\nMASEUAL
\nthe man of this sun<\/strong><\/p>\n
<\/p>\n
MASEUAL\u00a0<\/strong><\/p>\n In 1 Tochtli the Toltecs had their beginning; there began the count of his years… According to what the old people knew, in this 1 Tochtli the Toltecs had their beginning; there began the count of his years… According to what the old people knew, in this 1 Tochtli the earth and the sky stagnated; they also knew that […] four classes of people had lived, there had been four lives […] that each one was a Sun. They said that their god made them and raised them from ashes; and they attributed to Quetzalc\u00f3atl, sign of seven ecatl [7 Ehecatl or Wind], having made and created them. Such, the word of the Annals of Cuauhtitlan.<\/em><\/p>\n <\/p>\n And this that follows is the word that delimits and summarizes for us Rom\u00e1n Pi\u00f1a Chan: “According to the Annals of Cuauhtitlan, the name of this Sun is Nahui Ollin (Four Movement). ‘This is already one of us, of those who live today. This It is his sign, the one that is here, because the Sun fell into the fire in the divine furnace of Teotihuacan. It was the same Sun of Topiltzin (our son) of Tollan, of Quetzalc\u00f3huatl. Before this Sun was, his name was Nan\u00e1huatl, that it was from Tamoanch\u00e1n… What is here is named Teotexcalli (divine oven) that burned for four years (days),’ that is, as […] on Stela 3 of Xochicalco, Quetzalc\u00f3atl in one of his forms , X\u00f3lotl or Nanahuatzin, sacrifices himself to create the Sun in Teotihuacan and this Fifth Sun was that of the Toltecs of Tula Hidalgo, whose priest or Quetzalc\u00f3huatl named Ce Acatl Topiltzin brought the cult of the god to that place. \/\/ In the same Annals from Cuauhtitlan it is mentioned that in 1 Tochtli, when Heaven stagnated and there was no sun and humanity disappeared, the gods were consulted to determine who would constitute the new humanity; that is, to create man again. And so, then Quetzalc\u00f3atl went to hell (to Mictl\u00e1n or underworld), he came to Mictlantecuhtli and Mictlanc\u00edhuatl (lord and lady of the world of the dead) and said: I have come for the precious bones that you keep. And he said: What will you do, Quetzalcohuatl? Again he said: The gods try to make with them who dwells on Earth. […] Then he took the precious bones: they were together, on one side, the bones of a man, and also together, on the other side, the bones of a woman. So he took them, Quetzalc\u00f3huatl made a mess of them, which he immediately took to Tamoanchan. After he had them arrive, the one called Quilachtli ground them, this is Cihuac\u00f3atl, who then threw them into the precious basin…; and then Quetzalc\u00f3atl bled his virile member over the ground bones to thus form, from that paste, the new men,’ for which it would be said that the groups or peoples that adopted his cult were made or created of blood. or ash. \/\/ And in that same historical source it is also said: “What will men eat, oh gods? May corn descend our sustenance. Then Quetzalc\u00f3atl asks a red ant that was carrying a grain of corn, where he had found it and it He tells him that in the mountain of our sustenance, in the Tonacat\u00e9petl or hill of the harvests; Quetzalc\u00f3atl then transforms into a black ant, accompanies the other and rescues the corn from the mountain; and then Quetzalc\u00f3atl took him on his back to Tamoanchan, there abundantly the gods ate; (and) then Quetzalc\u00f3atl put corn on our lips, so that we would become strong’ \/\/ As we said, these mythical events occurred mainly in Tamoanchan, they are closely related to the religion of Quetzalc\u00f3atl, the god who was created in