PROJECT III

THE ORAL TRADITION AND CULTURE OF THE PEOPLE:

PREPARATION OF AN ANTHOLOGY

Various peoples of the world have preserved knowledge, uses and customs through orality. The
elders, fathers, mothers or healers have been in charge of preserving the knowledge of their
culture. Generation after generation have shared various types of stories with children and young
people, whether to enjoy, advise, heal, pray or be part of a ritual. Among them we can find stories,
songs, myths, legends, verses, rhymes, lullabies, sayings, prayers, prayers, spells or other
community expressions. Recently, members of indigenous peoples and researchers have dedicated
themselves to collecting diverse knowledge, ways of seeing, feeling, being and being in the world
through writing, that is, narratives in common, continuous or recurring use, mostly in Spanish and
others in their native languages. The objectives that have guided this task are diverse, among them
we find that of preserving a legacy, cultural knowledge, the life of a town, the life of the people.
One of the general objectives of this project in which they will participate for four weeks
will be to contribute to the preservation of the heritage legacy of culture in their community by
creating an anthology in which various traditional oral narratives will be compiled and
transcribed. . This anthology can be incorporated into the collection of your high school library or
your community so that other students or members of your community can access it.
In the first week they will delve into the knowledge of “the oral tradition and culture of
the people”, as well as their function in the communities. What an anthology is, the recipients and
the purposes for which it will be created will be explored. They will begin the exploration and
investigation of the oral tradition in their community. In the second, the different types of
narrative texts of the oral tradition will be characterized. The characteristics of the narratives they
have recovered will be recognized in order to determine what type of text it is. The review of
coherence and agreement in these texts will begin. In the third, the review will continue focused
on spelling and punctuation aspects. Finally, in the fourth week the final acceptable versions of the
texts will be obtained. They will focus on editing and disseminating their anthology.

First week: Oral tradition and the culture of the people.

What, what is it like and why is an anthology made?

What is oral tradition? How is oral tradition different from oral history? What is culture or what
do you understand by this word? What are the functions of oral tradition in culture? Is it possible
to know how old an oral story is? What legal aspects do you think are related to copyright in the
transcription of oral tradition narratives? Who do you think are the owners of the traditions of a
group of people, town or country? Who will be the owners of the oral tradition? What does the
term “public domain” mean?

Activity 1. In groups and with the teacher, based on the brainstorming dynamic, answer the
questions in the previous table. To conclude the topic, read the following reading and comment on
your coincidences and discrepancies with the ideas presented in your answers to the previous
questions.

Fragment of “Introduction: Tradition and oral history” (Pp. 1-2)

“Oral tradition and history have an oral nature in common. Although it is illusorily easy to establish

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distinctions between them, in practice it is more difficult to confirm these differences. The ways in which
these materials are collected, processed and stored to make these materials available to researchers are often
very similar, as are the equipment required to record and preserve them. In general, both oral history and
oral tradition people belong to a common class of oral historians and share many of the same interests,
concerns, and objectives, methods, and procedures.
Oral traditions are the orally transmitted and narrated memories of the past that arise naturally in
and from the dynamics of a culture. They manifest themselves orally throughout that culture even when
certain people are entrusted with their conservation, transmission, recitation and narration. They are organic
expressions of the identity, purposes, functions, customs and generational continuity of the culture in which
they are manifested. They occur spontaneously as phenomena of cultural expression. They would exist, and
in fact have existed, even if there were no written notes or other more complex means of recording. They
are not direct experiences of the narrators, and must be transmitted orally to be considered oral tradition.
Oral history, on the other hand, is usually identified as an activity, or an academic and independent
process of investigating the memories of people who have had direct experiences in the recent past. This
investigation and the answers it generates are recorded as a complement to the written documents that are
necessary to a certain extent for the historical analysis. It is a planned, abstract and analytical practice
followed by historians and other social scientists, and depends fundamentally on a means of recording data,
whether manual, mechanical or electronic.”

MOSS, W. and MAZIKANA, P. (1986). Archives, oral history and tradition: a RAMP study . General
Information Program and UNISIST. Paris: UNESCO.

