Category: Cultural pluralism

  • La casa de la Palabra encarnada Una apuesta por el diálogo social y cultural en Chiapas al estilo de los dominicosPilar Emitxin | Embodied poetics | 2019

    The House of the Incarnate Word A commitment to social and cultural dialogue in Chiapas in the style of the Dominicans

    By Carlos Mendoza Álvarez

    A few days ago, we opened a new space for dialogue in the city of San Cristóbal de Las Casas on the feast day of Saint Thomas Aquinas. This was the first event in a year-long celebration of the fifth centenary of the arrival of the Dominican friars to Tierra Firme, as the American continent was then called. Abya Yala. Next June we will be holding various cultural and religious events, both in San Cristóbal and in Zinacantán, with the program 500-OP Chiapas which we will announce soon.

    Together with Abraham and Angélica, dear friends from Ecosur with whom we worked in university ministry at CUC years ago in Mexico City, and with Carmen and Ricardo, friends involved in social and cultural activism in the city, we have been imagining together a project to continue cultivating the great legacy of the School of San Cristóbal, as it is called Pablo Romo to critical thinking and inculturated liberation theology that has developed in the Highlands of Chiapas for more than half a century, with the specific contribution of the Dominicans in these lands. There are many cultural forums that currently exist here—such as CIDECI and Dialectics in the Museum. jTatik Samuel, El Paliacate, Galería MUY and many more – where it is possible to talk about urgent and important issues for the cosmopolitan society that lives here – a microcosm of Mayan, mestizo and foreign peoples – with its many local, regional and global connections.

    Since the 1970s, San Cristóbal de Las Casas has been the scene of important meetings such as the First Indigenous Congress convened by Bishop Samuel Ruiz and leaders of indigenous communities in 1974, it proved to be a watershed moment in the indigenous consciousness of Mexico, as it refers Fabiola Ramírez in her Master of Arts thesis at Tulane University. She also highlights the First International Symposium of Lascasistas, The event, organized by Manuel Velasco Suárez, Agustín Yáñez, and the Dominican friar Enrique Ruiz, was held in 1974. Both events shared a common thread—starting with the fifth centenary of the birth of Fray Bartolomé de Las Casas—the search for paths to promote justice for the indigenous peoples of Chiapas, subjected for almost five hundred years to a racist system, marked by centuries of social injustice and the suppression of their collective imaginaries in their cultural and religious expressions. The spirit of liberation theology, as a creative reception of the Second Vatican Council, was mediated by the prophetic force of the Second General Assembly of the Latin American and Caribbean Bishops in Medellín in 1968, ecclesial events in which they participated. jTatik Samuel Ruiz, made their presence felt with vigor and creative imagination in these lands.

    Two decades of sowing the Gospel in the diocese, with its message of liberation for oppressed peoples, allowed that seed to germinate into a diocesan synod, intimately connected with the indigenous cause, which found in the Zapatista movement one of its most relevant expressions for promoting the autonomy of native peoples. There were other fruitful fruits, such as indigenous theology, which, not without difficulty with Vatican authorities, also expressed the vitality of a profound ecclesial process that continues to this day.

    But the old Royal City of the colonial era, inhabited by a mestizo and Creole population that called itself intercultural, He had become accustomed to living with the "Indians" in modern times with a normalized racism, which was expressed as paternalistic assistance from the caxlanes or Creole chieftains towards the Indians, as Rosario Castellanos masterfully recounted in her collection of short stories Ciudad Real.

    The Zapatista uprising, in addition to its political effects—with the 1996 San Andrés Accords betrayed by the federal government and the creation of the Caracoles or Zapatista autonomous municipalities—had a cultural impact on the city, which suddenly became more cosmopolitan in its daily life, as they tell university students Immigrants in the Highlands of Chiapas since the years surrounding the uprising. As early as the 1950s, Harvard anthropologists and linguists from the Summer School of the Bible had arrived in the Jobel Valley to settle in the colonial city, turning it into a base for their research trips to the indigenous communities they studied, mostly using an extractive academic or religious model.

    But over time, the gentrification of the city of traditional neighborhoods It grew in an unusual way as a result of the rebellion of the canyons that impacted the Highlands of Chiapas in the last three decades.

    Today, more than fifty years after that Indigenous Congress of 1974, and thirty-two years after the Zapatista uprising of 1994, much has changed in San Cristóbal de Las Casas. Indigenous communities have achieved diverse forms of autonomy in the political, social, and cultural spheres, including religious matters, surpassing the vision of their initial proponents. These communities are no longer under the tutelage of political parties, churches, universities, or civil society organizations. The cultural fusion of Indigenous peoples with hip-hop music, audiovisual culture, and contemporary art will surprise many. Indigenous identity now transcends even revolutionary movements.