Xochicalco as described observed in the decorated basement-temple and in the previously mentioned stelae, for which there is no doubt that Tamoanchan and Xochicalco are the same place; but as happened with Quetzalc\u00f3atl, who surrounded himself with mythical and legendary clothing over time , so Tamoanchan also passed to the level of mythology and legend. \/\/ In this regard, Plancarte y Navarrete said that ‘all these events took place in the territory that today comprises the State of Morelos, and Tamoanch\u00e1n is not a mythological and fantastic country, as some claim, but real and true, from which, however, it is later took over mythology’; And, in effect, it happened, because when Xochicalco (Tamoanch\u00e1n) disappeared as an important religious and commercial center, when it was abandoned and turned into ruins, only the memory of having been the place of origin of Quetzalc\u00f3atl, the creator of the Fifth Sun, remained. and of the new humanity, of the discoverer of maize or creator, of the inventor of the calendar and, consequently, the house or home of the new formed man, the house from which they descended”.<\/p>\n Maseual, who in linguistic terms proposes his own orthography, musically develops Quetzalc\u00f3atl’s journey to the world of the dead in search of our substance in the Night; he celebrates his meeting and the formation of the dough that we are in six movements: 1) Coatlicue;<\/em> 2) Mitote in Mictl\u00e1n;<\/em> 3) Song of Cacamatzin;<\/em> 4) Black Naual;<\/em> 5) Tamoanch\u00e1n,<\/em> y 6) Maseual.\u00a0<\/em><\/span><\/p>\n The traditional instruments used here correspond to the Mesoamerican area and were built and tuned by TRIBU according to live models, and, in some cases, to museum pieces – to whose sound, it must be noted, there is no expedited access, much less by the authorities in charge. Even understanding the restrictions as forms of patrimonial zeal, there is a need for a more open policy towards musicians and scholars who, due to proven work and passion, depend on sound knowledge for the development of an art that, ultimately, is also for everyone. The archaeological pieces in their showcases are a gift to the eye and encourage past intelligence. More, in the case of musicals, while their sound remains sealed in their funereal case, they reverse mummies of the spirit and flagrantly but not without remedy contradict their status as a historical legacy whose destiny is life.<\/p>\n There is a controversy that speculates about the truth of the pre-Hispanic use of the musical bow and the pitchers. TRIBU incorporates them without taking more advantage than the one that results from the fact that they are instruments in practice: thus, the bow is Tepehuan and the pitchers are Amuzgos.<\/p>\n Two things should be highlighted from the recording treatment: 1) echo was used for ambience effects on the traditional instruments, and 2) the voices clearly benefited from the multiple effects.<\/p>\n <\/p>\n 1<\/span> Coatlicue<\/span><\/em><\/p>\n In the empty chaos <\/p>\n INSTRUMENTS: Trumpets (atecocolli) of snail, gourd and clay; horizontal ground-mounted drum (tlalpanhuehuetl); string of friar bone seeds (ayoyotes); clay ocarinas with two digital holes; drum with gourd box; clay ocarina with four digital holes; turtle shell (ayotl); stormy mud whistle; little wooden drum (xocoyotl huehuetzin); singing stones (tecpacu\u00edcatl), and multiple flute (Tenenexpan type).