DOCSLIB.ORG

Introduction to Mixtec Pictography 1 ÑEE ÑUHU SANAHA

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction to Mixtec Pictography 1 ÑEE ÑUHU SANAHA introduction to mixtec pictography 1 PART ONE ÑEE ÑUHU SANAHA: THE ANCIENT BOOKS M. Jansen and G.A. Pérez Jiménez - 9789004193581 Downloaded from Brill.com09/24/2021 07:05:22PM via free access 2 chapter one M. Jansen and G.A. Pérez Jiménez - 9789004193581 Downloaded from Brill.com09/24/2021 07:05:22PM via free access introduction to mixtec pictography 3 CHAPTER ONE INTRODUCTION TO MIXTEC PICTOGRAPHY Today we use the term ‘Mesoamerica’ for the millenarian, original and sophisticated cultural tradition that has developed in the huge region that stretches from the northern deserts of Mexico to the tropical mountain ranges of Nicaragua and Costa Rica.1 This region is famous for its impressive archeological sites, its pyramids and artistic monu- ments, situated in landscapes of great beauty, as well as for its colorful folklore and rich panorama of languages and oral literatures that char- acterize the descendant communities. Having come to flourish with- out strong influences from the outside world, this civilization is a truly original contribution to world heritage. Studying it offers fascinating insights into the commonalities and variations of human creativity, community building and religious experience. On the other hand the Spanish colonial invasion (1521) initiated a prolonged period of cultural interaction between Mesoamerica and Europe, a violent and painful experience, from which, however, a lot may be learned. Several Mesoamerican peoples had invented writing systems, which took several forms, but which all consisted of combinations of figura- tive scenes with hieroglyphic (phonetic) elements, in varying propor- tions. Inscriptions and pictorial manuscripts registered information about history, religion, astronomy and many other aspects of the ancient society and way of life.2 Mesoamerican pictorial writing, as in 1 Although there are many interesting local variations, the native civilizations of this huge region are to be seen as one single cultural continuum or co-tradition. Paul Kirchhoff coined the concept ‘Mesoamerica’ in the early 1940s. A critical analysis of several theoretical preconceptions and connotations of those days (e.g. diffusionism) has been presented by Vázquez León (1996). The concept has developed with time, however, in accordance with successive currents of archeological thought, and has proved to be of great theoretical and practical value (see the comment by Gordon Wil- ley 1981: 4). There are numerous introductions to this culture area, e.g. Carmack & Gasco & Gossen 1996, Smith & Berdan 2003, Evans 2004, Hendon & Joyce 2004. 2 See the Guide to Ethnohistorical Sources, in vols. 12–15 of the Handbook of Middle American Indians for an overview of the pictographic and other historical sources for Mesoamerica. Anders (1999) provides an extensive and detailed update. Several major works, such as Martin & Grube 2000 and Houston & Stuart & Taube 2006, offer an inspiring synthesis of the decipherment of the Maya hieroglyphic inscrip tions, with an analysis of the political history and related worldview of the M. Jansen and G.A. Pérez Jiménez - 9789004193581 Downloaded from Brill.com09/24/2021 07:05:22PM via free access 4 chapter one use shortly before and after the Spanish invasion, particularly in the Ñuu Dzaui (Mixtec) region, is the subject matter of this book. The ancient Mexica or Aztecs, the dominant people and empire at the time of the Spanish invasion, defined their own culture as part of the Toltecayotl, ‘the legacy of those who inhabited the Place of Reeds’. Indeed, several successive imperial and cultural capitals, all desig- nated as Tollan, ‘Place of Reeds’, mark the progress of this civilization: Teotihuacan , Cholula and the Aztec capital Mexico-Tenochtitlan. These Central Mexican sites are now impressive ruins, admired by thousands of tourists from all over the world. In ad 1521 the conquistadors took over the Mexica (Aztec) agrarian tribute-state, which had been created in a mere hundred years of mil- itary and commercial expansion, and dominated large parts of the area at the time. Many smaller polities had been subdued and/or incorpo- rated by the Mexica realm, others had preserved their independence. The Spanish siege of the Mexica capital Mexico -Tenoch titlan, fol- lowed by the colonization of the whole Mesoamerican world, inter- rupted the further autonomous development of this civilization in a brutal manner. It was a major blow, a watershed, which still has a traumatic and determining influence on present-day reality. Much knowledge and many artistic products were destroyed or lost. During the remainder of the 16th century, Spanish took the place of Nahuatl , the language of the Mexica, as the lingua franca in New Spain and became the metalanguage for the research and discourses on the Native American world. Spanish conquerors and monks, such as Hernán Cortés himself, the Franciscan Friars Toribio de Benavente Motolinia, Bernardino de Sahagún and Juan de Torquemada, or the Dominican Friar Diego Durán, produced important chronicles, describing the native civilization of Central Mexico with a wealth of details, but their vision was often distorted, or at least strongly influ- enced, by European bias and value-judgements.3 The same is true for documents such as the Relaciones Geográficas, descriptions of the dif- Classic Maya city-states. The Beni Zaa (Zapotec ) inscriptions of Monte Albán have been analyzed by Urcid 2001. 