The Aztec death whistle or ehecachichtli is a type of whistle formerly used by the Mexica people. Though the original whistles likely made a soft wind sound, modern replicas usually produce a high-pitched shrieking sound and are most commonly used to scare off people or animals. [1]
In the late 1990s, at the Tlatelolco site in Mexico City, the excavation of a temple dedicated to the Aztec wind deity Ehecatl revealed the remains of a 20-year-old male sacrificial victim clutching various musical instruments, among them a small ceramic skull-shaped whistle. [2] This artifact, later dubbed the "Aztec death whistle," [3] gathered public interest.
The whistle's sounds, analyzed through its functioning mechanism, have been noted to resemble the sound of wind and fall within the human hearing sensitivity range. Experimental models of death whistles have been constructed and tested to explore hypotheses and for use in conferences and demonstrations, given that the original ancient resonators cannot be utilized for these purposes. [1]
A common misconception is that this whistle produced a sharp shriek-like sound. However, these sounds credited as the Aztec death whistle are actually produced by much larger reproductions of the whistle. Music archeologist Arnd Adje Both, who has tested the original excavated whistles, reports that the actual sound produced is far softer, describing it as similar to "atmospheric noise generated by the wind." [4]
The skeleton was unearthed within a temple devoted to the wind god Ehecatl, prompting speculation among scholars that the whistles were intended to mimic the sound of the wind. [2] This could be because summoning a strong wind at will, as required in rituals or ceremonies, may not have been feasible. The only known reference to the potential ancient use of this type of whistle comes from this excerpt in Lewis Spence's 1913 book Myths of Mexico and Peru: "The most remarkable festival in connection with Tezcatlipoca was the Toxcatl, held in the fifth month. On the day of this festival, a youth was slain who for an entire year previously had been carefully instructed in the role of victim... He assumed the name, garb, and attributes of Tezcatlipoca himself... [as] the earthly representative of the deity.... He carried also the whistle symbolical of the deity [as Lord of the Night Wind], and made with it a noise such as the weird wind of night makes when it hurries through the streets." [1]
The idea has been popularized that hundreds of warriors would use the whistle at the same time. However, there is limited evidence to support this claim. [3] Music archeologist Arnd Adje Both suggests that the purpose of the whistle –based on its location at the base of a temple, its imagery related to death, and the lack of whistles ever discovered at battle sites or in warrior graves –was far more likely to be ceremonial or religious rather than for warfare. [3] However, the symbolic purpose and actual use of the whistle is currently mostly speculative and requires further investigation. [5]
The whistle was referenced in Ghostbusters: Afterlife (2021), as an item in the collection of Egon Spengler. The stylized prop itself was constructed by MythBusters hosts Adam Savage and Allie Weber. [6]
Aztec mythology is the body or collection of myths of the Aztec civilization of Central Mexico. The Aztecs were Nahuatl-speaking groups living in central Mexico and much of their mythology is similar to that of other Mesoamerican cultures. According to legend, the various groups who became the Aztecs arrived from the North into the Anahuac valley around Lake Texcoco. The location of this valley and lake of destination is clear – it is the heart of modern Mexico City – but little can be known with certainty about the origin of the Aztec. There are different accounts of their origin. In the myth, the ancestors of the Mexica/Aztec came from a place in the north called Aztlan, the last of seven nahuatlacas to make the journey southward, hence their name "Azteca." Other accounts cite their origin in Chicomoztoc, "the place of the seven caves", or at Tamoanchan.
Tezcatlipoca or Tezcatl Ipoca was a central deity in Aztec religion. He is associated with a variety of concepts, including the night sky, hurricanes, obsidian, and conflict. He was considered one of the four sons of Ometecuhtli and Omecihuatl, the primordial dual deity. His main festival was Toxcatl, which, like most religious festivals of Aztec culture, involved human sacrifice.
In Aztec mythology, Xolotl was a god of fire and lightning. He was commonly depicted as a dog-headed man and was a soul-guide for the dead. He was also god of twins, monsters, death, misfortune, sickness, and deformities. Xolotl is the canine brother and twin of Quetzalcoatl, the pair being sons of the virgin Chimalma. He is the dark personification of Venus, the evening star, and was associated with heavenly fire. The axolotl is named after him.
Mictlāntēcutli or Mictlantecuhtli, in Aztec mythology, is a god of the dead and the king of Mictlan (Chicunauhmictlan), the lowest and northernmost section of the underworld. He is one of the principal gods of the Aztecs and is the most prominent of several gods and goddesses of death and the underworld. The worship of Mictlantecuhtli sometimes involved ritual cannibalism, with human flesh being consumed in and around the temple. Other names given to Mictlantecuhtli include Ixpuztec, Nextepehua, and Tzontemoc.
Tlālōcān is described in several Aztec codices as a paradise, ruled over by the rain deity Tlāloc and his consort Chalchiuhtlicue. It absorbed those who died through drowning or lightning, or as a consequence of diseases associated with the rain deity. Tlālōcān has also been recognized in certain wall paintings of the much earlier Teotihuacan culture. Among modern Nahua-speaking peoples of the Gulf Coast, Tlālōcān survives as an all-encompassing concept embracing the subterranean world and its denizens.
