{"id":1865,"date":"2026-11-07T18:45:55","date_gmt":"2026-11-07T18:45:55","guid":{"rendered":"https:\/\/totonacapan.com\/?page_id=1865"},"modified":"2026-11-07T18:55:37","modified_gmt":"2026-11-07T18:55:37","slug":"santiagos-pilatos-y-tocotines-cuando-la-danza-tambien-cuenta-una-historia","status":"publish","type":"page","link":"https:\/\/totonacapan.com\/santiagos-pilatos-y-tocotines-cuando-la-danza-tambien-cuenta-una-historia\/","title":{"rendered":"Santiagos, Pilatos y Tocotines: cuando la danza tambi\u00e9n cuenta una historia"},"content":{"rendered":"\n<style>body:has(.geo-study)>.editorial-home-opening{display:none!important}main:has(.geo-study){display:block!important}.geo-study{max-width:1080px;margin:auto;color:#284b60;--gline:#d5c8ac}.geo-study *{box-sizing:border-box}.geo-study h1{font:400 clamp(2.2rem,4.2vw,3.7rem)\/1.13 Georgia,serif;letter-spacing:-.025em;text-align:left;text-wrap:balance;margin:1rem 0 1.5rem}.geo-study h2{font:400 clamp(1.65rem,3vw,2.35rem)\/1.2 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solid #87682b;outline-offset:6px}@media(max-width:650px){.geo-study[lang=\"en\"] td:nth-child(2):before{content:\"Contribution \u00b7 \"}.geo-study[lang=\"en\"] td:nth-child(3):before{content:\"Comparison \u00b7 \"}.geo-study[lang=\"fr\"] td:nth-child(2):before{content:\"Apport \u00b7 \"}.geo-study[lang=\"fr\"] td:nth-child(3):before{content:\"Confrontation \u00b7 \"}}.r26-study .r26-process{display:grid;grid-template-columns:repeat(3,minmax(0,1fr));list-style:none;padding:0;gap:1rem;counter-reset:none}.r26-study .r26-process li{border:1px solid #cfc1a3;padding:1rem;background:#faf7ee;display:flex;gap:.7rem;align-items:center}.r26-study .r26-process span{font:italic 2rem Georgia;color:#9b793c}.r26-study .r26-process strong{font:400 1.15rem\/1.4 Georgia}.r26-study .geo-cite a{word-break:break-word}.r26-study td{overflow-wrap:anywhere}@media(max-width:650px){.r26-study .r26-process{grid-template-columns:1fr}.r26-study td:before{content:attr(data-label) \" \u00b7 \"!important;display:block;font-weight:600}.r26-study .rr-three{grid-template-columns:1fr}}.r26-study th{color:#284b60!important;background:#e8eeea!important}.r26-study summary:focus-visible{outline:2px solid #87682b;outline-offset:5px}<\/style><nav class=\"r26-language-nav\" aria-label=\"Idiomas \/ Languages \/ Langues\"><a href=\"#r26-es\">Espa\u00f1ol \u00b7 texto completo<\/a><a href=\"#r26-en-full\">English \u00b7 full article<\/a><a href=\"#r26-fr-full\">Fran\u00e7ais \u00b7 article int\u00e9gral<\/a><\/nav><article class=\"geo-study r26-study\" lang=\"es\" id=\"r26-es\"><header><p class=\"geo-kicker\">R26 \u00b7 Paisaje y saberes \u00b7 Xochitl\u00e1n, Sierra Norte de Puebla<\/p><h1>Santiagos, Pilatos y Tocotines: cuando la danza tambi\u00e9n cuenta una historia<\/h1><p class=\"geo-deck\">Detr\u00e1s de un traje hay un papel que aprender. Dos estudios sobre Xochitl\u00e1n permiten escuchar las palabras de la danza, distinguir sus m\u00fasicas y recorrer los espacios que la hacen posible.<\/p><nav aria-label=\"Recorrido del art\u00edculo\"><a href=\"#r26-es-s1-text\">Un pueblo, varias fechas<\/a><a href=\"#r26-es-s3-text\">Dos repartos que cuentan historias distintas<\/a><a href=\"#r26-es-sources\">Fuentes y contraste<\/a><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/#indice-articulos-es\">Todos los art\u00edculos<\/a><\/nav><\/header><div class=\"geo-body\"><p>El visitante suele recordar la indumentaria; la comunidad puede recordar adem\u00e1s las palabras. Un estudio etnogr\u00e1fico de Jos\u00e9 de Jes\u00fas Montoya y Gabriel Moedano sobre Xochitl\u00e1n, en la Sierra Norte de Puebla, registr\u00f3 danzas dram\u00e1ticas de Santiagos o Pilatos y de Tocotines con \u00abrelaciones\u00bb o partes dialogadas en n\u00e1huatl. Tambi\u00e9n describe m\u00fasicos e instrumentos para determinadas danzas. Es una puerta de entrada poco habitual a la historia de la representaci\u00f3n en la regi\u00f3n: se baila y se narra, se escucha y se aprende un papel.<\/p><section id=\"r26-es-s1-text\"><h2>Un pueblo, varias fechas<\/h2><p>Xochitl\u00e1n de Vicente Su\u00e1rez se encuentra en la Sierra Norte de Puebla. Para entrar en su historia danzada conviene llevar dos relojes: el de la fiesta y el del documento. La nota inicial del estudio de Montoya y Moedano distingue materiales socioecon\u00f3micos investigados en 1968 y materiales de religi\u00f3n y folklore reunidos, en su mayor\u00eda, por Moedano en 1961. Las danzas pertenecen a este segundo conjunto. La reedici\u00f3n de la UNAM de 2024 nos permite leerlos hoy; no convierte aquellas observaciones en trabajo de campo reciente. <a href=\"#r26-es-s1\">[1]<\/a><\/p><p>La bibliograf\u00eda de esa misma recopilaci\u00f3n cita el art\u00edculo original en 1971 y lo sit\u00faa en el tomo II de Anales del INAH correspondiente a 1969. Son capas diferentes de la historia editorial, no tres fechas intercambiables de observaci\u00f3n. Al hablar de lo que ocurr\u00eda entonces, este art\u00edculo conserva esa distancia.<\/p><\/section><section class=\"rr-plate\" aria-label=\"La fecha de la fuente tambi\u00e9n cuenta\"><p class=\"geo-kicker\">01 \u00b7 Leer las fechas<\/p><h2>La fecha de la fuente tambi\u00e9n cuenta<\/h2><div class=\"rr-three\"><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">01<\/span><h3>1961 \/ 1968<\/h3><p>Materiales de folklore, mayoritariamente de 1961; investigaci\u00f3n socioecon\u00f3mica de 1968.<\/p><\/div><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">02<\/span><h3>1969 \/ 1971<\/h3><p>Tomo de Anales fechado 1969; referencia bibliogr\u00e1fica del art\u00edculo en 1971.<\/p><\/div><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">03<\/span><h3>2018 \/ 2024<\/h3><p>Estudio de paisaje cultural publicado en 2018; reedici\u00f3n UNAM del texto antiguo en 2024.<\/p><\/div><\/div><p class=\"rr-piece-note\">Esquema editorial basado en las fuentes citadas. Describe registros hist\u00f3ricos concretos; no reconstruye vestuario, coreograf\u00eda ni un itinerario actual. <a href=\"#r26-es-s1\">[1]<\/a><\/p><\/section><section id=\"r26-es-s2-text\"><h2>La palabra tambi\u00e9n se ensaya<\/h2><p>En este contexto, una \u00abrelaci\u00f3n\u00bb es la parte hablada o dialogada de una representaci\u00f3n. No basta con reconocer el personaje desde fuera: hay algo que decir, un momento para intervenir y otras personas con quienes coordinarse. El estudio registra relaciones en n\u00e1huatl \u2014escrito tambi\u00e9n \u00abn\u00e1huat\u00bb y \u00abnahua\u00bb en sus p\u00e1ginas\u2014 para varios repertorios. No reproduce, sin embargo, un libreto completo de Santiagos o Tocotines. Sabemos que hab\u00eda palabras; no podemos reconstruir sus frases a partir de una lista de personajes. <a href=\"#r26-es-s1\">[1]<\/a><\/p><p>Una investigaci\u00f3n posterior de Gerardo Torres Z\u00e1rate, publicada en 2018, describe a ni\u00f1os y adolescentes aprendiendo pasos y parlamentos. Tambi\u00e9n sit\u00faa los ensayos primero en el palacio municipal y despu\u00e9s en casa del mayordomo. As\u00ed, la transmisi\u00f3n aparece como una pr\u00e1ctica organizada: aprender un papel necesita tiempo, compa\u00f1\u00eda y lugares. Esa descripci\u00f3n complementa el registro antiguo; no demuestra que cada texto se haya conservado sin cambios. <a href=\"#r26-es-s2\">[2]<\/a><\/p><\/section><section id=\"r26-es-s3-text\"><h2>Dos repartos que cuentan historias distintas<\/h2><p>Montoya y Moedano llaman \u00abPilatos\u00bb o \u00abSantiagos\u00bb a un mismo conjunto descrito en Xochitl\u00e1n. Enumeran Santiago Mayor, Ca\u00edn, Sabario, Alchere\u00f3n, Alf\u00e9rez, Beberio, Porteros, Centorio y Rey Pilato. No debe convertirse esa equivalencia local en una regla para todas las comunidades. El nombre de una danza puede reunir versiones diferentes. <a href=\"#r26-es-s1\">[1]<\/a><\/p><p>Los Tocotines tienen otro reparto en la fuente: Cort\u00e9s, Malinche, Alvarado, Moctezuma, caciques y vasallos. Sus nombres abren un horizonte de conquista y relaciones de poder, pero la lista por s\u00ed sola no nos dice qui\u00e9n pronuncia la \u00faltima palabra, c\u00f3mo se interpreta a cada personaje o qu\u00e9 sentido da la comunidad al desenlace. Para eso har\u00edan falta el texto de una versi\u00f3n concreta y la explicaci\u00f3n de sus participantes. <a href=\"#r26-es-s1\">[1]<\/a><\/p><p>Hay un detalle peque\u00f1o que vuelve especialmente valioso el documento: el informante no pudo identificar a Beberio. Los autores conservaron ese vac\u00edo. Tambi\u00e9n anotaron correspondencias locales llamativas, como asociar a Ca\u00edn con un disc\u00edpulo de Cristo. Esto no es una afirmaci\u00f3n de historia b\u00edblica que el lector deba aceptar; es evidencia de c\u00f3mo aquel informante explicaba el reparto. Mantener separados nombre, explicaci\u00f3n local e interpretaci\u00f3n del investigador permite investigar sin corregir silenciosamente la voz recogida.