60 pages • 2 hours read
The Hummingbird's Daughter
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Background
Cultural Context: Indigenous Significance of the Hummingbird
Hummingbirds play an important part of the plot not only because of Cayetana and Teresita’s associations with the name, but also because of the messages that the hummingbird is purported to deliver from God. Huila educates Teresita on the cultural and religious significance of the hummingbird, and it is clear that its relevance is embedded in Indigenous culture. In fact, in ancient Aztec culture, “[t]he Aztecs recognized in the hummingbird all the attributes necessary to be a good warrior and this bird became the main symbol of their principal god, called Huitzilopochtli” (Urraca, Vanessa Hernandez. “The Hummingbird in Mexican Culture.” Association of Avian Veterinarians. August 24, 2022). The Aztecs saw the hummingbird as efficient and fierce, and they revered it and hoped to incorporate those same qualities into their lives.
These hummingbirds are so important within this culture that even the name of their associated god stems from them. This god, Huitzilopochtli, “derives from the nahuatl words huitzilli (hummingbird) and opochtli (left)... ‘Left’ referred to the South always appearing to the left of the rising Sun from the perspective of the rising Sun)” (Urraca). This association with the left is also echoed in The Hummingbird’s Daughter, as Teresita’s dream hummingbird goes to the left, signifying the side of the heart. Though the hummingbird’s cultural roots are deeply embedded in Mexican history, the symbolic significance of the bird is still relevant today, and people continue to admire it for its desirable attributes, which have “inspired both pre-Columbian and modern Mexicans to ascribe to the hummingbird, and value in themselves, attributes such as authenticity, braveness, intrepidness, skill, readiness and strength of will” (Urraca). Such observations suggest that even as the centuries pass and the cultural, racial, and religious makeup of Mexico changes, the significance of hummingbirds remains strong, and it continues to be fondly regarded by the citizens of the country.
Historical Context: Porfirio Díaz
Porfirio Díaz was the president of Mexico from 1876 to 1880 and again from 1884 to 1911. While he was at times popular, Díaz’s time in power is defined by his limitation of liberties and freedoms and his establishment of a dictatorial government that sought to mend the nation’s problems through strict, harsh methods. To combat Mexico’s poor economic situation, Díaz sold land to foreign investors, and this approach often necessitated the expulsion of Indigenous people. Even as he “continued the La Reforma policy of breaking up the ejido (the communally held land under the traditional [Indigenous] system of land tenure),” Díaz “did not take adequate measures to protect the [Indigenous people] from being deprived of their holdings by fraud or intimidation)” (“Porfiriato.” Encyclopaedia Britannica).
This tumultuous history is reflected in the novel when Indigenous people are forced from their land, abused, and can do nothing but watch as wealthy foreigners take their land. Díaz’s primary resources in accomplishing his goals involved the use of rurales, “the federal corps of rural police, which became a kind of praetorian guard for the dictatorship and intimidated Díaz’s political opponents” (“Porfiriato.” Encyclopaedia Britannica). In The Hummingbird’s Daughter, many characters encounter the rurales and the violence that these forces use to control the people of Mexico. The events of the novel make it clear that the rurales enjoy considerable power and are not inhibited by government interference. This latitude makes them dangerous, especially to Indigenous people. The threat posed by the presence of the rurales is one of the primary reasons for Tomás’s decision to move his ranch north to Sonora.
Historical Context: Teresita Urrea
Teresa Urrea was a real person, and the events of The Hummingbird’s Daughter are based on true accounts of her talents and miracles. Luis Alberto Urrea, the author of The Hummingbird’s Daughter, is a distant cousin of Teresa Urrea and grew up hearing stories of her and of the miracles she performed. The novel follows Teresa’s life closely, showing the author’s strong commitment to presenting her story as authentically as possible. Although names are changed and not every event of her life is replicated, the novel remains true to history, especially regarding the details of her childhood. Although there are some key differences in various biographical accounts, Teresa “attended school briefly at age nine and learned to read. An old [Indigenous] woman named María Sonora, who is said to have been a curandera, taught Teresa about curing various ailments with herbs” (Holden, Frances Mayhugh. “Urrea, Teresa: (1873-1906).” Texas State Historical Association. February 1, 1996). Just as the novel describes, the real Teresa learned to read at a young age and was guided and taught by a woman knowledgeable of the medicinal properties of plants. Urrea also faithfully depicts the time period in which she was regarded as a living saint and thoroughly describes her confrontation with the Mexican government. As historical accounts indicate, “Her simple message of justice inspired a series of rebellions in 1891, the best known of which was an uprising of Tarahumara [people] in the village of Tomochi. Although no direct evidence has been uncovered implicating either Teresa or her father in the rebellions, Díaz ordered the two deported in 1892” (Holden). Just as in The Hummingbird’s Daughter, Teresa’s message inspired her followers to unite and rebel. Because the government saw her as a threat to political stability, she was ultimately expelled from the country.
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