Maya Nationalisms And Postcolonial Challenges In Guatemala

In the past few decades, indigenous movements throughout the Americas have become the cornerstone of popular mobilizations. These movements have made their mark in diverse institutional and political landscapes. Although this prominence has been considered a recent phenomenon, it is but the latest example of the ongoing creativity of indigenous peoples in their efforts to achieve civil rights and legal recognition as differentiated cultural entities. Their struggle has changed the makeup of Latin American nation-states to the point that these can no longer be conceived in conventional terms, that is, as culturally and linguistically homogenous. This book focuses on the emergence and political-cultural implications of Guatemala's Maya movement. It explores how, since the 1970s, indigenous peoples have been challenging established, hegemonic narratives of modernity, history, nation, and cultural identity as these relate to the indigenous world. For the most part, these narratives have been fabricated by non-indigenous writers who have had the power not only to produce and spread knowledge but also to speak for and about the Maya world. Contemporary Maya narratives promote nationalisms based on the reaffirmation of Maya ethnicity and languages that constitute what it means to be Maya in present-day society, as well as political-cultural projects oriented toward the future.

Bringing to the fore the voices of Maya authors and what their poetry tells us about resistance, sovereignty, trauma, and regeneration In 1954, Guatemala suffered a coup d’etat, resulting in a decades-long civil war. During this period, Indigenous Mayans were subject to displacement, disappearance, and extrajudicial killing. Within the context of the armed conflict and the postwar period in Guatemala, K’iche’ Maya scholar Emil’ Keme identifies three historical phases of Indigenous Maya literary insurgency in which Maya authors use poetry to dignify their distinct cultural, political, gender, sexual, and linguistic identities. Le Maya Q’atzij / Our Maya Word employs Indigenous and decolonial theoretical frameworks to critically analyze poetic works written by ten contemporary Maya writers from five different Maya nations in Iximulew/Guatemala. Similar to other Maya authors throughout colonial history, these authors and their poetry criticize, in their own creative ways, the continuing colonial assaults to their existence by the nation-state. Throughout, Keme displays the decolonial potentialities and shortcomings proposed by each Maya writer, establishing a new and productive way of understanding Maya living realities and their emancipatory challenges in Iximulew/Guatemala. This innovative work shows how Indigenous Maya poetics carries out various processes of decolonization and, especially, how Maya literature offers diverse and heterogeneous perspectives about what it means to be Maya in the contemporary world.

Bringing to the fore the voices of Maya authors and what their poetry tells us about resistance, sovereignty, trauma, and regeneration In 1954, Guatemala suffered a coup d'etat, resulting in a decades-long civil war. During this period, Indigenous Mayans were subject to displacement, disappearance, and extrajudicial killing. Within the context of the armed conflict and the postwar period in Guatemala, K'iche' Maya scholar Emil' Keme identifies three historical phases of Indigenous Maya literary insurgency in which Maya authors use poetry to dignify their distinct cultural, political, gender, sexual, and linguistic identities. Le Maya Q'atzij / Our Maya Word employs Indigenous and decolonial theoretical frameworks to critically analyze poetic works written by ten contemporary Maya writers from five different Maya nations in Iximulew/Guatemala. Similar to other Maya authors throughout colonial history, these authors and their poetry criticize, in their own creative ways, the continuing colonial assaults to their existence by the nation-state. Throughout, Keme displays the decolonial potentialities and shortcomings proposed by each Maya writer, establishing a new and productive way of understanding Maya living realities and their emancipatory challenges in Iximulew/Guatemala. This innovative work shows how Indigenous Maya poetics carries out various processes of decolonization and, especially, how Maya literature offers diverse and heterogeneous perspectives about what it means to be Maya in the contemporary world.

An illustration of how indigenous and non-indigenous actors deployed concepts of time in their conflicts over race and modernity in postcolonial Guatemala.