<\/p><\/section><section class=\"rr-plate\" aria-label=\"Tres maneras de acompa\u00f1ar\"><p class=\"geo-kicker\">02 \u00b7 Escuchar<\/p><h2>Tres maneras de acompa\u00f1ar<\/h2><div class=\"rr-three\"><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">01<\/span><h3>Santiagos \/ Pilatos<\/h3><p>Flauta + tambor de doble parche<\/p><p>Pitero y cajero: dos funciones descritas.<\/p><\/div><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">02<\/span><h3>Tocotines<\/h3><p>Guitarra + viol\u00edn<\/p><p>El reparto incluye Cort\u00e9s, Malinche y Moctezuma.<\/p><\/div><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">03<\/span><h3>Quetzales<\/h3><p>Flauta de carrizo + peque\u00f1o tambor<\/p><p>Una misma persona ejecuta ambos instrumentos.<\/p><\/div><\/div><p class=\"rr-piece-note\">Esquema editorial basado en las fuentes citadas. Describe registros hist\u00f3ricos concretos; no reconstruye vestuario, coreograf\u00eda ni un itinerario actual. <a href=\"#r26-es-s1\">[1]<\/a><\/p><\/section><section id=\"r26-es-s4-text\"><h2>Escuchar cambia lo que vemos<\/h2><p>Para Santiagos\/Pilatos, el registro distingue un pitero con flauta y un cajero con tambor de doble parche: dos funciones musicales. Para Tocotines menciona guitarra y viol\u00edn. En los Quetzales del mismo inventario, en cambio, una sola persona toca flauta de carrizo y peque\u00f1o tambor. Tres situaciones distintas que una fotograf\u00eda de indumentaria no permite escuchar. <a href=\"#r26-es-s1\">[1]<\/a><\/p><p>La diferencia importa para imaginar el aprendizaje: compartir una entrada musical, alternar una intervenci\u00f3n hablada o sostener el paso de un grupo no son exactamente la misma tarea. Esta es una lectura del art\u00edculo a partir de la organizaci\u00f3n descrita, no una transcripci\u00f3n de ensayos observados por el Instituto.<\/p><\/section><figure><img src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/0\/06\/Capilla_de_la_Virgen_de_Guadalupe%2C_Xochitl%C3%A1n.jpg\" alt=\"Fachada de la capilla de la Virgen de Guadalupe en Xochitl\u00e1n, con dos torres de piedra bajo un cielo azul.\" width=\"1024\" height=\"683\" loading=\"lazy\" decoding=\"async\"><figcaption>Capilla de la Virgen de Guadalupe, Xochitl\u00e1n de Vicente Su\u00e1rez \u00b7 Esparta Palma \u00b7 25 de julio de 2008. Fotograf\u00eda de contexto territorial, sin recorte; no representa el atrio de San Bartolom\u00e9 ni documenta la danza. <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Capilla_de_la_Virgen_de_Guadalupe,_Xochitl%C3%A1n.jpg\" target=\"_blank\" rel=\"noopener\">Procedencia<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by\/2.0\/\" target=\"_blank\" rel=\"noopener\">CC BY 2.0<\/a>.<\/figcaption><\/figure><section id=\"r26-es-s5-text\"><h2>El atrio es tambi\u00e9n parte de la representaci\u00f3n<\/h2><p>Torres Z\u00e1rate describe la fiesta de San Bartolom\u00e9 desde la relaci\u00f3n entre arquitectura y vida comunitaria. El recorrido une casa, calle, atrio, templo y altar; despu\u00e9s vuelve al atrio para las danzas y finalmente a la casa. El autor explica que nueve conjuntos comparten el espacio durante cuatro d\u00edas, con lugares y elementos de representaci\u00f3n diferenciados. No se trata solo de disponer de una plaza vac\u00eda: saber d\u00f3nde estar tambi\u00e9n forma parte de la organizaci\u00f3n. <a href=\"#r26-es-s2\">[2]<\/a><\/p><p>En ese relato, la preparaci\u00f3n incluye ropa, alimentos, m\u00fasicos, flores y ceras. La danza re\u00fane trabajos que a menudo quedan fuera del encuadre. La casa del mayordomo y el atrio no son fondos decorativos: ayudan a comprender c\u00f3mo se sostiene una celebraci\u00f3n. El diagrama de esta p\u00e1gina resume esa secuencia documentada; no se\u00f1ala una ruta tur\u00edstica ni un plano exacto.<\/p><\/section><section class=\"rr-plate\"><p class=\"geo-kicker\">03 \u00b7 Espacio compartido<\/p><h2>De la casa al atrio, y de vuelta<\/h2><ol class=\"r26-process\"><li><span>1<\/span><strong>Casa<\/strong><\/li><li><span>2<\/span><strong>Calle<\/strong><\/li><li><span>3<\/span><strong>Atrio<\/strong><\/li><li><span>4<\/span><strong>Templo y altar<\/strong><\/li><li><span>5<\/span><strong>Atrio: danzas<\/strong><\/li><li><span>6<\/span><strong>Regreso a casa<\/strong><\/li><\/ol><p class=\"rr-piece-note\">Esquema editorial basado en las fuentes citadas. Describe registros hist\u00f3ricos concretos; no reconstruye vestuario, coreograf\u00eda ni un itinerario actual. <a href=\"#r26-es-s2\">[2, p. 45]<\/a><\/p><\/section><section id=\"r26-es-s6-text\"><h2>Leer dos estudios, reconocer dos miradas<\/h2><p>El estudio antiguo termina interpretando la modernizaci\u00f3n como acercamiento a patrones occidentales y considera algunas pr\u00e1cticas tradicionales un obst\u00e1culo para el cambio. Torres Z\u00e1rate organiza su lectura alrededor del patrimonio, la transmisi\u00f3n y la relaci\u00f3n entre lo construido y lo vivido. Son perspectivas diferentes, que tambi\u00e9n orientan qu\u00e9 pregunta cada autor. Conservar los datos del primer trabajo no obliga a adoptar sus juicios sobre las comunidades. <a href=\"#r26-es-s1\">[1]<\/a>, <a href=\"#r26-es-s2\">[2]<\/a><\/p><p>Los inventarios tampoco coinciden punto por punto. El texto antiguo informa de la desaparici\u00f3n de un grupo de Voladores; Torres incluye Voladores entre las nueve danzas que describe. La comparaci\u00f3n permite preguntar por cambios, reapariciones y diferencias en el periodo observado. No basta para fechar una recuperaci\u00f3n ni para afirmar continuidad ininterrumpida. Del mismo modo, el nombre \u00abLos Negros\u00bb de un repertorio no establece por s\u00ed solo la identidad demogr\u00e1fica o afromexicana de sus participantes.<\/p><p>Lo que estas p\u00e1ginas s\u00ed permiten ver es una historia m\u00e1s rica que un desfile de trajes: papeles, palabras, sonidos, aprendizaje y espacios compartidos. La siguiente ampliaci\u00f3n deber\u00e1 escuchar a m\u00fasicos y transmisores concretos, con su acuerdo, y documentar qu\u00e9 versi\u00f3n practican hoy. Esa conversaci\u00f3n local y una fotograf\u00eda archiv\u00edstica de la danza con procedencia comprobada siguen abiertas; esta edici\u00f3n ofrece investigaci\u00f3n documental, sin presentar entrevistas que no se han realizado.<\/p><\/section><details id=\"r26-es-sources\"><summary>Fuentes y contraste<\/summary><p>Pregunta de investigaci\u00f3n: \u00bfqu\u00e9 permite conocer una descripci\u00f3n hist\u00f3rica de danzas dialogadas y c\u00f3mo cambia su lectura cuando se compara con un estudio del espacio festivo? Hip\u00f3tesis de trabajo: la representaci\u00f3n re\u00fane palabra, m\u00fasica, aprendizaje y organizaci\u00f3n espacial. Las dos fuentes la sostienen desde objetos y periodos distintos; no prueban la permanencia de cada libreto.<\/p><div class=\"geo-table-wrap\"><table><thead><tr><th scope=\"col\">Pregunta y fuentes<\/th><th scope=\"col\">Qu\u00e9 aporta la evidencia<\/th><th scope=\"col\">Contraste, interpretaci\u00f3n y prueba pendiente<\/th><\/tr><\/thead><tbody><tr><td data-label=\"Pregunta y fuentes\">\u00bfCu\u00e1ndo se observaron las pr\u00e1cticas? <a href=\"#r26-es-s1\">[1]<\/a>, p. 459 y referencia en p. 559; <a href=\"#r26-es-s2\">[2]<\/a>, colof\u00f3n y pp. 44\u201345.<\/td><td data-label=\"Qu\u00e9 aporta la evidencia\"><a href=\"#r26-es-s1\">[1]<\/a> distingue materiales de 1961 y 1968; su reedici\u00f3n es de 2024. <a href=\"#r26-es-s2\">[2]<\/a> tiene primera edici\u00f3n de 2018 y remite a un estudio del autor de 2009 para la secuencia espacial.