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Inti : na cultura Inca, pai SoL; Pachamama : mãe Terra . Divindades que me inspiram a criar, sou nutrida pela mitologia que evoca a criação.

Peyote : Lophophora williamsii faz parte da cultura de diversos povos ameríndios, do Norte e Central como os Huichol e Tarahumare, grupos esses que fazem peregrinações anuais para a coleta do cacto. Essas jornadas percorrem longas distâncias e são permeadas por ritos de cura e purificação, tanto do indivíduo como da comunidade ♥️

Médico brinda atención médica en zonas de difícil acceso en la Sierra Tarahumara. Chihuahua, Chih. (ADN/Staff) - En el corazón de la Sierra Tarahumar...

Art and Magic

(extracts from "Ancient Art and Ritual" book by Jane Harrison, 1913)

Art and ritual, it is quite true, have diverged today.  Yet these two divergent developments have a common root, and neither can be understood without the other. It is at the outset one and the same impulse that sends a man to church and to the theatre.

Ancient Greece theater practices were very different from modern culture both in terms of meaning and scheduling of performances. The theatre at Athens is not open night by night, nor even day by day. Dramatic performances take place only at certain high festivals of Dionysos in winter and spring. It is, again, as though the modern theatre was open only at the festivals of the Epiphany and of Easter. Our modern, at least our Protestant, custom is in direct contrast. We tend on great religious festivals rather to close than to open our theatres. Another point of contrast is in the time allotted to the performance. We give to the theatre our after- dinner hours, when work is done, or at best a couple of hours in the afternoon. The theatre is for us a recreation. The Greek theatre opened at sunrise, and the whole day was consecrated to high and strenuous religious attention. During the five or six days of the great Dionysia, the whole city was in a state of unwonted sanctity, under a taboo. To distrain a debtor was illegal; any personal assault, however trifling, was sacrilege.

Ancient art and ritual are not only closely connected, not only do they mutually explain and illustrate each other, but they actually arise out of a common human impulse.

Art, Plato tells us in a famous passage of the Republic, is imitation. The artist imitates natural objects, which are themselves in his philosophy but copies of higher realities. All the artist can do is to make a copy of a copy, to hold up a mirror to Nature in which "are reflected sun and heavens and earth and man,"anything and everything. Never did a statement so false, so wrong-headed, contain so much suggestion of truth. But first its falsehood must be grasped, and this is the more important as Plato's misconception in modified form lives on today. A painter not long ago thus defined his own art: "The art of painting is the art of imitating solid objects upon a flat surface by means of pigments." A sorry life - work! Few people today, perhaps, regard art as the close and realistic copy of Nature; photography has at least scotched, if not slain, that error; but many people still regard art as a sort of improvement on or an "idealization" of Nature. It is the part of the artist, they think, to take suggestions and materials from Nature, and from these to build up, as it were, a revised version. It is only by studying those rudimentary forms of art that are closely akin to ritual that we come to see how utterly wrong-headed is this conception.

Take the representations of Osiris, for example - the mummy rising bit by bit from his bier. Can anyone maintain that art is here a copy or imitation of reality? However "realistic" the painting, it represents a thing imagined not actual. There never was any such person as Osiris, and if there had been, he would certainly never, once mummified, have risen from his tomb. There is no question of fact, and the copy of fact, in the matter. Moreover, had there been, why should anyone desire to make a copy of natural fact? The whole "imitation" theory, to which, and to the element of truth it contains, errs, in fact, through supplying no adequate motive for widespread human energy. It is probably this lack of motive that has led other theorizes to adopt the view that art is idealization. Man with pardonable optimism desires, it is thought,  to improve on Nature.

Among the Huichol Indians, if the people fear a drought from the extreme heat of the sun, they take a clay disk, and on one side of it they paint the "face" of Father Sun, a circular space surrounded by rays of red and blue and yellow which are called his "arrows," for the Huichol sun, like Ph?bus Apollo, has arrows for rays. On the reverse side, they will paint the progress of the sun through the four quarters of the sky. The journey is symbolized by a large cross - like figure with a central circle for midday. Round the edge are beehive-shaped mounds; these represent the hills of earth. The red and yellow dots that surround the hills are cornfields. The crosses on the hills are signs of wealth and money. On some of the disks birds and scorpions are painted, and on one are curving lines which mean rain. These disks are deposited on the altar of the god - house and left, and then all is well. The intention might be to us obscure, but a Huichol Indian would read it thus: "Father Sun with his broad shield (or 'face') and his arrows rises in the east, bringing money and wealth to the Huichols. His heat and the light from his rays make the corn to grow, but he is asked not to interfere with the clouds that are gathering on the hills."

