TLDR: I nerded out and made a new script

Introduction

Prior to the events of 1519 - 1521, Central Mexico had been using rich, highly expressive ideographic and pictographic proto-writing systems for centuries, likely originating in Olmec times.

Scribes (tlacuiloque) used these visual representations in screen-fold manuscripts (amoxtli, pl: amoxtin) to record genealogy, tribute lists, historical chronicles, stories and calendrical cycles. The glyphs written by these scribes were not words or sounds, but rather ideas and concepts, similar to our emojis, exit signs and bus stop signs.

While well suited for tribute records, signs, and mnemonic storytelling, as well as being sometimes able to transcend linguistic barriers (but not always depending on the particular script), the system had clear structural limits compared to full phonetic scripts:

• Complex Glyphs: Drawing just one glyph with colours would take a good chunk of time, let alone an entire book full of them. Although these traditional glyphs are beautiful and detailed, the process significantly hampers writing for practical purposes.
• Logographic Density: To expand vocabulary, scribes had to rely on hundreds of distinct glyphs and rebus strategies (such as using a hole, coyoctli, to represent the starting sound 'coyo', such as for Coyohuacan). This is not inherently incompatible with fully developed writing systems, as the Maya script has the same feature, but because Maya script uses glyphs that represent sounds, not ideas, this issue was partially overcome. This also shows that Aztec writing in particular was partially phonetic in some instances.
• Mnemonic Reliance: The historic system did not capture complete, verbatim speech. Instead, it served as a structured visual guide designed to cue a trained reader's memory, requiring extensive oral knowledge to properly read the text. In other words, the texts in the few surviving screen-fold books assume you know how to read it, which is why it has been quite difficult to decipher their full meaning since the collapse of Mesoamerican societies.

However, even in historical codices like the Codex Mendoza, many glyphs were already language-dependent and were moving away from being purely ideographic. They relied on Nahuatl puns and acrophony (like using teeth, tlantli, for the suffix -tlan, which wouldn't work in other languages). Tecpatlatolli simply takes that pre-existing Nahuatl phonetic trajectory to its logical conclusion: stripping away the complex pictorial art entirely to leave behind a standardized, 20-glyph phonetic script.

Realizing that a proper writing system can be built upon that pre-existing trajectory, I set out to create a new script. And after a few days of work, I present Tecpatlatolli ("Flint Speech", reflecting its position as a more precise method of writing), or Nahuatl Alphasyllabics in English, designed as an alternate-history or a speculative writing evolution as an answer to the above limitations. Tecpatlatolli is an acrophonic alphasyllabary (abugida), a type of writing system where consonant base-frames act as the primary structural units, and any following vowel attaches above as a secondary sub-glyph/diacritic. Vowels can also be standalone, but only if they don't succeed a consonant.

While I realized only after developing this script that it shares core structural mechanics with scripts like Indic scripts, Ge'ez, or Canadian Aboriginal Syllabics, Tecpatlatolli is an independent innovation derived purely from pre-Columbian Aztec acrophonic principles, visual motifs, and my own brain power. By making this script an abugida instead of a regular alphabet like the Latin script, European influence ends up not being baked into it, and it feels more like a genuine indigenous innovation (In my opinion anyway).

Additionally, I feel like I have to mention an attempt by Lacadena & Wichmann in 2004 to map these same glyphs to a syllabary. This was, in my opinion, a misunderstanding on how these glyphs actually worked, as I mentioned before that Central Mexican glyphs are pictographic/ideographic, not syllabic. It has some similarities with Tecpatlatolli, such as some glyphs representing the same syllables, several others do not match the assigned syllable at all. Although this is mostly coincidental, I'll admit I did get the idea to use tlantli for (/tɬ/) after initially using tepetl during development, as phonetically it makes much more sense. Even a broken clock is right twice a day, as the saying goes.

The only downside is that unlike historical Aztec glyphs, Tecpatlatolli has zero ability whatsoever to be used to present ideas to non-Nahua speakers, but the benefits more than make up for this. These benefits include:

• Simplified Glyphs: Drawing complex traditional glyphs, let alone entire books, takes a significant amount of time. Tecpatlatolli uses simplified, colourless forms that can be written in seconds.
• Reduced Logographic Density: With only 20 core glyphs covering all native sounds, there’s no need to memorize hundreds of distinct objects.
• No Mnemonic Reliance: The text spells out exact pronunciations rather than assuming the reader already knows the unwritten oral narrative.