<\/td><td data-label=\"Contraste, interpretaci\u00f3n y prueba pendiente\">No equiparamos a\u00f1o de publicaci\u00f3n y fecha de observaci\u00f3n. Para precisar cada episodio de <a href=\"#r26-es-s2\">[2]<\/a> har\u00edan falta sus registros de campo; no se presenta como un censo de 2026.<\/td><\/tr><tr><td data-label=\"Pregunta y fuentes\">\u00bfSe transmiten palabras adem\u00e1s de pasos? <a href=\"#r26-es-s1\">[1]<\/a>, pp. 500\u2013501; <a href=\"#r26-es-s2\">[2]<\/a>, p. 45.<\/td><td data-label=\"Qu\u00e9 aporta la evidencia\"><a href=\"#r26-es-s1\">[1]<\/a> registra relaciones en n\u00e1huatl. <a href=\"#r26-es-s2\">[2]<\/a> describe menores aprendiendo pasos y parlamentos.<\/td><td data-label=\"Contraste, interpretaci\u00f3n y prueba pendiente\">Coinciden en una dimensi\u00f3n verbal. No demuestran identidad del texto entre generaciones. Har\u00edan falta versiones fechadas, grabaciones autorizadas y revisi\u00f3n de hablantes.<\/td><\/tr><tr><td data-label=\"Pregunta y fuentes\">\u00bfSon equivalentes los repertorios? <a href=\"#r26-es-s1\">[1]<\/a>, pp. 500\u2013501.<\/td><td data-label=\"Qu\u00e9 aporta la evidencia\">Santiagos\/Pilatos y Tocotines tienen repartos y acompa\u00f1amientos distintos. La equivalencia Pilatos\/Santiagos aparece situada en Xochitl\u00e1n.<\/td><td data-label=\"Contraste, interpretaci\u00f3n y prueba pendiente\">La diferencia es interna a la fuente, no un desacuerdo inventado entre autores. Una comparaci\u00f3n regional necesitar\u00eda registrar cada comunidad y versi\u00f3n.<\/td><\/tr><tr><td data-label=\"Pregunta y fuentes\">\u00bfUna lista de personajes explica la historia? <a href=\"#r26-es-s1\">[1]<\/a>, p. 501.<\/td><td data-label=\"Qu\u00e9 aporta la evidencia\">El informante ofrece correspondencias, pero deja Beberio sin identificar. La identificaci\u00f3n de Ca\u00edn es una interpretaci\u00f3n local registrada.<\/td><td data-label=\"Contraste, interpretaci\u00f3n y prueba pendiente\">Distinguimos testimonio y comprobaci\u00f3n hist\u00f3rica. El pasaje no contiene un libreto completo ni autoriza inventar di\u00e1logos o el sentido del desenlace.<\/td><\/tr><tr><td data-label=\"Pregunta y fuentes\">\u00bfCambi\u00f3 el repertorio? <a href=\"#r26-es-s1\">[1]<\/a>, p. 500; <a href=\"#r26-es-s2\">[2]<\/a>, p. 45.<\/td><td data-label=\"Qu\u00e9 aporta la evidencia\">El texto antiguo refiere que ya no hab\u00eda un grupo de Voladores; el posterior incluye Voladores entre nueve danzas.<\/td><td data-label=\"Contraste, interpretaci\u00f3n y prueba pendiente\">Es una diferencia entre cortes documentales. No permite por s\u00ed sola fechar la reaparici\u00f3n. Se necesitar\u00edan archivos locales y testimonios situados.<\/td><\/tr><tr><td data-label=\"Pregunta y fuentes\">\u00bfC\u00f3mo valora cada autor la tradici\u00f3n? <a href=\"#r26-es-s1\">[1]<\/a>, pp. 504\u2013505; <a href=\"#r26-es-s2\">[2]<\/a>, pp. 44\u201345.<\/td><td data-label=\"Qu\u00e9 aporta la evidencia\"><a href=\"#r26-es-s1\">[1]<\/a> usa un marco de modernizaci\u00f3n y asimilaci\u00f3n occidental; <a href=\"#r26-es-s2\">[2]<\/a> subraya patrimonio, transmisi\u00f3n y espacio compartido.<\/td><td data-label=\"Contraste, interpretaci\u00f3n y prueba pendiente\">La perspectiva influye en la interpretaci\u00f3n. Este art\u00edculo conserva datos contrastables sin adoptar como propios juicios deficitarios sobre las comunidades.<\/td><\/tr><\/tbody><\/table><\/div><p>Alcance de la lectura: se consultaron los pasajes identificados del estudio reeditado por la UNAM y del art\u00edculo de Torres Z\u00e1rate, incluidas sus notas y referencias pertinentes. La reedici\u00f3n ofrece acceso al texto hist\u00f3rico; no sustituye una transcripci\u00f3n local actual. No se ha realizado trabajo de campo, entrevista ni perfil personal. La fotograf\u00eda contextual tiene licencia abierta; las fotograf\u00edas del volumen de ICOMOS no se reproducen porque sus derechos est\u00e1n reservados.<\/p><h3>Referencias y localizaci\u00f3n de la evidencia<\/h3><ol><li id=\"r26-es-s1\">Jos\u00e9 de Jes\u00fas Montoya B. &amp; Gabriel Moedano N. \u00abEsbozo anal\u00edtico de la estructura socioecon\u00f3mica y el folklore de Xochitl\u00e1n, Sierra Norte de Puebla\u00bb. <em>Anales del INAH<\/em>, 7\u00aa \u00e9poca, t. II (1969), pp. 257\u2013299; referencia de 1971 en la recopilaci\u00f3n. <em>Entre el folklore y la antropolog\u00eda. Las voces de Gabriel Moedano Navarro<\/em>, UNAM, 2024: pp. 459 (nota 1), 500\u2013501, 504\u2013505 y 559. <a href=\"https:\/\/editorialiia.unam.mx\/omp\/index.php\/publicaciones\/catalog\/book\/folklore_y_antropologia\" target=\"_blank\" rel=\"noopener\">UNAM \u00b7 cat\u00e1logo<\/a> \u00b7 <a href=\"https:\/\/editorialiia.unam.mx\/omp\/index.php\/publicaciones\/catalog\/download\/folklore_y_antropologia\/entre_folklore_y_antropologia\/143?inline=1#page=501\" target=\"_blank\" rel=\"noopener\">PDF \u00b7 pp. 500\u2013501<\/a>.<\/li><li id=\"r26-es-s2\">Gerardo Torres Z\u00e1rate. \u00abArquitectura vern\u00e1cula y el paisaje cultural en Puebla, Mexico\u00bb. En Christoph Machat (ed.), <em>Conservation and Rehabilitation of Vernacular Heritage: The Cultural Landscape of the Wendland Circular Villages<\/em>, ICOMOS, LXVII, primera edici\u00f3n 2018, pp. 42\u201350; especialmente pp. 44\u201345. ISBN 978-3-943164-46-6. <a href=\"https:\/\/www.icomos.de\/data\/pdf\/lxvii-0420-1848-53.pdf#page=45\" target=\"_blank\" rel=\"noopener\">ICOMOS \u00b7 PDF<\/a>.<\/li><\/ol><\/details><p class=\"geo-cite\"><strong>C\u00f3mo citar:<\/strong> Instituto Internacional de Cultura del Totonacapan. \u00abSantiagos, Pilatos y Tocotines: cuando la danza tambi\u00e9n cuenta una historia\u00bb. R26 \u00b7 Paisaje y saberes. <a href=\"https:\/\/totonacapan.com\/santiagos-pilatos-y-tocotines-cuando-la-danza-tambien-cuenta-una-historia\/#r26-es\">https:\/\/totonacapan.com\/santiagos-pilatos-y-tocotines-cuando-la-danza-tambien-cuenta-una-historia\/#r26-es<\/a>.<\/p><aside class=\"geo-related\"><h3>Seguir leyendo<\/h3><ul><li><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/quetzalin-y-voladores-dos-danzas-que-no-se-explican-con-una-sola-imagen\/#r18-es\">Quetzal\u00edn y Voladores: dos danzas que no se explican con una sola imagen<\/a><\/li><li><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/el-musico-que-hace-posible-la-danza\/#r21-es\">El m\u00fasico que hace posible la danza<\/a><\/li><li><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/#indice-articulos-es\">\u00cdndice completo de art\u00edculos y temas<\/a><\/li><\/ul><\/aside><\/div><\/article><details class=\"r26-full-language\" id=\"r26-en-full\"><summary>English \u00b7 Santiagos, Pilatos and Tocotines \u00b7 full article<\/summary><article class=\"geo-study r26-study\" lang=\"en\" id=\"r26-en\"><header><p class=\"geo-kicker\">R26 \u00b7 Landscape and knowledge \u00b7 Xochitl\u00e1n, Sierra Norte de Puebla<\/p><h2>Santiagos, Pilatos and Tocotines: when dance also tells a story<\/h2><p class=\"geo-deck\">Behind a costume lies a role to learn. Two studies of Xochitl\u00e1n let us listen to the words of dance, distinguish its musical ensembles and follow the spaces that sustain it.<\/p><nav aria-label=\"Article navigation\"><a href=\"#r26-en-s1-text\">One town, several dates<\/a><a href=\"#r26-en-s3-text\">Two casts, different stories<\/a><a href=\"#r26-en-sources\">Sources and comparison<\/a><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/#indice-articulos-es\">All articles<\/a><\/nav><\/header><div class=\"geo-body\"><p>Visitors often remember the costumes; a community may also remember the words. An ethnographic study of Xochitl\u00e1n in the Sierra Norte de Puebla by Jos\u00e9 de Jes\u00fas Montoya and Gabriel Moedano recorded dramatic dances of Santiagos or Pilatos and Tocotines with relaciones, or spoken dialogue, in Nahuatl. It also describes musicians and instruments for particular dances. This offers an unusual entry into the history of performance in the region: people dance and narrate, listen and learn a role.