The workers are beginning to erect grandstands. The poles for Voladores are beginning to reach skyward. Craftsmen are assembling tools and materials. Everything is being readied near the impressive pyramids and ball courts of El Tajin, one of Mexico's least visited yet most intriguing archaeological sites. The Governor of the State of Veracruz, is the event sponsor and everything is being prepared for his inspection.

Travelers take a look at the pyramids of El Tajin, one focal point of a week-long celebration that will bring many to a remote region of Mexico Mar. 18. (Photo by Lois A. Lowe)
So what is Cumbre Tajin and why does it attract thousands of tourists to a remote part of Mexico? There's still time to get there and find out what those attractions might be for this year. In 2005, the event will be held between Mar. 18 and 25.

If there's a single occurrence that affects every human being on the northern half of our planet, it's the arrival of spring when the sun crosses the equator and promises warmth, rebirth and renewal. Some of us may watch the groundhog on Feb. 2, but that's hardly enough to celebrate the time of year when life seems, somehow, to begin anew. It's logical to recognize something that's common to every human regardless of race, ethnicity, gender, wealth or national identity. Now, there's a happening in Mexico that takes note of the renaissance of life. It's the basis for the celebration of Cumbre Tajin.

El Tajin is the gigantic pre-Columbian archaeological site in the Mexican State of Veracruz, about 25 miles west of the Gulf of Mexico and equidistant from the major cities of Tampico and Veracruz. It covers 10 square kilometers of jungle. The pyramids, ball courts, palaces and commercial buildings make it one of the richest historic sites in the Americas ‹ larger than better-known places like Tulum, Monte Alban and even Chichen Itza.

This year, annual Cumbre Tajin will honor the spring equinox with a spectacular celebration. About a kilometer from the UNESCO Cultural Heritage site of El Tajin, organizers invite the world to see what Totonac culture is all about. In the past, their intensity in exhibiting the elements of that culture was extremely well mounted. It was always interesting and, at times, truly exciting. Cumbre Tajin translates as the " Summit Tajin" and this is a festival of the arts, craftsmanship, culture and customs of Totonac Indians who have occupied this region since pre-Columbian times.

Cumbre is held in what the organizers describe as a theme park. That's not a term normally applied to a mixture of concert performances, craft demonstrations, folk dances, costumes, traditional healing, story telling, cooking, adventure sports and ritual. It is, instead, the exuberant celebration of a people welcoming spring. Housing accommodations were either in hundreds of tents erected on the periphery of the area or in hotels in the nearby petrochemical center of Poza Rica or in the smaller colonial town of Papantla. The tent city is not for the faint of heart, but transportation is provided from the urban centers to the archaeological site for those staying in motels in the cities. The centerpiece of the Cumbre area was the pole used by Voladores. These are teams of five men who perform a traditional ritual. After dancing around the base of a 90 foot pole to the rhythm of a tiny drum and flute, four of the performers climb the pole and carefully twist heavy ropes around the pole above the platform and tie themselves at the waist. Then, the fifth member climbs the pole and, still playing the traditional musical instruments, dances atop the pole without benefit of guard rails or other safety devices. At the appropriate signal, the four, who had been sitting on a square frame atop the pole facing in the four directions of the compass, swing over the side and slowly make 13 revolutions around the pole with their arms outstretched. They appear to be birds flying as they slowly descend. The lone Volador still on the pole eventually lowers himself down one of the ropes and the ritual ends.

In another part of the Cumbre complex, women were busily preparing samples of local cuisine. The combinations of ingredients and flavors were highly unusual but remarkably tasty. In the food court, toque-blanc wearing chefs were doing a limbo and gyrating to the music of La Bamba while preparing such exotic dishes as Atole, a corn based drink flavored with either unsweetened chocolate or the oranges that are so plentiful in the area. Another simmering pot contained the same sort of thick broth made from a purple corn that was being brewed into a raspberry colored drink. Still another thatched roof kitchen was making soup that would have cured almost any malady and made any Jewish mother proud. Using a chicken broth base, carrots, rice and mild peppers were added. The only thing missing was matzo balls.

