Central America

First Annual South-Central Conference on Mesoamerica

Dear friends and colleagues -

It has come to my attention that some of you may not have received this
message; if you already have, please forgive the email clutter!
We are pleased to announce that the University of Texas at San Antonio will be
hosting the First Annual South-Central Conference on Mesoamerica on November 6
and 7, 2010.

You may be familiar with the Midwest and Northeast conferences on Mesoamerica
and the Andes, which are our models for the South-Central Conference. We hope
this will be a venue where scholars, students, and the interested public from
across the region can come together to share ideas, information, and
interpretations. There will be no registration fee, and we will try to
accommodate as many papers as possible. We hope this will become an annual
conference that will rotate among hosting institutions across the region.
In celebration of the conference's inaugural year, we are coordinating with an
exhibit curated by Jennifer Mathews at Trinity University's Neidorff Art
Gallery. The exhibit is entitled "Crafting Maya Identity: Contemporary Wood
Sculptures from Yucatán, México." On Friday, November 5, Trinity will host a
lecture by Dr. Jeff Kowalski entitled "Art versus Artifact: Great Divide,
Cultural Continuum, or Institutional Category?" as well as a gallery tour and
reception.

We are setting up a website for the conference where we will post a call for
papers, schedule, directions, etc. It should be fully operational by
mid-August, and we will send along the address at that point. If you know of
interested people who did not receive this email, please have them send their
email address to Jason Yaeger (jason.yaeger@utsa.edu).
Please let us know if you have any questions, and please pass this email
around to any interested parties. We look forward to seeing you in San Antonio
this Fall.

Sincerely,
M. Kathryn Brown, Laura Levi, and Jason Yaeger

[Ed note: For more on the art exhibit mentioned on Maya carvings, see here and here.]

New Moctezuma Exhibit

"Moctezuma: Aztec Ruler" soon opens at the British Museum, showcasing more than 130 artifacts never seen outside of Mexico before and purportedly the first major exhibition about Moctezuma's life. A real highlight of the exhibit is the "Codex Moctezuma," on loan from Mexico's National Library of Anthropology and History. Interestingly, according to the curator, Colin McEwan, the codex, which was produced by indigenous scribes, is the only document depicting Moctezuma's mysterious death and suggests an alternative to the conventional theory that he was a willing agent of colonial rule. Seems like a really fascinating exhibit.

Does anyone out there living on or near the Isle of Britain want to review it for Museum Anthropology? If so, email us at muaeditor@gmail.com.

Art of Earth and Sky

Two new exhibits were recently announced:

Art of Sky, Art of Earth: Maya Cosmic Imagery,” a new permanent exhibit, will open September 1 at Wake Forest University’s Museum of Anthropology.

Veracruz: Ancient Cultures from Gulf of Mexico,” opens August 7 and runs until November 2009, at the Guanajuato Art and History Museum. Reportedly, some 80% of the objects are exhibited for the first time, and the exhibit will later travel to Rio de Janeiro, Brasilia and Sao Paolo, in Brazil.

The Aztec World Exhibition at the Field Museum

From a Field Museum Press Release:

The Aztec World

A Unique View of a Mighty Empire
Exclusive Exhibition at Chicago’s Field Museum
October 31, 2008 through April 19, 2009

The Field Museum’s newest exhibition, The Aztec World, gives visitors a once-in-a-lifetime opportunity to explore the otherworldly grandeur and sophistication of one of history’s great civilizations. The Field has gathered nearly 300 artifacts including monumental works in stone, colorful ceramics, and intricate jewelry made of precious metals. Many of these treasures will be displayed for the first time outside Mexico. The artifacts come from Mexico City’s National Museum of Anthropology, the Templo Mayor Museum, The Field Museum, and other distinguished museums in the United States and Mexico.

The Aztec World will be shown exclusively at The Field Museum – it will not travel to other venues.

Farmer Codex: In the Aztec world, the majority of people were farmers such as this man, harvesting his crop. Florentine Codex, Vol. 4, Folia 73L













Witness the compelling story of how, in just 200 years (between 1325 and 1521) the Aztecs grew from a nomadic group to one of the most powerful and influential societies ever developed, leaving behind a powerful legacy. Discover how an empire that began in the middle of a lake became the center of the Mesoamerican world. With spectacular artifacts and works of art assembled together for the first time, the exhibition provides a look into the remarkable rise and fall of the Aztecs.

