Mexica Tiahui

Aztec Regalia by ZTLI Designs, Photo by Bruce Davis

Background Information

After the Spanish conquest, the Mexica (Aztecs) were forbidden to play their drums, the huehuetl and the teponaztli. Those who were caught lost their hands. The legend tells us that today Concheros play with mallets out of respect for all those who lost their hands. After a time, the Chichemecas in San Miguel de Allende were allowed to dance outside the church on special holidays.

The name Concheros was derived by the practice of playing armadillo guitars. The shell of the armadillo is a called a concha. The traditions of the Concheros are also called Danza Azteca, Danza de la Conquista, and Danza Chichimeca. The danzantes are considered descendants of the native pre-Hispanic population and the rituals that survived were altered to accommodate Christianity.

The most vigorous traditions exist in the states of Guanajuato, Querétaro, Tlaxcala, Hidalgo, San Luis Potosí, Puebla, Morelos, y el Distrito Federal. Today the performance of Azteca falls into various categories: the Christian Concheros; the Mexicayotl who practice a modern adaptation of the old spiritual beliefs; those who dance for tourists, and students who want to study and appreciate the Mexica culture.

In this project students will

Explore the Conchero dance traditions

Research the history of the Mexica (Aztecs)

Create an original choreography to an Aztec poem

Write a bilingual introduction for the performance

Perform both interpretive and traditional projects

Design a stage set for the Aztec performance

Design costumes based on Aztec archaeological artifacts

The Central Problem for the Mexica Tiahui Project

From recent archaeological discoveries and from preserved traditions, can students piece together the beauty and spirit of the Aztec civilization and the cultural contributions that gave birth to modern Mexico? (It is of the utmost importance that the central problem not be left in the past.)

The Mexica Tiahui Projects relates strongly to the third strand of the TEKS:

Historical /Cultural Heritage: Understanding dance in culture and historical contexts is fundamental to dance. Students will increase awareness of their and others’ heritage thereby helping them to better participate in a diverse society.

In this project the student will demonstrate an understanding of

Culture

History

Artistic Diversity

An explicit listing of the big ideas

There is a relationship between culture, social order, myths, world-view, and the art (dance) of a period.
The traditional dances of the Aztecs are an expression of their world-view.
The Aztecs valued eloquent speech that addressed significant ideas, metaphors, and truth.

Interdisciplinary Learning Goals

The student will deepen his or her understanding and appreciation of the Aztec culture through an interdisciplinary investigation incorporating specific topics related to:

Dance

The history of the Mexica (Aztecs)

Legends, myths, symbols, and religion

Sociology

Education

Aztec Literature

Aztec Cuisine

Geography

Language

Aztec Regalia by ZTLI Designs, Photo by Bruce Davis

The Set of Tasks

A set of tasks that students are expected to be able to do by the end of the sequence, derived from the leaning goals and based directly on the key questions and topics. The tasks become the basis for the learning activities in the sequence and for the assessment.

Perform three traditional Aztec dances

Create a dance to an Aztec poem using interpretive and traditional movements.

List ten Aztec foods still enjoyed today

Write bilingual reports on the Mexicas’ contributions to modern day Mexico

Design a stage set

Although the focus of The Mexica Tiahui Project is the Cultural/Historical strand of the TEKS, the project will also challenge students in the other three strands of the Dance TEKS

You will notice that the TEKS in each section covered range from Dance I to Dance IV. The TEKS are written in a linear format, but the process of invention follows no such order. I have attempted to predict the TEKS that might be covered in the Mexica Tiahui Project. As Wolfgang Amadus Mozart wrote, "Whence and how they come, I know not; nor can I force them." Allow your students to go as far as their creativity will allow.

Costumes by Alta Gracia Valverde, Photo by Bruce Davis

Dance TEKS covered in the study of the Traditional Aztec Dance

Memorize movement sequences I3(A)

Exhibit strength and endurance in dance training & performance II2(C)

Analyze the characteristics of a dance from a different culture I4(A)

Describe similarities and differences in steps, styles and traditions III4(A)

Dance TEKS covered in creating an interpretive dance to an Aztec poem.

Identify the effective use of dance elements I3(B).
Improvise and demonstrate original movement I3(C).
Improvise using the concept of abstraction II3(C).
Create an original dance using improvisation and other choreographic processes IV3(C).
Communicate non-verbaly using dance movement IV1(C).

