Art And Society In A Highland Maya Community

This book is a study of a major piece of modern Mayan religious art.

After a decade of military occupation known as la violencia, the Tz'utujil-speaking Maya of Santiago Atitlán stood up to the Guatemalan Army in 1990 and forced it to leave their town. Yet that act of solidarity did not close the widening internal divisions that threaten to destabilize the community from within. Ironically, after 500 years of resistance to physical and spiritual conquest, many Atitecos now seem eager to abandon traditional Mayan culture. In this compelling ethnography, Robert S. Carlsen explores the issue of cultural continuity and change as it has unfolded in this representative Mayan community. Drawing on documentary evidence, he argues that local Mayan culture survived the Spanish Conquest remarkably intact and continues to play a defining role in the religious and social life of the community. At the same time, however, he shows how the twentieth-century consolidation of the Guatemalan state has steadily eroded the capacity of Mayan communities to adapt to change and has caused some local factions to reject—even demonize—their own culture. This book reflects fifteen years of field research in Atitlán, where Carlsen learned Tz'utujil, was accepted into a local cofradía (Mayan/Catholic religious society), and was a first-hand witness to la violencia. It thus presents a rare insider's perspective.

In Maya theology, everything from humans and crops to gods and the world itself passes through endless cycles of birth, maturation, dissolution, death, and rebirth. Traditional Maya believe that human beings perpetuate this cycle through ritual offerings and ceremonies that have the power to rebirth the world at critical points during the calendar year. The most elaborate ceremonies take place during Semana Santa (Holy Week), the days preceding Easter on the Christian calendar, during which traditionalist Maya replicate many of the most important world-renewing rituals that their ancient ancestors practiced at the end of the calendar year in anticipation of the New Year’s rites. Marshaling a wealth of evidence from Pre-Columbian texts, early colonial Spanish writings, and decades of fieldwork with present-day Maya, The Burden of the Ancients presents a masterfully detailed account of world-renewing ceremonies that spans the Pre-Columbian era through the crisis of the Conquest period and the subsequent colonial occupation all the way to the present. Allen J. Christenson focuses on Santiago Atitlán, a Tz’utujil Maya community in highland Guatemala, and offers the first systematic analysis of how the Maya preserved important elements of their ancient world renewal ceremonies by adopting similar elements of Roman Catholic observances and infusing them with traditional Maya meanings. His extensive description of Holy Week in Santiago Atitlán demonstrates that the community’s contemporary ritual practices and mythic stories bear a remarkable resemblance to similar cultural entities from its Pre-Columbian past.

The Popol Vuh is the most important example of Maya literature to have survived the Spanish conquest. It is also one of the world’s great creation accounts, comparable to the beauty and power of Genesis. Most previous translations have relied on Spanish versions rather than the original K’iche’-Maya text. Based on ten years of research by a leading scholar of Maya literature, this translation with extensive notes is uniquely faithful to the original language. Retaining the poetic style of the original text, the translation is also remarkably accessible to English readers. Illustrated with more than eighty drawings, photographs, and maps, Allen J. Christenson’s authoritative version brings out the richness and elegance of this sublime work of literature, comparable to such epic masterpieces as the Ramayana and Mahabharata of India or the Iliad and Odyssey of Greece.

From the tombs of the elite to the graves of commoners, mortuary remains offer rich insights into Classic Maya society. In Mortuary Landscapes of the Classic Maya: Rituals of Body and Soul, the anthropological archaeologist and bioarchaeologist Andrew K. Scherer explores the broad range of burial practices among the Maya of the Classic period (AD 250–900), integrating information gleaned from his own fieldwork with insights from the fields of iconography, epigraphy, and ethnography to illuminate this society’s rich funerary traditions. Scherer’s study of burials along the Usumacinta River at the Mexican-Guatemalan border and in the Central Petén region of Guatemala—areas that include Piedras Negras, El Kinel, Tecolote, El Zotz, and Yaxha—reveals commonalities and differences among royal, elite, and commoner mortuary practices. By analyzing skeletons containing dental and cranial modifications, as well as the adornments of interred bodies, Scherer probes Classic Maya conceptions of body, wellness, and the afterlife. Scherer also moves beyond the body to look at the spatial orientation of the burials and their integration into the architecture of Maya communities. Taking a unique interdisciplinary approach, the author examines how Classic Maya deathways can expand our understanding of this society’s beliefs and traditions, making Mortuary Landscapes of the Classic Maya an important step forward in Mesoamerican archeology.