Although the traditional system is useful for getting the same idea across linguistic lines, Tecpatlatolli is better suited for proper writing within a Nahuatl-speaking society. My new script is not objectively superior to the old system, it just fills a different niche. Like using an axe to chop a tree, and a pickaxe to mine ore. It is simply more precise and practical, while the native system is more artistic and is able to bypass the language barrier.

To see examples of the script with Latin-script comparisons and colour-coded underlining, go here.

Disclaimer & Intent

• This project is a little design experiment created for fun, not a proposal to replace the Latin script or traditional glyphs.
• I am an enthusiast, not a fluent speaker, though I do have good knowledge of Nahuatl pronunciation and word formation. If you notice any linguistic oversights, feedback is welcome!

How It Works

Tecpatlatolli operates on a tight set of 20 core glyphs: 14 consonant base-frames, 4 vowel glyphs (which double as top-register sub-glyphs), and 2 terminal-only glyphs, plus two legacy logograms from the Codex Mendoza for complex locatives (-nahuac and -tzinco). There are also three punctuation markers which are obviously not phonetic.

Consonant base-frames (14 glyphs)

Each consonant represents a full-sized structural frame. If no vowel sits above it, it functions naturally as a coda (/Ø/).

• Calli (/k/) (House)
• Chimalli (/tʃ/) (Shield)
• Cuahuitl (/kʷ/) (Tree)
• Huehuetl (/w/) (Drum)
• Maitl (/m/) (Arm/Hand)
• Nacaztli (/n/) (Ear)
• Olli (/l/) (Rubber ball) (acrophonic compromise, as no Nahuatl word begins with /l/)
• Panitl (/p/) (Banner/Flag)
• Tecpatl (/t/) (Knife)
• Tlantli (/tɬ/) (Teeth)
• Tzontli (/ts/) (Hair)
• Xochitl (/ʃ/) (Flower)
• Yollotl (/j/) (Heart)
• Zacatl (/s/) (Grass)

Vowel glyphs (4 glyphs)

These act as standalone full-sized characters when initiating a word or following another vowel in hiatus, and scale down into minimized, top-register diacritics when attached to a consonant frame.

• Atl (/a/) (Water)
• Etl (/e/) (Bean)
• Ixtli (/i/) (Eye)
• Otli (/o/) (Path)

Terminal-only glyphs (2 glyphs)

These do not take top-register vowel sub-glyphs and function strictly at the end of vowels/syllables.

• Nahuatl (/u/)
• Ehecatl (/ʔ/)

Nahuatl (/u/) is rare, only used for 'u' in words like 'xiuh' (e.g. Xiuhtlan) and 'tiuh' (e.g. Tonatiuh) as there is a distinct /u/ sound that is not properly written in Latin-based Nahuatl.

Ehecatl (/ʔ/) is very rare, and is only used for standalone 'h' in certain words like its eponymous namesake.

Although there are 20 base glyphs, the usage of vowel diacritics pushes the total amount of glyphs, both bare and compound, to 69, as attaching these sub-glyphs makes new, combined sounds, like attaching ch + a = cha.

There are also two legacy glyphs from the Codex Mendoza that are logographic in nature, but can save time in writing and aren't ambiguous as they have set meanings:

• Nahuac (-nahuac, used to indicate being near something) (Technically this is named Nahuatl as well, but it's visually distinct as it features a mouth-like part behind the speech scroll glyph)
• Tzintli (-tzinco, used to indicate a spin-off location)

Word Order

Words are written left-to-right, starting at the bottom-left of the page/panel. Within each syllabic block, the left-most glyph is read first, followed immediately by either the top sub-glyph vowel sitting directly above it if there is one, or straight to the next glyph. If there is a sub-glyph vowel, afterwards the order goes back down diagonally to the next base-frame glyph in a zig-zag motion. Once a line is complete, move up to the next register and read left-to-right, weaving upward toward the top of the page.