Additional dance TEKS covered in working on the project

Demonstrate basic kinesthetic and spatial awareness of others I1(A)

Demonstrate respect for other when working in groups II1(B)

Communicate using anatomical and dance terminology II2(A)

Practice warm-up and cool-down techniques I 2(C

Dance TEKS covered in the for performance of the project

Perform dance phrases from a different time period I4(B)

Perform a dance from a different culture II4(A)

Demonstrate a range of dynamics in movement III3(B)

Perform memorized sequences with rhythmic accuracy III 3(A)

Demonstrate the connection between emotions, ideas, and movement III1(C )

Dance TEKS covered in the evaluation of the project

Incorporate movement vocabulary when identifying qualities and discussing meaning I5(A)

Distinguish commonalties between dance and other subjects I5(D)

Compare characteristics and qualities of a variety of dancesIII5(B)

Analyze the role of dance and other fine arts in society IV5(B)

Analyze the effect of technology on dance IV5(C )

Costume by Alta Gracia Valverde, Photo by Bruce Davis

Costumes

Costumes worn today by dancers are generally based on fantasy. The attire and symbols used by an individual were established by the social class he or she was born into and the day and time of his birth. The costume vocabulary lists the Nahuatl, the Spanish, and English terms.

potzahuanco- a stylized maxtli worn by men that reaches to the knees symbolizing fertilization when it touches the earth. Today some women are using the potzahuanco over their dresses. This is not appropriate because the maxtli and potzahuanco are masculine fertization symbols.

