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Dancing History Narrators

The Dancing History Narrators


 
Dancers all over the world dance; in circles, in Virginia Reel lines, in sets of four or more, in joy, in sadness, to show agility, or the ability to do more than one thing at a time, to thank the universe for a good rain or to plead for one. Seldom do they dance for no reason whatsoever. Movement has always released the spirits and the souls of the participants to better endeavors.
In Meso-America, the dancers have yet another purpose: that of historical narration. It has been used as a teaching mechanism by the Aztecs, the Maya, the Mixtec, the Zapotec and probably both in the north and the south on these two continents.
Sometimes, the story to be told is all action, as in August, when the dancers of Oaxaca dance out the story of the Conquest. There is a Narrator who relates the approved story in a loud voice while the movements of the dancers tell of the good and bad events of the tale. For those who know the history, it is boring. The Narrator attempts to keep an interested audience by offering soda pop and beer to those who are watching. The dance goes on for hours because it is a long\story. For those who cannot read it is a necessary education.
In the Maya area, there are the Hulmul Dancers. I only know of these dancers through the vases excavated at the site of Hulmul. They do not relate a history as a narration. Instead they describe an event in a picture format. The racks worn on the backs of the dancers, look cumbersome, but are made of very light weight materials, probably of feathers and of bamboo. Most of the forms found on the back rack are symbols acquired over the years and used by those who drew the codices.
It is apparent that the whole story appears on one backrack. And each dancer has one. The same symbols are grouped on each in the same sequence. Since the dance is a universal tale, the dancers appear all around the vase surface, as if they are dancing in the sky that encircles the world.
The vase illustrated above was photographed by Justin Kerr and is found at K5977.
Linda Schele redrew this particular type of image into a more  understandable figure. Her iconography of the Hulmul Dancer tells us that it was a dance about a historical sky event. In this drawing, only the important symbols are defined. The most important of the symbols is the fact that fire (feathers) emerge from the eyes of the sky bird.
I say historical, because this event seems to be repeated all around the world. Stellar events CANNOT occur ONLY in a Mayan area because it is an event of the heavens. One must accept the fact that such an event had to have been seen all around the world. An exploding star is not the sun or the moon in eclipse which is only be visible in a small area of the world. This is because the Moon orbits around the earth, which in turn orbits around the Sun.
At some point in time, the Earth and the Moon arrive in a certain area and one obstructs the light of the sun for the other. We call these events: sun eclipses and moon eclipses. Children's stories carried into adulthood, also around the world, explain what happens to the sun or the moon during those eclipses.
On the other hand, stars, which are much further away from Earth with its Sun and Moon, are seen during the night by everyone when the skies are clear. Yet, history books do not mention any stellar explosions; and our astronomy books can only guess when or if they occurred. One important reason is that during that time of night when a star is visible, normal people sleep. This is not an unheard of phenomena.
The trajectory of one recorded stellar explosion has been noticed by pseudo-scientists who have decided that our intelligence comes from outer space. They feel that all tracking of the great star was no more than the arrival of an extraterrestrial space ship that came to our planet eons ago.
Linda Schele knew about this event because she discovered the glyphs that recorded it on the Maya stelae, murals and codices. She called the event "Star Wars." It was clear to her that it was a battle of great importance. She identified human warriors who were involved in battles for land and possessions, even though her drawing of the Hulmul Dancer clearly showed sky bands over and under a bird who spewed fire (symbolized by feathers) and rat-bone symbols of land elements, both of which can be traced through Aztec myths and traditions already recorded by researchers. The only question that remains is: can the exploding star of the Maya monument dates be found? Is there a bird image in the heavens that had fiery (shining like jewels) eyes?
According to the constellation charts, a possible constellation that would fill this criteria is Cygus or as it is commonly called in the Polynesian area of the Pacific, the Northern Cross. This constellation is seen in the Hawaiian Islands as an upside-down cross, quite different from our northern sky charts.Sine Hawaii identifies the blue star as URI in the upper right side of the Northern Cross, but the Aztecs and Maya identify it as a "jewel" in the beak of the bird, one might wonder just who saw what. The beak of the bird is the long lower section of the cross. URI is found in the upper right side of the cross.
This indicates that there may have been a nova that, because of its explosive nature, sent out a comet (two of them according to the Aztec poem The Birth of the Fifth Sun. The difference between the two areas (one in the Pacific and the other in the Gulf of Mexico) imply that the comets,sent out by the nova, set a trajectory path that might be able to be traced through higher mathematics, or computer simulation. The last great view of this comet was as Antares, the heart of the Scorpio constellation, the general direction that the comet took from the nova explosion as URI.
This is a "what if" proposition, but an interesting one. If it became Halley's Comet, there are only two variants of that comet that is recorded mechanically: the first, in 1911 and the last in 1985-6. Is the difference in orbit enough to trace it back to the URI explosion?