3 There is abundant literature about the European view of America, see Nowotny 1960, Keen 1971, Kohl 1982, Wolf 1982, Anders 1975, Lemaire 1986, Mason 1990, Ordahl Kupperman 1995, Churchill 1998 etc. The abuses, racial prejudices, discrimi- nation and ethnocide against the Native Americans in successive periods have been discussed already by Paulat Legorreta 1972, Lipschutz 1975, Jaulin 1976 and 1979, Graham 1994 and many other authors. For the general framework of postcolonial M. Jansen and G.A. Pérez Jiménez - 9789004193581 Downloaded from Brill.com09/24/2021 07:05:22PM via free access introduction to mixtec pictography 5 ferent villages of what was then known as ‘New Spain’, written around 1580 in response to a questionnaire: basically they tried to accumulate data as a guide for Spanish governmental administration and eco- nomic exploitation. The surviving examples of the historiography and literary heritage of the Native American peoples themselves, therefore, constitute a crucial primary source of inside information, which no study of the Americas can ignore. Writing had started in Mesoamerica more than 2000 years before the Spanish conquest . Its roots are found already in the formative period, generally designated as ‘the Preclassic’ by archeologists, con- cretely in the so-called Olmec ‘mother culture’ (± 1200 till ± 600 bc). Later, the civilization of Teotihuacan in the first half of the Classic Period (± 200–650) used in its frescoes – and presumably also in pic- torial manuscripts, which did not survive – a fully developed system of pictorial writing, pictography.4 During the second half of the Postclassic (± 1250–1521), in the centuries immediately preceding the Spanish invasion , different peoples in Central and southern Mexico , such as the Mexica (Aztec) and the Ñuu Dzaui (Mixtec), used it in screenfold books (codices), made of deerskin or bark paper, on large pieces of cloth (lienzos), as well as on carved stones, frescoes, painted ceramics and other decorated artefacts. The scenes are painted in poly- chrome and figurative style, according to a specific system of picto- graphic signs and conventions.5 When colonization interrupted the ancient pictographic tradition, it also severed the link between the Native American peoples and their literary heritage. The few codices and lienzos that have survived became riddles of the past. Their interpretation today is a special form of iconological and contextual analysis. Those not familiar with this theory, see e.g. Bhabha 1994, Loomba 1998 and Smith 1999; for a contemporary per- spective focusing on Oaxaca : Maldonado Alvarado 2002 and Van Broekhoven 2006. 4 The works edited by Berrin (1988), Fuente (1995), and Ruiz Gallut (2002) sum- marize the long tradition of research on the Teotihuacan sign system. The volume edited by Jansen and Van Broekhoven (2008) offers an overview of the succesive phases of the Ñuu Dzaui (Mixtec) writing system. See also the volume edited by Van Doesburg (2008) on the development of writing in Oaxaca. Riese discusses the differ- ent genres of Mesoamerican books in his contribution to the volume edited by Graña- Behrens (2009). 5 For the Mixteca-Puebla style ceramics, see for example Smith & Smith 1980, Lind 1987, Hernández Sánchez 2005 and Pohl 2005, 2007. The work of Kowalewski et al. 2009 offers a timely overview of the ceramic chronology in the Mixteca Alta. Post- classic carved stones from the Mixtec region have been studied by Blomster (Blomster 2008: ch. 9). M. Jansen and G.A. Pérez Jiménez - 9789004193581 Downloaded from Brill.com09/24/2021 07:05:22PM via free access 6 chapter one 1.1. Late Preclassic–Early Classic calendar sign on carved stone found in the Agencia Guadalupe Victoria, San Miguel el Grande, Oax. matter often wonder how we can know what certain images mean and consider the modern ‘readings’ as mere hypotheses, comparable with the speculations about the possible meanings of prehistoric rock art, for example. Fortunately this is not the case. There are various ‘bilin- gual’ keys to the system in the form of colonial codices in precolonial style but adequately explained through added comments written in Spanish or an Amerindian language (in alphabetic notation) under the images, a famous example being the Codex Mendoza and the Matrícula de Tributos (Clark 1938; Reyes García 1997). Often these glosses or annotations come directly from those who were intimately familiar with both the pictographic forms and the cultural contents. In the same way, the Spanish monks , in their zeal for recognizing paganism with the intention to exterminate it, have left us paintings and descrip- tions of the Gods and the major rituals, sometimes with very precise M.
