz-kicker\"><span>Carnets visuels<\/span><span>R21 \u00b7 01<\/span><\/div><h3 id=\"iict-viz-r21-fr-title\">Trois publications et des liens entre les voix<\/h3><p>La provenance compte autant que l\u2019accord entre les affirmations.<\/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>2022 \u00b7 INAH<\/h4><p>Le bulletin pr\u00e9sente le travail de H\u00e9ctor Manuel Enr\u00edquez Andrade.<\/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>2025 \u00b7 Recherche<\/h4><p>Luisa Villani publie une \u00e9tude entre c\u00f4te et sierra.<\/p><\/div><div class=\"viz-cell\"><svg class=\"viz-line-art\" viewBox=\"0 0 280 110\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M30 105h220\" fill=\"none\" stroke=\"#c9b77f\" stroke-width=\"1\"\/><g fill=\"none\" stroke=\"currentColor\" stroke-width=\"1.55\"><path d=\"M80 22h120v56h-67l-24 20V78H80zM98 42h84M98 57h62\"\/><\/g><\/svg><span class=\"viz-number\" aria-hidden=\"true\">03<\/span><h4>2026 \u00b7 Entretien<\/h4><p>L\u2019entretien donne \u00e0 nouveau la parole \u00e0 la m\u00eame chercheuse.<\/p><\/div><\/div><figcaption>L\u2019\u00e9tude de 2025 et l\u2019entretien de 2026 ont la m\u00eame chercheuse : ce ne sont pas deux confirmations ind\u00e9pendantes.<span class=\"viz-source\">Synth\u00e8se visuelle originale de l\u2019Institut \u00b7 <a href=\"#r21-fr-sources\">Sources et confrontation<\/a><\/span><\/figcaption><\/figure>\n<section class=\"iict-reading-addition\" data-kind=\"inline\" id=\"iict-reading-r21-fr\" lang=\"fr\" aria-labelledby=\"iict-reading-r21-fr-title\"><h3 id=\"iict-reading-r21-fr-title\">La musique \u00e9tait d\u00e9j\u00e0 en chemin<\/h3><p>L\u2019entretien de Luisa Villani publi\u00e9 par UNAM Global en 2026 rend le son \u00e0 un moment ant\u00e9rieur \u00e0 l\u2019ascension : pendant le transport de l\u2019arbre vers la communaut\u00e9, le caporal joue des sones accompagnant le cort\u00e8ge et marquant sa marche. La musique se relie au d\u00e9placement et au travail collectif. <a class=\"reading-ref\" href=\"#iict-reading-r21-fr-source\" aria-label=\"Voir sources et comparaison\">\u2197<\/a><\/p><p>Ce d\u00e9tail permet d\u2019entendre autrement la sc\u00e8ne la plus connue. Le musicien intervient dans une relation d\u00e9j\u00e0 form\u00e9e au sol. Apprendre son m\u00e9tier comprend la reconnaissance des occasions et la r\u00e9ponse aux autres, une responsabilit\u00e9 que le cadrage du vol ne montre qu\u2019en partie.<\/p><p class=\"reading-links\"><a href=\"https:\/\/unamglobal.unam.mx\/global_revista\/ritual-voladores-significado\/\">Pepe Herrera \/ Luisa Villani \u00b7 UNAM Global, 14\/08\/2026, Del \u00e1rbol al poste ceremonial<\/a> \u00b7 <a href=\"#r21-fr-sources\">Sources et confrontation<\/a><\/p><\/section>\n<figure class=\"iict-plate\" id=\"iict-plate-r21-b-fr\" lang=\"fr\" aria-labelledby=\"iict-plate-r21-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-r21-b-fr-title\">La musique accompagne un parcours avant la hauteur<\/h3><\/div><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"plate-art\" viewBox=\"0 0 750 420\" role=\"img\" aria-labelledby=\"iict-plate-r21-b-fr-art-title iict-plate-r21-b-fr-art-desc\"><title id=\"iict-plate-r21-b-fr-art-title\">La musique accompagne un parcours avant la hauteur<\/title><desc id=\"iict-plate-r21-b-fr-art-desc\">1. D\u00e9placer l\u2019arbre r\u00e9unit des personnes et de la coordination. 