In Aztec mythology, Xipe Totec or Xipetotec was a life-death-rebirth deity, god of agriculture, vegetation, the east, spring, goldsmiths, silversmiths, liberation, deadly warfare, the seasons, and the earth. The female equivalent of Xipe Totec was the goddess Xilonen-Chicomecoatl.
In creation myths, the term "Five Suns" refers to the belief of certain Nahua cultures and Aztec peoples that the world has gone through five distinct cycles of creation and destruction, with the current era being the fifth. It is primarily derived from a combination of myths, cosmologies, and eschatological beliefs that were originally held by pre-Columbian peoples in the Mesoamerican region, including central Mexico, and it is part of a larger mythology of Fifth World or Fifth Sun beliefs.
The Aztec religion is a polytheistic and monistic pantheism in which the Nahua concept of teotl was construed as the supreme god Ometeotl, as well as a diverse pantheon of lesser gods and manifestations of nature. The popular religion tended to embrace the mythological and polytheistic aspects, and the Aztec Empire's state religion sponsored both the monism of the upper classes and the popular heterodoxies.
The Codex Borgia, also known as Codex Borgianus, Manuscrit de Veletri and Codex Yohualli Ehecatl, is a pre-Columbian Middle American pictorial manuscript from Central Mexico featuring calendrical and ritual content, dating from the 16th century. It is named after the 18th century Italian cardinal, Stefano Borgia, who owned it before it was acquired by the Vatican Library after the cardinal's death in 1804.
Human sacrifice was common in many parts of Mesoamerica, so the rite was nothing new to the Aztecs when they arrived at the Valley of Mexico, nor was it something unique to pre-Columbian Mexico. Other Mesoamerican cultures, such as the Purépechas and Toltecs, and the Maya performed sacrifices as well and from archaeological evidence, it probably existed since the time of the Olmecs, and perhaps even throughout the early farming cultures of the region. However, the extent of human sacrifice is unknown among several Mesoamerican civilizations. What distinguished Aztec practice from Maya human sacrifice was the way in which it was embedded in everyday life.
The music of the ancient Mayan courts is described throughout native and Spanish 16th-century texts and is depicted in the art of the Classic Period. The Maya played instruments such as trumpets, flutes, whistles, and drums, and used music to accompany funerals, celebrations, and other rituals. Although no written music has survived, archaeologists have excavated musical instruments and painted and carved depictions of the ancient Maya that show how music was a complex element of societal and religious structure. Most of the music itself disappeared after the dissolution of the Maya courts following the Spanish Conquest. Some Mayan music has prevailed, however, and has been fused with Spanish influences.
Aztec architecture is a late form of Mesoamerican architecture developed by the Aztec civilization. Much of what is known about this style of architecture comes from the structures that are still standing. These structures have survived for several centuries because of the strong materials used and the skill of the builders. Most civic architecture was concentrated in the center of Aztec cities. However, many cities had smaller supplemental ceremonial areas.
The Huastec civilization was a pre-Columbian civilization of Mesoamerica, occupying a territory on the Gulf coast of Mexico that included the northern portion of Veracruz state, and neighbouring regions of the states of Hidalgo, Querétaro, San Luis Potosí, and Tamaulipas. The Huastec people were an early offshoot of the Maya peoples that migrated northwards.
Tlatelolco is an archaeological excavation site in Mexico City, Mexico, where remains of the pre-Columbian city-state of the same name have been found. It is centered on the Plaza de las Tres Culturas. On one side of the square is this excavated Tlatelolco site, on a second is the oldest European school of higher learning in the Americas called the Colegio de Santa Cruz de Tlatelolco, and on the third stands a mid-20th-century modern office complex, formerly housing the Mexican Foreign Ministry, and since 2005 used as the Centro Cultural Universitario of UNAM.
In Mesoamerican culture, Tonatiuh is an Aztec sun deity of the daytime sky who rules the cardinal direction of east. According to Aztec Mythology, Tonatiuh was known as "The Fifth Sun" and was given a calendar name of naui olin, which means "4 Movement". Represented as a fierce and warlike god, he is first seen in Early Postclassic art of the Pre-Columbian civilization known as the Toltec. Tonatiuh's symbolic association with the eagle alludes to the Aztec belief of his journey as the present sun, travelling across the sky each day, where he descended in the west and ascended in the east. It was thought that his journey was sustained by the daily sacrifice of humans. His Nahuatl name can also be translated to "He Who Goes Forth Shining" or "He Who Makes The Day." Tonatiuh was thought to be the central deity on the Aztec calendar stone but is no longer identified as such. In Toltec culture, Tonatiuh is often associated with Quetzalcoatl in his manifestation as the morning star aspect of the planet Venus.
Quetzalcoatl is a deity in Aztec culture and literature. Among the Aztecs, he was related to wind, Venus, Sun, merchants, arts, crafts, knowledge, and learning. He was also the patron god of the Aztec priesthood. He was one of several important gods in the Aztec pantheon, along with the gods Tlaloc, Tezcatlipoca and Huitzilopochtli. The two other gods represented by the planet Venus are Tlaloc and Xolotl.
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In the Aztec culture, a tecpatl was a flint or obsidian knife with a lanceolate figure and double-edged blade, with elongated ends. Both ends could be rounded or pointed, but other designs were made with a blade attached to a handle. It can be represented with the top half red, reminiscent of the color of blood, in representations of human sacrifice and the rest white, indicating the color of the flint blade.