Load more

Recommended publications
  • THE CEM ANAHUAC CONQUERORS Guillermo Marín
    THE CEM ANAHUAC CONQUERORS Guillermo Marín Dedicated to the professor and friend Guillermo Bonfil Batalla, who illuminated me in the darkest nights. Tiger that eats in the bowels of the heart, stain its jaws the bloody night, and grows; and diminished grows old he who waits, while far away shines an irremediable fire. Rubén Bonifaz Nuño. Summary: The Cem Ānáhuac conquest has been going on for five centuries in a permanent struggle, sometimes violent and explosive, and most of the time via an underground resistance. The military conquest began by Nahua peoples of the Highlands as Spanish allies in 1521. At the fall of Tenochtitlan by Ixtlilxóchitl, the Spanish advance, throughout the territory, was made up by a small group of Spaniards and a large army composed of Nahua troops. The idea that at the fall of Tenochtitlan the entire Cem Anahuac fell is false. During the 16th century the military force and strategies were a combination of the Anahuaca and European knowledge, because both, during the Viceroyalty and in the Mexican Republic, anahuacas rebellions have been constant and bloody, the conquest has not concluded, the struggle continues. During the Spanish colony and the two centuries of Creole neo-colonialism, the troop of all armies were and continues to be, essentially composed of anahuacas. 1. The warrior and the Toltecáyotl Flowered Battle. Many peoples of the different ancient cultures and civilizations used the "Warrior" figure metaphorically. The human being who fights against the worst enemy: that dark being that dwells in the personal depths. A fight against weaknesses, errors and personal flaws, as the Jihad in the Islam religion.
    [Show full text]
  • The Declining Use of Mixtec Among Oaxacan Migrants and Stay-At
    UC San Diego Working Papers Title The Declining Use of the Mixtec Language Among Oaxacan Migrants and Stay-at-Homes: The Persistence of Memory, Discrimination, and Social Hierarchies of PowerThe Declining Use of the Mixtec Language Among Oaxacan Migrants and Stay-at-Homes: The Persis... Permalink https://escholarship.org/uc/item/64p447tc Author Perry, Elizabeth Publication Date 2017-10-18 License https://creativecommons.org/licenses/by/4.0/ 4.0 eScholarship.org Powered by the California Digital Library University of California Perry The Declining Use of the Mixtec Language 1 The Center for Comparative Immigration Studies CCIS University of California, San Diego The Declining Use of the Mixtec Language Among Oaxacan Migrants and Stay-at-Homes: The Persistence of Memory, Discrimination, and Social Hierarchies of Power Elizabeth Perry University of California, San Diego Working Paper 180 July 2009 Perry The Declining Use of the Mixtec Language 2 Abstract Drawing on binational ethnographic research regarding Mixtec “social memory” of language discrimination and Mixtec perspectives on recent efforts to preserve and revitalize indigenous language use, this study suggests that language discrimination, in both its overt and increasingly concealed forms, has significantly curtailed the use of the Mixtec language. For centuries, the Spanish and Spanish-speaking mestizo (mixed blood) elite oppressed the Mixtec People and their linguistic and cultural practices. These oppressive practices were experienced in Mixtec communities and surrounding urban areas, as well as in domestic and international migrant destinations. In the 1980s, a significant transition occurred in Mexico from indigenismo to a neoliberal multicultural framework. In this transition, discriminatory practices have become increasingly “symbolic,” referring to their assertion in everyday social practices rather than through overt force, obscuring both the perpetrator and the illegitimacy of resulting social hierarchies (Bourdieu, 1991).