Birds and Beasts of Ancient Mesoamerica links Precolumbian animal imagery with scientific data related to animal morphology and behavior, providing in-depth studies of the symbolic importance of animals and birds in Postclassic period Mesoamerica. Representations of animal deities in Mesoamerica can be traced back at least to Middle Preclassic Olmec murals, stone carvings, and portable art such as lapidary work and ceramics. Throughout the history of Mesoamerica real animals were merged with fantastical creatures, creating zoological oddities not unlike medieval European bestiaries. According to Spanish chroniclers, the Aztec emperor was known to keep exotic animals in royal aviaries and zoos. The Postclassic period was characterized by an iconography that was shared from central Mexico to the Yucatan peninsula and south to Belize. In addition to highlighting the symbolic importance of nonhuman creatures in general, the volume focuses on the importance of the calendrical and astronomical symbolism associated with animals and birds. Inspired by and dedicated to the work of Mesoamerican scholar Cecelia Klein and featuring imagery from painted books, monumental sculpture, portable arts, and archaeological evidence from the field of zooarchaeology, Birds and Beasts of Ancient Mesoamerica highlights the significance of the animal world in Postclassic and early colonial Mesoamerica. It will be important to students and scholars studying Mesoamerican art history, archaeology, ethnohistory, and zoology.

This volume offers an integrated and comparative approach to the Popol Vuh, analyzing its myths to elucidate the ancient Maya past while using multiple lines of evidence to shed light on the text. Combining interpretations of the myths with analyses of archaeological, iconographic, epigraphic, ethnohistoric, ethnographic, and literary resources, the work demonstrates how Popol Vuh mythologies contribute to the analysis and interpretation of the ancient Maya past. The chapters are grouped into four sections. The first section interprets the Highland Maya worldview through examination of the text, analyzing interdependence between deities and human beings as well as the textual and cosmological coherence of the Popol Vuh as a source. The second section analyzes the Precolumbian Maya archaeological record as it relates to the myths of the Popol Vuh, providing new interpretations of the use of space, architecture, burials, artifacts, and human remains found in Classic Maya caves. The third explores ancient Maya iconographic motifs, including those found in Classic Maya ceramic art; the nature of predatory birds; and the Hero Twins’ deeds in the Popol Vuh. The final chapters address mythological continuities and change, reexamining past methodological approaches using the Popol Vuh as a resource for the interpretation of Classic Maya iconography and ancient Maya religion and mythology, connecting the myths of the Popol Vuh to iconography from Preclassic Izapa, and demonstrating how narratives from the Popol Vuh can illuminate mythologies from other parts of Mesoamerica. The Myths of the Popol Vuh in Cosmology, Art, and Ritual is the first volume to bring together multiple perspectives and original interpretations of the Popol Vuh myths. It will be of interest not only to Mesoamericanists but also to art historians, archaeologists, ethnohistorians, iconographers, linguists, anthropologists, and scholars working in ritual studies, the history of religion, historic and Precolumbian literature and historic linguistics. Contributors: Jaime J. Awe, Karen Bassie-Sweet, Oswaldo Chinchilla Mazariegos, Michael D. Coe, Iyaxel Cojtí Ren, Héctor Escobedo, Thomas H. Guderjan, Julia Guernsey, Christophe Helmke, Nicholas A. Hopkins, Barbara MacLeod, Jesper Nielsen, Colin Snider, Karl A. Taube

The world's foremost expert on Maya culture looks at 2012 hysteria and explains the truth about what the Maya meant and what we want to believe. Apocalypse 2012: An Investigation into Civilizations End. The World Cataclysm in 2012. 2012: The return of Quetzalcoatl. According to many of these alarmingly titled books, the ancient Maya not only had a keen insight into the mystical workings of our planet and the cosmos, but they were also able to predict that the world will end in the year 2012. David Stuart, the foremost scholar of the Maya and recipient of numerous awards for his work, takes a hard look at the frenzy over 2012 and offers a fascination (and accurate) trip through Mayan culture and belief. Stuart shows how the idea that the "end of the Mayan calendar," which supposedly heralds the end of our own existence, says far more about our culture than about the ancient Maya. The Order of Days explores how the real intellectual achievement of ancient Maya timekeeping and worldview is far more impressive and remarkable than any of the popular, and often outrageous, claims about this advanced civilization. As someone who has studied the Maya for nearly all of his life and who specializes in reading their ancient texts, Stuart sees the 2012 hubbub as the most recent in a long chain of related ideas about Mesoamericans, the Maya in particular, that depicts them as somehow oddball, not "of this world," or as having some strong mystical link to other realms. Because the year 2012 has no prominent role in anything the ancient Maya ever actually wrote, Stuart takes a wider look at the Maya concepts of time and their underlying philosophy as we can best understand them. The ancient Maya, Stuart contends, were worthy of study and admiration not because they were strange but because they were altogether human, and they developed a compelling vision of time unlike any other civilization before or since.