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WeDon’tDoArtforArt’sSake WeDon’tDoArtforArt’sSake ChelseaHackett PerformanceandActivism Dr.DianaTaylor May16th,2016 1 WeDon’tDoArtforArt’sSake 2 Ixkik ImagineforamomentyouareinacornfieldinthehighlandsofGuatemala. YoufollowyourfriendNorma,aMayaGuatemalanwomanwhorunsamentorship programforgirls,throughthetallstalks.“Thegirlsaresellingwhistles,because manyofthemareattackedhere.”Inthecorn,shemeans.Itseemstogrowtaller aroundyou.Theyellowandgreenthatsurroundsyouisthebloodofthecountry, thetasteofanyextendedstayhere.ThePopolVuh,theoriginmythofmodernMaya culture,tellsofhowManwascreatedfromamixofcornandwood.Thatsamecorn nowaccountsfor50-70%oftheMayadietinGuatemala(OrganizaciónTips,n.d.). ThecontentsofthisfieldarethesourceofthepeopleofSololá,thecommunity positedonahillsideoverlookingLakeAtitlán.Thesoilyouwalkonhere,inthe Kachiquelregionofthecountry,wasthesamepassageofSpanishtraderoutesafter theconquestsofthe16thcentury(McKinnon,2016,p.17).Thetraderoutesthat broughtaninfluxofSpanishcultureandstompedorburnedoutanythingthatthey perceivedassignificanttotheMaya,includingthepeoplethemselves1.Thedensity clears,torevealtwobuildings:acommunitycenter,paintedwithMayasymbols,and anamphitheater. Theperformancetakesplaceinthecommunitycenter.Youentertoseea familiararrangement:asetofstoolsfacingthefrontoftheroom.Burningcandles serveasfootlightsfortheprosceniumstage.Therestoftheaudience,local 1TheAutodeFe,overseenbyFrayDiegodeLandainManíin1562,wasanorganizedburningof27 Mayancodicesandover5000images.Anaccountoftheseeventshasbeentheatricalizedinaplayas ahistorywrittenbyindigenousplaywrightCarlosArmandoDzulEk(DzulEk,1992). 2Arecentdiscoveryofanabandonedgovernmentwarehousefoundastockpileofover200,000ID cardsofthosedisappearedorknowntohavebeenkilledduringtheCivilWar.Theseartifactsarestill WeDon’tDoArtforArt’sSake 3 grandmothersandchildren,readtheplaybill-styleprogramsannouncingthetitleof theshow:Ixkik(Ajchowen,2013).TheylikelyknowIxkikfromthePopulVuh.There, sheisagirl,impregnatedbyHunHunahpu.Shefleestotheunderworldtodeliver hersons:theMayaHeroTwins.However,thisIxkikisdifferent.Thebonesofthe storyarethere,butthecontenthasshifted. Nolongeragirl,thisnewIxkikisagrownwomanandacommunityleader. Theplaybeginswithsteadydrummingandatunefromafluteplayedbytwo womenagainstthewall.Beforewords,thereismovement.Twowomenonstage sweeptheirarmsacrosstheirbodiesandlandinposes,holdingforasecondbefore theybeginagaininrapidsuccession.Theygroundintothefloor,weightingintotheir feetinawaythatallowsyoutorelaxintoobserving.Nothingisfearfulaboutthe undulations.Suddenlythedrummerstandsandyoubecomeawarethatshehas transformedintoIxkik.SheentersthebathhouseofIxmukané,agrandmotherand wisewomaninhercommunity. Here,theprosceniumstageseemstodisappearandyoubecomelesslikean audiencememberandmorelikeachildpeeringthroughacrackeddoor.Thereisa senseofwitnessing,ratherthanwatching.Somethingthatissecretorprivateis beingrevealed.Somethingritualisticisbeingperformed.Theheatedstonesbeneath thecotonwhichIxkiklaysproducerealsteamwhenIxmukanépourscoldwater ontothem.Ixkikhasavision,andlosesherselfintotheheatbeneathher.Wereturn totheperformancespaceastwocharacterswhohavesatinthewingsenterto revealthevision.Amaskeddemoninamodernbusinesssuitbeginstofightwitha girlwhowearsthesameclothesasIxkik.Ixkikwrithesonthecot,supportedby