    [Show full text]
  • Centro Cultural De La Raza Archives CEMA 12
    http://oac.cdlib.org/findaid/ark:/13030/kt3j49q99g No online items Centro Cultural de la Raza Archives CEMA 12 Finding aid prepared by Project director Sal Güereña, principle processor Michelle Wilder, assistant processors Susana Castillo and Alexander Hauschild June, 2006. Collection was processed with support from the University of California Institute for Mexico and the United States (UC MEXUS). Updated 2011 by Callie Bowdish and Clarence M. Chan UC Santa Barbara Library, Department of Special Collections University of California, Santa Barbara Santa Barbara, California, 93106-9010 Phone: (805) 893-3062 Email: [email protected]; URL: http://www.library.ucsb.edu/special-collections © 2006 Centro Cultural de la Raza CEMA 12 1 Archives CEMA 12 Title: Centro Cultural de la Raza Archives Identifier/Call Number: CEMA 12 Contributing Institution: UC Santa Barbara Library, Department of Special Collections Language of Material: English Physical Description: 83.0 linear feet Date (inclusive): 1970-1999 Abstract: Slides and other materials relating to the San Diego artists' collective, co-founded in 1970 by Chicano poet Alurista and artist Victor Ochoa. Known as a center of indigenismo (indigenism) during the Aztlán phase of Chicano art in the early 1970s. (CEMA 12). Physical location: All processed material is located in Del Norte and any uncataloged material (silk screens) is stored in map drawers in CEMA. General Physical Description note: (153 document boxes and 5 oversize boxes). creator: Centro Cultural de la Raza (San Diego, Calif.). Access Restrictions None. Publication Rights Copyright resides with donor. Copyright has not been assigned to the Department of Special Collections, UCSB. All Requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections.
    [Show full text]
  • What Do People from Other Countries/Cultures Wear? 4-H Clothing and Textiles Project Part of the Family and Consumer Sciences 4-H Project Series
    1-2 YEARS IN PROJECT What do People from Other Countries/Cultures Wear? 4-H Clothing and Textiles Project Part of the Family and Consumer Sciences 4-H Project Series Understanding Textiles (Fabric) Project Outcome: Global/ Ethnic- Identify various fabric as belonging to specific ethnic cultures. Project Indicator: Completed exploration of specific items worn in identified countries/cultures, the clothes worn during festivals/celebrations, and fabrics used. Do you know someone from another country? Or have you ever seen, in person or on TV, a festival or celebration from another country? Have you noticed that they wear clothes that are different from what you and I wear? While some of their celebrations are the same as ours, the clothes they wear may be different. It is fun and interesting to learn about what people from other countries wear during their festivals and celebrations. In learning this, you can also learn about the fabrics that they use to make their garments for these festivals. For this activity, you will learn about four different cultures, what they wear, especially for their festivals/celebrations or based on their religion, and what fabrics they make and use for clothing worn. Then you will be asked to do your own research to discover more about the clothing of these and other cultures. First, let’s define the word culture. Culture means: the beliefs and customs of a particular group of people which guides their interaction among themselves and others. A country can contain people from more than one cultural background. They may or may not observe the same celebrations or traditions in the same way.
