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Downloaded from the Humanities Digital Library Downloaded from the Humanities Digital Library http://www.humanities-digital-library.org Open Access books made available by the School of Advanced Study, University of London ***** Publication details: Recasting Commodity and Spectacle in the Indigenous Americas Edited by Helen Gilbert and Charlotte Gleghorn http://humanities-digital-library.org/index.php/hdl/catalog/book/recasting- commodity-spectacle-indigenous-americas DOI: 10.14296/0920.9781908857682 ***** This edition published 2020 by UNIVERSITY OF LONDON PRESS SCHOOL OF ADVANCED STUDY INSTITUTE OF LATIN AMERICAN STUDIES Senate House, Malet Street, London WC1E 7HU, United Kingdom ISBN 978-1-908857-68-2 (PDF edition) Recasting commodity and spectacle in the indigenous Americas Edited by Helen Gilbert and Charlotte Gleghorn © Institute of Latin American Studies, School of Advanced Study, University of London, 2014 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library ISBN 978-1-908857-08-8 (paperback) ISBN 978-1-908857-09-5 (Kindle) ISBN 978-1-908857-31-6 (epub) ISBN 978-1-908857-68-2 (PDF) Institute of Latin American Studies School of Advanced Study University of London Senate House London WC1E 7HU Telephone: 020 7862 8844 Fax: 020 7862 8886 Email: [email protected] Web: http://ilas.sas.ac.uk Cover image: Alex Wells – Lil’wat Nation Hoop Dancer. Photo: David Martin. Courtesy of Alex Wells and David Martin. Contents List of Figures v Acknowledgements vii Notes on Contributors ix Introduction: Recasting commodity and spectacle in the indigenous Americas 1 Helen Gilbert and Charlotte Gleghorn 1. ‘Will making movies do the sheep any good?’ The afterlife of Native American images 19 Michelle H. Raheja 2. Modernity and the indigenous in centennial celebrations of independence in Mexico City, 1910 and 1921 37 Michael J. Gonzales 3. Indigeneity in the Oruro Carnival: official memory, Bolivian identity and the politics of recognition 57 Ximena Córdova Oviedo 4. Crafting contemporary indigeneity through audiovisual media in Bolivia 77 Gabriela Zamorano Villarreal 5. Nora Naranjo-Morse’s ‘Always Becoming’: enacting indigenous identity on a museum stage 97 Andrea Zittlau 6. Performance, gestures and poses in postcards of Ho-Chunk in Wisconsin Dells 113 Sarah Anne Stolte 7. Rethinking spectacle and indigenous consumption: commercial huayno music in Peru 131 James Butterworth 8. Everyday work as spectacle: celebrating Maya embodied culture in Belize 151 Genner Llanes-Ortiz iv RECASTING COMMODITY AND SPECTACLE 9. Spectacle and discourse of decommoditisation in the construction of subaltern public spheres: the P’urhépecha New Year and P’urhéecherio 167 Andrew Roth-Seneff 10. Performing and disputing indigeneity in the Fiesta del Coraza in Otavalo, Ecuador 185 Sergio Miguel Huarcaya 11. Indigeneity, law and performance on the Atlantic Coast of Nicaragua 205 Isabel Altamirano-Jiménez 12. What we talk about when we talk about Indian 223 Yvette Nolan 13. Indigenous interventions at Klahowya Village, χwayχw əy Vancouver/ unceded Coast Salish Territory 235 Selena Couture List of Figures Front cover Alex Wells – Lil’wat Nation Hoop Dancer. Photo: David Martin. Courtesy of Alex Wells and David Martin. Introduction Figure 1: Peter Morin performing outside Buckingham Palace as part of his ‘Cultural Graffiti in London’ series, 2013. Photo: Dylan Robinson. Chapter 3 Figure 3.1: Oruro Carnival parade, 2008. Photo: Ximena Córdova Oviedo. Figure 3.2: Elders performing libation rites on Oruro’s main festive stage in preparation for the Anata Andina, 2008. Photo: Ximena Córdova Oviedo. Figure 3.3: Andean ch’alla ceremony at the sacred shrine of Cerro Micaela in preparation for the Anata Andina. Photo: Ximena Córdova Oviedo. Chapter 4 Figure 4.1: CAIB communicators shooting an indigenous march in the Bolivian Highlands, 2003. Photo courtesy of CEFREC-CAIB. Figure 4.2: Production of Bolivia Constituyente television programme, Sucre, 2006. Photo courtesy of CEFREC-CAIB. Chapter 5 Figure 5.1: View of ‘Always Becoming’, 2009. Photo: Andrea Zittlau. Chapter 6 Figure 6.1: H.H. Bennett. ‘Winnebago Indian Camp Dells of the Wisconsin’. Postcard c. 1940. Wisconsin State Historical Society Collection. Figure 6.2: H.H. Bennett. ‘War Dance of the Winnebago’. Stand Rock Indian Ceremonial, Wisconsin Dells. Postcard c. 1975. Sarah Anne Stolte’s collection. Figure 6.3: ‘A Winnebago Brave, Dells of the Wisconsin River’. Postcard c. 1929–30. Wisconsin State Historical Society Collection. Chapter 7 Figure 7.1: Dina Paucar is escorted to the stage at a performance in the town of Chupaca, Junín, during the San Juan de Bautista festival, June 2012. Photo: James Butterworth. vi RECASTING COMMODITY AND SPECTACLE Figure 7.2: Huayno performance in Chorrillos, Lima, June 2012. Photo: James Butterworth. Figure 7.3: Spectators at huayno concert in Chorrillos, Lima, June 2012. Photo: James Butterworth. Figure 7.4: Dina Paucar features on a billboard advertising Movistar outside the airport in Juliaca, January 2009. Photo: Marcos Granda Portilla. Chapter 8 Figure 8.1: Stilt dancer – image from the