2. Les sones marquent le pas de la procession dans le cas document\u00e9. 3. L\u2019occasion de jouer change au cours de la c\u00e9r\u00e9monie. S\u00e9quence conceptuelle du r\u00e9cit d\u2019UNAM Global ; elle ne reconstitue ni parcours de procession ni r\u00e9pertoire.<\/desc><defs><pattern id=\"iict-plate-r21-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-r21-b-fr-grain)\"\/><path d=\"M28 310 Q209 227 391 296 T723 278\" fill=\"none\" stroke=\"#bba473\" stroke-width=\"3\" stroke-linecap=\"round\" stroke-linejoin=\"round\" stroke-dasharray=\"4 8\"\/><path d=\"M75 229 L262 184 L270 203 L81 248Z\" fill=\"#c3aa7b\" stroke=\"#927d51\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M103 223 L95 202 M159 210 L167 225 M218 196 L215 178\" fill=\"none\" stroke=\"#927d51\" stroke-width=\"4\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><g transform=\"translate(406 242) scale(0.55)\"><path d=\"M-59 -38 L-52 68 Q0 99 52 68 L59 -38Z\" fill=\"#c9b48c\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-59 -38 Q0 -69 59 -38 Q0 -8 -59 -38Z\" fill=\"#e1d4b8\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-52 68 Q0 42 52 68\" fill=\"none\" stroke=\"#7f7056\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-51 -32 L-42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-34 -32 L-28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M-17 -32 L-14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M0 -32 L0 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M17 -32 L14 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M34 -32 L28 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><path d=\"M51 -32 L42 70\" fill=\"none\" stroke=\"#f3ebd8\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><g transform=\"translate(451 208) rotate(-22) scale(0.45)\"><rect x=\"-12\" y=\"-126\" width=\"24\" height=\"252\" rx=\"6\" fill=\"#d6bd86\" stroke=\"#88734b\" stroke-width=\"2\"\/><circle cx=\"0\" cy=\"-65\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-40\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"-15\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"10\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"35\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><circle cx=\"0\" cy=\"60\" r=\"3.5\" fill=\"#6e6448\" stroke=\"#6e6448\" stroke-width=\"1\"\/><path d=\"M-12 -96 L12 -96 M-12 97 L12 97\" fill=\"none\" stroke=\"#88734b\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><\/g><path d=\"M478 156 Q496 134 515 156 M485 178 Q514 146 543 178\" fill=\"none\" stroke=\"#aab49a\" stroke-width=\"2\" stroke-linecap=\"round\" stroke-linejoin=\"round\" \/><rect x=\"645\" y=\"95\" width=\"13\" height=\"226\" rx=\"5\" fill=\"#cdb17e\" stroke=\"#927c4e\" stroke-width=\"2\"\/><circle cx=\"651\" cy=\"92\" r=\"13\" fill=\"#decda7\" stroke=\"#927c4e\" stroke-width=\"2\"\/><circle cx=\"165\" cy=\"333\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"165\" y=\"341\" 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=\"650\" cy=\"367\" r=\"20\" fill=\"#264e60\" stroke=\"#f8f4e9\" stroke-width=\"3\"\/><text x=\"650\" y=\"375\" fill=\"#fff\" font-family=\"Georgia,serif\" font-size=\"24\" text-anchor=\"middle\">3<\/text><\/svg><ol class=\"plate-legend\"><li>D\u00e9placer l\u2019arbre r\u00e9unit des personnes et de la coordination.