Mechica: Indigenous Origin of the Chicano Hybrid Identity
Rolando J. Diaz Southeastern Oklahoma State University
Both Homi Bhabha and Gloria Anzaldúa speak of a “third” element that emerges as a “structure of ambivalence” (Bhabha 217) and as a “new consciousness” (Anzaldúa 102). Bhabha develops his concept of culture in terms of class, gender, and race, whereas Anzaldúa bases her concept of culture in terms of fluid, and transient borders. The term Mechica and the Chicano hybrid identity (historical, cultural, and linguistic) are presented here as an amalgamation of various components that when brought together result in something new, something distinct, and something altogether greater than the sum of its parts. The native roots of the Chicano can be traced back to the Aztecs and to other indigenous people in what would become Mexico. His European roots were introduced by the arrival of Christopher Columbus in 1492. The complexity of the Chicano is that he is both the conqueror and the conquered. He is an amalgamation of both the indigenous and the European. He speaks the language of conquest (Spanish in Mexico; English in the United States), yet holds on to remnants of Nahuatl. This paper will approach the Chicano identity as hybrid of the Indigenous/Native American and the European/Spanish patrimonies.
David Keys explains how a major study into the Aztecs’ hieroglyphic writing system suggests it was one of the most sophisticated scripts that humanity has ever produced
@KurlyTlapoyawa@Tlakatekatlwww.chimalli.orgIn this episode, we cast a critical eye on the organization known as the Movimiento Confederado de la Cultura de Anahuac, or MCRCA, and its founder Rodolfo Nieva Lopez. Now, if you have never heard of Nieva Lopez or the MCRCA before today, you are probab…
— Read on www.buzzsprout.com/1720405/8159401-episode-1-rise-of-the-mexikayotl
Itztlakoliuhki-Ixkimilli translates to Curved Point of Obsidian or Knife Eye Bundle. Some say that this is a mistranslation, and that the correct interpretation is “Everything Has Become Bent by Means of Coldness”, or “Plant-Killer-Frost”.
Itztlakoliuhki in the Codex Borgia
During the creation of the Fifth World, Itztlakoliuhki was once, Tlawizkalpantekuhtli (Tlahuizcalpantecuhtli) Lord of the Dawn, or Venus as the Morning Star. The sun deity, Tonatiuh demanded obedience and offerings from the other celestials before he would move. Enraged at his demands, Tlawizkalpantekuhtli as the Evening Star shot an arrow at Tonatiuh but his arrow missed. Tonatiuh threw the arrow back at Tlawizkalpantekuhtli, piercing him through the head.
At that moment, the Lord of the Dawn was punished by Tonatiuh and transformed into Itztlakoliuhki, deity of obsidian, coldness, frost, ice, cold, winter, punishment, human misery, objectivity, blind-folded justice and blindness. That is why it is said he represents matter in its lifeless state. Although in my opinion I would say he was the deity of justice. According to the Codex Telleriano-Remensis, an adulterer, was put to death in front of Itztlakoliuhki’s image.
Itztlakoliuhki rules over the 12th trecena Ze-Kuetzpallin. He is associated with the Night and the North. Itztlakoliuhki’s iconography depicts a straw tlaxpanoni (broom) in his hand, symbolizing the function of this wintry death, as the cleaner of the path for new life to emerge. Meaning that for 120 days, Itztlakoliuhki would sweep the grounds with snow. He also has a blind-fold because it is said he had his sight taken from him for attacking Tonatiuh.
Although there is common belief between many Native-American cultures that the eyes are the insight. In Mesoamerican creation stories it is said that humans were removed of their full sight because of their transgressions.
Itztlakoliuhki then became the deity that would take the sight of humans who would abuse consumption of food or carnal lust. He would take the sight of children whose parents were adulterous. He wore a yakameztli (moon shaped nose ring) which expresses the following lunar features of the deities: dominion over death, periodic regeneration, fertility, and power over vegetation, especially the maguey. He was in charge of punishing to death those who became drunk from pulque, the ritual drink from Tomoanchan. Itztlakoliuhki is depicted in the Codex Borgia with the dead man Kuextekatl who is being punished for getting drunk, and stripping naked in public. He is displayed with obsidian because of its association with atonement, self sacrifice, and divination.
Itztlakoliuhki exists in a triality consisting of his two variants-birth, life, and himself as death.
Birth is represented by Tezkatlipoka. Like Tlazoteotl (teteoh of love and purity) Tezkatlipoka, was also one that would hear confessions from humans. Itztlakoliuhki would then punish them accordingly. It is also said that Itztlakoliuhki was not just Tezkatlipoka but the Black Tezkatlipoka and was Zenteotl-Tezkatlipoka who was associated with maize.
In Mesoamerican cultures, maize was also a representation of the flesh. It was a part of all creation stories. Maize was central for the health and wellbeing of humans. Kuetzpallin was the caretaker of the corn and if anyone killed a lizard they would be punished with infertility.
Life is represented by Itzpapalotl who is Itztlakoliuhki’s female counterpart.
The residence of Itztlakoliuhki, was a steep hill covered with sharp obsidians that thwarted the dead as they climbed the place; having climbed and descended the hill, the region was divided into two sections with strong winds, indispensable for the dead to shed all their belongings such as clothing, jewellery, weapons and personal offal or internal organs. These winds were so strong that they raised stones and could cut the corpses of the dead with multiple flint tips as they walk through.
Codex Borbonico
Codex Borgia
Codex Dresden
Codex Telleriano-Remensis
Codex Vaticanus A 3738, 3773
Popol Vuh
Tonalamatl Aubin
Andrews, J. Richard (2003). Introduction to Classical Nahuatl (Revised ed.). Norman: University of Oklahoma Press.
Brotherston, G. (2003). The Year In The Mexican Codices: The Nature And Structure Of The Eighteen Feasts. Estudios de Cultura Náhuatl, 34, 67.
The atlatl, is a weapon that was used throughout the Mesoamerican territory.
The ancient Mexican Atlatl
The atlatl, is a weapon that was used throughout the Mesoamerican territory. However, its design, materials and decoration differs between its different cultures and different eras. Not equal to the Purepecha atlatl from the post-Classic to a Maya atlatl from the Teotihuacan classic. One of the last designs of spear throwers, was undoubtedly the Nawa (Nahua) of the basin of Mexico. This design is characterized by the use of a crosspiece or crossbar with which you can grip with your fingers. This type of spear throw, appears in codices, like the Boturini or the Florentine, where it can be seen that it was the type of atlatl with which the Mexikah confronted the conquerors. Archeologically, this type of spearmen appears as miniature in the offerings of the main temple, characteristically painted Maya blue, which symbolically links it to turquoise, fire and probably to the Xiuhkoatl symbolic weapon of the deity Wuitzilopochtli (Huitzilopochtli), which in some codices appears represented as an atlatl.