<\/p>\n <\/p>\n TEXT: The piece is made up of two different and contrasting texts in the H\u00f1ah\u00f1u (Otomi) language. The first is erotic and the second elegiac. They are the following:<\/p>\n <\/p>\n Zidon\u00ed, zidon\u00ed<\/span> Bi ma mand\u00e9<\/span> Little flower, I’m little flower Yesterday left <\/p>\n Musical instruments and sound crafts of pre-Hispanic Mexico<\/strong><\/p>\n <\/p>\n Archaeologists and anthropologists have agreed to divide pre-Hispanic Mexico into two large cultural areas: Arida America to the north and Mesoamerica to the south. However, when talking about musical instruments and sound objects, those from Arida Am\u00e9rica are included within the Mesoamerican category, mainly because they are of simple invoicing and fewer in number. In Mesoamerica, cultures developed within which artists and craftsmen of remarkable inventiveness flourished, capable of producing a great variety of musical instruments and sound artifacts. Obviously, at different stages and in certain places more than in others, the production reached greater prominence, and even splendor. Under these conditions, distribution through exchange, trade and tax payments was the decisive factor for its diffusion throughout the area. See map.<\/p>\n <\/p>\n AEROPHONES<\/p>\n <\/p>\n Way to vibrate the air<\/em><\/p>\n Edge: without insufflation channel:<\/strong> a) hole; b) hole with lip support: c) hole with notch<\/p>\n <\/p>\n with insufflation channel<\/strong><\/p>\n <\/p>\n Diaphragm (a): b) defined sound; c) stormy sound<\/p>\n Cup and Reed Mouthpiece<\/p>\n Body shape<\/em><\/p>\n Cylindrical: a) vertical and b) horizontal Way of shortening the cavity to vary the pitch of the sound<\/em><\/p>\n Holes; a) plunger; b) obturation; c) labial; d) manual<\/p>\n Timbral modifiers<\/em><\/p>\n Kazoo (a) Sound curiosities: a) whistling glass; b) whistling swing pendulum<\/p>\n Whistles: Globular edged or diaphragm aerophones of a single sound (chichtli)<\/p>\n There are simple (a) and multiple (b) types.<\/p>\n Ocarinas: globular-edged aerophones with more than one sound (huilacapiztli): simple (a); double (b)<\/p>\n Flute: Inverted conical tubular or balsa aerophone with more than one sound (tlapitzalli): simple (a); multiple: separate double (b); double joined (c); triple (d); quadruple (e)<\/p>\n Trumpet: Aerophone with cup mouthpiece (atecocolli): gourd (a); mud (b); snail (tecciztli or quiquiztli) (c); stone (d); wood(e); leaves and twig structure (f)<\/p>\n Mixed instruments: Combination of some of the above forming a single body<\/p>\n <\/p>\n IDIOPHONES<\/p>\n <\/p>\n JERKS<\/p>\n Rattles: a) sonorous stick or scepter (chicahuaztli); b) vessel with sound background; c) vessel with sound legs; d) incense with sonorous handle (tlemaitl); e) rattle without handle;) rattle with handle (ayacachtli)<\/p>\n Construction materials: wood, cucurbits and mud<\/p>\n Ayochicahuastli: long table on which there were some rattles; It is also called nauacu\u00e1uitl.<\/p>\n Rattlesnakes (coyolli); of animal origin:<\/strong> a) butterfly cocoons; b) cut them; c) hooves; d) conches and seashells<\/span><\/p>\n of plant origin:<\/strong> e) seeds; f) shells; g) reed<\/span><\/p>\n of mineral origin: h) various stones; i) various metal alloys<\/p>\n <\/p>\n LUDID The sound is amplified with a gourd resonator<\/strong><\/p>\n <\/p>\n PERCUTED a) small cymbals <\/p>\n MEMBRANOPHONES<\/p>\n <\/p>\n Kazoos:<\/em> timbral modifiers.