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The Wahyoob Stucco Panel at Toniná: Dark Forces, Liminal Frames, and Ritual-Political Remembrance

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The Wahyoob Stucco Panel at Toniná: Dark Forces, Liminal Frames, and Ritual-Political Remembrance Copyright by Darren Spencer Longman 2020 The Thesis Committee for Darren Spencer Longman Certifies that this is the approved version of the following Thesis: The Wahyoob Stucco Panel at Toniná: Dark Forces, Liminal Frames, and Ritual-Political Remembrance APPROVED BY SUPERVISING COMMITTEE: Julia Guernsey, Co-Supervisor David Stuart, Co-Supervisor The Wahyoob Stucco Panel at Toniná: Dark Forces, Liminal Frames, and Ritual-Political Remembrance by Darren Spencer Longman Thesis 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 Master of Arts The University of Texas at Austin May 2020 Dedication To Heather, Annette, Mike, Scott, Doug, Tyler, and Ryan. Acknowledgments Many people contributed to the development, process, and completion of this project—not the least being my wonderful partner, Heather, who sacrificed countless hours of her time and energy to support me emotionally and financially throughout my academic journey. Without her enduring love, support, and laughter, this project could never have materialized, nor could it be a project that I am proud to submit to my advisors and the University of Texas, Austin. To Heather: I am forever grateful that you are a part of my life. I am also indebted to Dr. Julia Guernsey and Dr. David Stuart who, over the last few years, have been constant sources of insight, inspiration, and encouragement. Their passion for Mesoamerican studies, coupled with a dedication to academic excellence, has provided me with a blueprint for the type of thorough, interdisciplinary research approaches that will undoubtedly serve me in future professional and academic pursuits. Moreover, their art historical, archaeological, and epigraphic expertise continue to motivate me to be a better scholar, teacher, and colleague. From my recruitment process to the development and final stages of this project, Dr. Guernsey has been a constant ally and intellectual/professional mentor. Her attention to innovative art historical methods inspired me to look beyond conventional academia to diverse theoretical models, which I believe strengthen the epistemological and ontological characteristics of this project. Dr. Guernsey’s archaeological experience also produced rich discussions on ritual and spatial practices—concepts that became the armature for how I interpret experiential viewership at Toniná. Our conversations, moreover, generated exciting ideas vis-à-vis scale, frames, and cross-media interaction. I v would also like to thank Dr. Guernsey for being an active presence in the academic, administrative, and professional processes that accompany life as a graduate student. Her feedback and recommendations significantly improved my experience in the department. The focus of this project emerged from my initial conversations with Dr. Stuart. As we discussed potential topics, the subject of Toniná’s fifth-terrace stucco reliefs, which I had briefly studied as an undergraduate student, quickly became the obvious choice as it offered an avenue to build on previous scholarship while presenting novel lines of inquiry. Dr. Stuart’s expertise—particularly regarding the site, the nightmarish denizens plastered on the reliefs, and the broader political atmosphere of Classic and Late Classic Maya polities—was invaluable to the formation of this essay. His profound understanding of Maya epigraphy, iconography, and ethnography also provided vital data to elucidate the polyvalence of the reliefs and the visual program of the site writ large. Further, without Dr. Stuart’s assistance, I would not have received the necessary permissions to study the artwork up-close. Finally, I will always treasure our exuberant, productive meetings. Our exchanges of drawings, sources, photographs, and ideas became one of the highlights of my academic career. I am also grateful for Dr. Stephennie Mulder and Dr. Allen Covey who, as members of my colloquium panel, offered valuable comments on this project. Dr. Mulder, furthermore, was helpful in the formation of my third chapter, which was developed in conjunction with her course on art historical approaches to ancient urbanization. I would also like to thank the faculty of the Department of Art and Art History—particularly Adele Nelson, John Clarke, Ann Johns, Nassos Papalexandrou, and George Flaherty—who offered help and support throughout this research process. My contemporaries in the departments of Art and Art History, Latin American Studies, and Religious Studies deserve recognition for their contributions to this project. vi First, I want to thank Josefrayn Sánchez-Perry for the innumerable academic conversations