WeDon’tDoArtforArt’sSake 4 Ixmukané.Whenshecalms,Ixmukanéexplainsthatademonfromtheunderworld isthreateningherdaughter. Astheplaycontinues,Ixkikispresentedwitharealitythatbringsyoubackto thecornfield:inordertosaveherdaughter,Ixkikmustventuretotheunderworldto battlethedemonasheattempttopreventherdaughterfrominheritingher leadership.Shemusttakeherdaughtertoanotherwombwhereshewillbesafe.She knowsthatthedemonwantstopreventherandherdaughterfromcontinuingtheir missionofsocialchange.Ixkikchoosesthebattle.Shedancesbackandforthwith thedemon,choreographedchaos.Astheyfinish,itisclearthatheisdefeated,but therealitylingers:Ixkikhasgivenupherownlifeinordertosaveherdaughter’s. Youseethegirlssellingthewhistles;yourememberwhytheyneedto. TheworkofGrupoSotz’il(hereonreferredtoasSotz’il),describedhere throughtheperformanceofIxkikbytheirall-femaletroupeAjchowen,playsavital roleinthesustenanceofMayacultureinSololá,Guatemala.Inthispaper,Iwill arguethattheirperformancesareamechanismofculturalresilience.Inhiswork withFirstNationstribesinCanada,ChristopherLalondedefinesculturalresilience as“theprocessofcreatingandmaintainingastrongsenseofcollectivecultural identity”(Lalonde,n.d.,p.9).Hearguesthatculturalresilienceisabifurcated concept,operatingasamechanismonboththebroaderculturallevel,aswellasthe individuallevel.Heexplains,“whencommunitiessucceedinpromotingtheir culturalheritageandinsecuringcontroloftheirowncollectivefuture—inclaiming ownershipovertheirpastandfuture—thepositiveeffectsreverberateacrossmany WeDon’tDoArtforArt’sSake 5 measuresofyouthhealthandwell-being”(Lalonde,n.d.,p.23).Itisbeyondthe scopeofthispapertoaddresstheimmediateimpactofthesecondmechanismof resilience,inrelationtoindividualswithintheSololáregion.However,inthe followingIwillexplorehowtheperformancesofSotz’ilfunctionasaformof resistanceandculturalresilience,ananti-colonialvisualizationofMayasurvivance inthe21stcentury. ResilienceintheFaceOf… Resiliencecannotoperatewithoutrisk,adversityorthreat.AnnMasten definesresilienceas“thecapacityofadynamicsystemtoadaptsuccessfullyto disturbancesthatthreatensystemfunction,viability,ordevelopment”(Masten, 2014,p.6).TheMayaculturehasfacedsignificantriskoferasure.JesusaRodríguez describesthisstrugglewhenspeakingofvariousindigenousgroupsinLatin America“for500yearswe’vehadasystemthat’striedtomakethemdisappear— notjusttoexcludethem,buttoerasethemfromthefaceofthisearthandtakeover theirlands”(Rodriguez,2010).The500-yearmarkersignifiesthearrivalofthe Spaniardsin1523.Theimpactofcolonialismiswelldocumentedandtheattemptto systemicallyerasetheMayapeoplebycolonistshasbeenmarkedthroughhistorical events,aswellastheexclusionofMayaculturalheritagefromhistorical perspectivesonthetimeperiod. Theseactsoferasuredonotliveintheveiledandfoggyspaceofthedistant past.Theyhavecontinuedactivelyintothe20thand21stcenturies.From1960-1996, GuatemalawasengagedinwhattheGuatemalangovernmentcalledaCivilWar, knownlocallyas“LaViolencia”ortheviolence.Ofthe200,000casualtiesofthat WeDon’tDoArtforArt’sSake 6 war,83%wereMaya(TheCenterforJusticeandAccountability,2016).Ironically theviolenteffortstodestroytheMayapeoplehavebeendiligentlydocumented2, leadingtofurthersupportintryingformermilitarymembersforcrimesagainst humanity. TheGuarcaxfamilycreatedSotz’ilasanefforttorespondtothesethreatsof