front cover of Huichol Mythology
Huichol Mythology
Robert M. Zingg; Edited by Jay C. Fikes, Phil C. Weigand, and Acelia García de Weigand
University of Arizona Press, 2004
Best known for their ritual use of peyote, the Huichol people of west-central Mexico carried much of their original belief system into the twentieth century unadulterated by the influence of Christian missionaries. Among the Huichol, reciting myths and performing rituals pleases the ancestors and helps maintain a world in which abundant subsistence and good health are assured.

This volume is a collection of myths recorded by Robert Zingg in 1934 in the village of Tuxpan and is the most comprehensive record of Huichol mythology ever published. Zingg was the first professional anthropologist to study the Huichol, and his generosity toward them and political advocacy on their behalf allowed him to overcome tribal sanctions against divulging secrets to outsiders. He is fondly remembered today by some Huichols who were children when he lived among them. Zingg recognized that the alternation between dry and wet seasons pervades Huichol myth and ritual as it does their subsistence activities, and his arrangement of the texts sheds much light on Huichol tradition. The volume contains both aboriginal myths that attest to the abiding Huichol obligation to serve ancestors who control nature and its processes, and Christian-inspired myths that document the traumatic effect that silver mining and Franciscan missions had on Huichol society.

First published in 1998 in a Spanish-language edition, Huichol Mythology is presented here for the first time in English, with more than 40 original photographs by Zingg accompanying the text. For this volume, the editors provide a meticulous historical account of Huichol society from about 200 A.D. through the colonial era, enabling readers to fully grasp the significance of the myths free of the sensationalized interpretations found in popular accounts of the Huichol. Zingg’s compilation is a landmark work, indispensable to the study of mythology, Mexican Indians, and comparative religion.
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front cover of Rock Crystals and Peyote Dreams
Rock Crystals and Peyote Dreams
Explorations in the Huichol Universe
Furst, Peter T
University of Utah Press, 2006
The Huichol people live in west Mexico’s Sierra Madre Occidental. The most authentically 'traditional' of all Mexican Indians, they have recently become famous for their vivid yarn paintings, their sacramental use of hallucinogenic cactus, and the well-documented peyote pilgrimages that take them three hundred miles east from their present homeland into the north-central desert.

In the mid-1960s, Peter T. Furst began a lifelong encounter with their intellectual culture, facilitated by a growing relationship of mutual trust with Ramón Medina, an aspiring Huichol shaman, storyteller, and artist, and his wife Guadalupe de la Cruz Ríos. Ramón, who became a full-fledged shaman with his fifth peyote pilgrimage, also had a Huichol name: 'Uru Temay, Young Arrow Person.' Over the years Furst published a number of articles on various facets of Huichol life, many of them centered on what he learned and observed during his growing relationship with Ramón and his people.

Bound together by personal reminiscences and background explanations, Furst here brings many of those articles together and updates them. It includes transcriptions of myths that function as charters for 'being Huichols,' descriptions of deities, rituals, beliefs, as well as discussion of the place of hallucinogens in Huichol culture. Furst skillfully weaves current reflections with memories and older material in a manner that makes for a highly readable, contemporary presentation.
 
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front cover of The Shaman’s Mirror
The Shaman’s Mirror
Visionary Art of the Huichol
By Hope MacLean
University of Texas Press, 2011

Huichol Indian yarn paintings are one of the world's great indigenous arts, sold around the world and advertised as authentic records of dreams and visions of the shamans. Using glowing colored yarns, the Huichol Indians of Mexico paint the mystical symbols of their culture—the hallucinogenic peyote cactus, the blue deer-spirit who appears to the shamans as they croon their songs around the fire in all-night ceremonies deep in the Sierra Madre mountains, and the pilgrimages to sacred sites, high in the central Mexican desert of Wirikuta.

Hope MacLean provides the first comprehensive study of Huichol yarn paintings, from their origins as sacred offerings to their transformation into commercial art. Drawing on twenty years of ethnographic fieldwork, she interviews Huichol artists who have innovated important themes and styles. She compares the artists' views with those of art dealers and government officials to show how yarn painters respond to market influences while still keeping their religious beliefs.

Most innovative is her exploration of what it means to say a tourist art is based on dreams and visions of the shamans. She explains what visionary experience means in Huichol culture and discusses the influence of the hallucinogenic peyote cactus on the Huichol's remarkable use of color. She uncovers a deep structure of visionary experience, rooted in Huichol concepts of soul-energy, and shows how this remarkable conception may be linked to visionary experiences as described by other Uto-Aztecan and Meso-American cultures.

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