    And like a boomerang effect, the mixed-race and foreign population living in the city also blends into this landscape of identities. An event about Gaza primarily draws university students and members of civil society, but attracts few of the displaced Indigenous people who live in the northern part of the city. A hip-hop concert, on the other hand, fills plazas. And then there's the Sinaloan band invited to the Zinacantán festival, which will keep the Tsotsil youth on tenterhooks for hours, mesmerized by a professional stage that rivals any pop or ranchera music festival in any major city in the country—and, incidentally, managed by a young entrepreneur from Zinacantán.

    How can we participate in these ongoing cultural changes using the Dominican word itself, not only from the past but also from the present, in its diverse forms of life with friars, sisters, and lay people inspired by the charism of preaching? What signs of the times... deglobalization It is necessary to interpret in order to scrutinize the passage of the God of Life, As the Dominican friar Gustavo Gutiérrez said in Peru, what is needed for a humanity bewildered by global violence?

    The roaming This is a vital attitude of the Dominicans since their founding by Dominic of Guzmán in the 13th century, a time of transition from feudal to urban society. "Holy preaching," the initial name of Dominic's apostolic project conceived with Bishop Diego de Osma, the layman Peter Seila of Toulouse, and Wilhelmina and Raymonda Claret, sisters from Prouille in southern France, expresses the original inspiration of a spiritual tradition that has dedicated itself for eight centuries to seeking truth in every age, trusting in the power of the Word made flesh. Therefore, it is not just any truth that is being sought, but the truth that liberates, saves, and redeems humankind, humanity, and the cosmos from the bonds of evil, as did the Galilean.

    The Dominican-style study is, therefore, the spring of hope According to that beautiful reflection by Friar Timothy Radcliffe, former Master of the Order of Preachers, this spirit led the friars to disperse throughout Europe from the beginning, going to universities "to study and found monasteries," that is, communities of life centered on the Incarnate Word. This impetus took them as far as Mongolia in search of Genghis Khan. This itinerancy was described by Matthew of Paris, the staunch enemy of the new friars at the Sorbonne in the 13th century, who scornfully declared: "Their cloister is the oceans and their cell the world," thus defining for posterity the daemon or the genius of the religious order that was emerging in the medieval towns, as Father Chenu repeatedly reminded us doctoral students in Paris.

    Centuries later, already in Chiapas, that same itinerant journey led Friar Pedro Lorenzo to the Jataté canyons and the Lacandon Jungle to search there, “in the middle of nowhere,” as the prior of Santo Domingo de Ciudad Real admonished him for his rebellion, for the people who lived there. That is why from then on he decided to call himself Friar Pedro Lorenzo de la Nada, according to Jan de Vos.

    In our times of the Great Catastrophe—begun in Gaza and now spread throughout the world in the Trump era—itinerantness leads us to new territories to be created as places of conviviality of the Word. Here in the Highlands of Chiapas, we'll do it like new. itinerant space, where we can foster creative dialogues in search of the truth that saves.

    San Cristóbal de Las Casas, February 7, 2026

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  • Las flechas de San Sebastián Luces y sombras de una fiesta zinacantecaCarlos Mendoza Alvarez | San Sebastian | Sot'sleb, Chiapas | 2026

    The arrows of Saint Sebastian Lights and shadows of a Zinacantecan festival

    By Carlos Mendoza-Álvarez

    One of the emblematic martyrs of the time of Roman persecution in the beginnings of Christianity, pierced by arrows in his naked and vulnerable body, has been venerated for seventeen hundred years by diverse peoples who recognize in Saint Sebastian humanity mortally wounded by empires that supplant divine glory.

    In the Highlands of Chiapas, the saints are adorned with flowery cloaks, colorful ribbons, and mirrors that reflect alternate worlds where the Ch'ulel It dwells, with its avatars that protect or threaten those who approach its spheres of power. In Chamula, according to oral history, the saints can be punished for a time if they do not respond to the pleas of their faithful devotees: they are placed against a wall for a while, until their grace manifests itself. I have not found that custom in the lands of Sot'sleb, or place of bats, known as Zinacantán, a name documented by the famous anthropologist and linguist Robert Laughlin. But I have been surprised by the profusion of life in the garments with which they adorn the images of the saints: the Christ of Esquipulas, the Guadalupana, Saint Jude, Saint Lawrence and Saint Sebastian are the images that increase their clothing for their annual festival, in an overabundance of colors and textures that leave their faces and hands exposed, with their bodies imperceptible before such a profusion of life.

    What lies behind so much flowery beauty? How can I approach with devotion those images that transcend the ordinary in such an avalanche of flowers and decorations that sometimes seem to overwhelm those we reverently invoke?

    I found the key in the arrows of San Sebastián during its three days of popular festival in the municipal capital of Zinacantán.