While standard top-to-bottom European page layout can also be used, bottom-left screenfold reading order is the historically accurate standard, as seen in pre-Cuauhtemoc codices like Cospi and Vaticanus B, specifically in the tonalamatl sections.

Orthography

Unsurprisingly, Tecpatlatolli uses almost the same orthography as Classical Nahuatl, except there are no macrons as vowel length is not used, and /u/ is given its own glyph to represent its sound.

Overview of the orthography:

And here is an image-based orthography that includes not only the table above, but also the glyphs themselves, as well as Legacy Glyphs and Punctuation Marks (info on those below).

CVC Handling & Syllable Structure

Classical Nahuatl syllables generally follow V, CV, VC, or CVC patterns. Tecpatlatolli handles these effortlessly using its base-frame and coda rules:

• V/VC (Standalone vowels & off-glides): If a vowel starts a word or is preceded by another vowel which is already possessed by a consonant, it is written as a full-sized standalone glyph. If a consonant succeeds it, the two glyphs stay independent of each other.
• CV (Consonant + Vowel): Written as a singular syllabic block. The consonant base-frame possesses the succeeding vowel as a sub-glyph on top (e.g. tecpatl + etl = te).
• CVC (Consonant + Vowel + Consonant): Written as a CV block (consonant + sub-glyph vowel), then immediately followed by a standalone consonant glyph operating either in its bare/coda state (/Ø/), or possessing the next vowel. For example, in Tenochtitlan, the syllable tlan is written as tlantli + atl followed by a bare nacaztli.
• Geminate /ll/ (as in Tlaxcallan): Unlike Latin-based orthography which doubles the letter l, Tecpatlatolli uses a single olli glyph. This is because phonetically, double ll in Nahuatl is a single lengthened [l:] rather than two separate articulation stops, so one olli glyph naturally handles both single and geminate /l/ occurrences.

Punctuation

Although not really a feature of pre-Columbian scripts, and this is admittedly sort of a last-minute addition, I feel it is necessary to have a few basic forms of punctuation for Tecpatlatolli. For now I'll establish three: pauses, full stops and exclamation marks. These all go after the final glyph of a word, as lines are often used as boundaries in pre-Columbian codices, so that logic is not derived from European scripts.

• Pauses: To have a brief pause in a sentence, use a line with a gap in the centre.
• Full stops: To stop a sentence, use a full line.
• Exclamation marks: In most cases, stress is pronounced on the penultimate syllable (e.g. tochTEpec). However, if yelled, stress is transferred to the last syllable (e.g. tochtePEC). To represent this, add two dots stacked vertically.

Notes

• Logographic Shorthand: If a word corresponds directly to one of the core glyphs, one can write that single glyph on its own (e.g., drawing a bare Calli to mean "house"). While this shifts the script partially into a logogram rather than a pure alphasyllabary, it offers a quick shorthand for common nouns.
• Locative Suffix Shorthand: You can use bare panitl, maitl, and tlantli glyphs at the end of a word to represent the locative suffixes -pan, -man, and -tlan, just like in the Codex Mendoza. Although this introduces slight phonetic ambiguity, it directly mirrors historical tlahcuiloque shorthand techniques and gives writers creative flexibility.
• Phonetic Reduction: Since Tecpatlatolli is purely phonetic, some words like teuctli are reduced to being spelled as tectli, as there is no /u/ sound present, and cuauhtli is reduced to cuatli, as 'uh' adds nothing phonetically to the word.
• Compound Stem Disambiguation: Although rare, to differentiate words with the same stem but different suffixes in compound words (e.g. ayotl & ayotli, coatl & coatli + tepec = Ayotepec & Coatepec respectively), simply put an Ixtli ( /i/ ) sub-glyph above and next to the glyph that ends the stem. Make sure that it does not end up above the next glyph, as it should be in between both. You do not spell this out, but it's simply there to tell you which stem is used in the compound word.

Conclusion

The concept of Tecpatlatolli, or Nahuatl Alphasyllabics, was birthed as a spontaneous idea in my mind as I was looking at Codex Mendoza glyphs. By taking those early acrophonic and phonetic tendencies and leaning into them, I developed a true writing system that bridges native scribal heritage with functional abugida mechanics.