In the same food court, an altar had been constructed and a service was performed consisting of a mixture of Christian and pre-Columbian practices. There was cleansing in which boughs of sweet herbs were brushed across the bodies of participants in a ceremony of purification. In still another part of the park were a series of two dozen large teepees used as a center for holistic health. One offered aromatherapy, another massages, and one even served as a sauna. Various medicinal herbs were available for purchase from practitioners who were obviously devoted to native healthcare techniques. The same costumed group was seen later in the ruins of El Tajin ritually celebrating the change of seasons.

Other interesting aspects of the Cumbre experience were a couple of four-segmented craft structures In those open quadrants, excited crowds participated in dance lessons that included the locally favored Danzon. In another section, masks were being made. The mask is very much a part of pre-Columbian civilization and in this center, the tradition of creating them was passed on to a younger generation by older craftsmen. Masks soon began to take on individual personalities as work progressed. In yet another quadrant of this building, vanilla bean pods were being crafted into small icons - some religious, others fanciful. In the final quarter, children were taught to make games, the origins of which went back millennia. There were also lessons in cutting the tissue paper doilies that are used during the celebration of the Day of the Dead, an important Mexican holiday coinciding with All Saints Day.

All through the park, other crafts were being demonstrated. Visitors were encouraged to join in. Candle making, using bee's wax as the base of the candles, was located in one spot. Clay was being formed into pots or masks in another. A primitive woodburning kiln fired the creations. In yet another location, women were teaching embroidery, crocheting and weaving. The weavers were using body looms requiring one end to be tied to a tree and the other around the weaver's waist to create the tension needed for the loom. Scarves and table mats were being woven by locals wearing traditional garb. Hats, placemats and fans were being fashioned from palm fronds using ancient Totonac methods and designs.

A large dance pavilion gave costumed dancers ‹ both children and adults ‹ a chance to exhibit folk dances. Elaborate head-dresses and traditional costumes worn by participants performed almost non-stop. The large music venue was, perhaps, the most impressive stage in the Cumbre complex. There were at least four major concert presentations a day. The music is unfamiliar, but the sound it creates, using unusual folk instruments in many cases, is memorable and thoroughly enjoyable.

But the piéce de resistance of the celebration took place at the El Tajin pyramids. In the Plaza del Arroyo, a huge stage was erected and enhanced by sound and lighting equipment that would do any rock concert impresario proud. Seating for a 3,500 person audience was constructed in this square. In the period from 600 A.D. to about 1100 A.D. that same space was used as a market place holding as many as 40,000 people who bargained, shopped and "networked" there. As a measure of comparison, it should be noted that in that same year ‹ 1100 AD, the entire population of London, England was about 40,000.

The final concert was a happening. Lighting had been installed to illuminate the ancient pyramids, and a production staged by producer Carlos Mora had a full symphony orchestra and as many as 300 dancers, singers and performers on stage at one time. The participants included a professionally trained ballet troop, a choral group and peasants and children from the local villages who still live the Totonac culture and wear traditional, highly individualistic clothing. Men wear white tunics and trousers; the women, colorfully embroidered dresses. The 90 minute show featured performers from Veracruz, Jalapa, Mexico City and other cities throughout the country. It had been the intent of the producers to use Mexican talent and there was plenty to go around.

There was a real sense of pride among the performers in their effort to show the world their culture ‹ one that's lasted for hundreds of years. This event is not for everyone, but with a spirit of adventure, a poncho, hearty hiking boots and a minimal knowledge of Spanish, Cumbre Tajin could become your own special celebration this year when the sun moves north across the equator to portend the coming of spring flowers and summer warmth. For information on transportation, accommodations and other aspects of a visit to Tajin, you should call the Chicago office of the Mexican Tourism Organization at 312-228-0513, extension 19 and ask for Hortensia Guerrero. She'll be happy to get you on the right track for an adventure of a lifetime.

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