Activity 2
1. Then read the following text “The importance of oral transmission and what oral tradition
is” (in annex) and then comment on it as a group.
• REYZABAL, VICTORIA MARIA. Chapter VI. Tradition, literature and oral
sources in “Oral communication and its didactics” (2003). Mexico: SEP. Pp.307-
318.
Activity 3
1. Organize yourself into teams and begin to investigate with your family and neighbors
what oral narratives are already a tradition in your community. Write them down in your
notebook.
2. Record the information you obtain through conversations or interviews with people that
have to do with these narratives. Later this information will be very useful to you.

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 What, what is it like and why is an anthology made?
Activity 4
1. At the group level, through brainstorming dynamics, answer the following questions:
What will be an anthology? Have you heard or read anything related to the word
“anthology”? Will the anthology be a type of text, document or a literary genre? Where
can they find an anthology? What will the anthologies be prepared for? Will there be
anthologies of a single type or of various types? What does an anthology contain? What
could be the characteristics of an anthology?
2. After trying to answer these questions, organize yourself into teams and characterize the
texts presented below by answering the following questions according to the information
found in them. When you finish with your teacher, discuss what you found.

• In general terms, say what an anthology is, what its characteristics are, who it is
aimed at and for what purposes it is published.
• In particular , describe the theme of each anthology, what type of texts it
contains, what are the characteristics of these texts, what is special or novel about
this anthology and what characteristics it has with respect to its authorship or
authors of the texts. .
INVITATION
Elizabeth Lino Cornejo and the Koripampa de Rancas Commune (Cerro de Pasco) are pleased to invite you
to the presentation of the book Nuestros grandparents nos ha told , first mention of artistic merit in the First
Intercontinental Biennial of Indigenous Art Inti Ñan-Camino del Sol, Ecuador, 2006. In the Atahualpa
Award category for oral tradition. This book brings together a set of stories, myths, customs and traditions
referring to the San Antonio de Rancas-Pasco peasant community, told in the voices of its children. The
book aims to make known the intangible heritage of the
Presentation of the book:
community, thus evidencing the permanence of memory Our grandparents have told us
and the construction of local identity. Customs, myths and traditions of the Peasant Community of Rancas
narrated in the voices of my boys and girls

Wednesday, June 4 Time 6:00 pm

Our grandparents have told us , it will be presented on Sparta Cultural Center
Natalo Sónchez tai. This lady /ah. face, OR of the Aw Aequpa
Wednesday, June 4 at the Spain Cultural Center (Plaza
Washington, Natalio Sánchez 181, Santa. Beatrice. Height
of block 6 of Arequipa Avenue). At 6:00 pm (Exact time) . We show oouelosO--o- honor us
The book will be commented by the oral tradition educator
and researcher Cecilia Granadino .

BLACK SUN. Invitation (online) Located on 08/12/08 at

http://sol- negro.blogspot.com/2008/05/invitacin-
presentacin-del-libro.html

Comment on them or comment on them as an oral education

educator and researcher:
Cecilia Granadino

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 Cuba 20th Century
Musical Anthology Vol. 1
FROM SON TO SALSA

EL SON CUBANO:
Undisputed origin of salsa,
son is a genre that was
born in Cuba and that has
defined Afro-Antillean
music more than any
other. Its origins date back
to at least the 18th century
and are a reliable example
of the fusion of Spanish
and African cultures in the
Caribbean.
http://comosuena.com/arti
c ulossoncubano.html