<\/span><\/p>\n Drums<\/em> (huehuetl): a) friction; b) frame; c) vessel; d) tubular: 1) cylindrical; 2) conical; 3) on tap; 4) elongated; 5) with waist; 6) cup; 7) with legs; 8) U-shaped; 9) globular<\/p>\n Construction materials:<\/em> wood, clay, gold (teocuitlahuchuetl) How to hold the patch:<\/em> a) glued; b) nailed; c) buttoned; d) tied<\/span><\/p>\n Change of tension in the patch:<\/em> a) heat; b) rope tensioners<\/span><\/p>\n <\/p>\n CHORDOPHONES<\/p>\n <\/p>\n Faced with the wide and varied production of Mesoamerican musical instruments and sound objects, the absence of pre-Columbian representations and even passages from chroniclers that illustrate the use of string instruments is surprising. Apart from those who with the air of a parrot speculate about the weight of some taboo on chordophones, there are arguments to support the hypothesis of their use. Charles Lafayette Boiles, for example, remembers that it is not axiomatic that what is not described lacks existence and with good reason assumes the conviction that at least the musical bow, the simplest of string instruments, was used. The following facts support his thesis: 1) several current ethnic groups in the area use the musical bow; 2) there are words in various indigenous Mesoamerican languages to designate it, 3) some features of its use in the area are distinctive and are not found in most African and Afro-American types. The chart below shows the basic characteristics of the musical arcs of Meso and Arida America.<\/p>\n <\/p>\n I<\/strong> Simple arch<\/span> a To percussion <\/p>\n Monochord: <\/span><\/em> Mayan arch:<\/em> I<\/strong> a-d-g-j<\/span><\/p>\n Huave bow<\/em> (Zampo\u00f1a): I<\/strong> b-g-j o I<\/strong> b-e-g-j\u00a0 (Ignored if digital fret was used)<\/span><\/p>\n Chinanteco arch<\/em> (‘m\u00e1 tu: music stick): I<\/strong> b-e-g-j<\/span><\/p>\n Naua arches of Zongolica, Veracruz<\/em> (acatltzotzontle) yaqui, Mayo, Opata, Pima Bajo, Mexican and Mazatec<\/em>: II<\/strong> b-e-g-j<\/span><\/p>\n Tarahumara arch:<\/em> II<\/strong> c-e-g-j<\/span><\/p>\n <\/p>\n The traits e-g-j or simply g-j stand out as very common elements in Mesoamerica. These are combinations that do not occur in most African and African-American bows.<\/p>\n <\/p>\n 2 Mitote in Mictlan<\/em><\/span><\/p>\n Lord of the Dead <\/p>\n INSTRUMENTS: Musical bow, strings of butterfly cocoons (tenabaris) and circular ocarina of the western Mexican type.<\/p>\n <\/p>\n TEXT: Sounds of words in embryo. Although loaded with meaning, they are utterances that do not belong to any language itself.<\/p>\n <\/p>\n 3 Song of Cacamatzin<\/em><\/span><\/p>\n The mirror is an arc and it affects her back <\/p>\n INSTRUMENTS: Stormy clay whistle, musical bow, pitchers, ludida rattle (omichicahuaztli), clay ocarina with one finger hole, clay flute with four finger holes (tlapitzalli) and wooden drum (huehuetl).<\/p>\n <\/p>\n TEXT: This is a fragment of the Songs of Cacamatzin (Cacamatzin Icuic), a Texcocan poet from the mid-16th century. It is located in the collection of Romance manuscripts of the lords of New Spain. It is the following:<\/p>\n Ayahuiztli moteca,<\/span> the mist spreads, <\/p>\n The Spanish version is by Miguel Le\u00f3n-Portilla. <\/p>\n 4<\/span> Black Naual<\/span><\/em><\/p>\n With Dog’s crusts you can see the dead <\/p>\n COMMENT: Although it is an instrumental piece, it makes reference to X\u00f3lotl, Quetzalc\u00f3atl’s birthplace, who accompanies him on his journey to the world of the dead and helps him in his undertaking. The following fragment from the 1558 Manuscript of Sahag\u00fan’s informants collected in the Matritense codex is worth illustrating:<\/p>\n The bones of man were together on one side The Spanish version is by Miguel Le\u00f3n-Portilla.<\/p>\n <\/p>\n INSTRUMENTS: Roland D-20 Synthesizer; balsa flute from western Mexican cultures; flute with edge and notch like a quena, made of deer bone (Mixtec type); little clay and wooden drums; electric guitar; clay rattles (ayacachtli); double piston flute from Gulf cultures; percussion of the performer on his own body, and rattle in the form of a scepter (chicauastli).