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UNIVERSITY of CALIFORNIA RIVERSIDE Gendering Land and Buen Vivir

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UNIVERSITY of CALIFORNIA RIVERSIDE Gendering Land and Buen Vivir UNIVERSITY OF CALIFORNIA RIVERSIDE Gendering Land and Buen Vivir: Transnational Mayan Performance, Theater and Documentary Film A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Spanish by Emily Grace Pryor June 2018 Dissertation Committee: Dr. Freya Schiwy, Chairperson Dr. Alessandro Fornazzari Dr. Christina Soto van der Plas Dr. José L. Reynoso Copyright by Emily Grace Pryor 2018 The Dissertation of Emily Grace Pryor is approved: Committee Chairperson University of California, Riverside Acknowledgements I am first and foremost grateful to my dissertation advisor, Freya Schiwy. Her honest, wise, encouraging and steadfast guidance was crucial over the course of these past five years. I cannot thank her enough for believing in my ability to grow as a scholar and as a person. Without her support, this process would not have been as challenging or as rewarding. I want to thank my committee members for reading and discussing my work. To all the professors in the Hispanic Studies and Dance Departments, thank you for your engaging seminars and open-door policy. A special thank you to visiting professor, Jack Gray, who reinvigorated my trust in embodied knowledge. My academic path would be drastically different if I had not met UCLA professor, Patricia Greenfield in 2012. Thank you for coming into my life at a crucial intersection; for encouraging me to explore Chiapas, Mexico as my site of research; and for introducing me to La Universidad Intercultural de Chiapas (UNICH) community and professor Miguel Sánchez Álvarez. Thank you, Miguel for sharing your scholarship, introducing me to Buen Vivir, and welcoming me into your hometown, Jocosic. With the generous financial support of grants from the Center for Ideas and Society, the UCR Hispanic Studies Department, and UC MEXUS, I spent my summers engaging in research and studying Tsotsil-Maya in Chiapas. To all the activist and artists of Chiapas that I have shared a meal with and interviewed – Pedro Daniel López, Dolores Sántiz Gómez, Petrona de la Cruz Cruz and her team at FOMMA - thank you for the work you do and your willingness to share it with me. I am forever grateful. Thank you to Diana Taylor who accepted me as a participant for the Hemispheric Institute of Performance iv and Politics 2015 summer course on migration, and personally introduced me to Jesusa Rodríguez, Moisés Zúñiga and Regina José Galindo. Thank you, Regina for trusting my scholarship and providing me access to your video performances. I am lucky to have found community among my colleagues. Thank you to the incoming class of 2013 for your friendship and loyalty. I am especially grateful to Jennifer Pretak for being my life-line throughout the past five years. Thank you to my dissertation writing partners, Seher Rowther, Jorge Sánchez-Cruz and Lacey Schauwecker. Thank you to my mom, dad and brothers for always reminding me not to lose my sense of self in this process and providing steadfast support. Lastly, to my incredible husband, David Polett, and joyful daughter, Luna Lyne, thank you for your unconditional encouragement, patience and love. My world is forever full of life and laughter with your presence. The text of this dissertation, in part, is a reprint of the material as it appears in Latin America and Caribbean Ethnic Studies, vol. 12, no. 1, 2017. v ABSTRACT OF THE DISSERTATION Gendering Land and Buen Vivir: Transnational Mayan Performance, Theater and Documentary Film by Emily Grace Pryor Doctor of Philosophy, Graduate Program in Spanish University of California, Riverside, June 2018 Dr. Freya Schiwy, Chairperson Gendering Land and Buen Vivir: Transnational Mayan Performance, Theater and Documentary Film addresses how the gendering of land in Latin America has fueled on- going practices of neocolonialism that reduce and devalue cultural and biodiversity. The multi-media archive analyzed in this dissertation enacts alternatives to, and expansions of, traditional gender expression thus disrupting aspects of hegemonic power. Furthermore, it explores how constructs of the gender binary have filtered into, and thus limited, supposed decolonial practices such as Buen Vivir. The notion of Buen Vivir, which emerged from the Andean-Amazonian region, has since gained traction among native and indigenous communities in Mexico and Central America as an alternative to 20th century development proposals. Buen Vivir is the subject of academic debate given its varied interpretations across written theories, vi quotidian practices, and state policy. This dissertation suggests that collaborative cultural productions in the transnational Mayan context make community-based visions of Buen Vivir apprehensible, offering understandings that are often anchored in the land but also derived from the