    People from all the surrounding areas and neighboring towns flood the streets of the village and the plaza next to the church of the martyred saint in a lively festival that blends ancestral traditions like the jaguar tree with fleeting horse races. Asking the young catechists about the meaning of these traditions... performances Today, I heard different interpretations, more or less confused, which always concluded with the laconic phrase: “it is the custom”The jaguar climbs the trunk of a tree that was chosen a year in advance in the sacred hills The surrounding area. This tree is visited and venerated three times by those in charge of the tradition before being cut down and taken to the center of the plaza. During the festival, the trunk becomes the center of a ritual that commemorates the three days of darkness spent praying for rain and abundant harvests. From this trunk, standing upright in the ground, a man dressed as a jaguar—wearing a suit of Chinese fabrics crudely imitating the skin of the rain guardian—throws stuffed squirrels and eggs to the crowd gathered around, accompanied by young people dressed in black who play and dance as a troupe during the festival rituals. The horse race runs along the main avenue at the beginning of the day and again in the afternoon, recalling, according to some, the arrival of the Spanish—a memory that marks the time and space of the festival brought by the friars?

    During those days, like stepping back in time, the popular festival blends traditional dance and music—performed with deliberate slowness before the Tsotsil green altar of the Three Crosses, where the image of Saint Sebastian is placed—with the deafening roar of the band in the bandstand, which overwhelms those present but provides the perfect soundtrack for the celebration. And at night, everyone eagerly awaits the Sinaloan band concert, when the thumping drums mingle with the firecrackers and fireworks displays prepared to light up the sky.

    Amidst that endless surge of color, sound, and movement, I pause to approach the saint who is the reason for the festivities. I look for him on the altar in the atrium and then inside the church at the main altar. In both places, I can barely make out his face. Through his vestments, an arrow pierces his arm. And there is no way to see his lacerated body.

    Then I recall conversations I've had in past and recent years with young Indigenous people from diverse sexual orientations who have confided in me about their suffering from living in the shadows in their communities. It was unimaginable for them to be able to celebrate San Sebastián as their patron saint, to be part of the celebration, as so many Catholic communities around the world do. They celebrate it only in the silence of their hearts and their prayers. And I realize the arrows that continue to pierce the wounded body of the martyr. The vulnerable bodies of these young people today are adorned with floral fabrics, like everyone else in the community, but those bodies are not recognized in their difference by an ancestral culture to this day.

    I wonder if those bodies that live in the shadows today will one day be able to come into the light, with the love and responsibility that calls us all, as other Indigenous cultures have done for centuries. Years ago, the same question arose in conversations with women from the Zapatista grassroots and civil society who were forging a path in their own personal and communal histories to be recognized as life partners, living together as mothers with their children, and with a clear community and political commitment to defend their peoples. Today, the Zapatista narrative speaks to us of others –as he masterfully recounts Sylvia Marcos by exploring gender fluidity in Mesoamerica - finally making visible the experience of different lives and bodies as valuable and essential voices in the human symphony and the world to come.

    With a burning heart I sow a candle in front of San Sebastián in the name of those young people so that they may soon emerge of the shadows of the shadows of the shadows and live their lives joyfully in the midst of the community.

    The lights and shadows of the San Sebastián festival continue to be a revelation and a concealment that calls us to see with wide-open eyes the world around us where divine and human glory bursts forth as a promise of life for all.

    Sots'leb, January 24, 2026

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  • Los Cristos negros de ZinacantánCarlos Mendoza Álvarez | Black Christ | Elambó Esquipulas, Chiapas | 2026

    The Black Christs of Zinacantán

    By Carlos Mendoza Álvarez

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    The patron saint festival of Elambó Esquipulas in the Highlands of Chiapas opens with the resounding music of a band whose cymbals, clarinet, trumpets, and drum enliven the community's procession. We walk from the entrance of the village to the chapel of the Black Christ, draped in a pink mantle embroidered with colorful flowers and adorned with a curly wig of jet-black hair. The darkness of his skin stands out even more against the flowery backdrop and reflects, with a few glimmers in his arms outstretched on the cross, the candles. sown on the floor, burning amidst the incense that fills the altar.

    Once the initial greeting is given, the community kneels to pray the invocation of mercy in the Tsotsil language, under the guidance of Mariano, the catechist in charge, all imploring God for forgiveness for the world, in a murmur that begins like raging waves and then becomes a whisper and caress, like waves brushing against the sand of the beach, a sign of a pacified communal conscience.