The journey begins on the bountiful shores of Lake Texcoco and moves to the heart of Tenochtitlan, the complex, radiant capital of the Aztec world. Examine the deities, temples, and sacrificial altars of Aztec religion. Explore the training, weapons and celebrations of Aztec warriors. Discover the privileges, treasures, and responsibilities of Aztec rulers. Marvel at beautiful objects crafted from precious metals, ceramic, obsidian, greenstone and other materials to gain a new perspective on Aztec art, science, trade, cosmology, and religious rituals. Explore life as a farmer, trader, weaver, warrior, priest, and emperor.
The Aztec World was organized by The Field Museum in collaboration with Mexico’s CONACULTA-INAH. (CONACULTA is the National Council of Culture and Art. INAH is the National Institute of Anthropology and History.) To accommodate Spanish-speaking visitors, select labels and graphics will be presented in Spanish. All videos will have open captioning in Spanish.

The Aztec World is made possible by Exelon Corporation. “Exelon is pleased to sponsor The Aztec World exhibition. We are committed to supporting arts and education, and proud to support The Field Museum in bring the history of the Aztec civilization to Chicago,” says John W. Rowe, Exelon Chairman and CEO.

The Field Museum’s approach to the exhibition is unique – blending art history and anthropological study of Aztec society as a whole, paying special attention to gender and class. Elizabeth Brumfiel, professor of anthropology, Northwestern University, is a co-curator for the exhibition. “We wanted to include objects that would be used by all the different kinds of people who contributed to the Aztec world: farmers, artisans, women, merchants, and warriors, as well as rulers and priests. We wanted to use these objects to enter into the daily lives of all the people who created and sustained the Aztec Empire.”

Field Museum anthropologist Gary Feinman, PhD, is a co-curator for the exhibition. “We felt it important to share the rich traditions of this majestic empire. A generation ago, little attention was paid to pre-Hispanic history. Today, Latin Americans make up one-third of Chicago’s population. In our multi-ethnic society, it’s critical to have an appreciation for different cultures. We have to move beyond the notion that most advances come from the Euro-American tradition.”

A Problem-Solving People

According to legend, the Aztecs originally emerged from the earth through seven caves (Chicomostoc) and established their homeland at Aztlan (Place of the Cranes). They departed Aztlan following the instructions of their god Hummingbird on the Left (Huitzilopochtli) who told them they were not to stop until they saw an eagle perched atop a cactus. Over the next century, they migrated hundreds of miles southward, finally encountering the eagle on an island in Lake Texcoco in 1325. And that is where this exhibition begins – an imposing stone eagle-shaped cuauhxicalli, or offering vessel, welcomes visitors into The Aztec World.
Surrounded by volcanic peaks, Lake Texcoco was a scenic setting, but much was required to make it habitable. The Aztecs drained marshes, laid out canals, built causeways and expanded their islands by sinking timbers in the water. Eventually, the great city of Tenochtitlan arose – a marvel of engineering. At its height the city had 200,000 inhabitants and contained 60,000 buildings. It was so fabulous, a Spanish soldier later wrote: “Great towers and temples…seemed to rise out of the water…never before did man see, hear, or dream of anything equal to the spectacle.”

Hilary Hansen, Field Museum exhibition project manager, observes, “The Aztecs were ingenious and resourceful, building on other peoples’ ideas, such as aqueducts, terracing, and creating artificial islands (chinampas) for crop production. They learned new ways of growing food, had clean water, and built ecologically correct sewer systems that recycled human waste as fertilizer. These were problem-solving people.”
Every Level of Aztec Society

The Aztec World is organized so that visitors move from the periphery to the city center, passing farms and houses of artisans, merchants and warriors, before entering the splendor of the central temple district surrounded by the palaces of the ruling elite

Traveling through the exhibition, visitors – like the Aztecs – first encounter Lake Texcoco. Here, they’ll learn the importance of cosmic forces and the Aztec gods, and see up-close the gorgeous blue pot depicting Tlaloc, the rain deity, and the stone sculpture of Chalchiuhtlicue, the water deity. Walking on, visitors will encounter farmers and discover that life was centered on home and hearth. Women prepared food, wove cloth, harvested and processed maguey sap, and sold their wares in the markets, while men farmed, labored as construction workers, and performed military service. Both men and women made daily offerings to the gods of food, incense, and prayer. On important occasions, commoners offered the gods blood drawn from their own earlobes.

