Flutes of Western Mexico and Colima in particular are distinguished by a long tubular chamber with four fingering holes; they possess certain characteristics for achieving expressiveness in execution. One of the principal ones consists of a tubular chamber that allows the harmonics to be broken down without saturating the sound.

Gonzalo Sanchez

In the absence of any decoration, and the dimensions being common to most flutes, and without archaeological context, it is not possible to specify the culture, region or time period of this tlapitzalli or flute. It reminds us that the flute since the beginning of Mesoamerica and probably long before, accompanied with its music the very diverse aspects of the life of yesteryear, as even now in many traditional ceremonies in Mexico and in general of the indigenous communities in the Americas.

Among the various materials that were used, the fired clay allowed for its conservation, although there is little hope that one day specialized research will allow us to get closer to the music they produced. Representations of the flute have been found in a wide variety of media, in sculptures, mural painting and stone art all across the territory. In certain cultures of northern Mesoamerica and the current southwestern United States, the flutist has come to have a unique role as a mythical personage and as an outstanding ceremonial officiant.

In Tenochtitlan, the sound of the flute was inseparably associated with the dramatic fate of the prisoner of war destined to Toxcatl. This ceremony marked the end of the year during which the young man had embodied the god Tezcatlipoca and had walked through the city playing the flute. On the last day, he would climb the pyramid to the sacrifice while playing clay flutes and break them as he ascended towards the transfiguration.

Marie-Areti Hers