<\/p><section id=\"r26-en-s1-text\"><h2>One town, several dates<\/h2><p>Xochitl\u00e1n de Vicente Su\u00e1rez lies in the Sierra Norte de Puebla. Entering its history of dance requires two clocks: the festival\u2019s and the document\u2019s. The opening note of Montoya and Moedano\u2019s study distinguishes socioeconomic research undertaken in 1968 from materials on religion and folklore collected mainly by Moedano in 1961. The dances belong to the latter group. UNAM\u2019s 2024 reprint makes them available today; it does not turn those observations into recent fieldwork. <a href=\"#r26-en-s1\">[1]<\/a><\/p><p>The bibliography in the same collection dates the original article to 1971 and places it in volume II of Anales del INAH, designated 1969. These are different layers of publishing history, not interchangeable dates of observation. This article preserves that distinction when discussing what happened then.<\/p><\/section><section class=\"rr-plate\" aria-label=\"The source\u2019s date matters too\"><p class=\"geo-kicker\">01 \u00b7 Reading dates<\/p><h2>The source\u2019s date matters too<\/h2><div class=\"rr-three\"><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">01<\/span><h3>1961 \/ 1968<\/h3><p>Folklore materials mainly from 1961; socioeconomic research from 1968.<\/p><\/div><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">02<\/span><h3>1969 \/ 1971<\/h3><p>Anales volume designated 1969; bibliographic reference dates the article to 1971.<\/p><\/div><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">03<\/span><h3>2018 \/ 2024<\/h3><p>Cultural-landscape study published in 2018; UNAM reprint of the older text in 2024.<\/p><\/div><\/div><p class=\"rr-piece-note\">Editorial diagram based on the cited sources. It describes particular historical records, without reconstructing costumes, choreography or a present-day route. <a href=\"#r26-en-s1\">[1]<\/a><\/p><\/section><section id=\"r26-en-s2-text\"><h2>Words are rehearsed too<\/h2><p>In this setting, a relaci\u00f3n is the spoken or dialogued part of a performance. Recognising a character from the outside is only a beginning: there is something to say, a moment to enter and other people to coordinate with. The study records dialogue in Nahuatl, also written n\u00e1huat and nahua in its pages, for several repertoires. It does not reproduce a complete Santiagos or Tocotines script. We know words were spoken; a cast list cannot recover their sentences. <a href=\"#r26-en-s1\">[1]<\/a><\/p><p>A later study by Gerardo Torres Z\u00e1rate, published in 2018, describes children and adolescents learning steps and speeches. It also locates rehearsals first in the municipal palace and then in the mayordomo\u2019s house. Transmission appears as organised practice: learning a role requires time, company and places. This complements the older account; it does not demonstrate that every text survived unchanged. <a href=\"#r26-en-s2\">[2]<\/a><\/p><\/section><section id=\"r26-en-s3-text\"><h2>Two casts, different stories<\/h2><p>Montoya and Moedano use Pilatos or Santiagos for the same group described in Xochitl\u00e1n. They list Santiago Mayor, Ca\u00edn, Sabario, Alchere\u00f3n, Alf\u00e9rez, Beberio, Porteros, Centorio and Rey Pilato. This local equivalence should not become a rule for every community. A dance name may encompass different versions. <a href=\"#r26-en-s1\">[1]<\/a><\/p><p>The source gives Tocotines a different cast: Cort\u00e9s, Malinche, Alvarado, Moctezuma, caciques and vassals. These names suggest conquest and relations of power. The list alone does not tell us who has the last word, how each character is interpreted or what the ending means to the community. That would require the text of a particular version and explanations from its participants. <a href=\"#r26-en-s1\">[1]<\/a><\/p><p>A small detail makes the document especially valuable: the informant could not identify Beberio. The authors kept that gap. They also recorded striking local correspondences, including associating Ca\u00edn with a disciple of Christ. This is not a claim about biblical history that readers must accept; it is evidence of how that informant explained the cast. Separating a name, a local explanation and a researcher\u2019s interpretation allows inquiry without silently correcting the recorded voice.<\/p><\/section><section class=\"rr-plate\" aria-label=\"Three ways to accompany a dance\"><p class=\"geo-kicker\">02 \u00b7 Listening<\/p><h2>Three ways to accompany a dance<\/h2><div class=\"rr-three\"><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">01<\/span><h3>Santiagos \/ Pilatos<\/h3><p>Flute + double-headed drum<\/p><p>Pitero and cajero: two roles described.<\/p><\/div><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">02<\/span><h3>Tocotines<\/h3><p>Guitar + violin<\/p><p>The cast includes Cort\u00e9s, Malinche and Moctezuma.<\/p><\/div><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">03<\/span><h3>Quetzales<\/h3><p>Reed flute + small drum<\/p><p>One person plays both instruments.<\/p><\/div><\/div><p class=\"rr-piece-note\">Editorial diagram based on the cited sources. It describes particular historical records, without reconstructing costumes, choreography or a present-day route. <a href=\"#r26-en-s1\">[1]<\/a><\/p><\/section><section id=\"r26-en-s4-text\"><h2>Listening changes what we see<\/h2><p>For Santiagos\/Pilatos, the account distinguishes a pitero playing a flute and a cajero playing a double-headed drum: two musical roles. For Tocotines it names guitar and violin. For the Quetzales in the same inventory, one person plays a reed flute and a small drum. These are three different arrangements that a costume photograph cannot make audible. <a href=\"#r26-en-s1\">[1]<\/a><\/p><p>The distinction matters when considering learning: coordinating a musical entrance, alternating spoken interventions and sustaining a group\u2019s steps are not exactly the same task. This is our reading of the organisation described, not a transcript of rehearsals observed by the Institute.<\/p><\/section><figure><img src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/0\/06\/Capilla_de_la_Virgen_de_Guadalupe%2C_Xochitl%C3%A1n.jpg\" alt=\"Facade of the chapel of the Virgin of Guadalupe in Xochitl\u00e1n, with two stone towers beneath a blue sky.\" width=\"1024\" height=\"683\" loading=\"lazy\" decoding=\"async\"><figcaption>Chapel of the Virgin of Guadalupe, Xochitl\u00e1n de Vicente Su\u00e1rez \u00b7 Esparta Palma \u00b7 25 July 2008. Uncropped contextual photograph of the locality; it does not depict San Bartolom\u00e9\u2019s churchyard or document the dance. <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Capilla_de_la_Virgen_de_Guadalupe,_Xochitl%C3%A1n.jpg\" target=\"_blank\" rel=\"noopener\">Provenance<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by\/2.0\/\" target=\"_blank\" rel=\"noopener\">CC BY 2.0<\/a>.<\/figcaption><\/figure><section id=\"r26-en-s5-text\"><h2>The churchyard is part of the performance<\/h2><p>Torres Z\u00e1rate approaches the feast of San Bartolom\u00e9 through the relationship between architecture and community life. The procession links house, street, churchyard, church and altar, then returns to the churchyard for dancing and finally home. He describes nine groups sharing the space over four days, with distinct places and performance elements. Organisation involves more than an empty square: knowing where to stand is part of it. <a href=\"#r26-en-s2\">[2]<\/a><\/p><p>In his account, preparations include clothing, food, musicians, flowers and candles. Dance brings together work that often remains outside the camera\u2019s frame. The mayordomo\u2019s house and the churchyard are more than decorative backgrounds: they help explain how a celebration is sustained. Our diagram summarises this documented sequence; it is neither a visitor itinerary nor an exact plan.