The Hierarchy of Traditional Azteca

Danza Groups

Table of Contents

The Dance Circle

The traditional Danza Azteca groups of México are organized as military units. Each group is seen as a unit of warriors who are sworn to defend their peoples faith and traditions against the forces of darkness and evil. This organizational tradition is a mixture of pre-Columbian tradition, as well as a reflection of the Spanish army that organized the indigenous overthrow of the Mexi'ca.
 
Each PALABRA is set up around the person of the CAPITAN or CAPITANA. In the areas near and in the City of MÉXICO-TENOCHTITLAN, as well as in JALISCO, MICHOACAN, TLAXCALA and PUEBLA, the palabra is known as the CUARTEL GENERAL. In the area north of México City, in QUERRETARO, GUANAJUATO,and HIDALGO, the palabra is known as LA MESA. As far as I can tell there are three larger overall "mesas" that in the past (now it is more in theory than in fact) oversaw and disciplined the regional groups. These were known as 1. La Mesa Chichimeca of Queretaro and the area of San Miguel Allende, to Hidalgo. This is currently known as the oldest mesa. It pre-dates the Mesa Azteca of Tenochtitlan, because the modern danza we know as "Azteca" arrived in Mexico city in the late 1890's. The original palabra that came from Queretaro to Mexico City is represented today by "Reliquia General" , an old ESTANDARTE that is still carried out into the batalla.

Each dance circle has its hierarchy, one that is religiously guarded and maintained. This organizational "chart" has kept La Danza Azteca alive for over 480 years. From its earliest roots in Tlaxcala the danza has:

El Capitán or Tla'toani

LA PALABRA or OBLIGACION (the word or obligations) of the Capitán or Capitana is the lifelong commitment to TRABAJAR LA DANZA (to work the medicine which is called La danza). This means to create, organize and nourish the group that will RESPALDAR or pledge allegiance to the Capitán's word.
 
Each Capitán/Capitana must have a ritual place for the ARMAS (weapons or utensils) of la Danza. This place is called the ORATORIO, or prayer room. This ritual space is the physical manifestation of the Capitán/Capitána's commitment to the Danza. Within the Oratorio the danza group keeps their most sacred "weapons". These are the ESTANDARTE (the groups banner or Pamitl), the ALTAR (momoztli), the CONCHAS, and the SANTO XOCHITL (teoxochitl).
 
When a Capitán or Capitana dies, his/her spouse or the eldest child will inherit the Palabra of the Capitán, (In older times, it was usually the eldest male, but La Danza Azteca has always been an equal opportunity employer. In today's times, more and more women inherit or lead their own groups). It is as if the Capitán is still alive, because his/her HEREDERO (inheritor) is representing the Capitán. This is why when a Capitán is a married person, his spouse is automatically called the Capitána, and vice versus.

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Los Generales or Huehue'tla'toani

When a capitán or Capitana has worked their palabra successfully and with respect, some day some of his/her danzantes will leave for various reasons to form their own palabras.
 
If the capitán has been good to his soldiers, the danzantes who form their own group will (and really must) ask their old capitán for recognition and papers of incorporation. These papers include a letter of patent giving the new group recognition as a traditional danza group. They also include permission to LEVANTAR a new estandarte. This recognition is very important.
 
When a new dance circle attends a ceremony, the leaders will be asked -De que palabra vienen? ("from which group do you come from?). When a new dance group leader shows his "lineage" is a traditional one, then all the doors to the other jefes' oratorios are opened. If a new dance group cannot show its lineage, or that it has received recognition from their maestro, then it may not be allowed to participate. It may be allowed to participate, but it will be scrupulously watched to see if the new groups leaders are truly worth the name of jefes or capitanes.
 
During the course of the life a Capitán, he may help form several new groups, each with its own mesa and cuartel. Each new Capitán/Capitana will still owe allegiance to their old jefe.
 
After a time the other jefes in the elder jefe's generation will then look at the work of the original jefe and give him/her the highest honor of the danza: the title of GENERAL DE LA DANZA. Few dnazantes ever reach this level. To be a general, respect must be earned over a lifetime. This respect must be not just from the capitanes that grew from the general's palabra. It must extend to other regions and generales.
 
The generales are the elder statesmen of the danza, they are the ones who organize the great danza ceremonies and who give final recognition to the danza groups.

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El Segundo Capitán Or Yaotachcauh

The SEGUNDO CAPITAN is the person who helps the Capitán carry out his/her ritual obligations. When the Capitán cannot attend a ceremony, performance or a practice, the Segundo Capitán takes over until the Jefe Capitán or his Capitána returns.
 