we have shared over the last two years. I am consistently impressed by his desire to learn, thorough attention to detail, and ethical/moral fortitude as a scholar. Sánchez-Perry was also a gracious travel companion who helped make my research trip to Toniná a success. Second, I would like to acknowledge Elliot López-Finn, who has offered valuable feedback on this project from its inception. Third, I want to thank the members of Sánchez-Perry’s writing group: Catherine Popovici, Leah Hansard, and Adriana Linares-Palma. I would also like to acknowledge my undergraduate advisor, John M.D. Pohl, who has been an academic/professional mentor, colleague, and friend over the last four years. Further, Pohl was the first to introduce me to the Toniná panel in our discussions regarding monsters of ancient Mesoamerica. His knowledge, encouragement, and enthusiasm continue to propel my artistic and academic pursuits. I have also benefited from the advice and support of archaeologist and linguist Danny Zborover, who taught me a great deal about exhaustive research strategies, ethical anthropological practices, and general academic skills. Finally, I want to thank the members of the Mesoamerica Center at UT Austin, Astrid Runggaldier, and Milady Casco, whose tireless efforts provided me with vital contacts, networking opportunities, and references. vii Preface In summer 2019, I traveled to the archaeological site of Toniná in Chiapas, México, with a friend and colleague from the University of Texas at Austin, Josefrayn Sánchez-Perry. We were greeted by a restorer for the INAH conservation staff, Benito Valázquez Tello, who was gracious enough to guide us through the plaza and acropolis, let us through the barrier in front of the stucco relief panel on the fifth terrace (the subject of this project), and wait patiently nearby while I spent hours collecting data. We were also accompanied by Señor Mario Morales Cruz—a caretaker of the archaeological zone since the 1970s. Walking down the bucolic path that opens up to the site’s main plaza, Señor Morales Cruz recounted the history of Toniná, memories of the archaeological excavations, and his interpretations of the iconography on the stucco reliefs. During a brief time in the afternoon, however, I found myself alone with the monumental panel. As I sat and sketched the high-relief carvings, local educators from the site periodically arrived with tourist groups to teach them about the contents of the artwork. Because the panel is barricaded and shaded by an awning, the guides used reflected light from a small mirror to point out different motifs on the stucco. They then recounted the story of “El Mural de las Quatro Eras” (The Mural of the Four Eras) in which Underworld deities—including the skeletal lord of Xibalbá—dance around the seasons of the year, which are represented by four suns. While the visitors gazed at the ball of sunlight bouncing from one motif to the next and, at the same time, I meticulously sketched the shapes and contours of the characters, it occurred to me that the palpable energy and communicative power of the monument transcended space and time. viii This moment also caused me to reflect on how information is ascribed to the work and how it is ultimately extracted by viewers—both in ancient and contemporary contexts. As modern scholars, it is tempting to dismiss local oral histories surrounding Maya representations in favor of academic research and scientific data, which is often perceived as impartial, separate, or disconnected from the construction of meaning. Philosopher Walter Benjamin suggested that historians often grasp “dangerous” moments, or flashes, of past events that inevitably empathize with the lineage of victors, or the dominant ruling classes, that precede the present.1 These historical “flare-ups” are privileged over the innumerable channels of history that occur simultaneously—even when evidence or documentation from these “peripheral” events exists. Despite their scientifically objective approaches, scholars will inevitably draw from certain historical lines rather than others—resulting in the construction of new narratives and meanings. Mesoamericanist Miranda Stockett further argued that archaeologists should be cognizant of their role in the processes of historical memory-making when they privilege certain remembrances of the past over others: If we document the remains of public memories—those produced and authorized by recognized public authorities in the past—are we lending authenticity to versions of past events that may obscure the resistances and discourses of those not in positions of power?2 Stockett suggests that scholars ask themselves what visions of the past they wish to exaggerate—those that align with their personal research interests, the agendas of institutions or outside stakeholders, or the
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