	Performance Assessment An ongoing and continuous process that allows the teacher and students to monitor progress and assess achievement at various points throughout the project. This could include Performance and technical evaluations Written rubric evaluations Self-reflection Portfolio review Peer adjudication Teacher/student interviews Video analysis Guided observation
	Aztec Regalia by ZTLI Designs, Photo by Bruce Davis Create a Rubric A perfect score of 4 is an example of high quality work with obvious thoroughness, thought, practice, or research A score of 3 reflects above average work A score of 2 reflects a basic understanding A score of 1 reflects performance below level of expectation
	Example of a rubric evaluation for the element of weighted movement Demonstrates weighted movement with full intensity and commitment Demonstrates weighted movement but with inconsistent intensity Demonstrates weighted movement in some steps but not others Demonstrates the steps but without a weighted quality
	Example of a rubric evaluation for the use of abstraction in the choreography for the Aztec poem. I hesitate to include more examples because a rubric should be very specific to the individual group taking into consideration their particular circumstance. I like to include my students in the process of developing the rubric. Demonstrates the eloquent use of abstraction capturing the essence of the idea Demonstrates the use of abstraction in both predictable and creative forms Demonstrates the use of abstraction in a predictable forms without originality Demonstrates ideas with literal interpretation or with the use of sign language The performance of the poem was dedicated by Ballet Folklórico Jaguara to Alta Valverde, our costume designer, on the death of her mother.
Jaguara dancers abstract the piercing of the blood letting ritual.	Peom Choreographed and Performed Ma Oc On Icniuhtiua / Let us Leave Some Songs By Nezahaulcoyotl Xopancuicalt, Tlatoani of Texcoco, who died in 1474 Translated by Georges Baudot So may friendship reign! So, let us meet one another! With these flowers, alone, We will raise his song. We will to His home, Only our words will live here, on earth! Ohuaya! Ohuaya! We will only leave, when we go, Our sorrow, our song; Ohuaya! He alone gives us knowledge, He alone is true, the song. We will go to His home, Only our words will live here, on earth! Ohuaya! Ohuaya! As if they were precious jades! We collect your virtuous songs, Life Giver, And also a token of friendship. Ah! May we take advantage of this on earth, here! Ohuaya! Ohuaya! Therefore, rejoice! You, our friends! Aya! Let us embrace each other, here! Huiya! On a flowery earth, we live, here. Nobody will be able to put an end To the flower and the song, They remain in His home, the Life Giver. Ah! My flowers will never wilt, Ah! My songs will never finish, I raise them. I am only a poet. Jade colored drums resound Rain of flowery dew has fallen into the earth. Do we come in vain, Do we pass in vain, on earth? Let leave at least flowers, at least song! Ohuaya! This poem is part of an opera Cantos Aztecas (Songs of the Aztecs) performed on the foot of the pyramid of the sun at Teotihuacan by the Philharmonic Orchestra of Mexico conducted by Lalo Schifrin and staring by Placido Domingo. It is a 1999 recording by Aleph Records, Inc. phone # 888-287-8812 www.shrifrin.com Published by Scherzo Music Inc. 1998. The CD contains six Aztec poems. The students selected the poem Let Us Leave Some Songs. The poem is about bloodletting. To understand the poem students will need to read about the Aztec religious beliefs. The poem is about blood letting, a tradition of the Aztecs.
	Interdisciplinary Learning Goals Connections to other concepts within the discipline and to related ideas and skills. As the historical/cultural project unfolds connections are made to the other strands of the TEKS--perception, expression, and evaluation. Connections are also made to other disciplines. Pre-established questions help to direct research.
	Photo by Bruce Davis, costumes by Alta Gracia Valverde Interdisciplinary Learning Goals—History Who were the Aztecs? From where did they migrate? How was their empire founded? What effect did the process of founding their empire have on its citizens? How did this process affect the way the Aztecs danced? How did the Spanish conquest affect the Aztec dance? Interdisciplinary Learning Goals--Mythology What was the Aztec creation myth? How is the creation myth related to human sacrifices and cannibalism? How do this myth relate to the Aztec dances we have studied? How did their beliefs relate to their dancing? Interdisciplinary Learning Goals—Astronomy How was the Aztec calendar different from ours today? In what way was the calendar related to astrology? When is the next cataclysm? What role does this calendar play today in the performance of the traditional dances? What role did Venus and the Tianquiztli (Pleiades) play in the Mexica culture? Interdisciplinary Learning Goals—Religion There are two types of Concheros today, Mexicayotl and Christian, what are the differences between them? How did the Catholic religion affect the dance of the Concheros? How did the Aztecs affect the Catholic religion of modern Mexico? Interdisciplinary Learning Goals—Language Express thoughts, feelings, opinions and ideas in a journal Recognize propaganda Interpret the meaning of a poem Translate language from English and Spanish and Spanish to English Apply phonetics to pronunciation of Nahuatl Interdisciplinary Learning Goals – International Cuisine Where did the Aztecs grow their food? What foods did the Aztecs enjoy? What Aztec foods are symbolic of Mexican food today? Interdisciplinary Learning Goals—Psychology and sociology What were some of the codes of conduct? What were the social positions in Tenochtitlan? What values and beliefs governed daily life? What were the social roles or men and women? How did the social rules dictate what the Mexica could wear? Why did men and women dress differently in Aztec society? Other learning Goals can be devised based on student interest? For Example: What elements of modern architecture in Mexico can be traced back to the to the Aztecs? What customs and traditions can be traced back to the Mexica? What social behavior today can be traced back to the Mexica?
	Aztec Regalia by ZTLI Designs, Photo by Bruce Davis Reflections As I stated in the Interdisciplinary introduction, projects of this type are built step by step, day by day, and year by year. Year one (2000-01), we learned the Aztec dance from the Amalia Hernandez Ballet Folklórico de Mexico video which has traditional steps arranged in an untraditional manner. We purchased ayoytls (anklets) and sonajas. We did not have enough for all, so some students wore anklets on the right ankle and other on the left ankle. We also used the maracas from our Veracruz suit so everyone would have a shaker. Year two (2001-02), we purchased additional ayoytls and sonajas. I attended the ANGF conference in Veracruz where I had an opportunity to study with a Capitan and learn traditional rhythms. I taught Aguila Blanca to the students. Toffenee Taylor-Pope, a modern dancer who is a teacher at Molina and I worked with a group of students to choreograph Let Us Leave Some Songs to the spoken voice. Our dress maker's mother passed away, so the choreography was first presented without costumes. During her many trips to Mexico, she purchased a huehuetl (the large drum pictured above) for us. During the summer, I took percussion lessons. Year three (2002-03), we studied La Malinche, the young Aztec woman who served as a translator to Hernán Cortés. We add another dance, Malinalli, also from the ANGF Veracruz conference. We finally get costumes. Through the Junior League Grant for Innovations in Education, I buy three teponaztli drums, ayotl (turtle shells), tekiztli (conch shells cut to use as trumpets) and I received additional percussion training. We are able to add musical accompaniment to all our dances including the poem. We added a processional and improved the opening blessing. Plans for year four (2003-04), included purchasing sandals for outdoor performances and parades, professional quality costumes for the female dancers, and jaguar belt buckles for the boys maxtlis. We planned to take part in three parades. Although we would have preferred traditional footwear, we settled on the sandals that were on sale at Academy sports supply store. All plans for the year were short lived. On the Friday before school began, the principal called a meeting of all club sponsors. The school secretary had been indicted. The Dallas Morning News reported, ". . . at least $50,000 and possibly more than $100,00 in students' money was missing." The loss to the dance program was $17,000 representing two years of savings. Because we were to be featured in the ribbon cutting ceremony for the opening of the Latino Cultural Center, a big event in our community that would be covered by every newspaper and television station, the principal gave me permission to the purchase sandals. It would be seven months before I was reimbursed the expense. In April of 2005, funds from the school store were transferred to the dance account to replace the lost grant money from the Washington Mutual Grant awarded Dec. 2002 and the Disney Grant awarded in May 2004. It was too late in the year to design and construct costumes. With a small Grant for the Junior League of Dallas we received instruction from In March 2006, Ballet Folklorico Jaguara finally donned Aztec regalia designed and constructed by IZTLI designs for the Folklorico Festival of Texas competition where the group won a second place competing against the best folklórico groups in the United States. The group danced with amazing power knowing that they danced not only for themselves but for the students from the classes of 2001 through 2005 whose dedication allowed them the privilege of traditional Aztec regalia.
	I sincerely hope that this unit provides you with inspiration and a vision on the depth of learning that can be achieved through the art of dance. If you have any questions, suggestions, comments, concerns, or positive stories to share please do not hesitate to call 972-571-6368 after 2:00 CST or email at lizgallego@hawkpci.net