<\/p>\n <\/p>\n 5<\/span> Tamoanch\u00e1n<\/span><\/em><\/p>\n Quiet celebration of ashes and blood <\/p>\n INSTRUMENTS: Wooden drum; ground mount horizontal drum; multiple clay flute of the Teotihuacan type; diaphragm flute of the Mayan type; teponaztli; ludida rattle already alluded to; hand changeable sound ocarina and lip changeable sound ocarina; water whistle; clay whistle (chichtli); multiple flute of the Tenenexpan type; scepter-shaped rattle; flute with four digital holes from the cultures of western Mexico, and ocarina-bass with four digital holes.<\/p>\n <\/p>\n TEXT: Traditional invocation of the Huasteca from Hidalgo. Is the next:<\/p>\n <\/p>\n Techpaleue<\/span> Your kingdom come <\/p>\n 6<\/span> Maseual<\/span><\/em><\/p>\n We already are <\/p>\n INSTRUMENTS: Roland D-20 synthesizer, conch trumpet (texictli), gourd trumpet, great Mayan rattle, turtle shell, three h\u00e9huetl, tlalpanhu\u00e9huetl and teponaztli.<\/p>\n <\/p>\n TEXT: Sounds of words in embryo. Although loaded with meaning, they are utterances that do not belong to any language itself.<\/p>\n <\/p>\n Musical information, collages and illustrations: Orlando Guill\u00e9n <\/p>\n TRIBU: David M\u00e9ndez Rojas, Alejandro M\u00e9ndez Rojas, Gilberto Ch\u00e1vez Espinoza, Ramiro Ram\u00edrez Duarte, Agust\u00edn Pimentel D\u00edaz. <\/p>\n CADEMAC<\/span> [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n [\/vc_column_text]
\nAt the fall of the Sun of the Four Movement
\nDiscarded the Fourth Albur that made the tentative men possible
\nThe Wind and the Vulture’s Wing dispute the spoils of the horizon
\nAnd the Mother fans her wrinkled skirt of snakes
\nThe mute assembly of forces sings their future progeny
\nAnd she tears the shell of the Turtle
\nIt is that sherd where all the gods are resolved into one
\nwhile they paint
\nThe gods consult
\nShrub oh Shrub
\nthey mistreat you
\nthey mistreat you
\nAnd yet you keep blooming Oh Shrub
\nThe gods like matches are lit against the sandpaper of Night
\nThey drink from the skirt of Coatlicue
\nthe gods are drunk
\nThe gods get drunk on imminence
\nIt smells of fetus and blood in the bowl of women’s empty hands<\/p>\n
\n<\/span>Didongaw\u00e1<\/span>
\n<\/span>Dad\u00fa-ki<\/span>
\n<\/span>Didongaw\u00e1<\/span><\/em><\/p>\n
\n<\/span>Yabid\u00fa<\/span>
\n<\/span>Ra inan\u00ed<\/span>
\n<\/span>Manu mansana ans\u00ed pat\u00e9<\/span><\/em><\/p>\n
\nand i’m blooming here
\nLet them cut me, let them cut me
\nI am blooming here<\/p>\n
\nHe’s already dead
\nI won’t cry anymore
\nI was left alone in the world<\/p>\n
\nConical (c)
\nInverted conical (d)
\nGlobular(e)
\nPolyglobular (f)
\nOvoidal (g)
\nCircular tube (h)
\nRaft (i)<\/p>\n
\nPost-air duct obstacle (b)
\nFloating obstacle (c)
\nDouble chamber (d)
\nWater Whistle (e)<\/p>\n
\n<\/span>a) bone (omichicahuaztli); b) deer horn; c) of wood (cuauchicauastli); d) of stone (tecpatlchicauastli); d) ceramic<\/p>\n
\n<\/span>Metal coffer (tzililitl, tetzil\u00e1call) (its description is known, but there are no archaeological samples)<\/p>\n
\nb) turtle shell (\u00e1yotl)
\ntecomapiloa: teponaztli that had only one tongue above and another below, and on the bottom one hung a gourd (no known archaeological sample)
\nc) teponazili
\nd) pitcher
\ne) sound stones<\/p>\n
\n<\/span>Size: a) small (xocoyotl huehuetzin); b) middle: huehuetl and panhuehuetl); c) big (tlalpanhuehuetl)
\n<\/span>They can be found with one or two patches. The latter can be affected both by one and by both patches.