SALSA: Wherever in the

01 - Guajira Guantanamera (Guajira) - Joseito Fernandez world this word is used,
02 - Twenty Years (Habanera) - Maria Teresa Vera everyone will know what
03 - Reclamo Mistico (Bolero Son) - Trio Matamoros
we are talking about. A hot
and spicy rhythm, which
04 - The Love of My Bohio (Danzon Cantado) - Barbarito Dies
forces you to move your
05 - Lie Salome (Son) - National Septet hips in time with the key. It
06 - La Fonda De Bienvenido (Guaracha) - Conjunto Arsenio Rodriguez is one of the most dynamic
07 - La Comparsa (Conga) - Ernesto Lecuona and his Piano musical styles in the West.
08 - I'm Going to Pinar Del Rio (Son Montuno) - Tito Gomez and La
But salsa is actually an
Riverside Orchestra "umbrella" term that
encompasses different
09 - With You In The Distance (Song) - Cesar Portillo De La Luz
Caribbean and Cuban
10 - Guajira Con Tumbao (Guajira Cha) - Aragon Orchestra
rhythms such as son, cha-
11 - If You Could Love Me (Song) - Snowball and His Piano cha or merengue. It is a
12 - Above, Cuban (Danzon) - Israel Lopez (Chachao) and his Giant Typical word like "swing" was
13 - La Gloria Eres Tu (Song) - Jose A Mendez y su Guitarra Live once applied to the big
jazz bands of the '30s and
14 - Chan Chan (Son Montuno) - Compay Segundo y Su Cuarteto Patria
'40s. It describes a feeling
15 - Waitress of Love (Freckled Bolero Mambo) - Beny More and his Giant
more than a specific
Band
rhythm or musical
expression. The sauce is
not always fast and
SON TO SON. Cuba 20th century. May 12, 2007. Located on 08/06/08
intense; It can also be
in
slow and romantic, or
http://desonason.blogspot.com/2007/05/cuba-siglo-xx.html
move between these two
types of rhythm
http://www.salsa-in-
cuba.com/

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 General Director: Carmen Lira Saade
The day. Mexico DF Sunday April 4, 2004. Culture
(9 Carlos Montemayor publishes the most complete anthology on the subject
''Indigenous literature is going through an unprecedented effervescence''
In The Deep Voice, the Chihuahuan specialist collects and offers in Spanish works by 32 authors, written
in 10 native languages (D Quality and excellence, criteria for the selection of texts
ARTURO GARCIA HERNANDEZ
For five centuries, the voice of the indigenous people of America has been supplanted. Others - non-
indigenous - have said, in their name, what they believe, what they think, what they feel, what they want,
how they are. Now that is changing profoundly, and one facet of the change is the unprecedented
emergence of a literary effervescence in indigenous languages.
The writer Carlos Montemayor (Parral, Chihuahua, 1947), a student of the phenomenon, reports
that only in the last decade in Mexico there has been a notable development and production of authors in
indigenous languages.
It is of such magnitude that for the first time on a national, and even continental, scale, the
indigenous people ''have a voice that for centuries we have tried to
supplant. "After 500 years, it was only fair that they themselves say
who they are." Montemayor is the author of The Deep Voice.
Anthology of Mexican literature in indigenous languages, which has
just been published by the Joaquín Mortiz publishing house and will
soon begin to circulate. It is a multilingual edition that offers Spanish
versions of works originally written in 10 indigenous languages:
Mayan, Tzeltal, Tzotzil, Tojolabal, Nahuatl, Isthmus Zapotec, Sierra
Zapotec, Mazatec, Huichol and Nahñu.
It is - the editors note - the ''most complete'' anthology in
indigenous languages produced so far. The volume includes
comments on the translated languages, profiles of the authors and
notes that in some cases explain the translations and "the meaning
that is often lost by the rich nuances that the original languages
imprint on them."
More than a selection of languages, the anthologist specifies
in an interview, it is a selection of authors, with the ''criterion of
quality and excellence''. There are 32 writers who "have already been working for many years" and have
"recognized production" in the genres they cultivate. For more than 20 years, Carlos Montemayor has
worked on translating indigenous languages into Spanish. This has allowed him to observe the emergence
and development of a literary movement that is part of something broader: the maturation of a process of
political and cultural awareness of the Indian peoples. (…)

GARCÍA HERNÁNDEZ, ARTURO. Fragment of the news “Carlos Montemayor publishes the most complete
anthology on the subject 'Indigenous literature is going through an unprecedented effervescence'”. THE DAY.
Section: Culture. Sunday April 4, 2004. Mexico. Located on 07/11/08 in