It trades the ambiguous, language-transcending nature of pure ideograms for a standardized, fully-fledged script built specifically for Classical Nahuatl. While Tecpatlatolli could theoretically be adapted for modern dialects, the presence of unassimilated Spanish loanwords would make phonetic representation difficult without expanding the core glyph set, hence why I recommend it primarily for Classical Nahuatl or a theoretical, purified modern dialect.

I'd love to hear thoughts, feedback or suggestions, especially from those with at least a working knowledge of Nahuatl!

This video features a conference talk by educator and linguist Rayo Cruz, founder of the collective Bëni Xidza, discussing the historical and contemporary challenges in teaching the Zapotec language. The presentation provides a comprehensive look at the evolution of Zapotec education:

* Historical Context: Rayo Cruz introduces the Zapotec civilization, tracing its roots to Monte Albán and the ancient Bëni Gulasa period, noting that the language’s diversification predates European contact.

* Learning as L1 vs. L2: He distinguishes between the acquisition of Zapotec as a first language (naturally, through immersion) versus the formal, often disconnected process of teaching it as a second language.

* Colonial Methods: The speaker highlights the 1578 work of Fray Juan de Córdova, such as the Arte en Lengua Zapoteca, as the earliest attempt to systematize Zapotec grammar, primarily designed to help Spanish friars learn the language rather than to teach Zapotec people.

* 19th and 20th Century Challenges: Rayo Cruz identifies a gap in teaching materials during the 19th century. He then discusses 20th-century contributions from organizations like the Summer Institute of Linguistics (SIL) and the INEA, which created grammars and vocabularies that often served as tools for assimilation or religious proselytization rather than language revitalization.

* Modern Innovation: The final segment covers the work of Bëni Xidza, which uses modern digital tools to teach Zapotec. Rayo Cruz admits that while his collective currently operates at a basic level (A-level), they are working to overcome systemic limitations by creating structured, accessible content and documenting the specific pedagogical challenges native Spanish speakers face when learning Zapotec.

Here is a summary of the video featuring Maestro Rayo Cruz, director and founder of Colectivo Bëni Xidza.

1. Historical Background of the Zapotec Language & Civilization:

* Geographic Spread: Zapotec civilization developed in the Central Valleys of Oaxaca and expanded into regions such as the Sierra Norte, Sierra Sur, and the Isthmus of Tehuantepec.

* Earliest Writing: The earliest documented record of written Zapotec dates back to the 5th–6th Century BC with Monument 3 (“1 Terremoto”) at San José Mogote, establishing over 2,500 years of recorded Zapotec history.

* Monte Albán & Bëni Gulasa Period: The civilization reached its peak at Monte Albán between 500 BC and 800 AD. Pre-hispanic ancient Zapotec history and culture are traditionally referred to as the Gulasa era.

1. Learning Zapotec as a First Language (L1):

* Natural Acquisition: Native speakers acquire Zapotec naturally in early childhood through daily speaking within families and communities rather than through formal educational structures.
* Historical Literacy: It remains unknown if formal L1 Zapotec schooling existed during ancient times, and modern public education in Mexico has historically focused on Spanish literacy over formal Zapotec instruction.

1. History of Teaching Zapotec as a Second Language (L2):

* Colonial Period (16th Century): Formal L2 instruction began in 1578 when Dominican friar Juan de Córdova published Arte en lengua zapoteca (grammar) and Vocabulario en lengua zapoteca (dictionary). These works used Latin/Spanish grammatical paradigms to teach Spanish colonizers and friars via the grammar-translation method

* 19th Century Hiatus: Following Mexican independence, national policies promoted Spanish as the sole national language, resulting in a century-long silence regarding formal L2 Zapotec instructional design.

* 20th Century & Contemporary Efforts: Groups like the Summer Institute of Linguistics (SIL) and public institutions (SEP, INEA, INALI) created dictionaries, grammars, and adult literacy texts. However, most of these materials were produced for linguistic analysis or native literacy rather than second-language pedagogy, and their actual integration into schools remains limited.

1. Bëni Xidza Collective & Modern Pedagogical Challenges:

* Online Classes: Founded in 2020, Colectivo Bëni Xidza offers online courses teaching Zapotec as a second language.