destruction.Theirfoundingleader,LisandroGuarcaxdescribedtheirworkby saying,“wedon’tdoartforart’ssake;wedoittorecoverthedignityofourpeople” (AggabaoThelen,2010).Createdin2000,Sotz’ilwasstartedonthehealsoftheend ofmilitarysupportedviolenceinGuatemala.Inthemanualthattheyhavecreated outliningthedancestheyuseintheirproductions,Sotz’ildescribestheir relationshipwitherasure: Theysaidthatourcommunitydidn’texist,thatitdiedhundredsof yearsagowiththeendofthegreatcivilization,thatourremainswere discoveredbytheSpanishintheirinvasionofourlands.Theysaid thatwewereforgotten. Butwesaidthatwewereherenow,inthepresent,inthisplace,inthe hills,thelakes,theanimalsthetreesinthewordsofourmothers,our fathers,intheenergiesthatdancedinthefires,inourblood,thereis thewisdom,theknowledgelinkingustothecosmos(GrupoSotz’il, 2015,p.8). 2Arecentdiscoveryofanabandonedgovernmentwarehousefoundastockpileofover200,000ID cardsofthosedisappearedorknowntohavebeenkilledduringtheCivilWar.Theseartifactsarestill beinguncoveredandcatalogued(Weld,2014). WeDon’tDoArtforArt’sSake 7 Sotz’ilhasnamedtheirintentionsandeffortstosustaintheirculturedespitethreats: theirresilience.However,ittakesfurtherexplorationtounderstandhowthis operatesasamechanismofculturalresilience. Whenconceptualizinghowaculturesurvivesinthefaceofrisk,PeterElsass describestheconceptofdevelopingamatrix.Hearguesthatinordertoovercome threats,aculturemustdevelopamatrix,or“afundofknowledgecharacterizingan organization;itisastructurethatcanbetalkedaboutthatthathasnotonlyan emotionalcontent,butculturalandideologicalcontentaswell”(Elsass,1992,p. 176).Thematrixisvitaltothecontinuationoftheculturalpracticesinthefaceof adversitybecauseitcreatesacircumstanceinwhichthegroupmayactcohesively withasharedsetofunderstandings.Elsasselaborates,“thebasisforamatrixof survivalistheshareddevelopmentofabodyofknowledge,whichgivesaformof solidarityandinertiatothegroup”(Elsass,1992,p.176).Theconstructionofa matrixisapracticeofself-determinationandsubjectivity,asitpresentsa“pathto gainingthepossibilityofdecidingoneselfwhatsubstancetoputintotherhetorical phrasesoncollectiveconsciousness”(Elasass,1992,pp.102-104). ForthetheoristPauloFreire,thisactofnamingtheworldisanactof resistancetooppression.Inhistext,PedagogyoftheOppressed,Elsass’smatrix mightbeidentifiedintheconceptofdialogue.Hestates,“dialogueistheencounter betweenmen,mediatedbytheworld,inordertonametheworld”(Freire,1993,p. 61).Thenamingoftheworldisakintotheformationofthematrix.Thedenialof dialoguebyoppressiveforces(thecolonizersandtheUS-backedGuatemalan militaryinthiscase),istheunderpinningactionofdehumanization.Freire WeDon’tDoArtforArt’sSake 8 continues,“ifitisinspeakingtheirwordthatpeople,bynamingtheworld, transformit,dialogueimposesitselfasthewaybywhichtheyachievesignificance ashumanbeings”(Freire,1993,p.69).Creatingamatrix,istheactofnamingthe world.Thedenialofthisactionistheenforcementofpredeterminedmatriceson culturalgroups,opperationallyknownascolonialism. ThematrixthatSotz’ilhasdevelopedcomesfromtheirdeliberaterecoveryof buriedMayahistories.Beforetheybegancreatingart,theybeganbuildingthe matrixfromwhichtheywouldcreate.Theyexplainintheirmanual,“sincewe startedourjourneyasmusicaldancers,wehavebeensearching.Searchinginthe Mayacodices,searchinginiconography,inbooks,lookingforourownlanguagefor