Content
Slijkibal A'yejetik …………………….………...7 Slikeb Lo'il ………………...
……….…………..9 Introduction…………… ………………..…….eleven
Only 'il Sipakna …………………...………......13
The story of Sipakna……………………..……17 Sventa bird ta Chamela
……………..………21 The little birds of Chamela………………..……….33 X'
anton sok te waxe …………………….……..45 X'anton and the fox……..………...
……….53 Jitz'il bak …………… ………..…………..……61 The Flying
Skeleton………………………….…..73 Sk'oplal jkuxultatik sok jch'um'tik ………
............................................................................85

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 Tale of the Sun and the Moon…………………...…101 Sk'oplal poxil .
………………………………...117 The healer's tale…….………… ………119
Tul antz cháy ta uk'um …………………..….....121 A woman fell into the
river…………………..……..123 Sk'oplal pale ch'en ……………….………
...........................................................................125
Story of a priest…………………… 127 Ya yejul j-ijk'al …………………..
………… 129 Story of the little black man…………………..……… 133
Introduction
Since its birth in 1982, the association of Tzotzil and Tzeltal actors and writers Sna jtz'ibajom , Cultura de los
Indios Mayas, AC, dedicated itself to the task of rescuing, developing and disseminating the cultural values of the
Mayan communities of the Altos de Chiapas.
Our first tasks were the selection of narratives from elders and ritual advisors knowledgeable about our
oldest traditions and customs, which had been preserved by oral tradition, since for centuries the vast majority of
the Mayans of Chiapas did not know how to read or write, nor in Spanish or in their own languages.
Thanks to these informants and advisors we gathered a series of tales, legends, stories and traditions that
we transcribed and translated into Spanish with the purpose of making them known, first to the Mayan-speaking
communities and then to the towns and people of Mexico and the world. interested in knowing the Mayan culture
that remains to this day. This volume integrates the first selection of texts prepared by Tzotzil and Tzeltal writers
in their own language, for their own people, which have already been distributed until two editions of individual
booklets have been exhausted. Since reading and writing in mother tongues was almost non-existent, several of
these and other works were part of the repertoire of a puppet and itinerant theater group Loíl Maxil, “ Bromas de
losmonos ”, which later led to radio and video. at least two works a year, as well as documentary programs, in
order to increase the correct use of the Mayan languages and the love of their own culture. Thus, the Chanob Vun
ta Batzíl K'op school of reading and writing was founded in areas of Zinacantán and Chamula, which has
graduated nearly 2,000 students of all ages capable of reading and writing in their languages and disseminating
their teaching. Now many of these students annually send hundreds of bilingual texts to competitions, several of
them new creations, which increase the literary heritage of the Tzotzil and Tzeltal Mayans: several of the
members of Sna Jtz'ibajom and their students have obtained such recognitions. such as the Chiapas Prize,
scholarships from national and foreign cultural institutions and invitations to various cities abroad to present our
plays and our literary creations, thereby contributing to the recognition of the Mayan culture that our people long
for, and that is growing and strengthening. its roots and its branches like the Ceiba of creation that our ancestors
revered. The anthology of stories presented here is part of the result of 12 years of research and dissemination of
the Tzeltal-Tzotzil language and culture of the Altos de Chiapas .

Anthology (1994). Tzeltal and Tzotzil Stories. Lo'il Maxiel . Mexico: National Council for Culture and the Arts,
General Directorate of Popular Cultures, General Directorate of Publications and Diana publishing house.

After having carried out this activity, some definitions of “anthology” are indicated below.
According to the dictionary of the Royal Academy of the Spanish Language 1 , the word
anthology comes from the Greek language from two roots: antos which means flower and legein ,
to choose. It is said to be that “collection of selected pieces of literature, music, etc.” and that
which is “worthy of being highlighted, extraordinary.” Lopez (2004) states that an anthology “is
the book that brings together selected pages of some authors, such as poets or prose writers.
Anthologies have great didactic value, since they are generally used as a complement to a
textbook or a subject, so that students can analyze or work with those fragments.”
In conclusion, it can be observed that unlike other documents, the preparation of
anthologies offers ample freedom to decide what type of texts to gather, in what order and for
what. This is how anthologists define the criteria for how to carry out the compilation. 2 of texts
and document editing.
As you have probably already noticed, the structure of a written anthology contains the following
parts:
• Cover

1 http://www.rae.es
2 It refers to the meeting or grouping of texts

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 • Presentation
• Introduction
• Texts of a single type or different types of texts
• Conclusions
• Bibliographic references (in the case of oral tradition narratives, the names of the people
who participated in telling or sharing the narrative could be noted, as well as a brief
history or context of it. These annotations can be made at the end of the oral narrative or
at the end of the entire anthology, naming the title of the corresponding narrative).
During this project you will notice that this brief description will be returned to later, when
preparing the final draft of your anthology.