Unwriting Maya Literature provides an important decolonial framework for reading Maya texts that builds on the work of Maya authors and intellectuals such as Q’anjob’al Gaspar Pedro González and Kaqchikel Irma Otzoy. Paul M. Worley and Rita M. Palacios privilege the Maya category ts’íib over constructions of the literary in order to reveal how Maya peoples themselves conceive of artistic creation. This offers a decolonial departure from theoretical approaches that remain situated within alphabetic Maya linguistic and literary creation. As ts’íib refers to a broad range of artistic production from painted codices and textiles to works composed in Latin script as well as plastic arts, the authors argue that texts by contemporary Maya writers must be read as dialoguing with a multimodal Indigenous understanding of text. In other words, ts’íib is an alternative to understanding “writing” that does not stand in opposition to but rather fully encompasses alphabetic writing, placing it alongside and in dialogue with a number of other forms of recorded knowledge. This shift in focus allows for a critical reexamination of the role that weaving and bodily performance play in these literatures, as well as for a nuanced understanding of how Maya writers articulate decolonial Maya aesthetics in their works. Unwriting Maya Literature places contemporary Maya literatures within a context situated in Indigenous ways of knowing and being. Through ts’íib, the authors propose an alternative to traditional analysis of Maya cultural production that allows critics, students, and admirers to respectfully interact with the texts and their authors. Unwriting Maya Literature offers critical praxis for understanding Mesoamerican works that encompass non-Western ways of reading and creating texts.

Conquest and Survival in Colonial Guatemala examines the impact of Spanish conquest and colonial rule on the Sierra de los Cuchumatanes, a frontier region of Guatemala adjoining the country’s northwestern border with Mexico. While Spaniards penetrated and left an enduring mark on the region, the vibrant Maya culture they encountered was not obliterated and, though subjected to considerable duress from the sixteenth century on, endures to this day. This fourth edition of George Lovell’s classic work incorporates new data and recent research findings and emphasizes native resistance and strategic adaptation to Spanish intrusion. Drawing on four decades of archival foraging, Lovell focuses attention on issues of land, labour, settlement, and population to unveil colonial experiences that continue to affect how Guatemala operates as a troubled modern nation. Acclaimed by scholars across the humanities and social sciences, Conquest and Survival in Colonial Guatemala remains a seminal account of the impact of Spanish colonialism in the Americas and a landmark contribution to Mesoamerican studies.

Situated at the intersection of cultural heritage and local community, this book enlarges our understanding of the Indigenous peoples of southern México and northern Central America who became detached from “the ancient Maya” through colonialism, government actions, and early twentieth-century anthropological and archaeological research. Through grass-roots heritage programs, local communities are reconnecting with a much valorized but distant past. Maya Cultural Heritage explores how community programs conceived and implemented in a collaborative style are changing the relationship among, archaeological practice, the objects of archaeological study, and contemporary ethnolinguistic Mayan communities. Rather than simply describing Maya sites, McAnany concentrates on the dialogue nurtured by these participatory heritage programs, the new “heritage-scapes” they foster, and how the diverse Maya communities of today relate to those of the past.

Justice and Memory after Dictatorship: Latin America, Eastern Europe and the Fragmentation of International Criminal Law provides a ground-breaking socio-historical account of the global transformation of international criminal law after the fall of dictatorships at the end of the 1980s.

Challenging the distinctions between “old” and “new” media and narratives about the deprecation of orality in favor of inscribed forms, The Maya Art of Speaking Writing draws from Maya concepts of tz’ib’ (recorded knowledge) and tzij, choloj, and ch’owen (orality) to look at expressive work across media and languages. Based on nearly a decade of fieldwork in the Guatemalan highlands, Tiffany D. Creegan Miller discusses images that are sonic, pictorial, gestural, and alphabetic. She reveals various forms of creativity and agency that are woven through a rich media landscape in Indigenous Guatemala, as well as Maya diasporas in Mexico and the United States. Miller discusses how technologies of inscription and their mediations are shaped by human editors, translators, communities, and audiences, as well as by voices from the natural world. These texts push back not just on linear and compartmentalized Western notions of media but also on the idea of the singular author, creator, scholar, or artist removed from their environment. The persistence of orality and the interweaving of media forms combine to offer a challenge to audiences to participate in decolonial actions through language preservation. The Maya Art of Speaking Writing calls for centering Indigenous epistemologies by doing research in and through Indigenous languages as we engage in debates surrounding Indigenous literatures, anthropology, decoloniality, media studies, orality, and the digital humanities.

Archaeology for whom? The dozen well-known contributors to this innovative volume suggest nothing less than a transformation of the discipline into a service-oriented, community-based endeavor. They wish to replace the primacy of meeting academic demands with meeting the needs and values of those outside the field who may benefit most from our work. They insist that we employ both rigorous scientific methods and an equally rigorous critique of those practices to ensure that our work addresses real-world social, environmental, and political problems. A transformed archaeology requires both personal engagement and a new toolkit. Thus, in addition to the theoretical grounding and case materials from around the world, each contributor offers a personal statement of their goals and an outline of collaborative methods that can be adopted by other archaeologists.