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Cultural memory and the dance-dramas...

Hutcheson, Matthew Fontaine Maury.

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Cultural memory and the dance-dramas of Guatemala: History, performance, and identity among the Achi Maya of Rabinal.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Cultural memory and the dance-dramas of Guatemala: History, performance, and identity among the Achi Maya of Rabinal./
Author:	Hutcheson, Matthew Fontaine Maury.
Description:	523 p.
Notes:	Source: Dissertation Abstracts International, Volume: 64-11, Section: A, page: 4108.
Contained By:	Dissertation Abstracts International64-11A.
Subject:	Anthropology, Cultural. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3113546

Cultural memory and the dance-dramas of Guatemala: History, performance, and identity among the Achi Maya of Rabinal.
Hutcheson, Matthew Fontaine Maury.

Cultural memory and the dance-dramas of Guatemala: History, performance, and identity among the Achi Maya of Rabinal. - 523 p.

Source: Dissertation Abstracts International, Volume: 64-11, Section: A, page: 4108.

Thesis (Ph.D.)--State University of New York at Buffalo, 2004.

This study addresses the traditional dance-dramas of the highland Maya as a key expressive practice in the private formation and public articulation of Mayan identity, exploring the role these intercultural Spanish/Indigenous theaterworks have played in the reproduction and transformation of Mayan culture over time.Subjects--Topical Terms:

735016
Anthropology, Cultural.

Cultural memory and the dance-dramas of Guatemala: History, performance, and identity among the Achi Maya of Rabinal.
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035 $a (UnM)AAI3113546
035 $a AAI3113546
040 $a UnM $c UnM
100 1 $a Hutcheson, Matthew Fontaine Maury. $3 1951208
245 1 0 $a Cultural memory and the dance-dramas of Guatemala: History, performance, and identity among the Achi Maya of Rabinal.
300 $a 523 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-11, Section: A, page: 4108.
500 $a Major Professor: Barbara Tedlock.
502 $a Thesis (Ph.D.)--State University of New York at Buffalo, 2004.
520 $a This study addresses the traditional dance-dramas of the highland Maya as a key expressive practice in the private formation and public articulation of Mayan identity, exploring the role these intercultural Spanish/Indigenous theaterworks have played in the reproduction and transformation of Mayan culture over time.
520 $a The study begins with a general overview of burlesque festival performances in the pre-Columbian, colonial, and modern eras. It then examines the contemporary curation and presentation of two canonical dance-dramas in the town of Rabinal, Baja Verapaz. The first is a fifteenth-century Spanish religious drama about the life and martyrdom of Saint George. The second is a farcical Mayan play about a deer hunt. The two plays have traditionally been performed during Catholic celebrations as ritually sanctioned acts of devotion, as well as of diversion, and are important vehicles for the transmission and reproduction of cultural memory. Reanimated year after year as works of living theater, they carry forward the semiotic tropes of earlier historic moments, making them continually available to the witnessing community. The presentation of such dance-dramas provides a social forum for the ongoing negotiation and renovation of Mayan identity. By performatively recollecting their dead ancestors, Mayan ritual theater contributes to the continuity of cultural memory within the community. By responding mimetically to the quotidian world, Mayan farce provides a mechanism for the critical appropriation and Mayanization of difference.
520 $a Within a historically grounded ethnography of religious theater and colonial missionization, this study explores the hybridic, intercultural nature of Mayan theater, as well as the tension between textual authority and embodied memory. It also demonstrates the ways in which Mayan expressive culture is being challenged and transformed in the present generation by governmental and charitable interventions, the recent surge in evangelical Christian conversion, globalization and the touristic commodification of culture, and the accelerating shift within the Maya community from subsistence farming to participation in wage/labor capitalism. In response to these challenges the institution of Mayan festival theater is becoming increasingly secularized, but its proponents are also adopting strategically innovative ways of defending and articulating a conservative vision of Mayan cultural identity and practice.
590 $a School code: 0656.
650 4 $a Anthropology, Cultural. $3 735016
650 4 $a Literature, Latin American. $3 1024734
650 4 $a Theater. $3 522973
650 4 $a Dance. $3 610547
650 4 $a Religion, General. $3 1017453
690 $a 0326
690 $a 0312
690 $a 0465
690 $a 0378
690 $a 0318
710 2 0 $a State University of New York at Buffalo. $3 1017814
773 0 $t Dissertation Abstracts International $g 64-11A.
790 1 0 $a Tedlock, Barbara, $e advisor
790 $a 0656
791 $a Ph.D.
792 $a 2004
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3113546