Activity 5
1. Based on the above, you can now be clearer about what you are going to do in this project.
Share as a group some of the oral tradition stories that you have found so far. Tell them or
read them to your classmates and teacher. Listen to them carefully.
2. Continue collecting more stories of traditional use in your community, but now you will do so
in writing in your notebook. The transcription of these texts will be reviewed later.

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Second week: oral literature

Activity 6
Below are some texts of oral tradition. Read them, identifying what they are about, the way they
are written, and their possible function in the community's culture. Discuss what you found as a
group and with your teacher.

The knot of time

The elders say that long ago they recorded time using knots. If the weather was very good, they would
make a knot with corn leaves and hang it on the wall of their house; That indicated that the weather was
excellent, that there was a lot of harvest. When the weather was bad and the plagues had destroyed
everything, they tied the knot with a piece of vine, but with the ends eaten away, that indicated the
presence of the plague.
When their crops were destroyed by a hurricane they tied four-pointed knots; If the wind came
from the North that point was longer, that indicated that the wind that blew from the North destroyed all
things. When there is a drought they look for a piece of bark from the tree, the strip is smaller than the
others and that indicates that there was almost no rain and there were no crops. When the crops were
destroyed by water, they looked for the bark of a very green tree and scratched it, this indicated that it
rained too much, that the crops rotted and that that year was not good. Those are the knots or moorings
of time.

CRUZ ORTIZ, A. Nuu tui ñuñivi chi maara rai=The origin of the world and men. Mexico: SEP: Center for
Research and Higher Studies in Social Anthropology, 2005, 39 p. Corner Books.
Salukita Salukita ( Montemayor, 2001. Q. 145)
Norini intsïkurioka ma putimukua. (S aluquita, Saluquita,
Name pale putimukuakini ia nokini intsikuaka Won't you please give me a kiss?
jimboka inde putimukua no puntsumisïka isï eska Oh no, palé, I don't want to give you a kiss,
inde tsïtsïki urhapiti ia. because in that kiss there would not be the
perfume of this my beautiful flower.
Ai, ai, ai, ai, ai, naksïni p'ikuarerajka chanksïni
uekani ia.
Oh, oh, oh, oh, oh, oh.
Nombe pale putimukuakini ia nokini intsikuaka
How I feel for the love of you!
jimboka inde putimukua no puntsumïska isï eska
Oh no, pale, not me... etc. )
inde tsïtsïki urhapiti ia.
Greeting and farewell when consulting a spiritual brother3
“In the name of my beloved Universal Father,
I greet you blessed spiritual brother.
(after the person has been assisted, he or she says goodbye)
In the name of my very beloved Universal Father,
I thank you blessed spiritual brother.
May it be the light and progress for your spiritual path.”
Summary of the creation myth according to the Coras of the Sierra del Nayarit

“After thinking and consulting with the sun and the morning star, Tatex, the Mother Goddess, created the
rain gods from cotton flakes and left them in the primordial water. But they were not satisfied, and holding
onto her hair she took them up to the sky and left them among the clouds. Again they complained, so the
goddess created the world. To do this, she crossed two of the Elder Brother's arrows and covered them with
her hair. Then he called his children, the gods, so that they would spread the earth by stepping on it. There
he left the gods, he placed stones, trees and grass, he left the water with its gods and also all the birds and
3 Compiled from a visit to a healing session.