<\/li><li>Les sones marquent le pas de la procession dans le cas document\u00e9.<\/li><li>L\u2019occasion de jouer change au cours de la c\u00e9r\u00e9monie.<\/li><\/ol><figcaption class=\"plate-caption\">S\u00e9quence conceptuelle du r\u00e9cit d\u2019UNAM Global ; elle ne reconstitue ni parcours de procession ni r\u00e9pertoire. \u00b7 Illustration originale de l\u2019Institut \u00b7 <a href=\"#r21-fr-sources\">Sources et confrontation<\/a><\/figcaption><\/figure>\n<h2>Apprendre, c\u2019est aussi accepter un engagement<\/h2><p>Dans le bulletin du 16 juin 2022, Enr\u00edquez Andrade relie la pr\u00e9paration du danseur \u00e0 un apprentissage exigeant et \u00e0 un engagement communautaire. Cette r\u00e9f\u00e9rence permet d\u2019\u00e9tudier la transmission au-del\u00e0 de la r\u00e9p\u00e9tition des notes. Elle n\u2019\u00e9tablit pas combien d\u2019ann\u00e9es il faut \u00e0 chaque apprenti aujourd\u2019hui, qui autorise l\u2019enseignement dans chaque groupe ni si toutes les familles suivent le m\u00eame parcours.<sup class=\"cite\"><a href=\"#r21-fr-s3\">S3<\/a><\/sup><\/p><p>Nous proposons de distinguer trois apprentissages : produire le son, reconna\u00eetre son moment et r\u00e9pondre devant les autres participants. C\u2019est un outil d\u2019analyse de cet article, pas une classification locale attribu\u00e9e aux musiciens. Il permet d\u2019interroger correction, r\u00e9p\u00e9tition et m\u00e9moire sans inventer le r\u00e9cit d\u2019un ma\u00eetre ou d\u2019une apprentie. Le futur entretien doit pouvoir transformer nos questions.<\/p><\/section><figure class=\"visual\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 640 580\" role=\"img\" aria-labelledby=\"r21-sca-fr\"><title id=\"r21-sca-fr\">Sources : examiner leurs liens<\/title><rect width=\"640\" height=\"580\" fill=\"#edeedf\"\/><path d=\"M32 35H608\" stroke=\"#a58a47\" stroke-width=\"2\"\/><text x=\"32\" y=\"87\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Sources : examiner leurs liens<\/text><rect x=\"32\" y=\"127\" width=\"576\" height=\"110\" fill=\"#f8f3e9\"\/><path d=\"M32 127V237\" stroke=\"#a58a47\" stroke-width=\"4\"\/><text x=\"52\" y=\"170\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">UNESCO \u00b7 2009<\/text><text x=\"52\" y=\"210\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Synth\u00e8se de port\u00e9e \u00e9tendue<\/text><rect x=\"32\" y=\"257\" width=\"576\" height=\"110\" fill=\"#f8f3e9\"\/><path d=\"M32 257V367\" stroke=\"#264b61\" stroke-width=\"4\"\/><text x=\"52\" y=\"300\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Villani \u00b7 2025<\/text><text x=\"52\" y=\"340\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">Recherche \u00b7 corpus 2017\u20132021<\/text><rect x=\"32\" y=\"387\" width=\"576\" height=\"110\" fill=\"#f8f3e9\"\/><path d=\"M32 387V497\" stroke=\"#264b61\" stroke-width=\"4\"\/><text x=\"52\" y=\"430\" fill=\"#264b61\" font-size=\"30\" font-family=\"Georgia,serif\" font-weight=\"normal\">Entretien \u00b7 2026<\/text><text x=\"52\" y=\"470\" fill=\"#53634f\" font-size=\"23\" font-family=\"Georgia,serif\" font-weight=\"normal\">La m\u00eame chercheuse reprend la parole<\/text><text x=\"32\" y=\"563\" fill=\"#264b61\" font-size=\"21\" font-family=\"Georgia,serif\" font-weight=\"normal\">S1\u2013S4 \u00b7 Comparer d\u00e9passe le nombre de liens<\/text><\/svg><figcaption>L\u2019entretien de 2026 et l\u2019\u00e9tude de 2025 partagent une chercheuse : ce ne sont pas deux v\u00e9rifications de terrain ind\u00e9pendantes. S1\u2013S4.