<\/p><\/section><section class=\"rr-plate\"><p class=\"geo-kicker\">03 \u00b7 Shared space<\/p><h2>From house to churchyard, and back<\/h2><ol class=\"r26-process\"><li><span>1<\/span><strong>House<\/strong><\/li><li><span>2<\/span><strong>Street<\/strong><\/li><li><span>3<\/span><strong>Churchyard<\/strong><\/li><li><span>4<\/span><strong>Church and altar<\/strong><\/li><li><span>5<\/span><strong>Churchyard: dances<\/strong><\/li><li><span>6<\/span><strong>Return home<\/strong><\/li><\/ol><p class=\"rr-piece-note\">Editorial diagram based on the cited sources. It describes particular historical records, without reconstructing costumes, choreography or a present-day route. <a href=\"#r26-en-s2\">[2, p. 45]<\/a><\/p><\/section><section id=\"r26-en-s6-text\"><h2>Two studies, two perspectives<\/h2><p>The older study ends by interpreting modernisation as movement towards Western patterns and treating some traditional practices as obstacles to change. Torres Z\u00e1rate structures his account around heritage, transmission and the relationship between buildings and lived experience. These perspectives also shape what each author asks. Keeping evidence from the first study does not require adopting its judgments about communities. <a href=\"#r26-en-s1\">[1]<\/a>, <a href=\"#r26-en-s2\">[2]<\/a><\/p><p>Nor do the inventories match at every point. The earlier text reports the disappearance of a Voladores group; Torres includes Voladores among the nine dances he describes. Comparison opens questions about change, reappearance and different observation periods. It cannot date a revival or establish uninterrupted continuity. Similarly, the repertoire name Los Negros cannot, on its own, establish the demographic or Afro-Mexican identity of its participants.<\/p><p>What these pages do reveal is richer than a parade of costumes: roles, words, sounds, learning and shared spaces. A future extension should listen to particular musicians and transmitters, with their agreement, and document the versions they practise today. Local conversations and an archival photograph of the dance with verified provenance remain open tasks. This edition presents documentary research, without claiming interviews that have not taken place.<\/p><\/section><details id=\"r26-en-sources\"><summary>Sources and comparison<\/summary><p>Research question: what can a historical account of dances with dialogue tell us, and how does a study of festive space change its interpretation? Working hypothesis: performance brings together speech, music, learning and spatial organisation. The two sources support this through different subjects and periods; they do not prove the survival of every script.<\/p><div class=\"geo-table-wrap\"><table><thead><tr><th scope=\"col\">Question and sources<\/th><th scope=\"col\">What the evidence contributes<\/th><th scope=\"col\">Comparison, interpretation and further evidence<\/th><\/tr><\/thead><tbody><tr><td data-label=\"Question and sources\">When were the practices observed? <a href=\"#r26-en-s1\">[1]<\/a>, p. 459 and reference on p. 559; <a href=\"#r26-en-s2\">[2]<\/a>, imprint and pp. 44\u201345.<\/td><td data-label=\"What the evidence contributes\"><a href=\"#r26-en-s1\">[1]<\/a> distinguishes 1961 and 1968 materials; its reprint dates from 2024. <a href=\"#r26-en-s2\">[2]<\/a> was first published in 2018 and cites the author\u2019s 2009 study for the spatial sequence.<\/td><td data-label=\"Comparison, interpretation and further evidence\">Publication and observation dates are not equated. Dating each episode in <a href=\"#r26-en-s2\">[2]<\/a> would require its field records; it is not presented as a 2026 census.<\/td><\/tr><tr><td data-label=\"Question and sources\">Are words transmitted alongside steps? <a href=\"#r26-en-s1\">[1]<\/a>, pp. 500\u2013501; <a href=\"#r26-en-s2\">[2]<\/a>, p. 45.<\/td><td data-label=\"What the evidence contributes\"><a href=\"#r26-en-s1\">[1]<\/a> records dialogue in Nahuatl. <a href=\"#r26-en-s2\">[2]<\/a> describes young people learning steps and speeches.<\/td><td data-label=\"Comparison, interpretation and further evidence\">Both support a verbal dimension. They do not establish identical wording across generations. Dated versions, authorised recordings and speakers\u2019 review would be needed.<\/td><\/tr><tr><td data-label=\"Question and sources\">Are the repertoires equivalent? <a href=\"#r26-en-s1\">[1]<\/a>, pp. 500\u2013501.<\/td><td data-label=\"What the evidence contributes\">Santiagos\/Pilatos and Tocotines have different casts and musical accompaniment. The Pilatos\/Santiagos equivalence is located in Xochitl\u00e1n.<\/td><td data-label=\"Comparison, interpretation and further evidence\">This is a distinction within the source, not an invented disagreement between authors. A regional comparison would need to identify each community and version.<\/td><\/tr><tr><td data-label=\"Question and sources\">Does a cast list explain the story? <a href=\"#r26-en-s1\">[1]<\/a>, p. 501.<\/td><td data-label=\"What the evidence contributes\">The informant proposes correspondences but leaves Beberio unidentified. Ca\u00edn\u2019s identification is a recorded local interpretation.<\/td><td data-label=\"Comparison, interpretation and further evidence\">Testimony and historical verification remain distinct. The passage contains no complete script and does not justify inventing dialogue or the meaning of an ending.<\/td><\/tr><tr><td data-label=\"Question and sources\">Did the repertoire change? <a href=\"#r26-en-s1\">[1]<\/a>, p. 500; <a href=\"#r26-en-s2\">[2]<\/a>, p. 45.<\/td><td data-label=\"What the evidence contributes\">The earlier account says a Voladores group no longer existed; the later text includes Voladores among nine dances.<\/td><td data-label=\"Comparison, interpretation and further evidence\">The records capture different moments. They cannot independently date a reappearance. Local archives and situated testimony would be needed.<\/td><\/tr><tr><td data-label=\"Question and sources\">How does each author value tradition? <a href=\"#r26-en-s1\">[1]<\/a>, pp. 504\u2013505; <a href=\"#r26-en-s2\">[2]<\/a>, pp. 44\u201345.<\/td><td data-label=\"What the evidence contributes\"><a href=\"#r26-en-s1\">[1]<\/a> adopts a framework of modernisation and Western assimilation; <a href=\"#r26-en-s2\">[2]<\/a> emphasises heritage, transmission and shared space.<\/td><td data-label=\"Comparison, interpretation and further evidence\">Perspective affects interpretation. This article retains testable evidence without adopting deficit-based judgments about communities.<\/td><\/tr><\/tbody><\/table><\/div><p>Scope of reading: the identified passages of the UNAM reprint and Torres Z\u00e1rate\u2019s article were consulted, including relevant notes and references. The reprint provides access to the historical text; it does not replace a contemporary local transcription. No fieldwork, interview or personal profile has been conducted. The contextual photograph is openly licensed; photographs from the ICOMOS volume are not reproduced because their rights are reserved.<\/p><h3>References and evidence locations<\/h3><ol><li id=\"r26-en-s1\">Jos\u00e9 de Jes\u00fas Montoya B. &amp; Gabriel Moedano N. \u00abEsbozo anal\u00edtico de la estructura socioecon\u00f3mica y el folklore de Xochitl\u00e1n, Sierra Norte de Puebla\u00bb. <em>Anales del INAH<\/em>, 7\u00aa \u00e9poca, t. II (1969), pp. 257\u2013299; referencia de 1971 en la recopilaci\u00f3n. <em>Entre el folklore y la antropolog\u00eda. Las voces de Gabriel Moedano Navarro<\/em>, UNAM, 2024: pp. 459 (nota 1), 500\u2013501, 504\u2013505 y 559. <a href=\"https:\/\/editorialiia.unam.mx\/omp\/index.php\/publicaciones\/catalog\/book\/folklore_y_antropologia\" target=\"_blank\" rel=\"noopener\">UNAM \u00b7 cat\u00e1logo<\/a> \u00b7 <a href=\"https:\/\/editorialiia.unam.mx\/omp\/index.php\/publicaciones\/catalog\/download\/folklore_y_antropologia\/entre_folklore_y_antropologia\/143?inline=1#page=501\" target=\"_blank\" rel=\"noopener\">PDF \u00b7 pp. 500\u2013501<\/a>.<\/li><li id=\"r26-en-s2\">Gerardo Torres Z\u00e1rate. \u00abArquitectura vern\u00e1cula y el paisaje cultural en Puebla, Mexico\u00bb. En Christoph Machat (ed.), <em>Conservation and Rehabilitation of Vernacular Heritage: The Cultural Landscape of the Wendland Circular Villages<\/em>, ICOMOS, LXVII, primera edici\u00f3n 2018, pp. 42\u201350; especially pp. 44\u201345. ISBN 978-3-943164-46-6. <a href=\"https:\/\/www.icomos.de\/data\/pdf\/lxvii-0420-1848-53.pdf#page=45\" target=\"_blank\" rel=\"noopener\">ICOMOS \u00b7 PDF<\/a>.