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wild animals and men and domestic animals. He decided so and then he stayed in the center of the sky. *
But [according to another myth] the land was a plain full of water and the corn rotted. The ancient
inhabitants had to think, work and fast a lot to get the world fit. They begged different species of birds to
help them but none could. Finally the bat arrived, very old and very wrinkled, gray and dirty and leaning on
a cane. He finally agreed to try and that same night he flew hastily, opening outlets for the waters; but so
deep that it was impossible to go through them. Then the main people reproached him and he became angry,
but in the end he agreed to make the slopes a little steeper and some even land, and they thanked him.
Then it did not want to rain and the five main people sent the hummingbird towards the east to the
place where the clouds live to beg them to come. They arrived very quickly and killed the hummingbird,
finally it was the frog with its five children and managed to bring them...**
*Myth collected by Preuss
**Myth collected by Lumholtz; It may also be part of the general flood. Note the importance of various forms of rain deities.”

Taken from DAHLGREN JORDAN, BARBRO. The hearts of the Nayarit mountains. Research notebooks. 1994.
Mexico, Institute of Anthropological Research, UNAM.

The next thing I wanted to know was what my mother was going to do with the child's umbilical cord
because, every day, when she bathed the child, she cleaned the cord with a piece of cotton. Then, when the
cord fell off, I heard him tell my father: “You have to bring a young and strong coconut tree to be able to
plant the umbilical cord.”
And I asked: “Sow the umbilical cord?” She replied, “Yes, whenever one of you is born, we plant the
umbilical cord under a coconut tree. I wrap the cord in a piece of cotton cloth and tell your dad to bring the
coconut tree. “He goes to the coconut tree, digs a hole and plants it along with the umbilical cord.” […]As I
needed to know quickly, I went to my grandfather. He told me: “When the cord is planted under a tree, just
as the tree grows, tall and straight, so will the San Andres man or woman be. He will not grow sickly, but
tall and strong, and in life he will be God-fearing, fruitful and kind, with a loving spirit toward neighbors
and everyone.” That is why every islander, both from San Andrés and Providencia, plants the umbilical
cord under a coconut tree, a lemon tree, a pear tree or another fruit tree.
“The umbilical cord and the tree of life”
(Fragment of Birth, life and death of a San Andresan )

NATIONAL MINISTRY OF EDUCATION OF COLOMBIA. Literature and oral tradition in Canal Étnico: Atlas of Afro-
Colombian cultures. Colombia. 05/15/2008 in
http://www.colombiaaprende.edu.co/html/etnias/1604/articles-82856 _archivo.pdf

Activity 7
1. Read the following texts (in annex):
• “Literature of oral transmission” (Pp. 319-335) by REYZABAL, VICTORIA MARIA.
Chapter VI. Tradition, literature and oral sources in “Oral communication and its
didactics” (2003). Mexico: SEP.
• MONTEMAYOR, Carlos. Art and plot in the indigenous story. Mexico: Economic
Culture Fund, 1999, Pp. 7-29 and 134-142.
2. Subsequently, discuss at the group level and with your teacher, what is the oral tradition
like in your community? What are its characteristics? In what situations, contexts and
modalities does the use of oral tradition occur? Do many people participate? or only a few
in these situations, contexts or modalities? Do the events or situations in which oral
literature is practiced have some specific characteristics or is there any preparation prior
to the situation or event? Are there experts or repositories of the oral tradition? in your
community? What characteristics do these people have? Would you consider prayers,
prayers, or ceremonial speeches part of the oral tradition of a community? What are the
reasons? What do you understand by myth, legend, story or oral story, song, poem,

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 rhyme, verses and lullabies? What other expressions of oral tradition do you know?
Activity 8
1. Once again, share out loud and at a group level the different narratives that you have
collected and have already transcribed in your notebook.
2. Write down the names or titles of all the narratives you have found, their characteristics
and the situation(s) in which they are usually used. The following table may help you.