dance,formusic,fromourrace”(GrupoSotz’il,p.8,2015).HeidiMckinnonexplains, “WhenSotz’ilfirstbeganin2000,thebrothersandcousinsspentyearsstudying classicMayatexts:thePopolWuj,TheAnnalsoftheCakchiquels,ChilamBalam,the MemorialofSololá,theDresdenandMadridCodices,andtheRabinalAchí.They visitedarchaeologicalsitessuchasnearbyIximche’,aswellasTikal,andCopánin Honduras.TheymeticulouslystudiedthemuralsofBonampakandotherclassical Mayaartandhieroglyphics”(McKinnon,2016,p.16).Theirconstructionofamatrix wasasystemicrecoveryofwhatcolonistsandtheGuatemalangovernmenttook fromtheircultureforcenturies. Whatisvitalinunderstandinghowthismatrixoperatesisthatitisnota stagnantrecreationofthepast.Rather,bothSotz’ilandElasasspointtothematrix asanadaptiveandlivingentity,respondingandrelatingtotheworldarounditand operatingasaframethroughwhichtheworldcanbecritiquedandrenamed.Freire WeDon’tDoArtforArt’sSake 9 wouldpointtothedialogicalnatureofthematrix.Elsassdescribes,“itisnotthe matrixassuchthatinsuressurvival.Ratheritisthewayinwhichtheculturescreate aninterplaybetweenthematrixandthesurroundingsociety”(1992,p.177).To understandthewayinwhichthisinterplayworks,Iwillcomparetheworkof Sotz’il’sIxkikwithotherproductions,deemed“folkloric.” FolkloreinContext InherexplorationofLatinAmericantheatreinTheatreofCrisis(1991), DianaTaylorcritiquestheargumentmadebyFirstWorldtheoriststhatLatin Americantheatreisfolkloricorawatereddowncopyofoutsidetheatreforms. Instead,sheposestheideathattheatreofLatinAmericaoperatesasaformof transculturation.Shepositsthatelementsofvarioustheatreformsarepresentin LatinAmericanotthroughabsorption,butratherthroughanactiveandselective process(Taylor,1991,pp.15-16).TaylorpointstoCarenKaplan’ssummationofUlf Hannerz’sassertionthat“marginalsocietiesarenotthepassiverecipientsofready madeimagesandconsumergoods.Ratherthesearecomplex,sophisticatedcultures whichfilterandmediatefirstworldimports,recreatinglocalmeanings,producing hybridculturalartifactsandsubjects”(Kaplan,2001,p.190).Thisconceptofactive anddeliberatetransculturationispresentintheworkofSotz’ilandisakintothe subjectiveandself-determinedconstructionofamatrix. Ajchowen’sperformanceofIxkikcontainedmanyelementsthatwould recognizabletoFirstWorld,Western,orGloballyNortherntheatreaudiencesas markersofatheatricalperformance.Theyarrangethestageinaprosceniumform. Thefootlights(whilecandles,whichwouldnotbeallowedinmostUStheatres WeDon’tDoArtforArt’sSake 10 becauseoffirecodes),wereeasilyidentifiableasdemarkingtheplayingareafrom theaudience.Theprogrampresentedtherolesandtheactors,aswellasgivinga briefsynopsisoftheplayitself.Thedirector,Barillas,trainedasatheatre professionalattheUniversidaddeGuatemala,wherehetookcoursesthatwould appearfamiliartomosttheatreBFAstudentsatUSinstitutions.Envisioningtheir selectionoftheseelementsasaccidentalorunavoidabledeniesSotz’il’sagencyin buildingtheirownculturalmatrix.Whilesomeoftheformsareborrowed,the contentandmessagesoftheirperformancesoperatewithinauniquecontext, deliberatelycreatedbyLisandroandotherGuarcaxfamilymemberstopresentthe worldoftheMayacosmovision. Tofullyunderstandhowthisisdistinctanddeliberate,itisusefultocompare theirperformancestocompaniesthatSotz’ilhascritiquedasbeingfolkloric.Sotz’il describestheirownperformancepracticesas“integratedexpressionand experiencethroughmusic,dance,song,theater,cosmovision,andspiritualitybased