Get Contemporary Theatre in Mayan Mexico: Death-Defying Acts PDF

Get Contemporary Theatre in Mayan Mexico: Death-Defying Acts PDF

By Tamara L. Underiner

From the dramatization of neighborhood legends to the staging of performs by way of Shakespeare and different canonical playwrights to the exploration of up to date sociopolitical difficulties and their results on ladies and kids, Mayan theatre is a flourishing cultural establishment in southern Mexico. a part of a bigger circulation to outline Mayan self-identity and reclaim a Mayan cultural history, theatre in Mayan languages has either mirrored on and contributed to a starting to be expertise of Mayans as modern cultural and political gamers in Mexico and at the world's degree. during this e-book, Tamara Underiner attracts on fieldwork with theatre teams in Chiapas, Tabasco, and Yucat?n to monitor the Maya peoples within the means of defining themselves via theatrical functionality. She appears on the actions of 4 theatre teams or networks, targeting their working ideas and on shut analyses of chosen dramatic texts. She exhibits that whereas each one workforce works less than the rubric of Mayan or indigenous theatre, their works also are in consistent discussion, war of words, and collaboration with the broader, non-Mayan global. Her observations therefore show not just how theatre is an agent of cultural self-definition and community-building but additionally how theatre negotiates complicated kin between indigenous groups in Mayan Mexico, kingdom governments, and non-Mayan artists and researchers.

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Each of the plays featured a current problem in health, education, or agriculture, and each proposed a concrete and practical solution. Castellanos’s reflections on this experience point to the problematic nature of the role of the indigenistas and her Mayan colleagues’ roles as cultural promoters: If for the [Mayan] puppeteers the boundary between the real and the imaginary was imprecise, it had to have been much more so for the audience. ), it was possible to view us with distrust and to treat us with reticence.

For Bonfil Batalla, given circumstances of cultural production can be understood by looking at who maintains control over the decisions relating to the cultural elements in play—the production and reproduction of material, the organizational, knowledge-related, symbolic, and emotive elements that belong either to one’s own group or to an outside group. Thus, in a specific situation of cultural interaction, what is important is who gets to decide which elements are adopted, imposed, and transformed.

17 Harris, Indigenous Bodies, Contested Texts who has also studied contemporary performances of ‘‘Moors and Christians’’ dance dramas in Mexico and New Mexico, sees them as ‘‘festivals of reconquest,’’ in which the past is reenacted in order to comment in subtle but effective ways on the present. ’’ 18 This example implies that the power of these performances is not limited to the kind of contained excess theorized most famously by Mikhail Bakhtin. In their studies of Mayan Carnaval celebrations in Chamula, Chiapas, Victoria Bricker and Gary H.

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