TRADITIONAL ORAL STORIES IN MY COMMUNITY

Name or title Characteristics Situation in which it is usually
used

3. Discuss with your classmates if you found similar stories, but with some changes in the
content, name or title. It may happen that some classmates say that this story is from
another community or another state or that certain people were or are the ones who
invented it. Maybe they will find some person who is still alive who says they are the
owner of that narrative, among other things. All this information is relevant for the
preparation of your anthology, write it down in your notebook.
4. Subsequently, make a first location of the texts. Think about whether it could be a myth, a
legend, a story, a song, a poem, a rhyme, a verse, a lullaby, a prayer, a spell, or a
ceremonial speech.
5. Answer the following questions: What characteristic or characteristics did you take into
account to locate the narratives? Were some narratives left ungrouped? Did you find any
narrative that could be in several groups at the same time? Did you find texts that seemed
minor to you? or greater difficulty in locating them as myth, legend, story, story, etc.? If
so, discuss with your teacher what type of texts they are and what makes them difficult to
group. Which texts were easier for you to locate? What do you think were the reasons?
6. Write down in your notebook the list of narratives that were left ungrouped (if so) and
those that can be in several groups at the same time.
Activity 9
1. During reading the texts aloud and grouping them by genre, if you found some stories that
have the same theme and/or content and/or title, but a different version, decide as a group
which version to use. They will remain to be included in the anthology. Provide your
comments and arguments.
2. Check if any of the stories are attributed to an author or authors from your community. If
so, see what options you have to resolve the situation in accordance with copyright.

Third week: review of the texts

Read the following information that will support you in reviewing the texts you have collected.

Some guidelines for revising texts*

Coherence
^ Information : does it contain the information necessary for the purpose of the text?
What information is missing? What information is missing? Is there contradictory
information? Is the title congruent with the writing?

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 ^ Organization : in what order do the ideas appear? Is it appropriate? Is the information
organized according to themes or aspects? Are there repetitions?
^ Structure : do the parts of the writing correspond to those of that type of text? Does
each paragraph address a different idea?
Adequacy
^ Variant : is language appropriate to the audience and purpose of the article used?
text? Is it clear?
^ Registration : is the language used formal or colloquial? Does it correspond to the
communicative situation? Is it the usual one in this type of text?
Cohesion
^ Repetitions : are pronouns used appropriately to link sentences? Are synonyms used?
Is the tacit subject used appropriately?
^ Links : are conjunctions used correctly and varied? Are other links used (then,
afterwards, therefore, consequently, on the other hand, although, therefore, because,
but, in addition, etc.?
^ Punctuation – Are punctuation marks used appropriately and variedly?
Normative
^ Morphosyntax: is the construction of sentences and words correct?
^ Spelling : use of spellings, accentuation
^ Vocabulary : is the vocabulary used accurately? Is it varied?
* RODRÍGUEZ, SÁNCHEZ BEATRIZ. Conference text.
Review of the structure of the texts
Activity 10
1. In pairs they will review the coherence, adequacy and cohesion of the texts they have
already written. Rely on the previous text “some guidelines for review…”. Exchange
texts for review. It is worth mentioning that at this time they are not yet going to review
spelling or punctuation, that is, the aspects of the regulations. Comment suggestions,
doubts and observations about the text to your partner. The author of the text will make
the changes he considers appropriate. Finish proofreading your text after class time to
obtain a more acceptable version.

• Review of punctuation and capital letters in texts

Activity 11
1. Again, work in pairs, preferably with a partner other than the previous one, exchange your
text so that it can be reviewed with respect to punctuation and the use of capital letters.
Each of you will review the text seeing that periods, commas, semi-colons, dashes and
dashes, question and exclamation marks, as well as capital letters are written
appropriately.
2. Rely on spelling and Spanish manuals from previous years. Look in the library for some
manuals on spelling or ask your teacher or someone you know to lend you some books
that contain this information.
• Review of spelling aspects and accentuation
Activity 12
1. Again, exchange your text with other classmates other than the previous ones to review