    [Show full text]
  • The Ethnic History of the Toltecs As Reflected in Their Clothing*
    Patricia Anawalt The Ethnic History of the Toltecs as Reflected in their Clothing* Guiado por el interés en señalar la importancia que el análisis de las vestimentas tiene para la reconstrucción cultural, este artículo considera la historia étnica de los toltecas a tra- vés de un examen de sus prendas de vestir. Para este propó- sito se ha establecido la hipótesis que la historia y las rela- ciones sociales de un pueblo pueden ser reconstruidas gracias a determinadas características en sus vestimentas. La investi- gación se ha centrado en el xicolli. Resulta que este traje típico experimentó una cierta transformación desde el clásico y postclásico temprano yucateco, donde constituía una prenda de guerra, hasta su uso como traje ritual y distintivo de la clase alta en el postclásico tardío de la región central de México. Este cambio parece haberse originado en la región huasteca, concretamente en el área desde el cual los nonoalcas, repre- sentantes de la antigua tradición teotihuacana, emprendieron la migración hacia Tollan. La ausencia del traje característico de los nonoalcas en los testimonios arqueológicos toltecas, permite suponer que una fracción militar tolteca subyugó el segmento intelectual-religioso de Tollan. * Paper delivered in the symposium, "Problems in the Iconography of Postclassic Mesoamerican Art," at the XLIII International Congress of Americanists, August 1 1 - 17, 1979, Vancouver, British Columbia, Canada. INDIANA 10 (1985): 129-146 129 ISSN 0341-8642 Ibero-Amerikanisches Institut, Stiftung Preußischer Kulturbesitz For scholars involved in the reconstruction and interpretation of Meso- american social and cultural systems, depictions of Prehispanic clothing provide a rich repository of valuable and revealing ethnographic data.
    [Show full text]
  • Indigenous Resistance Movements in the Peruvian Amazon
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2018 The Production of Space: Indigenous Resistance Movements in the Peruvian Amazon Christian Calienes The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2526 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE PRODUCTION OF SPACE Indigenous Resistance Movements in the Peruvian Amazon By Christian Calienes A dissertation submitted to the Graduate Faculty in Earth and Environmental Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 i © 2018 CHRISTIAN CALIENES All Rights Reserved ii The Production of Space: Indigenous Resistance Movements in the Peruvian Amazon by Christian Calienes This manuscript has been read and accepted for the Graduate Faculty in Earth & Environmental Sciences in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Inés Miyares Chair of Examining Committee Date Cindi Katz Executive Officer Supervisory Committee: Inés Miyares Thomas Angotti Mark Ungar THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Production of Space: Indigenous Resistance Movements in the Peruvian Amazon By Christian Calienes Advisor: Inés Miyares The resistance movement that resulted in the Baguazo in the northern Peruvian Amazon in 2009 was the culmination of a series of social, economic, political and spatial processes that reflected the Peruvian nation’s engagement with global capitalism and democratic consolidation after decades of crippling instability and chaos.
    [Show full text]
  • The Cultural Significance of Women's Textile Co Operatives in Guatemala
    HECHO A MANO: THE CULTURAL SIGNIFICANCE OF WOMEN’S TEXTILE CO­ OPERATIVES IN GUATEMALA A* A thesis submitted to the faculty of 'ZQ IB San Francisco State .University M ^ In partial fulfillment of the requirements for the Degree Master of Arts In Humanities by Morgan Alex McNees San Francisco, California Summer 2018 Copyright by Morgan Alex McNees 2018 CERTIFICATION OF APPROVAL I certify that I have read Hecho a Mano: The Significance o f Women s Textile Cooperatives in Guatemala by Morgan Alex McNees, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master in Humanities at San Francisco State University. Cristina Ruotolo, Ph.D. Professor of Humanities —^ t y i t u A . to Laura Garci'a-Moreno, Ph.D. Professor of Humanities HECHOAMANO: THE CULTURAL SIGNIFICANCE OF WOMEN’S TEXTILE COOPERATIVES IN GUATEMALA Morgan McNees San Francisco, California 2018 After the civil war Mayan women in Guatemala are utilizing their traditional skills, specifically weaving, to rebuild communities and rediscover what it means to be Mayan today. This thesis will explore the impact of the textile market on the social standing of Mayan women and how weaving allows them to be entrepreneurs in their own right. I will also analyze the significance of Mayan textiles as a unifier and symbol of solidarity among the devastated Mayan communities, and the visual narratives depicted in the artwork and their relationship to the preservation of Mayan heritage. This research will focus on several women’s textile cooperatives in Guatemala.
