Calling the rain: sowing rites of indigenous peoples in the south
In various Mexican indigenous communities, the call to rain is an essential part of the cycle of giving to the Earth to receive good harvests.
El cerro (2016) by Carlos Eduardo Luna RamírezSecretaría de Cultura
Life is a constant balance between giving and receiving. A rich and abundant harvest comes from the seeds that have received water, sunlight, and nutrients from the fertile soil. It is in this constant exchange that the process of cultivating and harvesting in various indigenous peoples in Mexico is centered.
Ofrenda de elotes a la Cruz Mayor de la serie La fiesta de las cruces y los elotes (2016) by Jonathan Cerón EsparzaSecretaría de Cultura
It would be impossible to integrate the worldview of the more than 60 indigenous peoples that exist in Mexico under a single idea or narrative. However, several peoples agree on the notion of the earth and its elements as living and sentient beings.
Detalle del altar (2016/2016-10) by Alejandro Isael Jiménez SoberanisSecretaría de Cultura
Offerings to the elements are part of a process of exchange between humanity and nature. Rain is above all a necessary element for the harvest; without it, there is no fertile soil and therefore the seed will not grow.
Rain and its manifestations are an important part of this cycle in which the acts of giving and receiving are harmoniously spun to maintain life on earth.
Xita del maíz (2017) by Carlos Antonio Gordillo MuñozSecretaría de Cultura
Throughout Mexican territory, there are several rites to call for rain, such as the Xita Corpus in the State of Mexico or the flyers of Papantla. Now let's see some of the most important that occur in communities in the south of the Republic.
Elaboración de las rodelas florales de la serie Petición de lluvia en el Cerro Sagrado (2016) by Miguel Santiago Espinosa VillatoroSecretaría de Cultura
Ascent to Ch'ul Vits
The petition for rain at Ch'ul Vits, Cerro Sagrado de los Tzotziles de Venustiano Carranza, Chiapas, is an annual, cyclical festival and begins the closest Saturday to May 3, Santa Cruz Day.
Four climbs up the hill are made with donations, offerings, one Saturday for each of the four main neighborhoods of the town.
On the Fridays that precede the ascent up the hill, the Ch' ul poko nichimis made, a sacred ancient flower. The xotol nichim, floral round shields, are formed from May flower or jakalosuch petals, tseman leaves, or purple agave and bracts of madonna lily bulbs, all rolled into cartuchos (cartridges) of choboc or tempisque leaves.
The cartuchos are joined together until they form a round shield in a typical design. There are a total of 25 floral round shields that will be distributed and offered to the Santa Cruz at the summit of the hill. The remaining 11 discs will adorn the Santa Cruz calledMe' bixil , Tía abuela. Both a floral arch and floral cross will be placed before the pilgrims arrive.
Ofrenda a la Tía-abuela de la serie Petición de lluvia en el Cerro Sagrado (2016) by Miguel Santiago Espinosa VillatoroSecretaría de Cultura
The ascent (approximately 1,315 feet) to Ch' ul Vits, Cerro Sagrado, begins at 6 am. The pilgrimage is led by men, representatives of the neighborhood and by women and children, who throughout the ascent are praying accompanied by drum and flute.
A little before reaching the peak, there is the Santa Cruz called Me'bixil, Tia-abuela, in which in the early hours the donations, offering, floral round shields are placed. They stop marching and pray for an hour, as each praying participant leaves a lit, implicit candle at their personal request.
Ofrenda, oración y petición de lluvia en la cúspide del Cerro Sagrado de la serie Petición de lluvia en el Cerro Sagrado (2016) by Miguel Santiago Espinosa VillatoroSecretaría de Cultura
The top of the hill is the main ceremonial center. The men pray in front of the crosses, while standing in front of the morning sun. Offer to Ch'ul a 'alko, "Blessed bow," music, prayer, and rockets. In return they pray to Pagre ch'ul Yos ya nichim ch'ul Jesus Christ Kajual, God the Father and God the Son, that the rains occur in a moderate way and not with storms, lightning or abundant water that could damage the corn and bean crops
Prayers are through Catholic prayers, while requests for rain are made in the Tzotzil language.
Danza de los Tlacololeros 2 by Fernando Óscar MartínSecretaría de Cultura
The dance of the Tlacololeros
The dance of the Tlacololeros is a typical tradition of the communities of the State of Guerrero. Dressed with their colorful masks, wide sombreros and their whip or chirrión, the dancers call for the rain and good harvests.
Legend has it that centuries ago, a tiger rode through the plantations of the communities and destroyed them. Soon after, a man called "El Pitero" arrived in the community because he liked to play the flute and the drum.
Danza de los Tlacololeros by Fernando Óscar MartínSecretaría de Cultura
El Pitero knew that the tiger feared thunder, so he created a whip with the peasants with a chain that emitted a thunder-like sound.
The peasants chased the tiger and drove him away with Pitero's melody and the blows of the chirriones. Since then the dance has been performed to invite the good harvest and invite the rain by emulating its sound.
1 Serie Cha' a Chaak (2016) by Alejandro Resendi GuzmánSecretaría de Cultura
Cha'a Chaak
The cha' a chaak is an old Mayan call for rain ceremony, which was established in the southeast of present-day Mexico and Central America about 3,000 years ago.
2 Serie Cha ' a Chaak (2016) by Alejandro Resendi GuzmánSecretaría de Cultura
Through offerings, the villagers ask the god Chaak for rain. Its linguistic meaning translates into cha'e, to drop or leave and chaak, rain.
3 Serie Cha ' a Chaak (2016) by Alejandro Resendi GuzmánSecretaría de Cultura
The cha 'a chaak fuses mentalities and communicates to the participants (beekeepers, farmers, ranchers and hunters): but what further enriches community cohesion is the permanence of the implicit identity in each participant, who sees their identity in the rite established in his worldview by natural law.
4 Serie Cha ' a Chaak (2016) by Alejandro Resendi GuzmánSecretaría de Cultura
The gratitude, reciprocity and sacred coexistence between the beings who give "holy grace" and the man who receives it.
5 Serie Cha ' a Chaak (2016) by Alejandro Resendi GuzmánSecretaría de Cultura
A dialog between the animist and the real, between the visible and the invisible. Cha' a chaak is a constant communication between man and nature.
Altar para la tierra (2016) by Jorgelina Reinoso NicheSecretaría de Cultura
These are just a few of the many rituals with which the original communities connect with the land, the source of their livelihood. However, in giving and receiving the elements, they also keep alive the traditions of their people and their community.
Dirección General de Culturas Populares, Indígenas y Urbanas
Mardonio Carballo Manuel
Dirección de Cultura Alimentaria
Griselda Tihui Campos Ortiz
Jesús Mendoza Mejía