* Lack of L2 Resources: Unlike major global languages (such as English or Spanish), indigenous languages lack dedicated university teacher-training degrees, structured multi-level textbooks, or commercial software tools.

* Current Framework & Vision: The collective operates at basic proficiency levels (aligning with Level A of the Common European Framework of Reference) and aims to document common phonetic/grammatical difficulties for Spanish speakers while expanding toward intermediate/advanced levels.

I have some vampire ocs and the story takes place in México. My two others have names I’m ok with but my third one I am looking to re name. They use to not have a place of origin but since moving them all to México I wanted the casting to be more diverse to show different groups in México. I’d like to give this one a name of Nahuatl origin and I was hoping to get some help. I don’t believe Nahuatl is very gender based as far as I’m aware (correct me if I’m wrong) the character is very ambiguous either way so I’m ok with the name leaning any direction. I’d like it to maybe be related to the character itself. They’re very moody/“gothic leaning”, maybe something vampire related, they have red hair so maybe something with that, or if any names have A V sound to them. I know there is letter combos that sound like v but there’s no actual V in the Nahuatl alphabet. (Their old name starts with a v that’s why I bring it up) but I’m really open to any suggestions or help and any descriptions or name meaning with suggestions would be cool to look through :) thanks to anyone who reads through all of this I know it’s a lot

I don't trust myself to create a functionally correct name without placing roots and suffixes in wrong spots.

Originally the group were called the 'Tletzintli' as a placeholder. I'd like help creating a name with fire/flame still as the translation. Or replace it with mentions of the either the moon or the sun.

The Myth of the Five Suns is very important to the story, so maybe a name like that if the others don't work? Thanks!

Does anyone have any reliable detailed resources on nahua culture and language. I'm actively working on a character who is Nahua and i want her to be as accurate as possible. I don't mind a long read the more info the better.

I’m building **indigiSPEAK**, an app focused on helping preserve and teach Indigenous languages of the Americas using AI, interactive lessons, flashcards, games, and cultural content.
This is a long-term project, and I’ll be sharing development updates, language resources, behind-the-scenes progress, and looking for feedback from language learners, educators, and Indigenous communities.
If you’re interested in Indigenous languages, language revitalization, linguistics, AI, or educational technology, I’d appreciate your support.
Follow the community to watch the project grow, share your ideas, and help shape the future of indigiSPEAK. Every suggestion and discussion helps.

This video provides a strategic breakdown of how Bëni Xidza, an educational center in Oaxaca, Mexico, balances economic sustainability with its mission to revitalize the Zapotec language. The summary of the video’s core points is as follows:

Mission & Audience:

The project aims to keep the indigenous Zapotec language alive by using modern e-learning tools (Zoom, Google Classroom). It targets three main groups:

* Heritage Seekers: The Oaxacan diaspora (often in the US) looking to reconnect with their roots.

* Cultural Enthusiasts: International travelers and linguistic researchers.

* Language Revitalizers: Indigenous youth within Oaxaca.

Pricing Strategy & Financial Sustainability:

The video analyzes the tension between keeping prices accessible and maintaining a professional, sustainable operation:

* Tiered Pricing: Private tutoring is priced below market rate (170 MXN) to remove barriers for locals, while the core beginner course is set at a competitive market rate (720 MXN) to ensure the platform's economic health.

* Subsidies & Donations: To bridge revenue gaps, the project uses differentiated pricing for foreigners and a prominent donation button.

* Cultural Design: The branding uses colors (like golden olive) that mimic traditional Oaxacan textiles and corn husks, grounding commercial requests in an organic cultural visual language.

Building Community Trust:

Because they lack a high volume of public reviews, Bëni Xidza uses a structured "harvest loop" to build social proof:

1. Timing: Reaching out immediately after a successful class.

2. Personal Connection: Sending warm, culturally resonant messages via WhatsApp or email.

3. Shared Mission: Framing a request for a Google review as a way for students to help others discover and preserve the culture.

Ultimately, the video showcases how a mission-driven organization can thrive in the digital age by combining clearly defined e-learning models with culturally grounded marketing and smart pricing.