Madrid Codex. Source: Vail and Hernández, 2011. Figure 8.2: Stilt dancers’ performance – Maya Day 2012. Video still: Genner Llanes-Ortiz. Figure 8.3: Harp dancing competition, Maya Day 2007. Photograph: Esther Sánchez. Figure 8.4: Corn-grinding competition – Maya Day 2012. Video still: Genner Llanes-Ortiz. Chapter 9 Figure 9.1: Kurhikaueri K’uinchekua – parade on the island of Xaracuaro, 2011. Photo: Aída Castelleja. Figure 9.2: P’urhépecha flag on pilgrimage from Xaracuaro to Konguripu, 2012. Photo: Aída Castelleja. Figure 9.3: Taking the old fire (Ch’upiri Tamapu) to Nahuatzen, 2013. Photo: Aída Castelleja. Chapter 10 Figure 10.1: Thecoraza at the inauguration of Ariruma Kowii as the Undersecretary of Education of Indigenous Peoples, 22 August 2006. Photo: Sergio Miguel Huarcaya. Figure 10.2: Non-indígenas celebrating the Fiesta del Coraza in San Rafael, 11 June 2011. Video still: Sergio Miguel Huarcaya. Figure 10.3: The coraza arriving at the community of El Cercado, 25 September 2011. Video still: Sergio Miguel Huarcaya. Chapter 12 Figure 12.1: Monique Mojica plays Caesar in Death of a Chief. Photo: Nir Bareket. Figure 12.2: Scene from Death of a Chief. Photo: Nir Bareket. Chapter 13 Figure 13.1: ‘Indian’ headdress at Klahowya Village tourist performance. Photo: Selena Couture. Acknowledgements We would like to express our thanks to all the presenters and participants who shared their vision and thoughts with us during the symposium ‘Recasting Commodity and Spectacle in the Indigenous Americas’, which was held at the Institute for the Study of the Americas in London on 22–23 November 2012 and supported by the European Research Council. This weaving of connections and differences across the Americas spawned rich conversations that we hope will continue to generate further enquiry with this book. We are particularly grateful to the keynote speakers, Michelle H. Raheja and Gabriela Zamorano Villarreal, and to the members of the Indigeneity in the Contemporary World project team who helped with the event. A special mention to Dani Phillipson, Sally O’Gorman and Emer O’Toole, who worked closely with Olga Jiménez at the School of Advanced Study to collectively ensure that the symposium went smoothly. Sergio Huarcaya and Genner Llanes-Ortiz, in addition to their contributions to the programme, recorded the event. The Institute for the Study of the Americas and the School of Advanced Study generously offered us the space of this volume to archive and expand upon the papers delivered during the symposium. We would like to acknowledge Kerry Whitston for her help in facilitating this arrangement and overseeing the initial stages of the book, and Valerie Hall for her excellent copy-editing as things progressed. Finally, a huge thank you to Alex Wells, the champion hoop dancer, and his photographer, David Martin, who kindly gave us permission to use the photograph on the front cover. We hope that the energy and vibrancy of this image convey something of the exciting discussions to be had as we strive to understand the specificities of indigenous performance in its diverse locales and contexts. As we were preparing this manuscript, we learnt of the sad passing of Ivone Barriga Ramírez from our colleague Margaret Werry. Ivone was a postgraduate student at University of Minnesota-Twin Cities and was a lively and engaged participant during the symposium, where she delivered a paper on community- based theatre in Peru. We dedicate these pages to her spirit of inquiry and collaboration. Reasonable efforts have been made to identify and contact other copyright holders. Notes on Contributors Isabel Altamirano-Jiménez is an Indigenous Zapotec from Oaxaca, Mexico. She holds a joint appointment as associate professor in the Department of Political Science and the Faculty of Native Studies at the University of Alberta. Recently, she has been awarded a KIAS-University of Alberta Cluster Grant to start the first phase of the Indigenous Women’s Knowledge and Stewardship of Water project. Her research interests include comparative Indigenous politics, Indigenous feminism, indigeneity and gender, and the neoliberalisation of nature. She teaches, among other courses, Indigenous peoples and globalisation; Women and nationalism; Aboriginal women and politics; and Aboriginal peoples and natural resources. James Butterworth recently completed an AHRC-sponsored PhD in ethnomusicology at Royal Holloway, University of London. His thesis is titled ‘Andean divas: emotion, ethics and intimate spectacle in Peruvian huayno music’. James also holds a BA in music from the University of Cambridge and an MMus in advanced musical studies from Royal Holloway. His research focuses on folkloric and popular musics in Peru and deals particularly with issues of emotion, neoliberalism, public intimacy, gender and mass-mediation. Ximena Córdova Oviedo, born in Bolivia and raised in Venezuela, completed an AHRC-sponsored PhD in Latin American and Hispanic studies (Newcastle University) on the relationship between processes of transmission of cultural memory and festive practices in the Andes.
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