The Building of the Danzantes was so named because it was thought that carvings associated with it depicted individuals engaged in ritual dances; others have argued that they represent individuals with deformities who, in ancient Mesoamerica, were thought to possess special powers; still others suggest that they represent slain and mutilated captives, a suggestion that now seems most plausible.
Danzante-style carvings are found in both periods I and II at Monte Albán. Stones apparently carved in a similar style have been found at the site of Dainzú in the Tlacolula arm of the Valley; these stones, which may date from Monte Albán II times, depict ball players – a theme common in the Formative stage of Mesoamerican cultural history.
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The "Danzante" slabs
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Additional traits suggest the elite character of Monte Albán. Toward the end of period I, stelae were erected displaying calendrical glyphs or dates, glyphs also found carved on the danzante slabs. These glyphs indicate a form of writing. Most of them undoubtedly deal with calendrical matters, probably representing the ritual calendar of 260 days, although the 365-day calendar, which was geared to the agricultural cycle, also may be represented. Some eleven calendrical glyphs are known from Monte Albán I times.
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Some of the best examples of Monte Alban's bas-relief sculptures can be seen in the southwest corner of the main plaza.
The Danzante stones were originally considered depictions of "Dancers" (hence the name Danzantes). But a more likely interpretation is that the "dancing" men are in fact sacrificial victems. The scrolls which eminate from their bowels and genitalia are probably depictions of ritual mutilation. These may be roughly contemporary with the conquest glyphs on Building J.
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The stone sculpture of Monte Albán is worked primarily in low relief on slabs that were used as architectural elements such as wall facings, stair treads, and door jambs, the latter frequently on tombs. A tradition for warrior imagery, particularly images of defeated captives as in the so-called Danzante sculptures, began early in the region and had a long history at the hilltop urban center. Depictions of rulers in various ceremonial and/or costumed guises include references to their exploits as warriors and conquerors. Many rulers are named in the hieroglyphic inscriptions that appear on the carvings; the inscriptions too detail the very competitive nature of Oaxaca society at the time. A number of monuments feature a ruler named 12 Jaguar, who inaugurated his reign—perhaps in the third century—with the dedication of the great South Platform. His carved stones were placed into the facing of the pyramid and included scenes of visitors from the powerful central Mexico city of Teotihuacan. The hieroglyphic inscriptions on the sculptures refer to 12 Jaguar's right to rule, among other topics. The stones themselves could be reused by the carving of alternate faces, and by moving them to different locations. At one time or another, some of the carved reliefs may have been grouped to form a kind of narrative scene.
Mortuary practices at Monte Albán were complex, with much attention directed to the embellishment of the tombs themselves. Walls were elaborated with stucco and stone sculpture, and decorated with murals. Paired door jambs, facing out from the tomb, had well-carved reliefs that were particularly significant.
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