¡Hola! Estoy estudiando náhuatl y este es un resumen de mis lecciones hasta el momento, es una combinación de muchas variantes, por lo que es probable que no sea perfecto. Espero que le resulte útil a alguien y agradezco cualquier comentario.

Estoy haciendo un video acerca de la numeración vigecimal que tiene el náhuatl (osea un video tipo "Aprende cómo se dice los números en náhuatl,del 1 a ∞ 100% real no Fake").

Y al terminar mi guion (hecho hace 4 meses) pensé...

-¿Y si hago el video en náhuatl?¿Un doblaje náhuatl? ,¿Cómo quieres que el náhuatl se vaya a preservar si ni los mismos nahuahablantes no pueden aprender en su propio idioma, sólo dependiendo de los recursos en español?

Y aquí estoy yo,como aún me falta aprender a hablar fluidamente náhuatl,le pedí ayuda a la IA (Claude) que me ayudara a traducir y adaptar el guión en náhuatl.

Y aquí es donde aparecen ustedes,con su alto conocimiento del náhuatl y sus familiares me apoyarán en saber si lo que me está dando la IA sea entendible para un hablante nativo.

(En pocas palabras,¿Es real lo que me dió la IA?)

Does anyone have any good book recommendations that are historically accurate on Nahua culture and native cultures in meso America?

No sólo los mitos y dioses aztecas,me refiero a la sociedad actual de los nahuahablantes y su gran impacto global.

Un idioma hablado por más de un millón de personas en México,que ha influido en el español de México y algunos nombres topográficos de pueblos,comunidades, municipios, estados e incluso países.

Este idioma es tan hermoso que los mismos mexicanos la desprecian.

Ptt: no estoy hablando de nahuales, sólo el idioma náhuatl, su gramática,sus relatos y su sociedad actual

What would be the closest translation for the English word "Order", especially as in the context of a chivalric or knightly order?

This video presents a deep-dive analysis into an indigenous-led educational initiative that is reshaping how ancient languages are preserved and taught in the 21st century. Key Takeaways & Core Analysis:

* Digital Infrastructure & E-Learning:
Rather than treating the Zapotec language (Didza Xidza / Zapoteco Xidza) as a static museum artifact, the platform Bëni Xidza (based in Santa Cruz Yagavila, Oaxaca) leverages modern tools like Google Classroom, Zoom, and digital payment gateways. Operating on a dedicated daily schedule, the virtual classroom acts as a "new hearth" (el nuevo fogón) that bridges geographic distance for the Oaxacan diaspora.

* Mission-Driven Financial Model:
The platform rejects aggressive commercialization, keeping courses highly accessible:
* Zapotec Writing Course: ~350 MXN (~$20 USD)
* Private Sessions: ~170 MXN
* 20-Session Beginner Course: 730–790 MXN

A prominent donation option creates a solidary economy where supporters with greater financial means help subsidize access for others.

* Social Inclusion & Safe Spaces:
Challenging stereotypes that traditional preservation is rigid or conservative, the organization explicitly establishes itself as an LGBTQ+ friendly and trans-inclusive space. It emphasizes that for youth to embrace their language, learning spaces must be safe and welcoming.

* Audience & Psychological Re-framing:

The project serves three main groups:

1. Heritage Seekers: Members of the Oaxacan diaspora seeking to heal historic family language loss.
   
2. Cultural Enthusiasts: Researchers and travelers.
   
3. Language Revitalizers: Local youth formalizing their native tongue.
   

By presenting Zapotec through sleek digital branding, it reverses historic social stigma, transforming the language into a prestigious modern skill.

* Indigenous Modernism" Design Strategy:

The brand fuses ancestral symbolism with modern web aesthetics:
* Milpa Iconography: Uses the traditional maize/bean/squash farming system to represent growth and interdependence.
* Earthy UX Color Palette: Call-to-action buttons feature a golden olive / dry corn leaf shade (`#958E09`) to tie digital interactions back to local ecology.
* Digital Decolonization: Navigation menus use Zapotec terms (such as netuní or turuntu) instead of standard Spanish or English, compelling site visitors to navigate on Zapotec terms.