Now is this art or ritual? It is both. It's a presentation of the strong inner desire, it's a sculptured prayer.  

Ritual then involves imitation; but does not arise out of it. It desires to recreate an emotion, not to reproduce an object. A rite is, indeed, a sort of stereotyped action, not really practical, but yet not wholly cut loose from practice, a reminiscence or anticipation of actual practical doing; it is fitly called by the Greeks a dromenon , "a thing done."

At the bottom of art, as its motive power and its mainspring, lies, not the wish to copy Nature or even improve on her-- the Huichol Indian does not vainly expend his energies on an effort so fruitless-- but rather an impulse shared by art with ritual, the desire, that is, to utter, to give out a strongly felt emotion or desire by representing, by making or doing or enriching the object or act desired. The common source of the art and ritual of Osiris is the intense, worldwide desire that the life of Nature which seemed dead should live again. This common emotional factor it is that makes art and ritual in their beginnings well-nigh indistinguishable. Both, to begin with, copy an act, but not at first for the sake of the copy. Only when the emotion dies down and is forgotten does the copy become an end in itself, a mere mimicry.  

Anthropologists who study the primitive peoples of today find that the worship of false gods, bowing "down to wood and stone," bulks larger in the mind of the hymn-writer than in the mind of the savage. We look for temples to heathen idols; we find dancing- places and ritual dances. The savage is a man of action. Instead of asking a god to do what he wants to be done, he does it or tries to do it himself; instead of prayers he utters spells. In a word, he practices magic, and above all, he is strenuously and frequently engaged in dancing magical dances. When a savage wants sun or wind or rain, he does not go to church and prostrate himself before a false god; he summons his tribe and dances a sun dance or a wind dance or a rain dance. When he would hunt and catch a bear, he does not pray to his god for strength to outwit and outmatch the bear, he rehearses his hunt in a bear dance.

Here, again, we have some modern prejudice and misunderstanding to overcome. Dancing is to us a light form of recreation. But among the Tarahumares of Mexico the word   nolávoa  means both "to work" and "to dance." An old man will reproach a young man saying, "Why do you not go and work?" ( nolávoa ).  He means "Why do you not dance instead of looking on?"

Magical dancing still goes on in Europe today. In Swabia and among the Transylvanian Saxons it is a common custom, says Dr. Frazer,  for a man who has some hemp to leap high in the field in the belief that this will make the hemp grow tall. When Macedonian farmers have done digging their fields they throw their spades up into the air and, catching them again, exclaim, "May the crop grow as high as the spade has gone." There is little possible doubt as to the practical reason of this mimic dancing.

These are rituals of sympathetic magic in a form of an utterance and action, a discharge of emotion and longing.  When doing magic it is not enough only to utter emotion, it must be represented, that is, we must in some way reproduce or imitate or express the thought which is causing us emotion.

The Greek word for a rite, as already noted, is  dromenon , "a  thing done" - and the word is full of instruction. The Greek had realized that to perform a rite you must do something, that is, you must not only feel something but express it in action, or, to put it psychologically, you must not only receive an impulse,  you must react to it. The word for rite, dromenon , "thing done," arose, of course, not from any psychological analysis, but from the simple fact that rites among the primitive Greeks were things done, mimetic dances and the like. It is a fact of cardinal importance that their word for theatrical representation, drama, is own cousin to their word for rite,  dromenon ;  drama also means "thing done." Greek linguistic instinct pointed plainly to the fact that art and ritual are near relations.

When representation (rite) is repeated there grows up a kind of abstraction which helps the transition from ritual to art. When the men of a tribe return from  a hunt, a journey, a battle, or any event that has caused them keen and pleasant emotion, they will often re - act their doings round the campfire at night to an attentive audience of women and young boys. The cause of this worldwide custom is no doubt in great part the desire to repeat a pleasant experience; the battle or the hunt will not be re-enacted unless it has been successful. Together with this must be reckoned a motive seldom absent from human endeavour, the desire for self - exhibition, self - enhancement. But in this re-enactment, we see at once, lies the germ of history and of commemorative ceremonial, and also, oddly enough, an impulse emotional in itself begets a process we think of as characteristically and exclusively intellectual, the process of abstraction. The savage begins with the particular battle that actually did happen; but, it is easy to see that if he re-enacts it again and again the particular battle or hunt will be forgotten, the representation cuts itself loose from the particular action from which it arose, and becomes generalized, as it were abstracted. Like children, he plays not at a funeral, but at "funerals," not at a battle, but at battles; and so arises the war- dance, or the death -dance, or the hunt- dance.