inthetheatricalproductionsofourancestorswheretheexpressionofartisholistic. Culturalprinciplesandvaluesinformatotallyoriginaltheatricallanguage, technique,andplatforminGuatemalaandMesoamerica”(Mckinnon,2010,p.18).In contrast,DanielGuarcaxcritiquedothertheatrecompaniesthatheperceivedas servingdifferentendsinGuatemala.Hesaid,“therearegroupsthatonlyperformfor entertainment.InGuatemala,theyarecalledfolklorists,andtheyperformshows[of Mayaarts]forpurelycommercialmeans,oftenpromotedbythestate”(Mckinnon, 2010,p.18).ThedismissalofLatinAmericantheatreasfolkloricisequally WeDon’tDoArtforArt’sSake 11 damagingwhenitcomesfromSotz’ilmembersaswhenitcomesfromFirstWorld critics.However,thecriticismstillneedstobeunpacked. WhenGuarcaxcritiquedthepiecescreatedingovernmentsupported,forprofittheatresasfolkloric,hewasperhapspointingtoadifferenceinmatrices.The mostobviousdifferencebetweenthetheatrecompanieshecommentedonand Sotz’ilaretheaudienceandtheaimofthework.Asgovernmentsponsoredentities, thoseperformancesmightbeperformedforMayapeople,butmorelikely,they wouldbepresentedtotheLadrinopopulationorforeignersasafor-profitentity.In contrast,Sotz’ilcreatestheirworkprimarilywiththeSololácommunityinmind. Whiletheirperformancestour,Sotz’il’sproductionsarenotintendedorcreated primarilytomakeaprofit,ratherthemaintenanceoftheMayacosmovisionisseen asoneoftheultimateaims.Inthisway,the“folkloric”piecesareoperatingwithina differentmatrix,arguablythematrixofneo-liberalism,wheretheultimateformof utilityisprofitability. Anotherwaytoseethedifferencesinthematricesisinhowtheyusestories drawnfromtheMayacodices.ThematrixthatSotz’ilhascreatediscomprisedofthe researchonMayatexts,imagesandstories.However,theirperformancesdonot functionasastaticrepresentationofextanttexts.Rather,theyhaveusedthese storiestocreateamatrixofunderstandingthroughwhichthecurrentconditionsof theMayapeopleareconsideredandcritiqued.Thisisevidentinthewaythat AjchowenenvisionedIxkik.Shewasrecognizable,butherstorywasnotaretelling ofthePopulVuh.AjchowenintegratedIxkik’sstoryintoanewmatrix,buildinga worldviewinwhichsheasaMayawomanisthesubject.Ixkikisnolongeragirl,but WeDon’tDoArtforArt’sSake 12 insteadawomanandpowerfulpoliticalactivist.Shereactstotheviolenceofthe21st century,whicharriveswearingasuit.Shebirthsadaughter,ratherthantwoHero SonTwins.Sheherselfbattlesthedemonoftheunderworld,andhersacrificebrings tolightthesacrificesthatMayawomenmakeeverydayforthewellbeingof themselvesandtheirdaughters.ThematrixthatSotzilhascreatedhasananticolonialvisuality. AccordingtoDylanA.T.Miner,“unlikevision,whichpresupposesan apoliticalandcommonmodeofseeing,visualityrecognizesthecomplexitiesand differentwaysoflooking”(Miner,2009,pp.177).Whenconceptualizingtheideaof ananti-colonialvisuality,Minerexplainsthat“colonialvisionalwaysplacesthe aboriginalwithinthegazeofthesettler.TheIndigenoussubjectfunctionsmerelyas theobjectofvision,almostexclusivelybelongingtothesettlers.Tofullycombatthis legacyofoppression,onemustinvertthisprocessandreinserttheNativeas visionaryandsubjectwiththeabilitytopartakeinvisualpower”(Miner,2009, pp.177-178).WhilethetermsAboriginalandIndigenousareultimatelytiedinwith colonialism(andoffertheirownopportunitiesforcritique),thecontrastbetweena colonialvisualityandananti-colonialvisualityisausefulwayofunderstandingthe differencesbetweenSotz’il’sworkandthatofmorefolklorictheatrepresentations. Sotz’il’svisualitystandsincontrasttothestatesponsored“folkloric”Maya theatricalpresentations,whichreproducepre-colonialtextsasmummifiedforms. Thesepresentations,whilemasqueradingasarepresentationofMayaculture,reify thestatusquoofthegovernment.Theypresenttheworldthroughthematrixof neoliberalism,functioningasprofitableenterprisesfortheperformers,andreifying WeDon’tDoArtforArt’sSake 13 thenotionsupportedbythestatethattheMayapeopleareofthepast,somethingto belookedbackuponfromamodernvantagepoint.Thisis,ineffectaneoliberalor neocolonialvisuality,perpetuatingtheconceptofMayapeopleasobjects. Survivance Itisvitaltonotethattheaforementionedevaluationoffolklorictheatreisnot asimplenotionofgoodandbad,rightandwrong.GeraldVizenor’sconceptof survivance,whichspeakstotheresilienceandresistanceofIndigenouspeoplein thefaceofchangesandthreats,allowsroomtounderstandhowboththose performinginthefolkloricpiecesandthoseperformingwithSotz’ilareengagedina formofresilientpractice.Survivance,isatermusedtodescribethewaysinwhich Indigenousgroupspersist,despitepersecution.MaryLouisePrattsummarizes Vizenor’sconceptofsurvivanceas“aresilient,resistantcommitmentto(one’s)own vital,creativeunfoldingovertimeandinplace(Pratt,2016).Inthisway,boththe workofGrupoSotz’ilandanyMayaperformersinvolvedinthefolkloric performancessponsoredbythestateserveasameansofvitalandcreative unfolding.Performersinbothgroupsmustprovidefood,clothes,andshelterfor themselvesandtheirfamilies.Thosewhoworkwiththestatemaybeoperating withinadifferentmatrix,buttheirabilitytoprofitandsustainthemselvesandtheir familiesthroughthismatrixandtheretellingofMayastoriesdemonstrates survivance.Sotz’il’sworkisalsoaformofsurvivance,astheyworktomaintainthe cultureasawhole.Theybothcomewiththeirownbenefits,andasSotz’ilknows intimately,theirowncosts. WeDon’tDoArtforArt’sSake 14 AliciaSen,theactresswhoportrayedIxkikintheproductionbyAjchowen,is deeplyawareoftheresistancethathercompanyispracticingandthethreattotheir ownsurvival(andsurvivance).InAugustof2010,Alicia’shusbandandthefounder ofGrupoSotz’il,LisandroGuarcax,waskidnapped,torturedandmurdered,along withthreeofhisfamilymembers.Themessagedeliveredbythesemurderswas clear:theconstructionandrepresentationofaMayamatrixisnotaneutralact,and ispowerfulenoughtoposeathreattothosewhohopetomaintainthecolonial matrix.Whilethedirectperpetratorsofthisviolencehavebeenprosecuted,those responsibleforhiringthemarestillatlarge. Inspiteofthispersonaltrauma,AliciaformedtheallfemalebranchofSotz’il, Ajchowenasalivingtestamenttoherlatehusband.AsIwatchedherperform, movingthroughthedancesofIxkik,Ithoughtofthesecondmechanismofcultural resilience.Aliciaisamodelofresilienceinthefaceofpainandrisk,anditisdifficult toimaginethatherparticipationinSotz’ildidnotcontributetoherindividualability tocontinuemovingforward,despitegreatloss.However,thatsecondmechanismof resilienceagainisbeyondthereachofthispapertodetermine. Conclusion TheworkofGrupoSotz’ilservesavitalroleintheSololácommunityand presentsamodelforhowindigenoustheatreforms,whenactivelyconstructed throughtheprocessesoftransculturationandmatrixproduction,mayoperateas mechanismsofculturalresilience.Sotz’ilisamodelofMayasurvivance,utilizingan anti-colonialvisualitytoensurethattheMayaculturecontinuestobevisibleand vitalthroughthe21stcentury. 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