    [Show full text]
  • Passport to the World (Mexico) Haleigh Wilcox About Mexico
    Passport to the World (Mexico) Haleigh Wilcox About Mexico Official name : United Mexican States Established : September 16th ,1810 Type of Goverment : Federal, Republic, Constitution Republic and has a Presidential Representitive Current President of Mexico : Andres Manuel Lopez Obrabor Haleigh Wilcox Mexico’s Geography in the World Mexico’s Own Geography Continent it’s in : South America Capital City : Mexico City Latitude : 23.6345 Other Major Cities : Ecatepec, Puebla, Guadalajara, Juarez Other Geographic Features : Lake Chapala, Sonoran Desert, Sierra Side of Equator : North Madres, Chihuahuan Desert o o Average Tempurature : December-71 F/21.67 C Size : 758,449 sq. miles June-57oF/13.89oC Major Tourist Sites : Teotihuacan, Copper Canyon, Cozumel, Tulum, El Arco, San Ignacio Lagoon Haleigh Wilcox About The People Mexico’s Economy Population : 110,939,132 Basic Unit of Currency : Peso Major Languages Spoken : Nahuatl (22.89%), Mayan Major Agricultural Products : sorghum, chili peppers, barley*, (12.63), Mixteco (7.04%), Zapoteco (6.84%), Tzeltal (6.18%) avocados*, blue agave, coffee* Manufactured Products : Oil, Cotton, Silver, Cars, Insulated Wires Area Percentage Where People Live : 33% Rural, 77% and Cables, Tractors Urban Type of region : Developing Haleigh Wilcox Mexico’s Culture House Type : Mexican houses, Mexican Ranch Homes, Some famous People : Salma Hayek (2002 Film Actress and Spanish villa, Adobe, Misision Style Mansion Producer) and Espinoza Paz (2006 Latin Musician) Clothing Type : Slacks or jeans with a button-down shirt or Foods We Eat That Are Prepared In Mexico : Tacos, T-shirt for men and a skirt or slacks with a blouse or T-shirt Burritos, Tostadas for women.
    [Show full text]
  • Toltec.Html Toltec
    Text and pictures adapted from http://www.crystalinks.com/toltec.html Toltec The Atlantes are columns in the form of Toltec warriors in Tula The word Toltec in Mesoamerican studies has been used in different ways by different scholars to refer to actual populations and polities of pre-Columbian central Mexico or to the mythical ancestors mentioned in the mythical/historical narratives of the Aztecs. It is an ongoing debate whether the Toltecs can be understood to have formed an actual ethnic group at any point in Mesoamerican history or if they are mostly or only a product of Aztec myth. The scholars who have understood the Toltecs to have been an actual ethnic group often connect them to the archeological site of Tula, Hidalgo which is then supposed to have been the Tollan of Aztec myth. This tradition assumes the "Toltec empire" to have dominated much of central Mexico between the 10th and 12th century AD. Other Mexican cities such as Teotihuacán have also been proposed to have been the historical Tollan "Place of Reeds", the city from which the name Tolteca "inhabitant of Tollan" is derived in the Nahuatl language. The term Toltec has also been associated with the arrival of certain Central Mexican cultural traits into the Mayan sphere of dominance that took place in the late classic and early postclassic periods, and the Postclassic Mayan civilizations of Chichén Itzá, Mayapán and the Guatemalan highlands have been referred to as "toltecized" or "mexicanized" Mayas. For example the striking similarities between the city of Tula, Hidalgo and Chichen Itza have often been cited as direct evidence for Toltec dominance of the Postclassic Maya.
    [Show full text]
  • Ing Theatre History in the Americas
    Re-Stor(y)ing Theatre History in the Americas: Professional Players and the Callao Contract of 1599 Susan Beth Finque A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Scott Magelssen, Chair Jose Antonio Lucero Stefka Mihaylova Program Authorized to Offer Degree: School of Drama @Copyright 2017 Susan B. Finque University of Washington Abstract Re-stor(y)ing Theatre History in the Americas: Professional Players and the Callao Contract of 1599 Susan B. Finque Chair of the Supervising Committee: Associate Professor Scott Magelssen, Chair School of Drama In neglecting Peruvian theatre history, theatre studies has kept a branch of American theatre’s genealogical tree nearly invisible, despite the fruits of its growth thriving in plain sight. In investigating a contract drawn in Callao, Peru, 1599, I reveal a culture of secular, professional performance in sixteenth-century Lima. Inarguably creating the first professional company in the Western Hemisphere, the contract features male and female signatories, democratic structure, business sophistication, and a synchronicity with the evolution of the profession in Shakespeare’s London. Players were onstage in the Americas more than a hundred years earlier than current narratives dictate. The contract’s neglect, and English language scholars’ neglect of the Peruvian archives reveal pervasive biases in historiography. Asking how an abundance of archival evidence and the repertory of Peru persist without influencing theatre history in the Americas, I investigate genetic elements in the americanity of Peru, a term defining influences from indigenous, invasive and mestizaje cultures. I theorize with scholars Michel de Certeau, Carolyn Dean, Diana Taylor, Odai Johnson and Joseph Roach, among others, how slow-to-change narratives of theatre history in the Americas lack a hemispheric consciousness and are ruled by a series of persistent hegemonic assumptions.