Plato never saw a savage war- dance or a hunt- dance or a rain - dance, and it is not likely that, if he had seen one, he would have perceived it art at all. But he must often have seen a class of performances very similar, to which unquestionably he would give the name of art. He must have seen plays like those of Aristophanes, with the chorus dressed up as Birds or Clouds or Frogs or Wasps, and he might undoubtedly have claimed such plays as evidence of the rightness of his definition. Here were men imitating birds and beasts, dressed in their skins and feathers, mimicking their gestures. In other words, if we look at the beginning of things, we find an origin and an impulse much deeper, vaguer, and more emotional.

file:///C:/Users/obvia/Downloads/Tarahumar%20(Adaptaci%C3%B3n%20del%20M%C3%A9todo%20Assimil)%20by%20Llaguno%20Jos%C3%A9%20A.%20(z-lib.org).pdf

https://lucina00.files.wordpress.com/2010/03/tarahumara.pdf

https://issuu.com/culturasetnicas.sc/docs/libro_un_d_a_con_mis_abuelos_biling_e_v10

https://www.sil.org/system/files/reapdata/75/32/52/75325241013070358386972589243638401821/tar_diccionario.pdf

http://www.questconnect.org/tara_dictionary.htm#cuerpo

https://issuu.com/web-uach/docs/diccionario_y_gramatica_tarahumares

Joven lingüista ralámuli imparte taller virtual para enseñanza de su idioma Flor Esther Morales participa como instructora en el Curso Virtual de Idioma Tarahumar de la Secretaría de Cultura, con presencia simultánea en los municipios de Juárez, Cuauhtémoc, Delicias y Chihuahua

La secretaria de Cultura, Concepción Landa, inauguró hoy los trabajos del taller para la elaboración del Manual "Ralámuli escrito para todas y todos", un proyecto interinstitucional en el que participan la Secretaría de Cultura, la Comisión Estatal para los Pueblos Indígenas ; ICHEA Instituto Chihuahuense de Educación para los Adultos); la Dirección de Atención a la Diversidad y Acciones Transversales (DADYAT) y el Departamento de Educación Indígena, ambas de los Servicios Educativos del Estado de Chihuahua ; y el Centro De Investigación Y Docencia El objetivo es lograr la producción de textos en un modelo de tarahumar escrito inteligible en todas las áreas dialectales, así como la elaboración de un manual de escritura para la lengua tarahumar que permita la elaboración de materiales didácticos para ser utilizados en escuelas con presencia de niñas y niños ralámuli. (en Chihuahua, Chihuahua) https://www.instagram.com/p/BvhppewBhqN/?utm_source=ig_tumblr_share&igshid=17ftcf85r5bza

Don Patricio Parra, un profesor tarahumar de la comunidad de Sisoguichi cuenta cómo descubrió, cuando era niño, la existencia de la escritura. La situación de su familia, hacia los años 30, era tan precaria que vivían, como otros tarahumaras de la época, en una simple cueva. Su padre con la intención de conseguir algo de dinero se trasladaba a los pueblos de Creel y San Juanito, de los que regresaba llevándoles manzanas y naranjas. Para los niños aquellas frutas eran algo más que alimento, y juntos vigilaban el paisaje a la espera de ver signos que anunciaran el regreso del padre. 'En una ocasión', dice Don Patricio, 'lo vimos aparecer entre los pinos y mis hermanos corrieron para abrazarlo y recibir las frutas que nos llevaba, pero yo en cambio me quedé observando el envoltorio que cargaba en los brazos. Era como el pico de un pájaro alargado y puntiagudo y estaba hecho de un material que yo nunca había visto. Al abrazar a mis hermanos mi padre deshizo el envoltorio y lanzo al aire aquel material que las ráfagas de viento fueron desdoblando y arrastrando consigo. Yo corrí para alcanzarlo y al extenderlo frente a mí descubrí miles de pequeños dibujos que parecían pequeñas hormigas negras. ¿Qué es esto? Le pregunté a mi padre. Son palabras, me respondió. Cómo van a ser palabras estos dibujos, volví a preguntar. Entonces mi padre me vio a la cara y me dijo: has de saber que los blancos dibujan sus palabras y ponen en estas hojas lo que quieren decir, de manera que cuando otra persona llega y sabe entender los dibujos también entienden muy bien lo que dijo el que las dibujó; a todo esto se le llama leer. Como embrujado me quedé viendo los dibujos y le dije: Pues yo no sé cómo le vas a hacer pero a mí me tienes que mandar a donde enseñen a dibujar las palabras, porque un día yo quiero dibujar completas todas las palabras del tarahumar'