\n<\/span>They can be simple or double (e)
\n<\/span>Most are hand percussion. Exceptionally, however, different firing pins were used.<\/p>\n
\n<\/span>II<\/strong> Bow with peg<\/span><\/p>\n
\nb Pressed
\nc Struck with a bow
\nd Tension with a wand for basic tones
\ne Digital fret for basic tones
\nf Artificial resonator
\ng Oral MRI
\nh No harmonic tones
\ni Achieving harmonic tones with a resonator
\nj Achievement of harmonic tones with the oral cavity<\/p>\n
\n<\/span>tepeuano (tlahuitol), seri (n\u00e1acn\u00ed), cora (coccaxz), huichol (cunamali): I <\/strong>a-f-h
\n<\/span><\/p>\n
\nHere rises the stench of blood fires
\nGet that black vapor
\nThick as your forehead when we kiss it
\nlady of the night
\nwith a gleam of light
\nThe footprint of our dancing feet
\nCry out for past bodies
\nmusic hearts
\nannunciation medals
\nCome lady new men as I sing
\nThat women come sir like flowers
\nMen
\nWomen
\nLike jade or plant or animal or beast<\/p>\n
\nAnd the child tree wears the drum of the Wind
\nAnd in the thicket the birds
\nRing it by pecking its foliage
\nAnd the leaves like lives of mourning
\nYet shaking with laughter
\nThe grave tone chants among the toads the secret of the frogs
\nTo ring the buttocks of a Goddess
\nThe sea gave birth to the shell
\nQuetzalcoatl dragged her by the hair
\nfucking her
\nTo the beach
\nAnd the music came to the world
\nImmortal and panting<\/p>\n
\n<\/span>ma quiquiztla in ihcahuaca<\/span>
\n<\/span>nopan pani tlalticpac.<\/span>
\n<\/span>Tzetzelihui, mimilihui, yahualihui xochitli,<\/span>
\n<\/span>ahuiyaztihuitz in tlalticpac.<\/span>
\n<\/span>O ach, yuhqui nel ye ichan,<\/span>
\n<\/span>totatz\u0131n ai,<\/span>
\n<\/span>ach in yuhqui xoxopan in quetzalli,<\/span>
\n<\/span>ya xochitica on tlacuilohua,<\/span>
\n<\/span>tlalticpac ye nican ipalnemohuani.<\/span>
\n<\/span>Chalchiuh teponaztli mimilintocan,<\/span>
\n<\/span>on chalchiuhtlacapitzohuayan,<\/span>
\n<\/span>in itlazo teotl, a in ilhuicahua,<\/span>
\n<\/span>ihui quecholicozcatl<\/span>
\n<\/span>huihuitolihui in tlalticpac.<\/span><\/em><\/p>\n
\nthe snails resound,
\nabove me and the whole earth.
\nThe flowers rain, intertwine, spin,
\nThey come to bring joy to the earth.
\nIt’s really, maybe like in his house,
\nworks our father,
\nperhaps like quetzal plumage in green seasons,
\nwith flowers he shades himself,
\nhere on earth is the Giver of life.