<\/li><\/ol><\/details><p class=\"geo-cite\"><strong>How to cite:<\/strong> Instituto Internacional de Cultura del Totonacapan. \u00abSantiagos, Pilatos and Tocotines: when dance also tells a story\u00bb. R26 \u00b7 Landscape and knowledge. <a href=\"https:\/\/totonacapan.com\/santiagos-pilatos-y-tocotines-cuando-la-danza-tambien-cuenta-una-historia\/#r26-en\">https:\/\/totonacapan.com\/santiagos-pilatos-y-tocotines-cuando-la-danza-tambien-cuenta-una-historia\/#r26-en<\/a>.<\/p><aside class=\"geo-related\"><h3>Continue reading<\/h3><ul><li><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/quetzalin-y-voladores-dos-danzas-que-no-se-explican-con-una-sola-imagen\/#r18-en\">Quetzal\u00edn and Voladores: two dances beyond a single image<\/a><\/li><li><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/el-musico-que-hace-posible-la-danza\/#r21-en\">The musician who makes the dance possible<\/a><\/li><li><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/#indice-articulos-es\">Complete index of articles and topics<\/a><\/li><\/ul><\/aside><\/div><\/article><\/details><details class=\"r26-full-language\" id=\"r26-fr-full\"><summary>Fran\u00e7ais \u00b7 Santiagos, Pilatos et Tocotines \u00b7 article int\u00e9gral<\/summary><article class=\"geo-study r26-study\" lang=\"fr\" id=\"r26-fr\"><header><p class=\"geo-kicker\">R26 \u00b7 Paysage et savoirs \u00b7 Xochitl\u00e1n, Sierra Norte de Puebla<\/p><h2>Santiagos, Pilatos et Tocotines : quand la danse raconte aussi une histoire<\/h2><p class=\"geo-deck\">Derri\u00e8re un costume, il y a un r\u00f4le \u00e0 apprendre. Deux \u00e9tudes sur Xochitl\u00e1n permettent d\u2019\u00e9couter les paroles de la danse, de distinguer ses ensembles musicaux et de parcourir les espaces qui la rendent possible.<\/p><nav aria-label=\"Parcours de lecture\"><a href=\"#r26-fr-s1-text\">Un village, plusieurs dates<\/a><a href=\"#r26-fr-s3-text\">Deux distributions, des histoires diff\u00e9rentes<\/a><a href=\"#r26-fr-sources\">Sources et confrontation<\/a><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/#indice-articulos-es\">Tous les articles<\/a><\/nav><\/header><div class=\"geo-body\"><p>Le visiteur retient souvent les costumes ; la communaut\u00e9 peut aussi retenir les paroles. Une \u00e9tude ethnographique de Jos\u00e9 de Jes\u00fas Montoya et Gabriel Moedano sur Xochitl\u00e1n, dans la Sierra Norte de Puebla, a enregistr\u00e9 des danses dramatiques de Santiagos ou Pilatos et de Tocotines comportant des relaciones, ou parties dialogu\u00e9es, en nahuatl. Elle d\u00e9crit aussi les musiciens et les instruments de certaines danses. C\u2019est une entr\u00e9e peu habituelle dans l\u2019histoire de la repr\u00e9sentation dans la r\u00e9gion : on danse et on raconte, on \u00e9coute et on apprend un r\u00f4le.<\/p><section id=\"r26-fr-s1-text\"><h2>Un village, plusieurs dates<\/h2><p>Xochitl\u00e1n de Vicente Su\u00e1rez se trouve dans la Sierra Norte de Puebla. Pour entrer dans son histoire dans\u00e9e, il faut suivre deux horloges : celle de la f\u00eate et celle du document. La note initiale de Montoya et Moedano distingue les recherches socio\u00e9conomiques de 1968 des mat\u00e9riaux sur la religion et le folklore recueillis, pour la plupart, par Moedano en 1961. Les danses rel\u00e8vent de ce second ensemble. La r\u00e9\u00e9dition de l\u2019UNAM en 2024 les rend accessibles aujourd\u2019hui ; elle ne transforme pas ces observations en enqu\u00eate r\u00e9cente. <a href=\"#r26-fr-s1\">[1]<\/a><\/p><p>La bibliographie du m\u00eame recueil date l\u2019article original de 1971 et le situe dans le tome II des Anales del INAH portant le mill\u00e9sime 1969. Il s\u2019agit de diff\u00e9rentes couches de l\u2019histoire \u00e9ditoriale, et non de dates d\u2019observation interchangeables. Cette distinction accompagne ici la lecture des pratiques d\u2019autrefois.<\/p><\/section><section class=\"rr-plate\" aria-label=\"La date de la source compte aussi\"><p class=\"geo-kicker\">01 \u00b7 Lire les dates<\/p><h2>La date de la source compte aussi<\/h2><div class=\"rr-three\"><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">01<\/span><h3>1961 \/ 1968<\/h3><p>Mat\u00e9riaux de folklore principalement de 1961 ; enqu\u00eate socio\u00e9conomique de 1968.<\/p><\/div><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">02<\/span><h3>1969 \/ 1971<\/h3><p>Tome des Anales portant le mill\u00e9sime 1969 ; r\u00e9f\u00e9rence bibliographique de l\u2019article dat\u00e9e de 1971.<\/p><\/div><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">03<\/span><h3>2018 \/ 2024<\/h3><p>\u00c9tude du paysage culturel publi\u00e9e en 2018 ; r\u00e9\u00e9dition UNAM du texte ancien en 2024.<\/p><\/div><\/div><p class=\"rr-piece-note\">Sch\u00e9ma \u00e9ditorial fond\u00e9 sur les sources cit\u00e9es. Il d\u00e9crit des t\u00e9moignages historiques pr\u00e9cis, sans reconstituer costumes, chor\u00e9graphie ou itin\u00e9raire actuel. <a href=\"#r26-fr-s1\">[1]<\/a><\/p><\/section><section id=\"r26-fr-s2-text\"><h2>Les paroles aussi se r\u00e9p\u00e8tent<\/h2><p>Dans ce contexte, une relaci\u00f3n d\u00e9signe la partie parl\u00e9e ou dialogu\u00e9e d\u2019une repr\u00e9sentation. Reconna\u00eetre un personnage de l\u2019ext\u00e9rieur n\u2019est qu\u2019un d\u00e9but : il y a quelque chose \u00e0 dire, un moment pour intervenir et d\u2019autres personnes avec qui se coordonner. L\u2019\u00e9tude signale des dialogues en nahuatl, \u00e9galement \u00e9crit n\u00e1huat ou nahua dans ses pages, pour plusieurs r\u00e9pertoires. Elle ne reproduit toutefois aucun livret complet des Santiagos ou des Tocotines. Nous savons qu\u2019il y avait des paroles ; une liste de personnages ne permet pas d\u2019en retrouver les phrases. <a href=\"#r26-fr-s1\">[1]<\/a><\/p><p>Une \u00e9tude ult\u00e9rieure de Gerardo Torres Z\u00e1rate, publi\u00e9e en 2018, d\u00e9crit des enfants et des adolescents apprenant les pas et les r\u00e9pliques. Elle situe aussi les r\u00e9p\u00e9titions d\u2019abord au palais municipal, puis chez le mayordomo. La transmission appara\u00eet comme une pratique organis\u00e9e : apprendre un r\u00f4le demande du temps, des partenaires et des lieux. Ce r\u00e9cit compl\u00e8te l\u2019ancien document ; il ne d\u00e9montre pas que chaque texte soit rest\u00e9 inchang\u00e9. <a href=\"#r26-fr-s2\">[2]<\/a><\/p><\/section><section id=\"r26-fr-s3-text\"><h2>Deux distributions, des histoires diff\u00e9rentes<\/h2><p>Montoya et Moedano appellent Pilatos ou Santiagos un m\u00eame ensemble d\u00e9crit \u00e0 Xochitl\u00e1n. Ils \u00e9num\u00e8rent Santiago Mayor, Ca\u00edn, Sabario, Alchere\u00f3n, Alf\u00e9rez, Beberio, Porteros, Centorio et Rey Pilato. Cette \u00e9quivalence locale ne doit pas devenir une r\u00e8gle pour toutes les communaut\u00e9s. Un nom de danse peut r\u00e9unir plusieurs versions. <a href=\"#r26-fr-s1\">[1]<\/a><\/p><p>Les Tocotines ont une autre distribution dans la source : Cort\u00e9s, Malinche, Alvarado, Moctezuma, caciques et vassaux. Ces noms ouvrent un horizon de conqu\u00eate et de rapports de pouvoir. Mais la liste ne dit pas qui a le dernier mot, comment chaque personnage est interpr\u00e9t\u00e9 ni ce que le d\u00e9nouement signifie pour la communaut\u00e9. Il faudrait pour cela le texte d\u2019une version pr\u00e9cise et les explications de ses participants. <a href=\"#r26-fr-s1\">[1]<\/a><\/p><p>Un petit d\u00e9tail rend le document particuli\u00e8rement pr\u00e9cieux : l\u2019informateur n\u2019a pas pu identifier Beberio. Les auteurs ont conserv\u00e9 cette lacune. Ils ont aussi not\u00e9 des correspondances locales \u00e9tonnantes, comme l\u2019association de Ca\u00edn \u00e0 un disciple du Christ. Il ne s\u2019agit pas d\u2019une affirmation d\u2019histoire biblique que le lecteur devrait accepter, mais d\u2019un t\u00e9moignage sur la mani\u00e8re dont cet informateur expliquait les r\u00f4les. Distinguer le nom, l\u2019explication locale et l\u2019interpr\u00e9tation du chercheur permet d\u2019enqu\u00eater sans corriger silencieusement la voix recueillie.