<\/figcaption><\/figure><section class=\"prose\" id=\"r21-fr-section-4\"><h2>Quand jouer, quand \u00e9couter et quand r\u00e9server<\/h2><p>Une pr\u00e9sentation aux visiteurs, une f\u00eate et l\u2019ensemble de la pr\u00e9paration ne sont pas des contextes \u00e9quivalents. L\u2019entretien de 2026 distingue le vol public d\u2019un cycle c\u00e9r\u00e9moniel plus large. Une description publi\u00e9e ne devient donc pas un calendrier valable dans toutes les communaut\u00e9s. Nous ne proposons ni s\u00e9quence pour ex\u00e9cuter la c\u00e9r\u00e9monie ni r\u00e9pertoire sonore s\u00e9par\u00e9 de ses responsables.<sup class=\"cite\"><a href=\"#r21-fr-s4\">S4<\/a><\/sup><\/p><p>La question des moments o\u00f9 l\u2019on ne joue pas reste ouverte pour le groupe qui sera document\u00e9. Elle peut r\u00e9v\u00e9ler des limites d\u2019occasion, d\u2019enseignement ou d\u2019acc\u00e8s invisibles au visiteur. La d\u00e9cision d\u2019enregistrer se construit avec les personnes qui font vivre la pratique. Une autorisation de photographier n\u2019\u00e9quivaut pas automatiquement \u00e0 un consentement pour enregistrer, traduire, r\u00e9utiliser ou publier un apprentissage.<sup class=\"cite\"><a href=\"#r21-fr-s5\">S5<\/a><\/sup><\/p><\/section><section class=\"prose\" id=\"r21-fr-section-5\"><h2>Remettre le musicien dans le cadre<\/h2><p>La photographie de Giovanny Gonzalez est dat\u00e9e du 3 janvier 2025 et situ\u00e9e \u00e0 El Taj\u00edn. Pr\u00e9sent\u00e9e int\u00e9gralement, avec provenance et licence, elle t\u00e9moigne de cette sc\u00e8ne. Les participants ne sont pas identifi\u00e9s par conjecture ; elle n\u2019est pas pr\u00e9sent\u00e9e comme un entretien de l\u2019Institut. Selon son auteur, l\u2019image V03 propos\u00e9e dans la bandeja montre un fl\u00fbtiste aupr\u00e8s des Quetzales de Puebla : elle reste identifi\u00e9e pour un autre contexte, sans devenir un caporal de Papantla.<sup class=\"cite\"><a href=\"#r21-fr-s6\">S6<\/a>, <a href=\"#r21-fr-s7\">S7<\/a><\/sup><\/p><p>La prochaine \u00e9tape est une rencontre convenue avec un ex\u00e9cutant et une personne qui apprend : \u00e9couter leurs termes, v\u00e9rifier le r\u00f4le des instruments et d\u00e9cider ensemble de ce qui peut circuler. L\u2019\u00e9tude documentaire permet d\u00e9j\u00e0 une conclusion : montrer le vol sans interroger celui qui en soutient le son laisse une part du travail hors de l\u2019histoire. La conna\u00eetre exige une relation autant qu\u2019un cadrage.<\/p><\/section><aside class=\"method\"><h2>Comment l\u2019\u00e9tude a \u00e9t\u00e9 men\u00e9e<\/h2><p>R\u00e9vision documentaire arr\u00eat\u00e9e au 5 novembre 2026. Synth\u00e8se patrimoniale, recherche, entretiens publi\u00e9s et informations identifiant les photographies ont \u00e9t\u00e9 distingu\u00e9s. La lecture du bulletin sur un livre ne vaut pas lecture du livre entier ; les passages historiques de Bertels sont connus par Villani. Aucun entretien ni enregistrement de terrain n\u2019a \u00e9t\u00e9 r\u00e9alis\u00e9. La r\u00e9vision locale reste identifi\u00e9e.