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Copyright by Ann Marie Leimer 2005 Copyright by Ann Marie Leimer 2005 The Dissertation Committee for Ann Marie Leimer certifies that this is the approved version of the following dissertation: Performing the Sacred: The Concept of Journey in Codex Delilah Committee: _________________________________ Amelia Malagamba, Supervisor _________________________________ Jacqueline Barnitz _________________________________ Richard R. Flores _________________________________ Julia E. Guernsey _________________________________ Ann Reynolds Performing the Sacred: The Concept of Journey in Codex Delilah by Ann Marie Leimer, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2005 This dissertation is lovingly dedicated to the memory of Cleofas Mena, Partera y Curandera of Crystal City, Texas 1886 – 1970 and to her grandson Jesús Manuel Mena Garza Acknowledgements Many people have helped me bring the dissertation to fruition. There are no words to adequately recognize the patience and support provided by my husband Jesús during the years I worked on this project. His unending thoughtfulness and ready wit enlivened the process. I drew inspiration from my step-daughters Estrella and Esperanza and my granddaughters Marissa and the newly emerged Ava. I would like to thank my parents, Tom and Rachel, and my brothers and sisters and their families for their love and kind words of encouragement. I would also like to thank the extended Garza family for their many kindnesses and welcome embrace. I want to recognize the late Miriam Castellan del Solar, Daniel del Solar, Karen Hirst, Elizabeth Rigalli, Dr. Dale Akitt, and Diana Rodríguez-Akitt for their enduring friendship and for providing for my needs during a research trip to Stanford University and the Bay Area during July of 2003. Numerous people helped me during the research process of the dissertation and generously provided me with materials and information. These include Laura Addison, Curator at the Museum of Fine Arts in Santa Fe, New Mexico, Sarah Cortéz, Visiting Scholar at the University of Houston’s Center for Mexican American Studies, Christopher Márquez at the Andrew Smith Gallery in Santa Fe, New Mexico, Larry Ogan, Executive Director of the Santa Fe Council for the Arts, Andrew J. Ortiz, Assistant Professor, University of Texas at Arlington, and Gregory Sale, the Visual v Art Director of the Arizona Commission on the Arts. Victor Sorrell deserves special thanks for his support and encouragement of this work and for the suggestion of critical research materials. I deeply appreciate the assistance of Andrew Connors, Curator of the National Hispanic Cultural Center in Albuquerque, New Mexico, who invited me to conduct research on works from the permanent collection of the museum, including contemporary Otomí codices. I am indebted to Annie Wright for first introducing me to the work of Joseph Roach. Ann Daly and Deborah Paredez provided important insights and helpful comments during the development of the performance aspect of the dissertation. I owe a deep debt of gratitude to Holly Barnet-Sanchez for granting me access to her archives that served as key resources for the dissertation and to Marcos Sanchez-Tranquilino for permission to use his work in this study. I owe the greatest thanks to Delilah Montoya, not only for the artwork that sparked this inquiry, but also for her generosity and patience during my endless questions over the past four years. I would also like to thank her for the materials she shared with me during this time, for our numerous interviews and conversations, and for making her home available to me during a research trip in the spring of 2004. At the Center for Southwest Research (CSWR) at the University of New Mexico, I am indebted to Stella de Sa Rego, Ann Massmann, Kimberly Cleveland, and the staff of CSWR, for their assistance during several research visits spanning October vi 2001 to April of 2004. I would especially like to acknowledge María Teresa Márquez, whose persistent efforts brought Codex Delilah into the CSWR and enabled my on- site encounters with the work. At the University of Texas at Austin, I would like to acknowledge the members of my dissertation committee Jacqueline Barnitz, Richard R. Flores, Julia Guernsey, Ann Reynolds, and my dissertation chair, Amelia Malagamba. Each of them has provided critical support and mentorship during this process. I am grateful for their inspiring scholarship and for the opportunity to have worked with them. I want to recognize various members of the art history faculty at the University of Texas at Austin including John R. Clarke, Nikolai Grube, Joan A. Holladay, Nassos Papalexandrou, and Glenn Peers, for encouragement and