Servín, Enrique. Documentación lingüística emergente. Del dato al hecho hay mucho trecho.

(H) Miner, Body Ritual Among the Nacirema

I just found out that Nacirema spelled in reverse reveals American and places the perspective of others as if one were investigating a native society that is based upon a primitive set of rituals and practices. I think Miner is attempting to describe a culture and society that is located in the territory between the Canadian Creel the Yaqui and Tarahumare of Mexico, and the Carib and Arawak of the Antilles. The culture of the Nacimera’s is controlled and largely organized by a highly developed market economy, and that is steeped in ritual that revolves around the human body.

GPS: Good Peyote Spirit

GPS: Good Peyote Spirit

“In consciousness dwells the wondrous, with it man attains the realm beyond the material, and the Peyote tells us, where to find it.”

—Antonin Artaud, The Tarahumars (1947)

  Cuentan las historias que el peyote llegó a la gente en tiempos difíciles. Había hambre, enfermedades y escasez. Entonces los jefes de la tribu enviaron a algunos hombres a cazar en lugares lejanos. Fueron días duros y los…

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José Rosas Aispuro entrega obras de pavimentación en Durango

José Rosas Aispuro entrega obras de pavimentación en Durango José Rosas Aispuro entrega obras de pavimentación en Durango El gobernador de Durango, José Rosas Aispuro, entregó obras de pavimentación del tramo carretero del Camino al Tarahumar, en el municipio de Tepehuanes. La obra consta de 22 km, y fue posible con una inversión de un millón de pesos, entre recurso estatal y del Fondo Minero, un claro ejemplo de coord... SUSCRIBETE ES GRATIS!! https://www.youtube.com/channel/UCiFBDYHiRQ5ph4nGKYhyIQg?sub_confirmation=1 SUSCRIBETE para no perderte nada, aqui seguiremos activos Dando a conocer mas de HUNI News , deja tu comentario y tu like, nos motiva a seguir adelante Hasta la Proxima!! #José #Rosas #Aispuro #entrega #obras #de #pavimentación #en #Durango

Body Ritual among the Nacirema

“ The anthropologist has become so familiar with the diversity of ways in which different people behave in similar situations that he is not apt to be surprised by even the most exotic customs. In fact, if all of the logically possible combinations of behavior have not been found somewhere in the world, he is apt to suspect that they must be present in some yet undescribed tribe. The point has, in fact, been expressed with respect to clan organization by Murdock. In this light, the magical beliefs and practices of the Nacirema present such unusual aspects that it seems desirable to describe them as an example of the extremes to which human behavior can go.

Professor Linton first brought the ritual of the Nacirema to the attention of anthropologists twenty years ago, but the culture of this people is still very poorly understood. They are a North American group living in the territory between the Canadian Cree, the Yaqui and Tarahumare of Mexico, and the Carib and Arawak of the Antilles. Little is known of their origin, although tradition states that they came from the east. According to Nacirema mythology, their nation was originated by a culture hero, Notgnihsaw, who is otherwise known for two great feats of strength—the throwing of a piece of wampum across the river Pa-To-Mac and the chopping down of a cherry tree in which the Spirit of Truth resided.

Nacirema culture is characterized by a highly developed market economy which has evolved in a rich natural habitat. While much of the people's time is devoted to economic pursuits, a large part of the fruits of these labors and a considerable portion of the day are spent in ritual activity. The focus of this activity is the human body, the appearance and health of which loom as a dominant concern in the ethos of the people. While such a concern is certainly not unusual, its ceremonial aspects and associated philosophy are unique.

