By Tamara L. Underiner
From the dramatization of neighborhood legends to the staging of performs via Shakespeare and different canonical playwrights to the exploration of up to date sociopolitical difficulties and their results on girls 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 information of Mayans as modern cultural and political avid gamers in Mexico and at the world's level. during this ebook, Tamara Underiner attracts on fieldwork with theatre teams in Chiapas, Tabasco, and Yucat?n to monitor the Maya peoples within the technique of defining themselves via theatrical functionality. She seems on the actions of 4 theatre teams or networks, targeting their working thoughts and on shut analyses of chosen dramatic texts. She indicates that whereas each one crew works lower than the rubric of Mayan or indigenous theatre, their works also are in consistent discussion, disagreement, and collaboration with the broader, non-Mayan international. Her observations hence demonstrate not just how theatre is an agent of cultural self-definition and community-building but in addition how theatre negotiates complicated relatives between indigenous groups in Mayan Mexico, country governments, and non-Mayan artists and researchers.
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Additional info for Contemporary Theatre in Mayan Mexico: Death-Defying Acts
38 Latter-day indigenismo (like the mestizaje with which it is ontologically associated) is not exempt from its own contradictions and is more complicated in practice than its architects might have intended. 39 The decades following the Mexican Revolution saw the country’s ﬁrst consciously indigenist movements. ’’ 40 However, it was the ‘‘civilized future’’ that often eclipsed the ‘‘Indian soul’’ in attempts to integrate the latter into the former. ’’ 41 Thus, later, in 1958, the indigenist Alfonso Caso could write that ‘‘indigenism .
36 Although virtually all Mayan texts, sacred and profane, that Introduction could be destroyed were destroyed by the (literal) ﬂames of Spanish missionary zeal, the Popul Vuh survives as a kind of literary hybrid of preHispanic content and colonial form. ’’ 37 As Dennis Tedlock, who has translated the text into English, describes its organization, the events it describes are presented in two diﬀerent cycles, with the episodes divided between the cycles more on the basis of where they took place in space than when they took place in time.
Both terms, and the policies they generated, have come under increasing scrutiny, and their failures to adequately address indigenous realities are registered in the most recent ‘‘ismo’’ to appear in Mexico—‘‘zapatismo,’’ which attempts to recenter indigenous realities, in rhetoric and in practice, as constitutive of Mexican national identity. In what follows, I discuss the intersections between these social concepts and certain theatrical movements related to them. ’’ 23 Moreover, the ﬁgure of La Malinche, who bore Cortés a son who became symbolically the ﬁrst mestizo,24 has come to represent the troubled nature of Mexican political identity for women and men alike.