<\/p><\/aside><details class=\"sources\" id=\"r21-fr-sources\"><summary>Sources et confrontation<small>D\u00e9ployer hypoth\u00e8ses, diff\u00e9rences, port\u00e9e et r\u00e9f\u00e9rences<\/small><\/summary><div class=\"sourcebody\"><section class=\"contrast-item\"><h3>1. Hypoth\u00e8se et r\u00e9sultat<\/h3><p>L\u2019id\u00e9e test\u00e9e \u00e9tait celle d\u2019une musique interchangeable accompagnant seulement la descente. Les fonctions consign\u00e9es du caporal la rendent insuffisante. L\u2019article interpr\u00e8te cette relation comme coordination et responsabilit\u00e9 ; il ne pr\u00e9tend pas avoir mesur\u00e9 causalement comment un groupe reconna\u00eet chaque signal.<sup class=\"cite\"><a href=\"#r21-fr-s1\">S1<\/a>, <a href=\"#r21-fr-s3\">S3<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>2. Deux \u00e9chelles \u00e0 distinguer<\/h3><p>L\u2019UNESCO synth\u00e9tise une pratique \u00e9tendue. Villani 2025 d\u00e9limite un ensemble de mat\u00e9riaux \u00e9tudi\u00e9s sur la c\u00f4te et dans la montagne ainsi qu\u2019une variante rem\u00e9mor\u00e9e avec p\u00eacheur. Notre cas principal est Papantla\/El Taj\u00edn. Les donn\u00e9es de la sierra servent \u00e0 comparer les interpr\u00e9tations, pas \u00e0 d\u00e9crire toute pr\u00e9sentation actuelle de cette localit\u00e9.<sup class=\"cite\"><a href=\"#r21-fr-s1\">S1<\/a>, <a href=\"#r21-fr-s2\">S2<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>3. Solaire et aquatique : opposition ou relation ?<\/h3><p>La r\u00e9f\u00e9rence patrimoniale au soleil et aux vents et l\u2019hypoth\u00e8se aquatique de Villani suivent des cadres diff\u00e9rents. Les documents n\u2019imposent pas une interpr\u00e9tation exclusive. Une recherche locale devrait interroger leurs relations chez les ex\u00e9cutants et conserver les d\u00e9saccords, sans les r\u00e9soudre par une seule \u00e9tiquette.<sup class=\"cite\"><a href=\"#r21-fr-s1\">S1<\/a>, <a href=\"#r21-fr-s2\">S2<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>4. Les noms et leur cha\u00eene d\u2019attribution<\/h3><p>Lis-kgolh vient du t\u00e9moignage de V\u00edctor publi\u00e9 par Villani ; puskol et les graphies du tambour passent par sa citation et sa traduction de Bertels. L\u2019\u00e9dition allemande de 1993 n\u2019a pas \u00e9t\u00e9 consult\u00e9e directement. Prononciation, vari\u00e9t\u00e9 linguistique et orthographe demandent une v\u00e9rification avec les locuteurs, sans normalisation silencieuse.<sup class=\"cite\"><a href=\"#r21-fr-s2\">S2<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>5. Deux publications ne font pas toujours deux v\u00e9rifications<\/h3><p>La recherche de 2025 et l\u2019entretien de 2026 ont la m\u00eame chercheuse. Le bulletin de 2022 pr\u00e9sente un autre auteur, Enr\u00edquez Andrade, mais r\u00e9sume son livre. Ces relations sont explicites afin que le nombre de liens ne sugg\u00e8re pas une ind\u00e9pendance sup\u00e9rieure \u00e0 la r\u00e9alit\u00e9.