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The Nahua of La Huasteca is an indigenous ethnic group of Mexico and one of the Nahua peoples. They live in the mountainous area called La Huasteca which is located in north eastern Mexico and contains parts of the states of Hidalgo , Veracruz and Puebla .
Flying Men starting their dance, Teotihuacan Totonacs of Papantla, Veracruz performing the "voladores" ritual Short video of Voladores ritual dance, Cozumel, MX. The Danza de los Voladores (Spanish pronunciation: [ˈdansa ðe los βolaˈðoɾes]; "Dance of the Flyers"), or Palo Volador (pronounced [ˈpalo βolaˈðoɾ]; "flying pole"), is an ancient Mesoamerican ceremony/ritual still performed ...
The Mexican revolutionary Emiliano Zapata (1879–1919) was likely of mixed Nahua-Spanish heritage, with ancestry going back to the Nahua city of Mapaztlán, in the state of Morelos. [94] Zapata was evidently fluent in Nahuatl and would give speeches in the language to Nahua peasants in hopes of inspiring them to join his cause .
Danza de los Voladores, Dance of the Flyers, is a dance/ceremony/ritual still performed in Mexico today, best known in the Totonicapán area of northern Veracruz and northern Puebla states. It is believed to have originated with the Nahua, Huastec and Otomi peoples in central Mexico, and then spread throughout most of Mesoamerica.
In the Nahua community of Zitlala, Guerrero, the mask for a ceremonial jester is red, with lizards on the cheek and sometimes the nose. [50] Masks to indicate the indigenous in the Tastoanes dance often originally had scorpions painted on them, but evolved to include hooked noses and other grotesque features.
Nahua communities and the Nahuatl language are now the most dominant indigenous influence in La Huasteca, especially in the south and west of the region. The Nahuas dominate the southern part of La Huasteca in over fifty municipalities in San Luis Potosí, Hidalgo and Veracruz, such as Jaltocan and Calnali in Hidalgo, Ixhuatlán de Madero and ...
La Malinche knew how to speak in different registers and tones among certain Indigenous tribes and classes of people. For the Nahua audiences, she spoke rhetorically, formally, and high-handedly. This shift into formality gave the Nahua the impression that she was a noblewoman who knew what she was talking about. [109]
The piece offers a carefully analyzed vision of the Nahua universe without pursuing an archaeological reconstruction or attempting a folklore piece. It proposes a distinct operatic structure that brings new ways to relate the arts, scenically and methodologically, different to the European tradition.