<\/p><\/section><section class=\"rr-plate\" aria-label=\"Trois fa\u00e7ons d\u2019accompagner une danse\"><p class=\"geo-kicker\">02 \u00b7 \u00c9couter<\/p><h2>Trois fa\u00e7ons d\u2019accompagner une danse<\/h2><div class=\"rr-three\"><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">01<\/span><h3>Santiagos \/ Pilatos<\/h3><p>Fl\u00fbte + tambour \u00e0 deux peaux<\/p><p>Pitero et cajero : deux fonctions d\u00e9crites.<\/p><\/div><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">02<\/span><h3>Tocotines<\/h3><p>Guitare + violon<\/p><p>La distribution comprend Cort\u00e9s, Malinche et Moctezuma.<\/p><\/div><div class=\"rr-card\"><span class=\"rr-number\" aria-hidden=\"true\">03<\/span><h3>Quetzales<\/h3><p>Fl\u00fbte de roseau + petit tambour<\/p><p>Une m\u00eame personne joue des deux instruments.<\/p><\/div><\/div><p class=\"rr-piece-note\">Sch\u00e9ma \u00e9ditorial fond\u00e9 sur les sources cit\u00e9es. Il d\u00e9crit des t\u00e9moignages historiques pr\u00e9cis, sans reconstituer costumes, chor\u00e9graphie ou itin\u00e9raire actuel. <a href=\"#r26-fr-s1\">[1]<\/a><\/p><\/section><section id=\"r26-fr-s4-text\"><h2>\u00c9couter change le regard<\/h2><p>Pour les Santiagos\/Pilatos, le document distingue un pitero jouant de la fl\u00fbte et un cajero jouant d\u2019un tambour \u00e0 deux peaux : deux fonctions musicales. Pour les Tocotines, il mentionne guitare et violon. Chez les Quetzales du m\u00eame inventaire, une seule personne joue de la fl\u00fbte de roseau et d\u2019un petit tambour. Trois configurations qu\u2019une photographie de costume ne permet pas d\u2019entendre. <a href=\"#r26-fr-s1\">[1]<\/a><\/p><p>Cette diff\u00e9rence compte pour comprendre l\u2019apprentissage : coordonner une entr\u00e9e musicale, alterner une intervention parl\u00e9e ou soutenir les pas d\u2019un groupe ne sont pas exactement la m\u00eame t\u00e2che. C\u2019est notre lecture de l\u2019organisation d\u00e9crite, et non une transcription de r\u00e9p\u00e9titions observ\u00e9es par l\u2019Institut.<\/p><\/section><figure><img src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/0\/06\/Capilla_de_la_Virgen_de_Guadalupe%2C_Xochitl%C3%A1n.jpg\" alt=\"Fa\u00e7ade de la chapelle de la Vierge de Guadalupe \u00e0 Xochitl\u00e1n, avec deux tours en pierre sous un ciel bleu.\" width=\"1024\" height=\"683\" loading=\"lazy\" decoding=\"async\"><figcaption>Chapelle de la Vierge de Guadalupe, Xochitl\u00e1n de Vicente Su\u00e1rez \u00b7 Esparta Palma \u00b7 25 juillet 2008. Photographie de contexte territorial, sans recadrage ; elle ne repr\u00e9sente pas l\u2019atrium de San Bartolom\u00e9 et ne documente pas la danse. <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Capilla_de_la_Virgen_de_Guadalupe,_Xochitl%C3%A1n.jpg\" target=\"_blank\" rel=\"noopener\">Provenance<\/a> \u00b7 <a href=\"https:\/\/creativecommons.org\/licenses\/by\/2.0\/\" target=\"_blank\" rel=\"noopener\">CC BY 2.0<\/a>.<\/figcaption><\/figure><section id=\"r26-fr-s5-text\"><h2>L\u2019atrium fait partie de la repr\u00e9sentation<\/h2><p>Torres Z\u00e1rate aborde la f\u00eate de San Bartolom\u00e9 \u00e0 travers les relations entre architecture et vie collective. Le parcours relie maison, rue, atrium, \u00e9glise et autel ; il revient ensuite dans l\u2019atrium pour les danses, puis \u00e0 la maison. L\u2019auteur d\u00e9crit neuf ensembles partageant cet espace pendant quatre jours, avec des emplacements et des \u00e9l\u00e9ments de repr\u00e9sentation distincts. L\u2019organisation ne consiste donc pas seulement \u00e0 disposer d\u2019une place vide : savoir o\u00f9 se tenir en fait aussi partie. <a href=\"#r26-fr-s2\">[2]<\/a><\/p><p>Dans ce r\u00e9cit, les pr\u00e9paratifs comprennent v\u00eatements, nourriture, musiciens, fleurs et cierges. La danse r\u00e9unit des travaux qui restent souvent hors du cadre photographique. La maison du mayordomo et l\u2019atrium ne sont pas de simples d\u00e9cors : ils aident \u00e0 comprendre ce qui soutient une c\u00e9l\u00e9bration. Le sch\u00e9ma de cette page r\u00e9sume cette s\u00e9quence document\u00e9e ; ce n\u2019est ni un circuit touristique ni un plan exact.<\/p><\/section><section class=\"rr-plate\"><p class=\"geo-kicker\">03 \u00b7 Espace partag\u00e9<\/p><h2>De la maison \u00e0 l\u2019atrium, puis retour<\/h2><ol class=\"r26-process\"><li><span>1<\/span><strong>Maison<\/strong><\/li><li><span>2<\/span><strong>Rue<\/strong><\/li><li><span>3<\/span><strong>Atrium<\/strong><\/li><li><span>4<\/span><strong>\u00c9glise et autel<\/strong><\/li><li><span>5<\/span><strong>Atrium : danses<\/strong><\/li><li><span>6<\/span><strong>Retour \u00e0 la maison<\/strong><\/li><\/ol><p class=\"rr-piece-note\">Sch\u00e9ma \u00e9ditorial fond\u00e9 sur les sources cit\u00e9es. Il d\u00e9crit des t\u00e9moignages historiques pr\u00e9cis, sans reconstituer costumes, chor\u00e9graphie ou itin\u00e9raire actuel. <a href=\"#r26-fr-s2\">[2, p. 45]<\/a><\/p><\/section><section id=\"r26-fr-s6-text\"><h2>Deux \u00e9tudes, deux regards<\/h2><p>L\u2019\u00e9tude ancienne se termine en interpr\u00e9tant la modernisation comme un rapprochement des mod\u00e8les occidentaux et en consid\u00e9rant certaines pratiques traditionnelles comme des obstacles au changement. Torres Z\u00e1rate organise son analyse autour du patrimoine, de la transmission et des rapports entre espace b\u00e2ti et espace v\u00e9cu. Ces regards orientent aussi les questions pos\u00e9es. Conserver les donn\u00e9es de la premi\u00e8re \u00e9tude n\u2019oblige pas \u00e0 adopter ses jugements sur les communaut\u00e9s. <a href=\"#r26-fr-s1\">[1]<\/a>, <a href=\"#r26-fr-s2\">[2]<\/a><\/p><p>Les inventaires ne co\u00efncident pas non plus en tout point. Le texte ancien signale la disparition d\u2019un groupe de Voladores ; Torres inclut les Voladores parmi les neuf danses qu\u2019il d\u00e9crit. Cette comparaison ouvre des questions sur les changements, les r\u00e9apparitions et les p\u00e9riodes observ\u00e9es. Elle ne suffit ni \u00e0 dater une reprise ni \u00e0 \u00e9tablir une continuit\u00e9 ininterrompue. De m\u00eame, le nom Los Negros dans un r\u00e9pertoire ne d\u00e9termine pas \u00e0 lui seul l\u2019identit\u00e9 d\u00e9mographique ou afro-mexicaine des participants.<\/p><p>Ces pages permettent cependant de voir une histoire plus riche qu\u2019un d\u00e9fil\u00e9 de costumes : r\u00f4les, paroles, sons, apprentissage et espaces partag\u00e9s. Une prochaine extension devra \u00e9couter des musiciens et des transmetteurs pr\u00e9cis, avec leur accord, et documenter les versions qu\u2019ils pratiquent aujourd\u2019hui. Ces \u00e9changes locaux et une photographie d\u2019archive de la danse \u00e0 la provenance v\u00e9rifi\u00e9e restent \u00e0 r\u00e9aliser. Cette \u00e9dition pr\u00e9sente une recherche documentaire, sans pr\u00e9tendre \u00e0 des entretiens qui n\u2019ont pas eu lieu.<\/p><\/section><details id=\"r26-fr-sources\"><summary>Sources et confrontation<\/summary><p>Question de recherche : que permet de conna\u00eetre une description historique de danses dialogu\u00e9es, et comment une \u00e9tude de l\u2019espace festif en modifie-t-elle la lecture ? Hypoth\u00e8se de travail : la repr\u00e9sentation r\u00e9unit parole, musique, apprentissage et organisation spatiale. Les deux sources l\u2019\u00e9tayent \u00e0 partir d\u2019objets et de p\u00e9riodes diff\u00e9rents ; elles ne prouvent pas la permanence de chaque livret.<\/p><div class=\"geo-table-wrap\"><table><thead><tr><th scope=\"col\">Question et sources<\/th><th scope=\"col\">Apport des \u00e9l\u00e9ments documentaires<\/th><th scope=\"col\">Confrontation, interpr\u00e9tation et v\u00e9rification \u00e0 poursuivre<\/th><\/tr><\/thead><tbody><tr><td data-label=\"Question et sources\">Quand les pratiques ont-elles \u00e9t\u00e9 observ\u00e9es ? <a href=\"#r26-fr-s1\">[1]<\/a>, p. 459 et r\u00e9f\u00e9rence p. 559 ; <a href=\"#r26-fr-s2\">[2]<\/a>, colophon et p. 44\u201345.<\/td><td data-label=\"Apport des \u00e9l\u00e9ments documentaires\"><a href=\"#r26-fr-s1\">[1]<\/a> distingue les mat\u00e9riaux de 1961 et de 1968 ; sa r\u00e9\u00e9dition date de 2024. <a href=\"#r26-fr-s2\">[2]<\/a> est publi\u00e9 pour la premi\u00e8re fois en 2018 et renvoie \u00e0 une \u00e9tude de l\u2019auteur de 2009 pour la s\u00e9quence spatiale.