    [Show full text]
  • Colonización, Resistencia Y Mestizaje En Las Américas (Siglos Xvi-Xx)
    COLONIZACIÓN, RESISTENCIA Y MESTIZAJE EN LAS AMÉRICAS (SIGLOS XVI-XX) Guillaume Boccara (Editor) COLONIZACIÓN, RESISTENCIA Y MESTIZAJE EN LAS AMÉRICAS (SIGLOS XVI-XX) IFEA (Lima - Perú) Ediciones Abya-Yala (Quito - Ecuador) 2002 COLONIZACIÓN, RESISTENCIA Y MESTIZAJE EN LAS AMÉRICAS (SIGLOS XVI-XX) Guillaume Boccara (editor) 1ra. Edición: Ediciones Abya-Yala Av. 12 de octubre 14-30 y Wilson Telfs.: 593-2 2 506-267 / 593-2 2 562-633 Fax: 593-2 2 506-255 / 593-2 2 506-267 E-mail: [email protected] Casilla 17-12-719 Quito-Ecuador • Instituto Francés de Estudios Andinos IFEA Contralmirante Montero 141 Casilla 18-1217 Telfs: (551) 447 53 66 447 60 70 Fax: (511) 445 76 50 E-mail: [email protected] Lima 18-Perú ISBN: 9978-22-206-5 Diagramcación: Ediciones Abya-Yala Quito-Ecuador Diseño de portada: Raúl Yepez Impresión: Producciones digitales Abya-Yala Quito-Ecuador Impreso en Quito-Ecuador, febrero del 2002 Este libro corresponde al tomo 148 de la serie “Travaux de l’Institut Francais d’Etudes Andines (ISBN: 0768-424-X) INDICE Introducción Guillaume Boccara....................................................................................................................... 7 Primera parte COLONIZACIÓN, RESISTENCIA Y MESTIZAJE (EJEMPLOS AMERICANOS) I. Jonathan Hill & Susan Staats: Redelineando el curso de la historia: Estados euro-americanos y las culturas sin pueblos..................................................................................................................... 13 II. José Luis Martínez, Viviana Gallardo, & Nelson
    [Show full text]
  • Jaina Figures and the Figuration of Maya Social Roles: a Study of SAMA Object 64.289.94 Natalie Carrier Trinity University, [email protected]
    Trinity University Digital Commons @ Trinity Undergraduate Student Research Awards Information Literacy Committee 2018 Jaina Figures and the Figuration of Maya Social Roles: A Study of SAMA Object 64.289.94 Natalie Carrier Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/infolit_usra Repository Citation Carrier, Natalie, "Jaina Figures and the Figuration of Maya Social Roles: A Study of SAMA Object 64.289.94" (2018). Undergraduate Student Research Awards. 47. https://digitalcommons.trinity.edu/infolit_usra/47 This Article is brought to you for free and open access by the Information Literacy Committee at Digital Commons @ Trinity. It has been accepted for inclusion in Undergraduate Student Research Awards by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. 1 Natalie Carrier Dr. Mathews ANTH/ARTH 3335 20 Nov 2018 Jaina Figures and the Figuration of Maya Social Roles: A Study of SAMA Object 64.289.94 2 Abstract The site of Jaina island, for which Jaina figures are named, is unique in comparison to the sites where other Maya ceramic figurines have been found due to the scale and specially developed burial culture involving ceramic figurines that developed there (McVicker 2011: 211). The exceptional and artistic renderings and context for these figures from Campeche, Mexico has led to problems of looting and forgeries that have created obstacles for scholars trying to understand this body of work. A careful consideration of the stylistic features and grouping of individual figurines to determine their authenticity and meaning is therefore a step that can be undertaken to attempt to chip away at this problem.
    [Show full text]