    The Mass continues with biblical readings in Tsotsil focusing on the cross of Galilee, followed by a brief meditation that I lead for the community in Spanish. I summarize three key thoughts for the catechist-interpreter to develop with endless eloquence. I center on the biblical meaning of Jesus' cross as a result of his commitment to the excluded of his time. Then, I briefly recount the story of the Lord of Esquipulas in Guatemala, quoting my brother. jTotik Alfonso, though adding my own commentary, points out that its black color symbolizes the sufferings of the people that Christ bears. I see the image adorned with flowers and realize that the Crucified One offers us a loving embrace in the last breath of his life. It comes spontaneously to me to say this to the community, who listen attentively, and I see them receive that embrace with grateful expressions. And I conclude by inviting us all to celebrate the Lord of Esquipulas with our own commitment of love, caring, as he did in life, for those who suffer most in the community, beginning with children whose health is threatened by the soft drink and junk food industries, young people drawn to money, drugs, and alcohol, and women who suffer violence in their own homes and communities.

    The consecration of the bread and wine is experienced with profound devotion by the kneeling community. But this sacred moment of adoration of the body and blood of Jesus, the anointed of God, suddenly becomes an even deeper reverence thanks to the traditional song and dance of the Bolom Chon o jaguar song which expresses the deepest soul of the Tsotsil, Tseltal, and Tojolabal peoples, the Mayan peoples of the Chiapas Highlands. Traditional musicians play the harp, violin, and guitar with a slow, measured rhythm, like a mantra growing in a sonic spiral of infinite tenderness, lulling the incarnate God and Mother Earth, whom our feet touch with their dance. For it is worth remembering that, for the Mayan peoples, in the rites of ancestral tradition—such as those of the Tseltal people studied by the Jesuit— Eugenio Maurer In Bachajón, the dance has a religious meaning, because with the feet one caresses Mother Earth, the primordial gift of the Giver of Life.

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    The Christ of Esquipulas, which originated in Guatemala, is a powerful representation of the diverse faces of faith of the ancient Mayan peoples, celebrating Tezcatlipoca under Mexica influence, according to the Dominican chronicler. Friar Diego Durán, to ask for rain:

    […] it was made of a very shiny and jet-black stone [obsidian], the stone from which they make razors and knives for cutting. In the other cities it was made of wood carved in the figure of a man, all black from the temples down, with a white forehead, nose, and mouth, the color of an Indian, dressed in some fine attire in his Indian style. First, he had gold ear ornaments and others of silver. On his lower lip, he had a lip plug of crystalline beryl in which was inserted a green feather, and sometimes a blue one, which from the outside looked like an emerald or ruby. This lip plug was about a gem long, above a ponytail of hair that he had on his head (Durán, II, 1995: 47).

    Centuries later, in that image, the Christianized Mayan people venerate the Nazarene with new meanings. In every corner of Zinacantán I visited this week, I found new and astonishing alterations to the image and the meanings the community gives it. From the story of a charred black Christ who miraculously survived a fire to the icon that darkens because it absorbs the sins of the world, we encounter stories that recount the anxieties and longings of its faithful devotees, giving the Christ increasingly intense shades according to the skin color or the consciousness of the community that venerates him.

    Two scenes remain in my memory from these days exploring the Zinacanteco landscapes. Both hark back to the ancestral rites of the Tsotsil people.

    The first is the prayer of forgiveness when the entire community, in a collective surge, with cries, tears, and sighs, raises its prayer kneeling on the sedge –These are the pine needles laid like a green and fragrant carpet on the floor of the hermitage, chapel, or temple, supporting the feet of the community gathered amidst candles—the incense mingled with the scent of pine from the surrounding forests. A vestige of the people of the mist and the forest, as the poet from Tuxtla sings. Juan Bañuelos:

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    Dawn breaks. The humidity is like sleep: motionless. Only
    ascends
    a people with roots in the throats of birds
    whose song stirs the fragrant carpet of the rushes
    The smoke from the huts rises, mimicking Mayan fretwork patterns.
    while the cyclical serum of memory is filtered out

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    The second scene that lingers in my heart is the ritual dance of sonic and rhythmic adoration that moves the assembled community, caressing the earth that has borne fruit to the son of Mary, perhaps a jaguar Christ, according to the memory of the Mayan peoples. Bodies transfigured by a radiance of ancestral humanity that opens itself to the loving mystery.

    The Black Christs of Zinacantán continue to luminize in every place, with darker or lighter tones, depending on the land that welcomes and venerates them. Black Christ of Esquipulas during the time of the Captaincy General of Guatemala. Black Christ of Tila during the time of Chiapas' independence. Black Christ of Zinacantán during the time of the indigenous uprising. Black Christ of today's communities facing the mirage of prosperity from the flower and textile trade. Black Christs that will come in the troubled times we live in.

    What laments and what praises will future generations of the Tsotsil people sing when, half a century from now, the cry of wounded humanity makes the Black Christ even darker?

    What laments, praises, and dances do we experience when we realize that time is running out to seek and find solace for a humanity threatened with death by the world of the powerful?

    The black Christs of Zinacantán are a great paradox: an embrace of suffering and a promise of life.

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    Ts'ajal Nam, January 17, 2026

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