The fundamental belief underlying the whole system appears to be that the human body is ugly and that its natural tendency is to debility and disease. Incarcerated in such a body, man's only hope is to avert these characteristics through the use of ritual and ceremony. Every household has one or more shrines devoted to this purpose. The more powerful individuals in the society have several shrines in their houses and, in fact, the opulence of a house is often referred to in terms of the number of such ritual centers it possesses. Most houses are of wattle and daub construction, but the shrine rooms of the more wealthy are walled with stone. Poorer families imitate the rich by applying pottery plaques to their shrine walls.

While each family has at least one such shrine, the rituals associated with it are not family ceremonies but are private and secret. The rites are normally only discussed with children, and then only during the period when they are being initiated into these mysteries. I was able, however, to establish sufficient rapport with the natives to examine these shrines and to have the rituals described to me.

The focal point of the shrine is a box or chest which is built into the wall. In this chest are kept the many charms and magical potions without which no native believes he could live. These preparations are secured from a variety of specialized practitioners. The most powerful of these are the medicine men, whose assistance must be rewarded with substantial gifts. However, the medicine men do not provide the curative potions for their clients, but decide what the ingredients should be and then write them down in an ancient and secret language. This writing is understood only by the medicine men and by the herbalists who, for another gift, provide the required charm.

The charm is not disposed of after it has served its purpose, but is placed in the charmbox of the household shrine. As these magical materials are specific for certain ills, and the real or imagined maladies of the people are many, the charm-box is usually full to overflowing. The magical packets are so numerous that people forget what their purposes were and fear to use them again. While the natives are very vague on this point, we can only assume that the idea in retaining all the old magical materials is that their presence in the charm-box, before which the body rituals are conducted, will in some way protect the worshiper.

Beneath the charm-box is a small font. Each day every member of the family, in succession, enters the shrine room, bows his head before the charm-box, mingles different sorts of holy water in the font, and proceeds with a brief rite of ablution. The holy waters are secured from the Water Temple of the community, where the priests conduct elaborate ceremonies to make the liquid ritually pure.

In the hierarchy of magical practitioners, and below the medicine men in prestige, are specialists whose designation is best translated as "holy-mouth-men." The Nacirema have an almost pathological horror of and fascination with the mouth, the condition of which is believed to have a supernatural influence on all social relationships. Were it not for the rituals of the mouth, they believe that their teeth would fall out, their gums bleed, their jaws shrink, their friends desert them, and their lovers reject them. They also believe that a strong relationship exists between oral and moral characteristics. For example, there is a ritual ablution of the mouth for children which is supposed to improve their moral fiber.

The daily body ritual performed by everyone includes a mouth-rite. Despite the fact that these people are so punctilious about care of the mouth, this rite involves a practice which strikes the uninitiated stranger as revolting. It was reported to me that the ritual consists of inserting a small bundle of hog hairs into the mouth, along with certain magical powders, and then moving the bundle in a highly formalized series of gestures.

In addition to the private mouth-rite, the people seek out a holy-mouth-man once or twice a year. These practitioners have an impressive set of paraphernalia, consisting of a variety of augers, awls, probes, and prods. The use of these items in the exorcism of the evils of the mouth involves almost unbelievable ritual torture of the client. The holy-mouth-man opens the client's mouth and, using the above mentioned tools, enlarges any holes which decay may have created in the teeth. Magical materials are put into these holes. If there are no naturally occurring holes in the teeth, large sections of one or more teeth are gouged out so that the supernatural substance can be applied. In the client's view, the purpose of these ministrations is to arrest decay and to draw friends. The extremely sacred and traditional character of the rite is evident in the fact that the natives return to the holy-mouth-men year after year, despite the fact that their teeth continue to decay.

It is to be hoped that, when a thorough study of the Nacirema is made, there will be careful inquiry into the personality structure of these people. One has but to watch the gleam in the eye of a holy-mouth-man, as he jabs an awl into an exposed nerve, to suspect that a certain amount of sadism is involved. If this can be established, a very interesting pattern emerges, for most of the population shows definite masochistic tendencies. It was to these that Professor Linton referred in discussing a distinctive part of the daily body ritual which is performed only by men. This part of the rite includes scraping and lacerating the surface of the face with a sharp instrument. Special women's rites are performed only four times during each lunar month, but what they lack in frequency is made up in barbarity. As part of this ceremony, women bake their heads in small ovens for about an hour. The theoretically interesting point is that what seems to be a preponderantly masochistic people have developed sadistic specialists.