\nIn the place where the precious drums sound,
\nwhere the beautiful flutes are heard,
\nof the precious god, of the owner of heaven,
\nred feather necklaces
\non the earth they tremble.<\/p>\n
\nThe piece also refers to the well-known Nahua legend of the advent of music. Here it is: “When the gods died in Teotihuacan, its priests wandered aimlessly. One of them reached the sea and there Tezcatlipoca spoke to him, instructing him to go and ask the Sun for singers and instruments to honor the memory of the gods. The turtles and fish formed a bridge over the sea for him, which he walked on.He arrived at the abode of the Sun and told him the reason for his trip, but the Sun, not wanting to lessen his court, had warned everyone not to answer him, under penalty of being thrown to Earth. But the priest’s prayers were so heartfelt that Huehuetl and Teponaztli could not resist, they answered and were thrown to Earth. Since then men have music.”<\/p>\n
\nDog’s ears hear his muffled voice
\nAnd they reverse it smoking
\nIn the Traveler’s Night
\nThe footsteps of Dog escort the howl of the Guides
\nThe bones that resound loudly
\nresurrect<\/p>\n
\nAnd together on the other side those of women
\nand she took them
\nand he made a Quetzalc\u00f3atl bundle with them.
\nAnd once again Mictlantecuhtli said to his servants:
\n“Gods, is Quetzalcoatl really taking
\nthe precious bones
\nGods, go dig a hole.\u201d
\nThen they went to do it
\nand Quetzalc\u00f3atl fell into the hole,
\nhe tripped and the quails scared him away.
\nhe dropped dead
\nand the precious bones were scattered there,
\nthat bit and gnawed the quails.
\nThen Quetzalc\u00f3atl is resurrected,
\nhe is afflicted and says to his nahual:
\n“What will I do, my nahual?”
\nAnd he replied:
\n“Since things went wrong,
\nlet it be as it is.”
\nHe picks them up, puts them together, makes a mess
\nwith them, that later
\nhe took Tamoanchan.<\/p>\n
\nCalm scrotum that heals
\nDripping goodbye and welcoming
\nHappens
\nThis is your house
\nthe others will arrive soon
\nAnd there will be chile and tortilla for everyone
\nPulque is the green slime of nauals
\nPulque is the white slime of the escuincles
\nWhose lap houses the monument to the Mother
\nThe pulque is the slime of the snakes on her skirt
\nLet’s Dance
\nLet’s sing
\nOpen the flower and be the song
\nPulque is the yellow slime of the Feathered Serpent.<\/p>\n
\n<\/span>Techpanoue<\/span>
\n<\/span>Nochitemis quitlatlan\u00eda<\/span>
\n<\/span>Campa timoseu\u00eda<\/span><\/em><\/p>\n
\nHappens. This is your house
\nHere we will meet those who need you
\nIn the place of our rest<\/p>\n
\nWe are already here
\nOur living flesh and our spirit
\nThey are made with the precious ash from the bones of the dead.
\nAnd with the blood of our Father’s cock
\nQuetzalcoatl
\nFor that blood that runs through our bodies
\nWe move drunk with joy
\nfearless of life
\nAnd crouching death
\nWe’ve only come to dream on Earth
\nbut the flower
\nBut the Song remain
\nThis is the Fifth Sun
\nAnd the sun is a dwarf star<\/p>\n
\nAugustin Pimentel.<\/p>\n
\n<\/strong>1990<\/strong><\/p>\n
\nRecording: Area Studies.
\nRecording and mixing engineer: Arturo Manfredi.
\nPhotography: Marcela R.C. de Artigas.
\nProduction: CADEMAC. Sur 113 B number 2148, Juventino Rosas neighborhood, Mexico 08700 D. F. Telephone: 657-82-26 \/\/ La Escondida s\/n, Pozos, Guanajuato. CASETA: Phones: 91 468 (8-29-75) (8-25-98) and (8-28-49)
\nAll rights reserved: TRIBU, 1990<\/p>\n
\n<\/span>Support Center for the Development of Ethnomusicology in Mexico A.C.<\/p>\nGaler\u00eda:<\/strong><\/h5>\n
![\"\"](\"https:\/\/mexicanrarities.com\/wp-content\/uploads\/1960\/03\/tribu-Maseual_El_Hombre_De_Este_Sol-01.jpg\")
\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t\t