By Tamara L. Underiner
From the dramatization of neighborhood legends to the staging of performs through Shakespeare and different canonical playwrights to the exploration of up to date sociopolitical difficulties and their results on girls and youngsters, 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 becoming knowledge of Mayans as modern cultural and political avid gamers in Mexico and at the world's degree. during this booklet, Tamara Underiner attracts on fieldwork with theatre teams in Chiapas, Tabasco, and Yucat?n to watch the Maya peoples within the technique of defining themselves via theatrical functionality. She seems to be on the actions of 4 theatre teams or networks, targeting their working suggestions 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, disagreement, and collaboration with the broader, non-Mayan global. Her observations therefore display not just how theatre is an agent of cultural self-definition and community-building but in addition how theatre negotiates advanced kinfolk between indigenous groups in Mayan Mexico, kingdom governments, and non-Mayan artists and researchers.
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Extra resources for Contemporary Theatre in Mayan Mexico: Death-Defying Acts
Grossberg’s insights oﬀer the possibility of micropolitical analysis of groups conceived as living in the same age but in diﬀerent spaces characterized by diﬀerential access to important realms of social and political power. ’’ To the extent that each of the theatre organizations I discuss collaborates to some degree with various non-Mayan artists, researchers, and ﬁnancial go-betweens, their collaboration and alliance making need to be taken into serious consideration. The adoption of a spatial, rhizomatic view of culture and cultural change also follows a certain strain of historiography practiced by Mayans themselves, at least at one time.
A ﬁnal example, discussed in Chapter 4, comes from the Yucatán Peninsula, where grassroots theatre ﬂourished during the last two decades of the twentieth century. 41 Later, groups led by local performers trained by these urban troupes would produce theatre in the Yucatec language, covering a variety of themes that include not only the recuperation of Mayan tradition but also its ongoing reinvention. Finally, I return to the question of ‘‘roots’’ versus ‘‘routes’’ as it applies to the increasing globalization of the very notion of ‘‘Mayanness,’’ which I argue has achieved status as a form of symbolic capital for non-Mayans.
22 To the extent that cultural identiﬁcations are produced through language, it is possible to view the question of ethnic or cultural identity in similar terms of a relationship, dependent on parties and circumstance, that is mutually inﬂuential—at least potentially. At the same time, in societies overdetermined by internal colonization, as Mexico has been, it is important to remember that some targets exert more control and resistance to change than others. Under such circumstances, identities tend to coalesce in response.
Contemporary Theatre in Mayan Mexico: Death-Defying Acts by Tamara L. Underiner