The medicine men have an imposing temple, or latipso, in every community of any size. The more elaborate ceremonies required to treat very sick patients can only be performed at this temple. These ceremonies involve not only the thaumaturge but a permanent group of vestal maidens who move sedately about the temple chambers in distinctive costume and headdress.

The latipso ceremonies are so harsh that it is phenomenal that a fair proportion of the really sick natives who enter the temple ever recover. Small children whose indoctrination is still incomplete have been known to resist attempts to take them to the temple because "that is where you go to die." Despite this fact, sick adults are not only willing but eager to undergo the protracted ritual purification, if they can afford to do so. No matter how ill the supplicant or how grave the emergency, the guardians of many temples will not admit a client if he cannot give a rich gift to the custodian. Even after one has gained and survived the ceremonies, the guardians will not permit the neophyte to leave until he makes still another gift.

The supplicant entering the temple is first stripped of all his or her clothes. In everyday life the Nacirema avoids exposure of his body and its natural functions. Bathing and excretory acts are performed only in the secrecy of the household shrine, where they are ritualized as part of the body-rites. Psychological shock results from the fact that body secrecy is suddenly lost upon entry into the latipso. A man, whose own wife has never seen him in an excretory act, suddenly finds himself naked and assisted by a vestal maiden while he performs his natural functions into a sacred vessel. This sort of ceremonial treatment is necessitated by the fact that the excreta are used by a diviner to ascertain the course and nature of the client's sickness. Female clients, on the other hand, find their naked bodies are subjected to the scrutiny, manipulation and prodding of the medicine men.

Few supplicants in the temple are well enough to do anything but lie on their hard beds. The daily ceremonies, like the rites of the holy-mouth-men, involve discomfort and torture. With ritual precision, the vestals awaken their miserable charges each dawn and roll them about on their beds of pain while performing ablutions, in the formal movements of which the maidens are highly trained. At other times they insert magic wands in the supplicant's mouth or force him to eat substances which are supposed to be healing. From time to time the medicine men come to their clients and jab magically treated needles into their flesh. The fact that these temple ceremonies may not cure, and may even kill the neophyte, in no way decreases the people's faith in the medicine men.

There remains one other kind of practitioner, known as a "listener." This witchdoctor has the power to exorcise the devils that lodge in the heads of people who have been bewitched. The Nacirema believe that parents bewitch their own children. Mothers are particularly suspected of putting a curse on children while teaching them the secret body rituals. The counter-magic of the witchdoctor is unusual in its lack of ritual. The patient simply tells the "listener" all his troubles and fears, beginning with the earliest difficulties he can remember. The memory displayed by the Nacirema in these exorcism sessions is truly remarkable. It is not uncommon for the patient to bemoan the rejection he felt upon being weaned as a babe, and a few individuals even see their troubles going back to the traumatic effects of their own birth.

In conclusion, mention must be made of certain practices which have their base in native esthetics but which depend upon the pervasive aversion to the natural body and its functions. There are ritual fasts to make fat people thin and ceremonial feasts to make thin people fat. Still other rites are used to make women's breasts larger if they are small, and smaller if they are large. General dissatisfaction with breast shape is symbolized in the fact that the ideal form is virtually outside the range of human variation. A few women afflicted with almost inhuman hyper-mammary development are so idolized that they make a handsome living by simply going from village to village and permitting the natives to stare at them for a fee.

Reference has already been made to the fact that excretory functions are ritualized, routinized, and relegated to secrecy. Natural reproductive functions are similarly distorted. Intercourse is taboo as a topic and scheduled as an act. Efforts are made to avoid pregnancy by the use of magical materials or by limiting intercourse to certain phases of the moon. Conception is actually very infrequent. When pregnant, women dress so as to hide their condition. Parturition takes place in secret, without friends or relatives to assist, and the majority of women do not nurse their infants.

Our review of the ritual life of the Nacirema has certainly shown them to be a magic-ridden people. It is hard to understand how they have managed to exist so long under the burdens which they have imposed upon themselves. But even such exotic customs as these take on real meaning when they are viewed with the insight provided by Malinowski when he wrote: ‘Looking from far and above, from our high places of safety in the developed civilization, it is easy to see all the crudity and irrelevance of magic. But without its power and guidance early man could not have mastered his practical difficulties as he has done, nor could man have advanced to the higher stages of civilization.’ “ ~Horace Mitchell Miner, Published in American Anthropologist, vol 58, June 1956.