<\/td><td data-label=\"Confrontation, interpr\u00e9tation et v\u00e9rification \u00e0 poursuivre\">Publication et observation ne sont pas confondues. Pr\u00e9ciser chaque \u00e9pisode de <a href=\"#r26-fr-s2\">[2]<\/a> demanderait ses carnets de terrain ; le texte n\u2019est pas pr\u00e9sent\u00e9 comme un recensement de 2026.<\/td><\/tr><tr><td data-label=\"Question et sources\">Transmet-on des paroles avec les pas ? <a href=\"#r26-fr-s1\">[1]<\/a>, p. 500\u2013501 ; <a href=\"#r26-fr-s2\">[2]<\/a>, p. 45.<\/td><td data-label=\"Apport des \u00e9l\u00e9ments documentaires\"><a href=\"#r26-fr-s1\">[1]<\/a> signale des dialogues en nahuatl. <a href=\"#r26-fr-s2\">[2]<\/a> d\u00e9crit des jeunes apprenant pas et r\u00e9pliques.<\/td><td data-label=\"Confrontation, interpr\u00e9tation et v\u00e9rification \u00e0 poursuivre\">Les sources convergent sur la dimension verbale, sans \u00e9tablir l\u2019identit\u00e9 du texte entre g\u00e9n\u00e9rations. Il faudrait des versions dat\u00e9es, des enregistrements autoris\u00e9s et la relecture de locuteurs.<\/td><\/tr><tr><td data-label=\"Question et sources\">Les r\u00e9pertoires sont-ils \u00e9quivalents ? <a href=\"#r26-fr-s1\">[1]<\/a>, p. 500\u2013501.<\/td><td data-label=\"Apport des \u00e9l\u00e9ments documentaires\">Santiagos\/Pilatos et Tocotines ont des distributions et accompagnements diff\u00e9rents. L\u2019\u00e9quivalence Pilatos\/Santiagos est situ\u00e9e \u00e0 Xochitl\u00e1n.<\/td><td data-label=\"Confrontation, interpr\u00e9tation et v\u00e9rification \u00e0 poursuivre\">La distinction est interne \u00e0 la source ; ce n\u2019est pas un d\u00e9saccord invent\u00e9 entre auteurs. Une comparaison r\u00e9gionale devrait identifier chaque communaut\u00e9 et version.<\/td><\/tr><tr><td data-label=\"Question et sources\">Une distribution explique-t-elle l\u2019histoire ? <a href=\"#r26-fr-s1\">[1]<\/a>, p. 501.<\/td><td data-label=\"Apport des \u00e9l\u00e9ments documentaires\">L\u2019informateur propose des correspondances mais laisse Beberio sans identification. Celle de Ca\u00edn est une interpr\u00e9tation locale recueillie.<\/td><td data-label=\"Confrontation, interpr\u00e9tation et v\u00e9rification \u00e0 poursuivre\">T\u00e9moignage et v\u00e9rification historique restent distincts. Le passage ne contient pas de livret complet et ne permet pas d\u2019inventer des dialogues ou le sens du d\u00e9nouement.<\/td><\/tr><tr><td data-label=\"Question et sources\">Le r\u00e9pertoire a-t-il chang\u00e9 ? <a href=\"#r26-fr-s1\">[1]<\/a>, p. 500 ; <a href=\"#r26-fr-s2\">[2]<\/a>, p. 45.<\/td><td data-label=\"Apport des \u00e9l\u00e9ments documentaires\">Le document ancien indique qu\u2019un groupe de Voladores n\u2019existait plus ; le texte ult\u00e9rieur inclut les Voladores parmi neuf danses.<\/td><td data-label=\"Confrontation, interpr\u00e9tation et v\u00e9rification \u00e0 poursuivre\">Ces documents saisissent des moments diff\u00e9rents. Ils ne permettent pas \u00e0 eux seuls de dater une r\u00e9apparition. Il faudrait des archives locales et des t\u00e9moignages situ\u00e9s.<\/td><\/tr><tr><td data-label=\"Question et sources\">Comment chaque auteur consid\u00e8re-t-il la tradition ? <a href=\"#r26-fr-s1\">[1]<\/a>, p. 504\u2013505 ; <a href=\"#r26-fr-s2\">[2]<\/a>, p. 44\u201345.<\/td><td data-label=\"Apport des \u00e9l\u00e9ments documentaires\"><a href=\"#r26-fr-s1\">[1]<\/a> utilise un cadre de modernisation et d\u2019assimilation occidentale ; <a href=\"#r26-fr-s2\">[2]<\/a> insiste sur le patrimoine, la transmission et l\u2019espace partag\u00e9.<\/td><td data-label=\"Confrontation, interpr\u00e9tation et v\u00e9rification \u00e0 poursuivre\">Le regard influe sur l\u2019interpr\u00e9tation. Cet article conserve les donn\u00e9es v\u00e9rifiables sans adopter des jugements d\u00e9ficitaires sur les communaut\u00e9s.<\/td><\/tr><\/tbody><\/table><\/div><p>P\u00e9rim\u00e8tre de lecture : les passages indiqu\u00e9s de la r\u00e9\u00e9dition UNAM et de l\u2019article de Torres Z\u00e1rate ont \u00e9t\u00e9 consult\u00e9s, ainsi que leurs notes et r\u00e9f\u00e9rences pertinentes. La r\u00e9\u00e9dition donne acc\u00e8s au texte historique ; elle ne remplace pas une transcription locale actuelle. Aucun terrain, entretien ou portrait personnel n\u2019a \u00e9t\u00e9 r\u00e9alis\u00e9. La photographie de contexte est sous licence ouverte ; les photographies du volume ICOMOS ne sont pas reproduites, leurs droits \u00e9tant r\u00e9serv\u00e9s.<\/p><h3>R\u00e9f\u00e9rences et localisation des \u00e9l\u00e9ments documentaires<\/h3><ol><li id=\"r26-fr-s1\">Jos\u00e9 de Jes\u00fas Montoya B. &amp; Gabriel Moedano N. \u00abEsbozo anal\u00edtico de la estructura socioecon\u00f3mica y el folklore de Xochitl\u00e1n, Sierra Norte de Puebla\u00bb. <em>Anales del INAH<\/em>, 7\u00aa \u00e9poca, t. II (1969), pp. 257\u2013299; referencia de 1971 en la recopilaci\u00f3n. <em>Entre el folklore y la antropolog\u00eda. Las voces de Gabriel Moedano Navarro<\/em>, UNAM, 2024: pp. 459 (nota 1), 500\u2013501, 504\u2013505 y 559. <a href=\"https:\/\/editorialiia.unam.mx\/omp\/index.php\/publicaciones\/catalog\/book\/folklore_y_antropologia\" target=\"_blank\" rel=\"noopener\">UNAM \u00b7 cat\u00e1logo<\/a> \u00b7 <a href=\"https:\/\/editorialiia.unam.mx\/omp\/index.php\/publicaciones\/catalog\/download\/folklore_y_antropologia\/entre_folklore_y_antropologia\/143?inline=1#page=501\" target=\"_blank\" rel=\"noopener\">PDF \u00b7 pp. 500\u2013501<\/a>.<\/li><li id=\"r26-fr-s2\">Gerardo Torres Z\u00e1rate. \u00abArquitectura vern\u00e1cula y el paisaje cultural en Puebla, Mexico\u00bb. En Christoph Machat (ed.), <em>Conservation and Rehabilitation of Vernacular Heritage: The Cultural Landscape of the Wendland Circular Villages<\/em>, ICOMOS, LXVII, primera edici\u00f3n 2018, pp. 42\u201350; notamment pp. 44\u201345. ISBN 978-3-943164-46-6. <a href=\"https:\/\/www.icomos.de\/data\/pdf\/lxvii-0420-1848-53.pdf#page=45\" target=\"_blank\" rel=\"noopener\">ICOMOS \u00b7 PDF<\/a>.<\/li><\/ol><\/details><p class=\"geo-cite\"><strong>Pour citer:<\/strong> Instituto Internacional de Cultura del Totonacapan. \u00abSantiagos, Pilatos et Tocotines : quand la danse raconte aussi une histoire\u00bb. R26 \u00b7 Paysage et savoirs. <a href=\"https:\/\/totonacapan.com\/santiagos-pilatos-y-tocotines-cuando-la-danza-tambien-cuenta-una-historia\/#r26-fr\">https:\/\/totonacapan.com\/santiagos-pilatos-y-tocotines-cuando-la-danza-tambien-cuenta-una-historia\/#r26-fr<\/a>.<\/p><aside class=\"geo-related\"><h3>Poursuivre la lecture<\/h3><ul><li><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/quetzalin-y-voladores-dos-danzas-que-no-se-explican-con-una-sola-imagen\/#r18-fr\">Quetzal\u00edn et Voladores : deux danses au-del\u00e0 d\u2019une seule image<\/a><\/li><li><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/el-musico-que-hace-posible-la-danza\/#r21-fr\">Le musicien qui rend la danse possible<\/a><\/li><li><a href=\"https:\/\/totonacapan.com\/totonacapan\/investigaciones-del-totonacapan\/#indice-articulos-es\">Index complet des articles et des th\u00e8mes<\/a><\/li><\/ul><\/aside><\/div><\/article><\/details>\n","protected":false},"excerpt":{"rendered":"<p>Espa\u00f1ol \u00b7 texto completoEnglish \u00b7 full articleFran\u00e7ais \u00b7 article int\u00e9gral R26 \u00b7 Paisaje y saberes \u00b7 Xochitl\u00e1n, Sierra Norte de Puebla Santiagos, Pilatos y Tocotines: cuando la danza tambi\u00e9n cuenta una historia Detr\u00e1s de un traje hay un papel que aprender. Dos estudios sobre Xochitl\u00e1n permiten escuchar las palabras de la danza, distinguir sus m\u00fasicas [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1865","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1865","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=1865"}],"version-history":[{"count":3,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1865\/revisions"}],"predecessor-version":[{"id":1869,"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/1865\/revisions\/1869"}],"wp:attachment":[{"href":"https:\/\/totonacapan.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1865"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}