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 your text according to spelling usage. Mainly review the use of the letters: b and v; c, s, z,
k and q; gj; ll yy; h; m, n, r and rr.
2. Also spend time reviewing the stress of the words. Use a manual that describes how to
accentuate acute, serious, esdrújulas and sobreesdrújulas words.
Fourth week: edition and dissemination of the anthology
Activity 13
1. Remember that to edit an anthology it is necessary to have acceptable final versions of
your texts. Give them a final review by exchanging them with your classmates and with
the advice of your teacher (structure, coherence, agreement, spelling, accentuation,
punctuation and capitalization). Remember that any text can be perfected and constantly
improved, decide with your teacher which version of your text you will keep, otherwise
you will not be able to edit an anthology.
2. Decide what the presentation of your document will be: book, digital documents (CD or
video), audio recordings on tape (cassettes) or compact disc. Consider the mechanical or
electronic resources you have. For example, they can help themselves with the use of a
computer, a mechanical or electronic machine. If you do not have any of these resources,
choose to write your anthology by hand in a legible and clear way.
3. Consider the structure of an anthology. Review the pages corresponding to the second
week. Rely on your teacher and other books that may be useful to write the presentation
and conclusions.
4. Choose the way you will distribute your document. It can be through an oral presentation
or multicopying (paper or electronic).
• The oral presentation can be in various ways: at the group, school or general
public level (community and school), either in a classroom, auditorium or outdoor
space considering that the authors and commentators of the anthology will be
seated in a table In the presentations, first, a moderator introduces the
commentators who have already read his anthology with the aim of inviting them
to read it. In your comments you can tell the audience how you created the
anthology, the research you conducted, and the importance of collecting oral
tradition narratives in your community. One of the commentators could be your
teacher or some of your classmates. After this, the authors (some or all) can read
aloud to the public some of the texts in the anthology and comment on them.
These comments can include anecdotes about how they carried out the work of
searching, writing, revising or editing the anthology. The objective of the oral
presentation is to make the document known and disseminated so that people can
consult it. They can tell people where they can check out the anthology (school or
community library) or if they can purchase a copy of it in electronic or print
format. Generally, the authors for this type of situation already carry several
copies of the document and offer it to the public.
• Multicopying in paper or electronic format (compact disc) can be done in order to
increase the collection of your school and/or community library. So it would be
interesting if they sent a copy to these libraries. Depending on their material
resources, they can keep a copy for the group, the teacher or those interested.
Organize yourselves in such a way that the expense is not burdensome and
unnecessary.
Further reading

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Second week
We suggest you review the following articles found in the Support Texts for teaching Spanish
material. Module III. Identity and Culture. Comprehensive Community Baccalaureates. Aug-
2004.
Indigenous languages in Mexican literature by Juan Gregorio Regino 16-24 pp. This text gives
an overview of what literature and some literary genres (poetry, narrative and theater) are
according to the indigenous context in Mexico.

• Linguistic characterization. Some selected texts from Kaufman, A. and Rodríguez, M.E.
(1993) 25-28 pp. You will find the description of various types of texts, which although
they can be useful to characterize indigenous literature, are located in a more Western
written culture.
• Textual typologies: narrative. Taken from Ciceros Project. Ministry of Education,
Culture and Sports. 44-40 pp. This text describes the characteristics of narrative texts, the
elements of narration, linguistic procedures used in narration, different narrative genres
(story, novel, legend, myth, and journalistic narration).
• In your Spanish II as a mother tongue material, in lesson 19 The legends (P. 22) and
lesson 20 Other legends, other worlds (P. 28) this type of traditional narratives are
described.
• In Lesson 6 The story (P. 21) Spanish I material as a mother tongue and in Lesson 23
The stories (P. 54) from Spanish two you can review what is defined as a story – from the
Western vision.

Suggested bibliography

The following texts explain and detail the characteristics of different types of oral tradition texts
in Mexico. Unfortunately, only the one corresponding to the indigenous story was included in the
anthology.

• MONTEMAYOR, Carlos. Art and composition in Mayan priestly prayers . Mexico:

Autonomous University of Yucatán.1995. 75 pp.
• MONTEMAYOR, Carlos. “ Poetry yesterday and today” in Current Literature in the
indigenous languages of Mexico. Ibeoamerican University. Department of History,
2001, Pp. 45 to 47.
• MONTEMAYOR, Carlos. “ Traditional singing and the new song” in Current
Literature in the indigenous languages of Mexico. Ibeoamerican University.
Department of History, 2001, . pp. 133 to 47.
• MONTEMAYOR, Carlos. Art and plot in the indigenous story. Mexico: Economic
Culture Fund, 1999, Pp. 7-29 and 134-142.

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