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Cultura rescatará idiomas de los pueblos nativos

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México.- Para salvar de la extinción los idiomas de los pueblos nativos, Enrique Servín, Jefe del Departamento de Desarrollo Cultural de la Secretaría de Cultura, propuso la creación en Chihuahua de nidos de lenguas. 

Al momento de abordar el tema del Día Internacional de la Lengua Materna, el funcionario dijo que los idiomas que se hablaban en el territorio chihuahuense han ido desapareciendo uno tras otro.

Adicional al guarojío, tepehuán, pima y tarahumar se sabe de otros siete idiomas que se hablaron en el pasado.

La desaparición de los idiomas indígenas ha sido constante a partir del Siglo XVI, cuando llegan a México los primeros españoles y empieza la Conquista.

Según explicó Servín, el idioma concho era hablado por un numeroso grupo de personas en el triángulo que va desde Namiquipa hasta Ojinaga y se extiende hasta Santa Bárbara, en Parral.

“Nos queda únicamente la toponimia, palabras fantasmas que no sabemos muy bien qué significan, pero que le siguen dando forma auditiva, verbal y nominal a nuestro estado. Las palabras Bachimba, Nonoava, Babonoyaba, Tabalaopa y por supuesto la palabra chihuahua, que seguramente también es de origen concho y lamentablemente no sabemos qué significa”, explicó el funcionario.

El investigador ha destacado que el capitán Fernández de Retana calcula a fines del Siglo XVII, que por cada tarahumar hay tres conchos: “El Calculaba un número de 20 mil tarahumaras y de 60 mil conchos, distribuidos en las riberas de los ríos San Pedro, Conchos, Chuvíscar, Sacramento y el Bravo”.

No obstante,  los conchos participaron en dos grandes rebeliones contra los españoles que fueron reprimidas con masacres y sufrieron, de manera muy intensa, las epidemias que trajeron los españoles; sobre todo, la viruela y la tos ferina.

Este próximo sábado 25 de febrero en el municipio de Aldama se celebrará el Día Internacional de la Lengua Materna; por lo que se efectuarán desde la tarde danzas, canto, poesía y rituales tarahumara y apache, y se ofrecerán tamales y bebidas al público asistente habrá una conferencia en relación a los procesos misioneros que desplazaron cultural y lingüísticamente a los indígenas en el actual territorio estatal.

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Presentan libro de haikus en Rarámuri, como parte de la celebración del Día Internacional de la Lengua Materna

** Los micro-poemas escritos por niñas y niños indígenas de Guachochi, fueron publicados en español y en Rarámuri  como parte de un proyecto del Programa de Cultura Infantil Alas y Raíces

Niñas y niños de preescolar acudieron a la presentación del libro “Palabras y Destellos, Haikus tarahumaras”, que se realizó en la Biblioteca Infantil de Chihuahua, en el marco de la celebración del Día Internacional de la Lengua Materna.

La publicación es resultado de un proyecto del Programa de Cultura Infantil Alas y Raíces de la Secretaría de Cultura, llevado a cabo con la intención de promover las lenguas de los pueblos originarios entre la niñez chihuahuense.

Está conformado por una serie de “haikus”, (término japonés para denominar un poema breve), que fueron escritos por niñas y niños de diferentes comunidades del municipio de Guachochi, y traducidos al español y al Rarámuri (tarahumara), por Martín Chávez “Makawi”, reconocido promotor de la cultura indígena de Chihuahua.

Los poemas están acompañados por delicados dibujos, hechos en acuarela por los talentosos ilustradores chihuahuenses Daniel Muñoz y Alexis Esparza, quienes estuvieron presentes en la presentación.

Así, pequeñas historias de ranas, pastizales, osos, ardillas y nubes, son narradas en ambos idiomas, con una bella alusión visual.

El libro fue comentado por Enrique Servín, jefe del Departamento de Culturas Étnicas y Diversidad, quien durante su charla adiestró a las y los pequeños oyentes acerca del idioma tarahumar, que a su vez, receptivos y con gran entusiasmo, aprendieron a decir  pequeñas frases como “yo quiero agua”, en la lengua indígena con mayor número de hablantes en el estado.

“Nos interesa mucho que la niñez en edad preescolar, sean indígenas o no, tengan conocimiento de los que son las lenguas maternas y la importancia de continuar con preservándolas por medio de la lectura y la escritura”, comentó la coordinadora del programa Alas y Raíces en Chihuahua, Blanca Hernández.