<sup class=\"cite\"><a href=\"#r21-fr-s2\">S2<\/a>, <a href=\"#r21-fr-s3\">S3<\/a>, <a href=\"#r21-fr-s4\">S4<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>6. Ce que documente une image<\/h3><p>La photographie de 2025 situe une sc\u00e8ne selon la notice du photographe ; elle n\u2019identifie ni noms, ni r\u00e9pertoire, ni permissions de recherche. V03 correspond \u00e0 un autre contexte dans\u00e9. Licence de reproduction et consentement \u00e0 de nouveaux enregistrements r\u00e9pondent \u00e0 des questions distinctes.<sup class=\"cite\"><a href=\"#r21-fr-s6\">S6<\/a>, <a href=\"#r21-fr-s7\">S7<\/a><\/sup><\/p><\/section><section class=\"contrast-item\"><h3>7. Le terrain encore n\u00e9cessaire<\/h3><p>Restent \u00e0 convenir : accord avec un groupe, conversations avec musicien et apprenti, r\u00e9vision locale des termes, occasions o\u00f9 le son est r\u00e9serv\u00e9 et autorisations distinctes pour photographie, audio et texte. Ces entretiens n\u2019ont pas eu lieu. Ce travail est documentaire ; ses questions ne sont pas les r\u00e9ponses de participants.<\/p><\/section><section class=\"contrast-item\"><h3>8. Comment enrichir l\u2019article<\/h3><p>L\u2019\u00e9tape suivante int\u00e9grera des voix attribu\u00e9es selon des conditions convenues, en maintenant la possibilit\u00e9 de ne pas publier certains contenus. Le r\u00f4le premier des communaut\u00e9s et le consentement soutenu des principes de l\u2019UNESCO guident ce processus ; ils ne certifient pas que l\u2019Institut l\u2019a d\u00e9j\u00e0 r\u00e9alis\u00e9.<sup class=\"cite\"><a href=\"#r21-fr-s5\">S5<\/a><\/sup><\/p><\/section><div class=\"bibliography\"><h3>R\u00e9f\u00e9rences documentaires<\/h3><ol><li id=\"r21-fr-s1\"><b>S1<\/b> \u00b7 UNESCO<br><a href=\"https:\/\/ich.unesco.org\/en\/RL\/ritual-ceremony-of-the-voladores-00175?RL=00175\"><cite lang=\"es\">Ritual ceremony of the Voladores<\/cite><\/a><br>Inscripci\u00f3n 2009 \u00b7 expediente 00175<\/li><li id=\"r21-fr-s2\"><b>S2<\/b> \u00b7 Luisa Villani<br><a href=\"https:\/\/revistas.inah.gob.mx\/index.php\/cuicuilco\/article\/download\/23503\/25032\/51760\"><cite lang=\"es\">La Danza de los Voladores entre Costa y Sierra totonacas: un Axis Mundi que equilibra el ciclo acu\u00e1tico y c\u00f3smico<\/cite><\/a><br>Cuicuilco 93 \u00b7 mayo\u2013agosto 2025 \u00b7 pp. 61\u201385; especialmente 63\u201364 y 75\u201376<\/li><li id=\"r21-fr-s3\"><b>S3<\/b> \u00b7 INAH \/ H\u00e9ctor Manuel Enr\u00edquez Andrade<br><a href=\"https:\/\/www.inah.gob.mx\/boletines\/las-danzas-totonacas-de-origen-prehispanico-en-papantla-libro-editado-por-el-inah-disponible-en-la-red\"><cite lang=\"es\">Las danzas totonacas de origen prehisp\u00e1nico en Papantla, libro editado por el INAH disponible en la red<\/cite><\/a><br>Bolet\u00edn 280 \u00b716 junio 2022; presentaci\u00f3n del libro INAH2021<\/li><li id=\"r21-fr-s4\"><b>S4<\/b> \u00b7 Pepe Herrera \/ Luisa Villani<br><a href=\"https:\/\/unamglobal.unam.mx\/global_revista\/ritual-voladores-significado\/\"><cite lang=\"es\">M\u00e1s all\u00e1 de un espect\u00e1culo: el verdadero significado del ritual danzante de los voladores<\/cite><\/a><br>UNAM Global \u00b714 agosto 2026<\/li><li id=\"r21-fr-s5\"><b>S5<\/b> \u00b7 UNESCO<br><a