direction in the early stages of my research. A special thanks goes to Steve Bourget and Louis Waldman who provided important critique and suggestions on the early drafts of the material that constitutes Chapter 4. I had the privilege of working with religious scholar Dr. L. Michael White during my oral examinations and our conversations strengthened the scholarship in this dissertation. I want to acknowledge his generosity of spirit and kindness to me. While at the University of Texas at Austin, I have enjoyed the friendship of Joyce Banks, Michelle Bernatz, Cristin Cash, Charlotte Cousins, Amelia (Cooper) Goerlitz, Kimberly Grossman, Rowena Houghton Dasch, Alvaro Ibarra, Rina Faletti, vii John Machado, Jr., Vanessa Pauman, and Nathalie Ryan. Rina Faletti read drafts of the work and provided thoughtful feedback. My colleague and friend, Cristin Cash, read and commented on various dissertation drafts and her critical insights have greatly contributed to this work. My years in Texas were made sweeter by the friendship of mis vecinos LaMarriol Smith and John and Sylvia Cervantes. During the research and writing process, I have received various monies that supported this dissertation. In November of 2001 and in February of 2002 I received travel grants from the College of Fine Arts Deans Travel Fund at the University of Texas at Austin. These monies enabled my participation in academic conferences where I presented initial research on Codex Delilah. In May of 2002, I received the M. K. Hage Endowed Scholarship in the Fine Arts that enabled research at the CSWR. In November of 2002, I received the Ann Lacy Crain Centennial Endowed Scholarship that funded my participation in a student symposium at the University of California, Los Angeles, where I presented my ongoing dissertation work. In the summer of 2003, I received monies from the College of Fine Arts Deans Travel Fund at the University of Texas at Austin and M. K. Hage Endowed Scholarship in the Fine Arts. This financial assistance provided me the opportunity to conduct research at Stanford University. The Art and Art History Department at the University of Texas at Austin extended an in-state tuition grant for the academic year 2004-2005 that allowed me to concentrate more fully on the completion of the dissertation. viii Performing the Sacred: The Concept of Journey in Codex Delilah Publication No. _________________ Ann Marie Leimer, Ph.D. The University of Texas at Austin, 2005 Supervisor: Amelia Malagamba The concept of journey as a means of transformation appears throughout the visual representations of all periods and cultures. This dissertation examines how Chicana artist Delilah Montoya and poet and playwright Cecilio García-Camarillo use the concept of journey in Codex Delilah, Six Deer: Journey from Mexicatl to Chicana, to create a recuperation of the roles women have played in the history of the Americas. The study establishes the similarities between subject matter, worldview, and formal structures of ancient Mesoamerican codices and Montoya’s contemporary artwork. Tracing how contemporary Chicana/o artists have adopted the ancient codex form, the dissertation asserts the importance of the phenomenon of Chicana/o codices and argues for a recognition of their place as a separate genre parallel but uniquely different from contemporary artists books. The work uses the trope of curanderismo (Mexican folk medicine) to show how the bodies Montoya depicts contain the sacred, ix demonstrate the continuity of ancient healing practices, and create a genealogy of female healers. The study calls for more research on Codex Delilah, the phenomenon of Chicana/o codices, and encourages art historians to apply a more kinesthetic or body conscious approach to their work. x Table of Contents Acknowledgements………………………………………………………….…..……v Abstract…………………………………………………………………………….…ix List of Figures…………………………………………………………………….….xiii Introduction………………………………………………………………………..…1 The Quincentenary and “The Chicano Codices” Exhibition………………...4 Codex Delilah, Six-Deer: Journey from Mexicatl to Chicana……………....5 Methods and Analytical Framework………………………………………...13 Approaches to Narrative........……………………………………….…...….14 Approaches to Journey………………………………………………………16 Approaches to Body and Performance………………………………………20 Chapter 1, Codices of the Americas: Continuity and Transformation….…….…..….25 Antepasados/Mesoamerican Antecedents……………..……………..…....…25 Codex Delilah and Its Mesoamerican Book Conventions…………………...33 Compañeras/os: Contemporary Chicana/o Companions…………………….39 “The Chicano Codices”: Encountering Art of the Americas”……………….51 “The Chicano Codices”: Two Dimensional Works……………………….…55 “The Chicano Codices”:
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