My research has shown me that the palabra of the Segundo Capitán is neither hereditary nor does the spouse inherit the palabra. This palabra is based solely on MERITOS earned by the individual person. The Segundo Capitán is someone who the Capitán trusts completely. This is a person who knows how the Capitán thinks and feels.
 
Sometimes, when there are no herederos left, or those that are left do not want to carry out their parent's obligation, the segundo capitán then inherits the dance circle. Sometimes a Segundo Capitán leaves the circle and forms his/her own group as part of the CONFORMIDAD of the Primer Capitán.. This is not negative event, because out of this split two groups who are CONFORMES with each other are created.

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Los Sargentos de Marcha or Tlayecoani

There are usually two SARGENTOS DE MARCHA in every group. They are the ones charged with obligación of making sure all the danzantes are following the commands of the Capitanes.
 
Sometimes the Sargentos dress as gorillas, devils or some other monster. They dress this way so they can get people's attention during the danza ceremony. They carry a small whip with which they keep the audience from pressing too close to the dancers. They also use it on those danzantes who are not following the discipline of the ceremony. They are the ones that line up the dancers. They space them according to the needs of the group, the esthetic impact of the dance circle, and according to the Capitán's wishes.
 
These sargentos are also charge with carrying LA DISCIPLINA, the discipline. This is a large whip which represents the power of the conformidad and the power of the Capitán. They carry along with the whips a book or scroll which has in it all the rules of the palabra. In this book the sargentos de marcha write down every good and bad deed committed by the danzantes for future reckoning. In old times danzantes that had broken a danza rule, or been disrespectful were actually whipped by the sargentos. My maestro Florencio Yescas told me in Chalma that he was whipped once for doing something wrong. This punishment was carried out in public in front of the Sanctuario del Señor de Chalma.

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Los Sargentos de los Clarines or Yaocuicani

The SARGENTOS DE LOS CLARINES are the persons who are charged with making sure all the mandolinas, guitar and flutes are tuned and in good condition.They make sure everyone present is participating in the danza or the velación. These sargentos carry with them at all the ceremonies the extra strings, picks and ALABANZEROS that the group needs to fulfill its obligación. They must be musically inclined, and willing to help teach the new danzantes the musical aspect of the dance tradition.

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Las Malinches de Campana or Yaonotzacihuatl

The MALINCHES DE CAMPANA are two women who are charged with using the small bells during the velación, as well as taking care of the CARACOLES (conche shells) used in the danza. These two women are also known as the MALINCHES DEL ALTAR because they are also charged with maintaining the altar in the Oratorio, making sure the ANIMAS, or spirits are always supplied with fresh flowers, holy water and a lit candle. These offerings are donated to the altar by the danzantes, or bought by the Capitán from the monetary proceeds of the group. The Malinches de Campana are the ones who must receive the offerings for the altar when people arrive for the ceremonies being held by the palabra.

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Las Mainches del Copalli or Popochcihuatl

These two women are in charge of taking care of the fire that always burns in the center of la Danza. This fire is the POPOCHCOMITL or POPOCHCAXITL, also known as the SAHUMADOR (incense holder). In the sahumador is burnt the sacred COPALLI or COPAL (Mexican incense resin). No matter what type of danza ceremony, practice, performance or velación is carried out, the sacred Copalli must always be burnt.
 
The Malinches del copal are also known as LAS MALINCHES DE CAMPO because they must make sure that every time the palabra travels to fulfill its obligación, it is well supplied with the charcoal, incense and matches necessary for the ceremonies.
 
The Malinches de Campo or Copalli are the ones who must receive the guests who arrive the ceremonies. They do this by offering the sacred smoke to the guest and to the four directions.

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El Alferes or Yaopanmama

EL ALFERES is the person who is charge of carrying and protecting the ESTANDARTE of the palabra in the ceremony or BATALLA, the battle. The Alferes is in charge of gathering up the visiting jefe's Estandarte so they may go at the very front of the COLUMNAS before the PASO DE CAMINO begins.  

El Alferes is the person who organizes the PRIMER MERITOS that each new danzante or PENITENTE (the penitent) must fulfill. Each new danzante must, as his or her first merito, dance with the estandarte in a full ceremony. This is: 1. To earn their respect in the group. 2. To visually and physically show all danzantes where their loyalties lie. 3. Dancing with a heavy and unyielding banner is hard. It keeps a dancer, especially a young and energetic one, from carrying out those athletic jumps, turns and steps that always impress other dancers, and people in an audience. To dance with an estandarte is to dance in a humble way.  

