The Dance of the Conquest of Guatemala
In Four K’iche’ Communities
Marvin Cohodas, professor emeritus
The University of British Columbia
© Marvin Cohodas
Notices
- This work is available for free download. I choose not to publish it because then it would bring income to the publishing house and not the participants in the Conquest Dance who most deserve it. Also, though I have invested nearly $50,000 of my own salary in this project, I ask for no monetary compensation, as this too would be injurious to participants.
- Except where otherwise noted, all photographs are by the author and included with written permission from the dance team autores.
- Entire project is available for free download in English. Part III on contemporary performance is also available in Spanish, translated by Mónica Daniela Pérez Montelongo. See Spanish page.
CONTENTS:
Front Matter:
Part I: Opening
Chapter 1: General Introduction
Chapter 2: Costumbre: The Religious Context Maya Festival Dancing
Chapter 3: A Brief Historical Sketch of Maya Public Ritual Dance and its Institutionalizations
Part II: Text
Chapter 4: Background information
Chapter 5: Early Style Scripts
Chapter 6: Modifications to the Early Style Text After 1870
Chapter 7: Linking Cantel and Dioses Lineage Texts to Changing Historical Circumstances
Chapter 8: Dating the Origin of the Dance of the Conquest of Guatemala
Part IV: Performance
Chapter 9: Shared Conventions of Baile de la Conquista Performances
Chapter 10: Generalized Dance Sequence for the Baile de la Conquista
Chapter 12: Saints and Danced Primeros
Chapter 14: Pantomimes as Hidden Transcripts: Tekum and Resistance
Chapter 16: Pantomime as Resistance: Ajitz as the Heart of the Baile de la Conquista
Chapter 17: San Cristóbal Totonicapán
Chapter 18: Traditional Festival Dance as Folklore
Part IV: Closing
Chapter 19: Towards a Transculturation History of Guatemala’s Baile de la Conquista
Back Matter:
Scan of Cunén Text collected in Nebaj