The Confession of an Indigenous Witch in Eighteenth-Century Mexico

Daniela Gutiérrez Flores, PhD Student, Hispanic and Luso-Brazilian Studies 

During the first half of the sixteenth century and before the establishment of the Inquisition in New Spain, idolatrous practices carried out by indigenous people were punished with extreme severity. This sparked a religious debate on how to deal with the newly converted subjects. American Indians, because they were considered ignorant new Christians, would be excluded from the jurisdiction of the Holy Office, whose operations pertained only to mestizos, Africans, creoles and Spaniards. Instead, a tribunal was specifically created to attend to the indigenous population: the Provisorato de Indios.[1] 

Among the activities of this institution was the vigilance and extirpation of idolatry among indigenous peoples. The processes carried out by the Provisorato were commonly initiated by accusations made by individuals to fellow members of their community and, if grave, ended in an auto de fe. There were some cases, however, in which people turned themselves in. Such is the case of an indigenous woman who confessed to being a witch before Juan Ignacio Castorena y Ursúa, head of the Provisorato de Indios from 1709 to 1728.

The eighteenth century saw big changes in the configuration of Mexican cities. Indigenous people had formerly occupied the margins of urban spaces, but gradually, many of these villages were integrated into bigger cities. This resulted in the introduction of syncretic unorthodox religious practices into urban life, a situation that certainly troubled religious authorities. The Provisorato was a key institution in the attempt to suppress the heterodox religiosity of the “rustic” groups that suddenly erupted in the cities. This is the context surrounding this indigenous woman’s confession.

The confession is preserved in a 1736 manuscript I have recently begun to examine. Because it is a testimony in the first person, it serves as a fascinating window into colonial religious practices and the process of self-fashioning before ecclesiastic authority.

The woman begins by narrating her childhood. She was born, we are told, in a family with a long tradition in sorcery and witchcraft. While she was still a baby, her parents gave her away to Lucifer, who became her “nagual.” This syncretic representation of the devil takes us back to the first contact between Spaniards and the indigenous peoples, when practices such as nahualismo were amalgamated under Catholicism as evidence of the devil’s presence in the Americas. In the religion of the Ancient Mexicans, the term nahualli designates the spiritual companion or “alter ego” of a person, which usually takes the form of an animal.[2] From the beginning of her confession, the woman represents herself through duality. The devil is certainly an intrinsic part of who she is, but reason—and with it, the possibility of redemption—still lies within her.

She then goes on to tell us how Lucifer raised her: he taught her to walk, to dress, to make her bed. He gave her baby animals to play with and took her on walks through the maize fields. The devil is portrayed as a maternal loving figure, a “chichigua” (wet nurse) who nurtured her with knowledge about witchcraft, but also with practical everyday-life skills. Perhaps one of the most interesting characteristics of this testimony is precisely the connection drawn between the fantastic world of flying shape-shifting witches and the mundane life of common individuals. The devil and the witch, far from being esoteric figures, are placed here in the concrete, familiar contexts of colonial life.

When the woman grows older, she marries Lucifer in a big celebration in which guests danced to the dance of the Moors and the Christians (a traditional Spanish dance that enacts Christian domination over the Moors, but that in the Americas was adapted to dramatize the process of colonization). In this dance, our witch plays la Malinche—Hernán Cortés’s famous interpreter and mistress—and, thus, the devil plays the conquistador. Through this dramatization, both Cortés and La Malinche emerge as demonical figures. Her union to Lucifer mirrors that between Spaniards and Mexicans, symbolically making mestizos the offspring of a diabolical alliance.

As a wife, the witch gains deeper knowledge about demonic customs, acquiring higher powers and ascending in satanic hierarchy thanks to her superior talent. She recounts explicit tales about raping sleeping nuns, eating babies in tamales, using their blood to knead tortillas and even murdering her own mother at her father’s request (he had grown bored of her). She becomes the new head of her family and a sort of “First Lady” of the Satanic Church, accompanying Lucifer in his travels around the world.

Out of this document emerges a strong female voice that freely brags about her power and talent with deep pride. Her association with Lucifer allows her to occupy a position in society that is not typically reserved for women: she replaces patriarchal authority in her own family, annuls her maternity by eating her children, satisfies her sexual desires unrestrictedly and even challenges the authority of Lucifer himself. When demanded to sacrifice the only son she has ever been fond of, she protects the baby by offering him to the Virgin of Guadalupe. Reciprocally, the devil does not act according to “traditional” masculine roles. He helps women in domestic tasks—such as grinding nixtamal to make tortillas—so that they do not exhaust themselves with too much housework. At Lucifer’s side, the woman has radical liberties that she does not find in her earthly Christian marriage to an Indian cacique. With her human husband, who ignores her true identity, she says the “worm” of her desire has died and she feels condemned to die “dumb.”

How were all of these tales received by the authorities in the Provisorato de Indios? The final whereabouts of this witch are a question I have yet to answer. She may have been processed, or perhaps the gravity of her crimes was lessened by the fact that she confessed. Indeed, her insisting reiteration about her demonic lineage, along with her representation of confession as an act of rebellion against Satan, seems to constitute a strategy for attenuating her culpability. In representing herself as an ignorant, irrational woman who was “fooled” into worshiping the devil by her family, she would have been able to protect herself while simultaneously talking extensively about her past. Regardless of her final destiny, this unique document shows how colonial subjects manipulated existing religious discourse to negotiate their position in an ever-changing society.

[1] See Gerardo Lara Cisneros, ¿Ignorancia invencible?: superstición e idolatría ante el Provisorato de Indios y Chinos del Arzobispado de México en el siglo XVIII, UNAM: México D.F., 2014.

[2] See Roberto Martínez González, “Bruja y nahualli: versiones y perversiones en el proceso colonial,” Cyber Humanitatis, Universidad de Chile, Nº48 (Primavera 2008).