The Alferes decides how long each person must carry the Estandarte. When dancers tire and need a rest, they can ask the Alferes for permission to hold and REBOLIAR (Wave) the estandarte.  

The Alferes is the person who must carry out the ceremony of unrolling and rolling up the estandarte whenever the Palabra leaves the Oratorio for a ceremony or returns to it.

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The Elders or Los Huehuenches

LOS HUEHUENCHES are the elder danzantes who have danced many years without having sought or attained un RANGO or rank in the danza hierarchy. They are the respected storytellers who keep the history of the Palabra alive. The transmit these rich heritage to the younger generations. Because they have seen many great moments as well as tragic moments, they are the ones that the jefes ask for CONSEJOS (advice) for their people. They are respected and they dance in the innermost circles of the danza, next to the smallest children, the sacred drums, and copalli. 

The elders may not dance as fast or as strong as the younger dancers, but their years of danza, and their understanding of its meaning, give then a certain elegance that the younger dancers can only hope for.

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Los Concheros

These are the danzantes who have danced at least four full years and who have shown they are EN CONFORMIDAD (in agreement) with the palabra of his/her Capitán. In order to reach the rango of Conchero the danzante must be able to do the following:

Los Soldados or Yaoquichtli

The danzantes who have bee dancing over four years but who do not want to or have not been able to attain the above rangos are considered SOLDADOS or soldiers. The majority of the danzantes in México and Aztlan are soldados. They are the dancers that work, are responsible for their families, their communities, and also carry out the danza tradition.

Although they have not attained a rank, they are the heart of the danza. They are the linkage from the past, to the present, and into the future.

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Los Principiantes or Yancuic Tochtli

The persons who have just started their path in the danza are called PRINCIPIANTES, or beginners. In many traditional groups, for four years they must participate in the ceremonies, practices, and performances so they can learn what it means to be dedicated to the CAMINO DE LA CRUZ.  

They must prove to their Capitán and to the rest of the circle that they are following the three sacred parts of the Danza's motto: UNION, CONFORMIDAD Y CONQUISTA. Once they have acomploshed this, they can be considered DANZANTES.

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El Paso de Camino

In olden times, each danzante would step up the ladder of the danza hierarchy during the course of his/her lifetime.  

Today, because society is so fast paced and people are taught to want and get instant gratification, many danzantes want to start at the top of the hierarchy after only a few short months of learning. This is part of the Eurocentric mentality of "I, the individual must have what I want now! I am greater than the sum of the community's parts. My needs must always be first." Because of this childish mentality, many groups start, only to fall apart due to the internal weaknesses of its leaders.  

Many new danzantes confuse choreographic and athletic ability with true knowledge of the ancient traditions. Many things in the Danza have subtle or hidden meanings, and many new danzantes, especially the young, do not understand the importance of seemingly boring aspects of the ceremonies. They find that "all that ceremonial mucky muck slows things down and gets in the way of my dance extravaganza."  

Especially here in Aztlan, where many Chicanos grow up isolated from traditional Mexican culture, it is easy for new danzantes to think that Danza is easily conquered and understood. Some new danzantes want to blend, mix, or melt together the traditions of la danza with that of other indigenous nations. Thus the danza, the temazcalli, the sun dance, the peyote ceremony, and even new age "religion" are mixed in to create what later is called "ancient traditional aztec dance!" Evolution is necessary to keep a tradition alive and relevant. But too much mixing creates a false "tradition and effectively kills that true tradition that has endured for hundreds of years.  

The elders of the Danza are always reminding everyone, including themselves that La Danza is a vast and complex experience and everyone, even the greatest generales, can never know everything within La Danza. It is thus a shame that many things are irretrievably lost everyday, yet new inventions are added every day.  

In the early years of La Danza in Aztlan (1973-1985), many young men and a few women began learning from the traditional jefes that came from México. Maestros Yescas and Segura were perhaps the most well known and the most influential in the history of the Chicano Azteca dance tradition.  

We were the first generation of danzantes Chicanos, we quickly began to absorb what we could and tried to TEACH what little we knew of the tradition. In the beginning, we thought we new enough to keep the traditions going, even as our Maestros left to carry their messages to new pueblos. But the past two decades have (or should have) taught us that an understanding of choreography, TRAJE making, and performance booking is NOT enough. These in themselves do not make a person a danzante!

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A True Jefe de Danza Must be Able to: