{"id":2524,"date":"2025-12-22T15:41:04","date_gmt":"2025-12-22T14:41:04","guid":{"rendered":"https:\/\/www.knotproject.it\/?page_id=2524"},"modified":"2026-03-02T07:51:54","modified_gmt":"2026-03-02T06:51:54","slug":"kuesalin-dance-devotion-and-cultural-vitality","status":"publish","type":"page","link":"https:\/\/www.knotproject.it\/es\/routes\/kuesalin-dance-devotion-and-cultural-vitality\/","title":{"rendered":"Kuesalin: dance, devotion, and cultural vitality"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><div class=\"vc_row wpb_row section vc_row-fluid\" style=' text-align:left;'><div class=\"full_section_inner clearfix\"><div class=\"wpb_column vc_column_container vc_col-sm-8\" id=\"route-page-title\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div class=\"separator orange-separator normal\" style=\"background-color: #D15325;height: 3px;\"><\/div>\n\t<div class=\"wpb_text_column wpb_content_element  white-text vc_custom_1765270640082\">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<h4>Routes<\/h4>\n\n\t\t<\/div>\n\t<\/div><\/div><\/div><\/div><div class=\"wpb_column vc_column_container vc_col-sm-4\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div class=\"vc_empty_space\"  style=\"height: 32px\" >\n\t<span class=\"vc_empty_space_inner\">\n\t\t<span class=\"empty_space_image\"  ><\/span>\n\t<\/span>\n<\/div><\/div><\/div><\/div><\/div><\/div><div      class=\"vc_row wpb_row section vc_row-fluid\" style=' text-align:left;'><div class=\"full_section_inner clearfix\"><div class=\"wpb_column vc_column_container vc_col-sm-8\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div      class=\"vc_row wpb_row section vc_row-fluid vc_inner\" style=' text-align:left;'><div class=\"full_section_inner clearfix\"><div class=\"route-name wpb_column vc_column_container vc_col-sm-12\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\">\n\t<div class=\"wpb_text_column wpb_content_element  white-text\">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<h1><strong>Kuesalin: dance, devotion, and cultural vitality<\/strong><\/h1>\n<h2>The arrival in Italy of a Nahua ceremonial dance costume from indigenous Mexico<\/h2>\n\n\t\t<\/div>\n\t<\/div>\n\t<div class=\"wpb_text_column wpb_content_element  white-text edited-by\">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<h4>Edited by <strong>Alessandro Lupo<\/strong> (Sapienza University of Rome)<\/h4>\n<p>&nbsp;<\/p>\n<h4>Scroll editing by <strong>Chiara Florise Amadei<\/strong> (CNR ISPC)<\/h4>\n<h4>Revision &amp; accessibility by <strong>Alfonsina Pagano <\/strong>(CNR ISPC)<\/h4>\n\n\t\t<\/div>\n\t<\/div><div class=\"separator orange-separator-large normal\" style=\"background-color: #D15325;height: 3px;\"><\/div><\/div><\/div><\/div><div class=\"wpb_column vc_column_container vc_col-sm-12\" id=\"route-description\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\">\n\t<div class=\"wpb_text_column wpb_content_element  white-text\">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<p>For over fifty years, Italian ethnologists have documented the ritual dances of the Nahua people of Cuetzalan, in Mexico\u2019s Sierra Norte. At the heart of this living heritage is the Kuesalin, a mantle which represents a powerful form of prayer, devotion, and community identity.<\/p>\n<p>&nbsp;<\/p>\n<p>Rooted in pre-Hispanic cosmology and reshaped through colonial Christianity, dance becomes a bridge between worlds. Music, movement, costumes, and color transform ritual effort into an offering to saints and God.<\/p>\n<p>&nbsp;<\/p>\n<p>Today, this tradition faces challenges from social change, tourism, and rising costs\u2014but also new opportunities.<\/p>\n<p>&nbsp;<\/p>\n<p>Schools, museums, and digital archives foster dialogue between researchers and indigenous communities.<\/p>\n<p>&nbsp;<\/p>\n<p>More than performance, the Kuesalimej dance embodies memory, resilience, and continuity.<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 600;\">Explore the scrolling journey to learn more!<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div><\/div><\/div><\/div><div class=\"wpb_column vc_column_container vc_col-sm-12\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div class='q_elements_holder three_columns responsive_mode_from_768 explore-button margin-top-30' ><div class='q_elements_item' data-animation='no' data-item-class='q_elements_holder_custom_256486'><div class='q_elements_item_inner'><div class='q_elements_item_content q_elements_holder_custom_256486'><a  itemprop=\"url\" href=\"https:\/\/knot2025.shorthandstories.com\/kuesalin-dance-devotion-and-cultural-vitality\/\" target=\"_blank\"  class=\"qbutton  default\" style=\"\">Explore (En)<\/a><\/div><\/div><\/div><div class='q_elements_item' data-animation='no' data-item-class='q_elements_holder_custom_137503'><div class='q_elements_item_inner'><div class='q_elements_item_content q_elements_holder_custom_137503'><a  itemprop=\"url\" href=\"https:\/\/knot2025.shorthandstories.com\/kuesalin-danza-devoci-n-y-vitalidad-cultural\/\" target=\"_blank\"  class=\"qbutton  default\" style=\"\">Explorar (Es)<\/a><\/div><\/div><\/div><div class='q_elements_item' data-animation='no' data-item-class='q_elements_holder_custom_970815'><div class='q_elements_item_inner'><div class='q_elements_item_content q_elements_holder_custom_970815'><\/div><\/div><\/div><div class='q_elements_item' data-animation='no' data-item-class='q_elements_holder_custom_267498'><div class='q_elements_item_inner'><div class='q_elements_item_content q_elements_holder_custom_267498'><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"wpb_column vc_column_container vc_col-sm-4\" id=\"map-column\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\">\n\t<div class=\"wpb_single_image wpb_content_element vc_align_left\">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t\n\t\t\t<div class=\"vc_single_image-wrapper   vc_box_border_grey\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\/\/www.knotproject.it\/wp-content\/uploads\/2026\/01\/33.png\" class=\"vc_single_image-img attachment-full\" alt=\"\" title=\"33\" srcset=\"https:\/\/www.knotproject.it\/wp-content\/uploads\/2026\/01\/33.png 1920w, https:\/\/www.knotproject.it\/wp-content\/uploads\/2026\/01\/33-300x169.png 300w, https:\/\/www.knotproject.it\/wp-content\/uploads\/2026\/01\/33-1024x576.png 1024w, https:\/\/www.knotproject.it\/wp-content\/uploads\/2026\/01\/33-768x432.png 768w, https:\/\/www.knotproject.it\/wp-content\/uploads\/2026\/01\/33-1536x864.png 1536w, https:\/\/www.knotproject.it\/wp-content\/uploads\/2026\/01\/33-18x10.png 18w, https:\/\/www.knotproject.it\/wp-content\/uploads\/2026\/01\/33-700x394.png 700w, https:\/\/www.knotproject.it\/wp-content\/uploads\/2026\/01\/33-539x303.png 539w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" \/><\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><div      class=\"vc_row wpb_row section vc_row-fluid\" style=' text-align:left;'><div class=\"full_section_inner clearfix\"><div class=\"wpb_column vc_column_container vc_col-sm-12\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div id=\"ul-buttons-row\"     class=\"vc_row wpb_row section vc_row-fluid vc_inner\" style=' text-align:left;'><div class=\"full_section_inner clearfix\"><div class=\"wpb_column vc_column_container vc_col-sm-12\" id=\"ul-box\"><div class=\"vc_column-inner vc_custom_1765988989646\"><div class=\"wpb_wrapper\">\n\t<div class=\"wpb_text_column wpb_content_element  white-text bold-text\">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<h4>Highlights from the route<\/h4>\n\n\t\t<\/div>\n\t<\/div><div class='q_elements_holder four_columns responsive_mode_from_768 highlight-button' ><div class='q_elements_item' data-animation='no' data-item-class='q_elements_holder_custom_619528'><div class='q_elements_item_inner'><div class='q_elements_item_content q_elements_holder_custom_619528'><div class=\"image_with_text\"><a itemprop=\"url\" href=\"https:\/\/aton.ispc.cnr.it\/s\/knot\/20250703-33xx81wls\" target=\"_blank\"><img decoding=\"async\" itemprop=\"image\" src=\"https:\/\/www.knotproject.it\/wp-content\/uploads\/2025\/12\/14.png\" alt=\"Kuesalin dancer costume\" \/><\/a><h3  class=\"image_with_text_title\"><a itemprop=\"url\" href=\"https:\/\/aton.ispc.cnr.it\/s\/knot\/20250703-33xx81wls\" target=\"_blank\">Kuesalin dancer costume<\/a><\/h3><span style=\"margin: 6px 0px;\" class=\"separator transparent\"><\/span><\/div><\/div><\/div><\/div><\/div>\n\t<div class=\"wpb_raw_code wpb_raw_html wpb_content_element\" >\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<div id=\"video-box\">\n    <video width=\"33%\" height=\"auto\" controls>\n      <source src=\"https:\/\/www.knotproject.it\/wp-content\/uploads\/2026\/01\/4.2.-Miguel-Cruz.mp4\" type=\"video\/mp4\"><\/video>\n    <video width=\"33%\" height=\"auto\" controls>\n      <source src=\"https:\/\/www.knotproject.it\/wp-content\/uploads\/2026\/01\/4.4.-Isidro-Soto-2023.mp4\" type=\"video\/mp4\"><\/video>\n    <video width=\"33%\" height=\"auto\" controls>\n      <source src=\"https:\/\/www.knotproject.it\/wp-content\/uploads\/2026\/01\/5.1.-Processione_Kuesalimej_Yancuictlalpan_2023.mp4\"><\/video>\n<\/div>\n\t\t<\/div>\n\t<\/div>\n\n\t<div class=\"wpb_text_column wpb_content_element  white-text bold-text\">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<h4>References<\/h4>\n\n\t\t<\/div>\n\t<\/div><div class='q_elements_holder one_column responsive_mode_from_768 route-description-referral' ><div class='q_elements_item white-text reference-list' data-animation='no' data-item-class='q_elements_holder_custom_565421'><div class='q_elements_item_inner'><div class='q_elements_item_content q_elements_holder_custom_565421'><div class=\"q_list circle\">\n\t<\/p>\n<ul>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Alberro, Solange 1998 \u201cBailes y mitotes coloniales como producto y factor sincr\u00e9tico\u201d, in Alessandro Lupo &#8211; Alfredo L\u00f3pez Austin (eds.), La cultura plural: <\/span><i><span style=\"font-weight: 400\">Reflexiones sobre di\u00e1logo y silencios en Mesoam\u00e9rica. (Homenaje a Italo Signorini)<\/span><\/i><span style=\"font-weight: 400\">, pp. 119-137. M\u00e9xico: Universidad Nacional Aut\u00f3noma de M\u00e9xico, Instituto de Investigaciones Antropol\u00f3gicas.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Beaucage, Pierre &#8211; Taller de Tradici\u00f3n Oral 2009 <\/span><i><span style=\"font-weight: 400\">Corps, cosmos et environnement chez les Nahuas de la Sierra Norte de Puebla. Une aventure en anthropologie<\/span><\/i><span style=\"font-weight: 400\">. Montr\u00e9al: Lux \u00c9diteur.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Bellomia, Valeria 2024 \u201cUn <\/span><i><span style=\"font-weight: 400\">Kuesalin \u201cvolando lejos<\/span><\/i><span style=\"font-weight: 400\">\u201d. Riflessioni sull\u2019arrivo di un costume di danza indigeno messicano al Museo delle Civilt\u00e0 di Roma\u201d. <\/span><i><span style=\"font-weight: 400\">Archivio di Etnografia<\/span><\/i><span style=\"font-weight: 400\"> 19 n.s., 1: 31-46.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Bertels, Ursula 1997 \u201cThe Flying Pole Dance. From a Pre-Hispanic Ritual to a Symbol of Present-Day Totonac Identity\u201d, in Brigitte H\u00fclsewiede &#8211; Ingo W. Schr\u00f6der (eds.), <\/span><i><span style=\"font-weight: 400\">Religion and Identity in the Americas. Anthropological Perspectives from Colonial Times to the Present<\/span><\/i><span style=\"font-weight: 400\">. Markt Schwaben: Verlag Anton Saurwein.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Bonfiglioli, Carlo 1995 \u201cAlgunas notas sobre la antropolog\u00eda de la danza\u201d, in Id., <\/span><i><span style=\"font-weight: 400\">Fariseos y matachines en la Sierra Tarahumara. Entre la pasi\u00f3n de Cristo, la transgresi\u00f3n c\u00f3mico sexual y las danzas de Conquista<\/span><\/i><span style=\"font-weight: 400\">, pp. 51-59. M\u00e9xico: Instituto Nacional Indigenista.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Burdi, Patrizia 1996 \u201cDanza de \u2018conquista\u2019, danza de resistencia. Sincretismo y conflictos \u00e9tnicos en una representaci\u00f3n coreogr\u00e1fica ind\u00edgena de moros y cristianos (M\u00e9xico)\u201d, in B. Schmelz &#8211; N. Ross Crumrine (eds.), <\/span><i><span style=\"font-weight: 400\">Estudios sobre el sincretismo en Am\u00e9rica Central y en los Andes<\/span><\/i><span style=\"font-weight: 400\">, pp. 93-117. Bonn: Holos.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Burdi, Patrizia 1996 \u201cLos tiempos de la fiesta. Estructura ritual y valencias simb\u00f3licas del culto a Santiago Matamoros (Sierra Norte de Puebla, M\u00e9xico)\u201d, in Ingrid Geist (comp.), <\/span><i><span style=\"font-weight: 400\">Procesos de escenificaci\u00f3n y contextos rituales<\/span><\/i><span style=\"font-weight: 400\">, pp. 179-200. M\u00e9xico: Universidad Iberoamericana &#8211; Plaza y Vald\u00e9s.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Gonz\u00e1lez Torres, Y\u00f3lotl 2006 \u201cFunci\u00f3n social de la danza mexica\u201d, in Leonardo L\u00f3pez Luj\u00e1n &#8211; Dav\u00edd Carrasco &#8211; Lourdes Cu\u00e9 (eds.), <\/span><i><span style=\"font-weight: 400\">Arqueolog\u00eda e Historia del Centro de M\u00e9xico. Homenaje a Eduardo Matos Moctezuma<\/span><\/i><span style=\"font-weight: 400\">, pp. 445-454. M\u00e9xico: Instituto Nacional de Antropolog\u00eda e Historia.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Herrera L\u00f3pez, Beatriz 2018 \u201cLa festividad tradicional de San Miguel Tzinacapan y su transformaci\u00f3n como objeto de consumo por parte de los turistas\u201d. <\/span><i><span style=\"font-weight: 400\">Mitol\u00f3gicas<\/span><\/i><span style=\"font-weight: 400\"> 33: 71-92.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Jacobsen, Casper 2018 <\/span><i><span style=\"font-weight: 400\">Tourism and Indigenous Heritage in Latin America. As Observed through Mexico\u2019s Magical Village Cuetzalan<\/span><\/i><span style=\"font-weight: 400\">. London: Routledge.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Kandt, Vera B. 1972 \u201cFiesta in Cuetzalan\u201d. <\/span><i><span style=\"font-weight: 400\">Artes de M\u00e9xico<\/span><\/i><span style=\"font-weight: 400\"> 155: 104-107.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">L\u00f3pez Austin, Alfredo 1997 \u201cOfrenda y comunicaci\u00f3n en la tradici\u00f3n religiosa mesoamericana\u201d, in Xavier Noguez &#8211; Alfredo L\u00f3pez Austin (eds.), <\/span><i><span style=\"font-weight: 400\">De hombres y dioses<\/span><\/i><span style=\"font-weight: 400\">, pp. 179-192. M\u00e9xico: El Colegio de Michoac\u00e1n &#8211; El Colegio Mexiquense.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Lupo, Alessandro 1991 \u201cTatiochihualatzin, valores simb\u00f3licos del alcohol en la Sierra de Puebla\u201d. <\/span><i><span style=\"font-weight: 400\">Estudios de Cultura N\u00e1huatl<\/span><\/i><span style=\"font-weight: 400\"> 21: 219-230.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Lupo, Alessandro 1995 <\/span><i><span style=\"font-weight: 400\">La Tierra nos escucha. La cosmolog\u00eda de los nahuas de la Sierra a trav\u00e9s de las s\u00faplicas rituales<\/span><\/i><span style=\"font-weight: 400\">. M\u00e9xico: Instituto Nacional Indigenista &#8211; Consejo Nacional Para la Cultura y las Artes.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Lupo, Alessandro 2013 <\/span><i><span style=\"font-weight: 400\">El ma\u00edz en la cruz. Pr\u00e1cticas y din\u00e1micas religiosas en el M\u00e9xico ind\u00edgena<\/span><\/i><span style=\"font-weight: 400\">. Xalapa: Instituto Veracruzano de la Cultura &#8211; Consejo Nacional para la Cultura y las Artes.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Lupo, Alessandro 2015 \u201cEl regreso de los aztecas. Fen\u00f3menos de conservaci\u00f3n, recuperaci\u00f3n y plasmaci\u00f3n de la tradici\u00f3n nahua en la Sierra de Puebla\u201d. <\/span><i><span style=\"font-weight: 400\">Dimensi\u00f3n Antropol\u00f3gica <\/span><\/i><span style=\"font-weight: 400\">22, 64: 7-33.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Lupo, Alessandro (a cura di) 2019 <\/span><i><span style=\"font-weight: 400\">Protagonisti e dinamiche dell\u2019identit\u00e0 etnica in Messico<\/span><\/i><span style=\"font-weight: 400\">. Roma: CISU.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Lupo, Alessandro 2019 \u201cComer (con) los difuntos: las ofrendas comestibles de Todos los Santos y las l\u00f3gicas de la comensal\u00eda entre vivos y muertos en la Sierra de Puebla\u201d. <\/span><i><span style=\"font-weight: 400\">Estudios de Cultura N\u00e1huatl<\/span><\/i><span style=\"font-weight: 400\"> 58: 223-264.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Lupo, Alessandro 2022 \u201c<\/span><i><span style=\"font-weight: 400\">Tlacochitta<\/span><\/i><span style=\"font-weight: 400\">, ver cosas durmiendo: enunciados y reflexiones sobre las pr\u00e1cticas on\u00edricas de los nahuas<\/span><span style=\"font-weight: 400\">\u201d. <\/span><i><span style=\"font-weight: 400\">Estudios de Cultura N\u00e1huatl<\/span><\/i><span style=\"font-weight: 400\"> 63: 157-192.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Lupo, Alessandro 2022 \u201cHeaps of prayers: The Materiality of Catholic Prayers, Their Temporal Dimension and Ritual Effectiveness within Nahua Ritual Discourse\u201d, in Lisa M. Johnson &#8211; Rosemary A. Joyce (eds.), <\/span><i><span style=\"font-weight: 400\">Materializing Ritual Practices<\/span><\/i><span style=\"font-weight: 400\">, pp. 162-191. Louisville: University Press of Colorado.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Lupo, Alessandro 2023 \u201c<\/span><i><span style=\"font-weight: 400\">Yolyemani huan nalhuayotia<\/span><\/i><span style=\"font-weight: 400\">, ablandar el coraz\u00f3n y poner ra\u00edces: palabras rituales nahuas para asegurar el cari\u00f1o de una mujer\u201d. <\/span><i><span style=\"font-weight: 400\">Estudios de Cultura N\u00e1huatl<\/span><\/i><span style=\"font-weight: 400\"> 65, 169-228.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Lupo, Alessandro 2024 \u201cSubstances, Subjects and Senses: Temporality of Perception in Nahua Rituals\u201d, in Valentina Vapnarsky &#8211; Dominique Michelet &#8211; Aurore Monod Becquelin &#8211; Philippe Nond\u00e9d\u00e9o (eds.), <\/span><i><span style=\"font-weight: 400\">Temporalities<\/span><\/i> <i><span style=\"font-weight: 400\">in Mesoamerican Ritual Practices<\/span><\/i><span style=\"font-weight: 400\">, pp. 215-234. Denver: University Press of Colorado.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Lupo, Alessandro &amp; Grazia Tuzi 2024 \u201cLa primera exhibici\u00f3n italiana de los Voladores Caballeros \u00c1guila de Cuetzalan en 2019\u201d, in Emilia Giorgetti &#8211; Alessandro Lupo &#8211; Davide Domenici (coords.), <\/span><i><span style=\"font-weight: 400\">Seminarios sobre M\u00e9xico-Italia: 500 a\u00f1os de di\u00e1logo cultural<\/span><\/i><span style=\"font-weight: 400\">, tomo I, <\/span><i><span style=\"font-weight: 400\">Patrimonios que unen. La cooperaci\u00f3n cultural Italia-M\u00e9xico en los estudios sobre patrimonio, arqueolog\u00eda y antropolog\u00eda<\/span><\/i><span style=\"font-weight: 400\">, pp. 123-138. M\u00e9xico: Secretar\u00eda de Cultura &#8211; Instituto Nacional de Antropolog\u00eda e Historia &#8211; Embajada de Italia en M\u00e9xico.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Robichaux, David &#8211; Moreno Carvallo, Manuel &#8211; Mart\u00ednez Galv\u00e1n, Jorge 2021 \u201cLas danzas como \u2018exvotos corporales\u2019: promesas individuales y sus dimensiones colectivas en las regiones de Texcoco y Teotihuacan\u201d, in Caroline Perr\u00e9e (\u00e9d.),<\/span><i><span style=\"font-weight: 400\"> L\u2019ex-voto ou les m\u00e9tamorphoses du don <\/span><\/i><span style=\"font-weight: 400\">\/ <\/span><i><span style=\"font-weight: 400\">El exvoto o las metamorfosis del don<\/span><\/i><span style=\"font-weight: 400\">, pp. 221-253. M\u00e9xico: Centro de Estudios Mexicanos y Centroamericanos.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Rodr\u00edguez Blanco, Eugenia 2011 \u201cLas mujeres que vuelan: g\u00e9nero y cambio cultural en Cuetzalan\u201d. <\/span><i><span style=\"font-weight: 400\">Perfiles Latinoamericanos <\/span><\/i><span style=\"font-weight: 400\">38: 115-143.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Salama, Jordan &#8211; Luongo, Valeria 2022 \u201cThese women are defying tradition\u2014by flying\u201d. <\/span><i><span style=\"font-weight: 400\">National Geographic<\/span><\/i> <a href=\"https:\/\/www.nationalgeographic.com\/culture\/article\/the-flying-women-of-cuetzalan\"><span style=\"font-weight: 400\">https:\/\/www.nationalgeographic.com\/culture\/article\/the-flying-women-of-cuetzalan<\/span><\/a><span style=\"font-weight: 400\">\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Signorini, Italo &#8211; Lupo, Alessandro 1989 <\/span><i><span style=\"font-weight: 400\">Los tres ejes de la vida. Almas, cuerpo, enfermedad entre los nahuas de la Sierra de Puebla<\/span><\/i><span style=\"font-weight: 400\">. Xalapa: Universidad Veracruzana.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Stresser-P\u00e9an, Guy 2004 \u201cPlumes vertes ou plumes rouges. <\/span><i><span style=\"font-weight: 400\">Quetzalli <\/span><\/i><span style=\"font-weight: 400\">ou <\/span><i><span style=\"font-weight: 400\">cuezalin<\/span><\/i><span style=\"font-weight: 400\">\u201d, in Patrick Lesbre &#8211; Marie-Jos\u00e9 Vabre (eds.), <\/span><i><span style=\"font-weight: 400\">Le Mexique pr\u00e9hispanique et colonial. Hommage \u00e0 Jacqueline de Durand-Forest<\/span><\/i><span style=\"font-weight: 400\">, pp. 205-208. Paris: L\u2019Harmattan.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Stresser-P\u00e9an, Guy 2009 (2005) <\/span><i><span style=\"font-weight: 400\">The Sun God and the Savior: The Christianization of the Nahua and Totonac in the Sierra Norte De Puebla, Mexico<\/span><\/i><span style=\"font-weight: 400\">, foreword Alfredo L\u00f3pez Austin. Boulder: University Press of Colorado.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Stresser-P\u00e9an, Guy 2015 (1947) <\/span><i><span style=\"font-weight: 400\">La danse du \u2018volador\u2019 chez les indiens du Mexique et de l\u2019Am\u00e9rique centrale<\/span><\/i><span style=\"font-weight: 400\">. Paris: Riveneuve.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Taller de Tradici\u00f3n Oral de la Sociedad Agropecuaria del CEPEC 1994 <\/span><i><span style=\"font-weight: 400\">Tejuan tikintenkakiliayaj in toueyitatajuan. Les o\u00edamos contar a nuestros abuelos. Etnohistoria de San Miguel Tzinacapan<\/span><\/i><span style=\"font-weight: 400\">. M\u00e9xico: Instituto Nacional de Antropolog\u00eda e Historia.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Tosepan 2021 <\/span><i><span style=\"font-weight: 400\">C\u00f3dice Masewal. Plan de Vida. Tikochitah tisentekitiskeh ome powal xiwit \/ So\u00f1ando los pr\u00f3ximos 40 a\u00f1os<\/span><\/i><span style=\"font-weight: 400\">, 2 vols. Cuetzalan: Sociedad Cooperativa Agropecuaria Regional Tosepan Titataniske \u2013 Altepetajpianij \u2013 Patrimonio Biocultural de M\u00e9xico \u2013 Benem\u00e9rita Universidad Aut\u00f3noma de Puebla \u2013 Rosa Luxemburg Stiftung.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Tuzi, Grazia 2006 \u201cLa danza como oraci\u00f3n: las expresiones cor\u00e9utico-musicales de los Nahua de la Sierra Norte de Puebla\u201d, in Maria Antonia Virgili (ed.),<\/span><i><span style=\"font-weight: 400\"> Arte, m\u00fasica y sacralidad<\/span><\/i><span style=\"font-weight: 400\">, pp. 289-301. Valladolid: Glares.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Tuzi, Grazia 2013 \u201cSuperponer sonidos, superponer culturas. La construcci\u00f3n de una identidad nahua mediante la m\u00fasica y la danza\u201d. <\/span><i><span style=\"font-weight: 400\">Cuadernos de M\u00fasica Iberoamericana<\/span><\/i><span style=\"font-weight: 400\"> 25\/26: 367-385.<\/span><\/li>\n<li style=\"font-weight: 400\"><span style=\"font-weight: 400\">Tuzi, Grazia 2020 \u201cDalle vesti coloniali alle penne azteche: il recupero del retaggio preispanico in una danza cerimoniale nahua della Sierra di Puebla\u201d, in Giorgio Adamo &#8211; Giovanni Giuriati (eds.), <\/span><i><span style=\"font-weight: 400\">Verso una musicologia transculturale. Scritti in onore di Francesco Giannattasio<\/span><\/i><span style=\"font-weight: 400\">,<\/span> <span style=\"font-weight: 400\">pp. 117-130. Roma: Neoclassica.<\/span><\/li>\n<\/ul>\n<p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><div id=\"tags-row\"     class=\"vc_row wpb_row section vc_row-fluid  display-none\" style=' text-align:left;'><div class=\"full_section_inner clearfix\"><div class=\"wpb_column vc_column_container vc_col-sm-2\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><\/div><\/div><\/div><div class=\"wpb_column vc_column_container vc_col-sm-8\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\">\n\t<div class=\"wpb_raw_code wpb_raw_html wpb_content_element\" >\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<p class=\"white-text\"><p>No tags available.<\/p><\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><div class=\"wpb_column vc_column_container vc_col-sm-2\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><\/div><\/div><\/div><\/div><\/div><div      class=\"vc_row wpb_row section vc_row-fluid\" style=' text-align:left;'><div class=\"full_section_inner clearfix\"><div class=\"wpb_column vc_column_container vc_col-sm-12\"><div class=\"vc_column-inner vc_custom_1763454808281\"><div class=\"wpb_wrapper\"><div class=\"separator  normal\" style=\"background-color: #FFFFFF;\"><\/div><\/div><\/div><\/div><\/div><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"Routes Kuesalin: dance, devotion, and cultural vitality The arrival in Italy of a Nahua ceremonial dance costume from indigenous Mexico Edited by Alessandro Lupo (Sapienza University of Rome) &nbsp; Scroll editing by Chiara Florise Amadei (CNR ISPC) Revision &amp; accessibility by Alfonsina Pagano (CNR ISPC)...","protected":false},"author":1,"featured_media":0,"parent":1062,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[129],"tags":[],"class_list":["post-2524","page","type-page","status-publish","hentry","category-routes"],"_links":{"self":[{"href":"https:\/\/www.knotproject.it\/es\/wp-json\/wp\/v2\/pages\/2524","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.knotproject.it\/es\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.knotproject.it\/es\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.knotproject.it\/es\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.knotproject.it\/es\/wp-json\/wp\/v2\/comments?post=2524"}],"version-history":[{"count":39,"href":"https:\/\/www.knotproject.it\/es\/wp-json\/wp\/v2\/pages\/2524\/revisions"}],"predecessor-version":[{"id":3210,"href":"https:\/\/www.knotproject.it\/es\/wp-json\/wp\/v2\/pages\/2524\/revisions\/3210"}],"up":[{"embeddable":true,"href":"https:\/\/www.knotproject.it\/es\/wp-json\/wp\/v2\/pages\/1062"}],"wp:attachment":[{"href":"https:\/\/www.knotproject.it\/es\/wp-json\/wp\/v2\/media?parent=2524"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.knotproject.it\/es\/wp-json\/wp\/v2\/categories?post=2524"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.knotproject.it\/es\/wp-json\/wp\/v2\/tags?post=2524"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}