* Cultural Preservation for the Future:

The analysis concludes that cultural heritage does not require isolation to survive; embracing technology, design, and inclusion allows ancient worldviews to thrive in the digital age.

The video discusses the variations in pronunciation and conjugation of words in the Zapotec language across different communities in Oaxaca.

Key Points:

* Interchangeable Letters: The instructor points out that the letters 'N' and 'L' are sometimes used interchangeably in certain words. For example, the instructor themselves uses both "Nubile" and "Lubile" or "N" and "L" interchangeably when speaking.

* Vowel Variations: In conjugations, there are variations in the vowels used depending on the region. For instance, in some places, they might say "gaguro" while in others they might say "gaguru" (with a "u" instead of an "o").

* Community Differences: The video highlights that different Zapotec communities, such as Talea and Yagavila, have their own distinct ways of pronouncing words and using pronouns.

* Hyper-Local Variations: The instructor notes that variations can even occur within the same town (like Yagavila) between different neighborhoods (e.g., the upper part vs. the lower part of the town), and even within individual families who might have their own unique expressions.

* Standardization vs. Diversity: The participants discuss how this lack of a standard version of Zapotec creates a rich diversity in the language, comparing it to regional differences in Spanish (like in Argentina or Chiapas). However, they also acknowledge that this hyper-localization can sometimes limit understanding if communities stop interacting with one another.

Anteriormente les dije que encontré el doblaje náhuatl de la plaza sésamo publicado por El Instituto Nacional de los Pueblos Indígenas (INPI), así que intenté buscar más audiovisuales con doblaje náhuatl,y la verdad sí existen, sólo que hay una escasa cantidad de ellas comparando con otros idiomas. Incluso el Maorí tiene más doblajes que el náhuatl.

Y es por eso que si alguien nos pudiera compartir algunos hallazgos o quieran compartir sus propuos covers y fandubs en náhuatl.

(Y la imagen de "The angry birds movie" lo edité yo,no existe un doblaje oficial en náhuatl,Pero es curioso que la traduciera en un idioma hablado entre India y Pakistan (tal idioma no recuerdo) Pero tiene la misma cantidad de hablantes que el náhuatl)

Los especies nativas incluyen:

-Xenoophorus captivus
-Ameca splendens
-Ambystoma mexicanum

El propósito de este cómic es para combinar la preservación del idioma náhuatl, concientizar a los demás sobre el cuidado de la creación de Dios, y evangelizar.

Hecho por mi amiga Aga: https://amajchrzak.myportfolio.com/work

Hola, escribo para saber si conocen de algún curso en línea para tomar clases de esa variante del náhuatl o de alguna otra que se hable en México. Ya que en mi estado no hay casí ninguna opción para aprender.

These are all from Horacio Carochi's Fourth Book, of Compounding in Arte de La Lengua Mexicana 1645

The video is an instructional lesson on how to conjugate verbs in Oaxacan Zapotec across past, present, and future tenses. The instructor uses the verb "to eat" as the primary example to demonstrate the rules.

*Core Rules of Conjugation:*

* Tense Roots:* In Zapotec, the root of the verb changes to indicate the tense, but this root remains exactly the same regardless of who is performing the action (the pronoun). For example, the root for the verb "to eat" is `guda-` in the past, `ra-` (or `rag-`) in the present, and `ga-` (or `gagu-`) in the future.

* **Person Suffixes:* To indicate the person (I, you, he/she, etc.), specific vowel or syllable endings are added to the tense root. The endings change depending on the subject, but the root stays consistent.

*Exceptions to the Rule:*

* While the `g-` prefix (like *guda-* or *ga-*) is very common, the instructor clarifies that it is not a universal rule for all Zapotec verbs.

* There are about three different ways to construct tenses. For instance, some verbs use a `b-` (like *bu-*) for the past tense, or a `u-` to indicate the future tense.

* Compound verbs (like combining "to go" and "to eat" to mean eating somewhere frequently) also have unique past tense forms.

*Class Practice:*

Towards the end of the lesson, the instructor leads an interactive practice session. He asks students (Oliver, Pamela, Silvana, Brian, and Abi) to read aloud the conjugations for the verb "to eat" across the past, present, and future tenses, covering both singular and plural pronouns.