Monte Albán — Danzantes

The Danzantes are a series of stone relief carvings at Monte Albán, depicting contorted human figures interpreted as war captives, representing one of the earliest examples of Zapotec monumental art and writing.

The Danzantes, or “dancers,” are approximately 300 bas-relief stone carvings primarily associated with Building L in the southwest corner of Monte Albán’s Main Plaza, dating to the site’s earliest phase of occupation around 500–100 BCE. These sculptures, part of the Zapotec ceremonial center in Oaxaca, Mexico, depict nude male figures in contorted poses, often with signs of mutilation and accompanying hieroglyphs, serving as a visual record of conquests and captives that highlights the militaristic foundations of early Monte Albán society. Their significance extends to being among the oldest examples of Mesoamerican writing and monumental art, reflecting Olmec stylistic influences while establishing Zapotec iconographic traditions. [3] [4]

Location and layout

The Danzantes are predominantly located on the revetment walls of Building L, situated in the southwest corner of Monte Albán’s Main Plaza, which spans about 300 m (984 ft) by 200 m (656 ft). Arranged in alternating horizontal and vertical rows forming a gallery, the slabs were integrated into the structure’s facade, facing the plaza and visible during ceremonial processions. Some carvings were reused in later constructions, such as stairways or other platforms, and relate spatially to adjacent features like the North Tunnel and Building M, emphasizing their role in the site’s western boundary and ritual landscape. [1] [5]

Architecture and construction

The Danzantes were carved during Monte Albán I (500–100 BCE) using bas-relief techniques on large stone slabs sourced from local volcanic tuff or limestone, with single incised outlines emphasizing contours and minimal interior details. Construction involved pecking and abrading the stone surfaces, often with pecked backgrounds for contrast, and some evidence of pigmentation. The slabs were set into rubble-core walls with stucco finishes, part of phased expansions that buried earlier elements under Classic period overlays. Alignments suggest intentional orientations tied to ritual spaces, with no unsubstantiated claims on unverified techniques. [1] [3]

Sculpture and epigraphy

The Danzantes feature over 300 carved slabs depicting nude male figures in profile or semi-profile, with contorted poses, closed eyes, open mouths, and stylized blood scrolls indicating mutilation, such as castration, often replacing genitals. Influenced by Olmec styles through broad noses and stocky bodies, the iconography includes jewelry and hairstyles denoting status, alongside Zapotec hieroglyphs—among Mesoamerica’s earliest writing—naming individuals or recording conquest dates via bar-and-dot numerals and calendrical signs like “1 Earthquake.” Approximately 15–20 slabs bear inscriptions of 2–8 glyphs, serving as propagandistic displays of defeated enemies. [3] [4] [6]

Archaeological research

First documented by Guillermo Dupaix in 1806 and excavated by Leopoldo Batres in 1902, the Danzantes were systematically uncovered during Alfonso Caso’s 1931–1943 Monte Albán Project, which dated them to Monte Albán I via associated ceramics and stratigraphy. Interpretations evolved from “dancers” to sacrificial captives, supported by Michael D. Coe’s 1962 analysis of mutilation motifs and Joyce Marcus’s 1980 view as conquest chronicles. Javier Urcid’s 2001 epigraphic studies confirmed glyphs as names and dates, integrating radiocarbon and geophysical data. Recent conservation in the 1990s relocated originals to the site museum, with replicas in situ, amid debates on exact counts due to reuse. [5] [7] [8]

Visiting notes

Visitors can view the Danzantes replicas along Building L’s walls from the Main Plaza’s southwest edge, ascending the stairway for closer inspection of the gallery arrangement, which facilitates understanding of their processional visibility. The originals are displayed in the Monte Albán site museum, offering contextual exhibits on Zapotec iconography and ritual practices. [2]

Related MAHC WIKI entries

Building L
Main Plaza
Building J
South Platform

References

Scott, John F. (1978). “The Danzantes of Monte Albán.” Dumbarton Oaks. https://www.doaks.org/resources/publications/doaks-online-publications/pre-columbian-studies/the-danzantes-of-monte-alban. Analysis of characteristics and catalogue.
UNESCO World Heritage Centre. (1987). “Historic Centre of Oaxaca and Archaeological Site of Monte Albán.” https://whc.unesco.org/en/list/415/. Official listing and description.
Department of the Arts of Africa, Oceania, and the Americas. (2001). “Monte Albán: Sacred Architecture.” The Metropolitan Museum of Art. https://www.metmuseum.org/toah/hd/alban/hd_alban.htm. Essay on architecture and carvings.
Urcid, Javier. (2001). “Zapotec Hieroglyphic Writing.” Dumbarton Oaks. https://www.doaks.org/resources/publications/books/zapotec-hieroglyphic-writing. Comprehensive study of glyphs.
Caso, Alfonso, Ignacio Bernal, and Jorge R. Acosta. (1967). La Cerámica de Monte Albán. Instituto Nacional de Antropología e Historia (INAH). Ceramic chronology and site reports.
Marcus, Joyce, and Kent V. Flannery. (1996). Zapotec Civilization: How Urban Society Evolved in Mexico’s Oaxaca Valley. Thames & Hudson. Overview of Zapotec archaeology and iconography.
Orr, Heather S. (2002). “Danzantes of Building L at Monte Albán.” Foundation for the Advancement of Mesoamerican Studies, Inc. (FAMSI). http://www.famsi.org/reports/93003/93003Orr01.pdf. Excavation and analysis report.
Coe, Michael D. (1962). Mexico. Thames & Hudson. Interpretation of carvings and cultural context.