experiences of diasporic urban Mayan artists and activists. Further pushing at the limits imposed by colonial rationale, this study engages with queer theory through the lens of Native studies and a queer of color critique. Focusing on both gender and race creates a more thorough interrogation of the internal workings of colonialism and sheds light on the current power structures of neoliberal capitalism. Lastly, by intersecting disciplines and drawing ties between works found across the Americas, this analysis contributes to expanding notions of decoloniality through contesting gendered renderings of colonial constructs. vii Table of Contents List of Figures ix Introduction 1 Chapter I 27 “Articulations of (non)Productivity: Buen Vivir, Bolívar Echeverría and Audiovisual Archives” Chapter II 72 “(Mis)Communication of Socio-Natural (re)Production: A Transnational Conversation in El oro o la vida and Hija de la laguna” Chapter III 126 “Exploring Tragedy as a Queer Aesthetic in Li svokol Xunka’e/La tragedia de Juanita: a play by Maya-Tsotsil playwright Petrona de la Cruz Cruz” Chapter IV 174 “Decolonial Articulations of Gender: A Tsotsil-Maya Documentary Film, La pequeña semilla en el asfalto (2009) Queers Buen Vivir” Epilogue 220 Works Cited 227 viii List of Figures Chapter I Figure 1 33 Photo of Pollination by Postcommodity. Photo by Sean Deckert / Calnicean Project. Figure 2 34 Photo of Pollination by Postcommodity. Photo by Sean Deckert / Calnicean Project. Figure 3 35 Photo of Pollination by Postcommodity. Photo by Sean Deckert / Calnicean Project. Figure 4 52 Photo of Tierra by Regina José Galindo. Photo by Bertrand Huet. Figure 5 53 Image of Máxima Acuña. Figure 6 62 A representation of the arrival of the Spaniards to Las Indias Occidentales. Chapter II Figure 7 90 Image from El oro o la vida. Figure 8 90 Image from El oro o la vida. Figure 9 97 Image from El oro o la vida. Chapter IV Figure 10 186 Pascuala in La pequeña semilla en el asfalto. Figure 11 204 Dolores in La pequeña semilla en el asfalto. Figure 12 210 Ronyk in La pequeña semilla en el asfalto. Epilogue Figure 13 221 Photo of Pōhutu by Bianca Hyslop / I LAND 2018. Photo by Scott Shaw. Figure 14 226 Photo of Pōhutu by Bianca Hyslop / I LAND 2018. Photo by Jacqueline Shea-Murphy. ix Introduction Mazorca, a 2014 multi-part performance/installation by Guatemalan Regina José Galindo, positions us in front of a projected video of a cornfield.1 The leaves on the stalks are a mix of green, yellow and light brown. Dried tassels sprout out the top of each stalk. They rustle in the breeze. In the distance, rolling green mountains cocoon the landscape. Corn. Maíz. We are in the presence of Mayans’ sacred sustenance. Moments go by while we gaze upon the field. Swift metallic-tinged blows ring off-screen. The hat-covered head of a man enters the right bottom frame of the lens. He reaches for a stalk, swings his machete. Tosses the stalk to the side. A second man, in a red striped shirt enters the left bottom frame of the lens. He too, works among the rows of corn, slashing and tossing the stalks aside. They proceed methodically, cutting row after row. We watch in real-time as they move away from the camera, clearing a path as they go. They cross the parcel of land as if they were crossing time. This is one of two videos that form the diptych art installation.2 A single take of an establishing shot, the video runs for just under 30 minutes. As the men distance themselves from the camera, they eventually meet up with two other men that have been cutting corn stalks from the other side, hidden from our view. As the four men fell the 1 I am grateful to Regina Galindo for granting me access to two videos of her performance, Mazorca. 2 Another part of the complete art installation of Mazorca is the display of the rich variety of corn species original to Guatemala. The different varieties relate to the specific geographies in which they grow, and within each region of Guatemala, the varieties and color determine the corns’ culinary and spiritual use. See the study conducted by E.J. Wellhausen et al., Races of Maize in Central America. 1 last rows, a naked body, planted among the rows is revealed. Galindo stands tall like the corn. Her body camouflaged in the leaves, her feet firmly planted in the soil beneath the tall grasses and yellow flowers that also call this field home. As the men finish their work, they exit to the sides. Galindo stays. One cut zooms in for a long shot. Her body slightly sways in the breeze, just like the corn stalks had. Mazorca elicits a connection between the scorched earth campaign of the civil war, part of the genocidal efforts implemented in the early 1980’s against Guatemala’s indigenous peoples, and the 2014 government-backed policy of “La ley de protección de obtenciones vegetales” (henceforth called La ley). The campaign of the 80’s included massacres, torture and rape of both indigenous people and their crops.
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