href=\"https:\/\/ich.unesco.org\/en\/ethics-and-ich-00866\"><cite lang=\"es\">Ethical Principles for Safeguarding Intangible Cultural Heritage<\/cite><\/a><br>2015 \u00b7 principios 1, 4, 5, 7\u201310<\/li><li id=\"r21-fr-s6\"><b>S6<\/b> \u00b7 Giovanny Gonzalez<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Rito_de_los_Voladores,_Taj%C3%ADn.jpg\"><cite lang=\"es\">Rito de los Voladores, Taj\u00edn.jpg<\/cite><\/a><br>Fotograf\u00eda 3 enero 2025 \u00b7 CC BY-SA 4.0<\/li><li id=\"r21-fr-s7\"><b>S7<\/b> \u00b7 HectoradQuintanar<br><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:M%C3%BAsico_tradicional.jpg\"><cite lang=\"es\">M\u00fasico tradicional.jpg<\/cite><\/a><br>Fotograf\u00eda 11 abril 2014 \u00b7 CC BY-SA 4.0<\/li><\/ol><\/div><\/div><section class=\"iict-reading-source\" id=\"iict-reading-r21-fr-source\" lang=\"fr\"><h4>La musique \u00e9tait d\u00e9j\u00e0 en chemin<\/h4><p>La lecture de l\u2019entretien d\u00e9j\u00e0 cit\u00e9 est approfondie. Il s\u2019agit de la m\u00eame chercheuse que dans l\u2019article de 2025, pas d\u2019une confirmation ind\u00e9pendante ni d\u2019une description de chaque groupe.<\/p><p><a href=\"https:\/\/unamglobal.unam.mx\/global_revista\/ritual-voladores-significado\/\">Pepe Herrera \/ Luisa Villani \u00b7 UNAM Global, 14\/08\/2026, Del \u00e1rbol al poste ceremonial<\/a> \u00b7 <a href=\"#iict-reading-r21-fr\">Revenir au passage<\/a><\/p><\/section>\n<\/details><nav class=\"backlinks\"><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=1317\">Poursuivre la lecture \u2192<\/a><\/nav><!-- IICT-CITE R21 fr --><aside class=\"iict-citation\" id=\"citar-r21-fr\" aria-labelledby=\"citar-r21-fr-title\"><h2 id=\"citar-r21-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. \u00abLe musicien qui rend la danse possible\u00bb. <cite>Cahiers de recherche<\/cite>, <strong>R21<\/strong>. The Integral Management Society (IMSV). <a href=\"https:\/\/totonacapan.com\/?page_id=1403#r21-fr\">https:\/\/totonacapan.com\/?page_id=1403#r21-fr<\/a>.<\/blockquote><p><strong>R\u00e9f\u00e9rence interne:<\/strong> <a href=\"https:\/\/totonacapan.com\/?page_id=1403#r21-fr\">R21<\/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 R21 fr --><\/article><\/details><\/div><script>(function(){function openArticle(){var root=document.querySelector(\"#research-r21-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\u00f1ol \u00b7 English \u00b7 Fran\u00e7ais R21 \u00b7 CUADERNOS DE INVESTIGACI\u00d3N El m\u00fasico que hace posible la danza Escuchar al caporal cambia la manera de mirar el vuelo. Revisi\u00f3n documental \u00b7 5 de noviembre de 2026 En pocas palabras El caporal permanece arriba mientras otros descienden. En [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":1225,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1403","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1403","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=1403"}],"version-history":[{"count":10,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1403\/revisions"}],"predecessor-version":[{"id":1665,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1403\/revisions\/1665"}],"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=1403"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}