Aztec farmers responded to the challenges of dense populations and urban growth in the Valley of Mexico by two innovative agricultural techniques. The first was chinampa agriculture, mounding up earth in swampy areas to create artificial fields. The second technique was the use of maguey plants to limit soil erosion on the slopes surrounding the Valley of Mexico and to provide nourishment and income during the winter season when maize production was not possible.

The Aztec World emphasizes that contributions from every level of society were important. Visitors to the exhibition will see that many Aztecs were ordinary people just like them who raised families, went to work, paid taxes, celebrated good times, had rites of passage, and were spiritual,” Hansen explains.

In the farming section, visitors will find charming figures of family members, including their beloved pet dogs, utensils, goddess figurines, musical instruments, pipes, and vessels for the all-important feast days. One of Dr. Feinman’s favorite artifacts is a bowl for the fermented drink pulque in the form of a rabbit lying on its side. “I love the idea of a rabbit having ‘one too many,’” he says. The Aztecs did have a sharp sense of humor, making up riddles such as, “What is a little blue-green jar filled with popcorn? It is the sky.”

The Aztecs maintained a complex economy in which three elements were interwoven: markets, tribute (a type of tax), and long-distance trade. Artisans crafted tools, utensils, weapons, and jewelry from obsidian, greenstone (more precious than gold), wood, and cloth. These valuables, along with food, were traded in the all-important markets. “Spanish accounts report that the Aztec markets were larger and more diverse than the conquistadors had ever seen,” says Dr. Feinman. “That’s impressive considering these men were from the Mediterranean, which was then the hotbed of European commerce.”

War and Sacrifice

The Aztecs found war everywhere: in the cosmos and on earth. The military played a central role in state religion, culture, and politics. In the “Warrior” section of The Aztec World is an artifact Dr. Feinman urges visitors not to miss – the commanding life-size terra cotta masterpiece, Eagle Man, in his wing-like cape. Scholars think this figure may represent the soul of a dead warrior—one of many "spirit warriors" who accompanied the sun on its daily journey across the sky—or a personification of the sun itself. This artifact speaks to the importance of war in Aztec society, the aim of which was to conquer, gather tribute, and take prisoners for later sacrifice to the gods. Military ideology even extended to women, as it was believed that childbirth was similar to combat. As dead warriors accompanied the sun during its morning rise to the zenith, women who died in childbirth accompanied the sun during its afternoon descent.

Walking closer to the city center, visitors will encounter a gallery devoted to the ruling class. While living rich lives, rulers had many responsibilities, such as building temples, maintaining the empire’s infrastructure, and staging religious ceremonies. Here, visitors can admire some of the riches brought to the emperor via tribute and view highly decorative sculptures from original temples and monumental plaques commemorating the coronation of a great ruler or the completion of a major public aqueduct.

In the heart of Tenochtitlan, the Aztecs built a great temple district containing more than 70 structures, dominated by the Templo Mayor, which stood at the center of the Aztec universe. The temples were symbolic mountains where the Aztecs communicated with the celestial world and offered gifts to the gods. Sacrifice – including human sacrifice – was not unique to the Aztecs, the practice was found in many Mesoamerican societies. Commoners typically sacrificed quail, rulers performed “self-sacrifice” or bloodletting, and human sacrifice – especially of enemy warriors – was seen as critical to maintaining the cosmic order.

Culture Lives On

An alliance between Spanish soldiers and thousands of rebellious indigenous peoples brought the Aztec Empire to an end, but elements of its culture lives on to this very day. The Aztecs gave the world their cuisines and medicines, and provided models of organic farming and sustainable maintenance of the environment. They inspired the great Mexican muralist movement of the 20th century and the rebirth of traditional Mexican arts.

Artifacts in this section attest to the merging of the Aztec and Spanish cultures, including a stone serpent (an iconic Aztec image) carved into a baptismal font. Also on display will be a Spanish sword and helmet, and colonial coins struck from local silver for the Spanish crown. Visitors will also discover how the Aztecs still found a way to preserve their own belief system within the Catholic system of iconography.

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Companion Book

The Aztec World, published by Harry N. Abrams, Inc., features 11 essays by Mexican and U.S. scholars and will be available by September 2008.

Admission

Tickets to The Aztec World include Museum admission and are priced at $22 for adults, $19 for seniors and students with ID, and $12 for children 4-11. Discounts are available for Chicago residents. Visit www.fieldmuseum.org or call 312-922-9410 for details.

Museum Anthropology (etc.) Update

Activity on the Museum Anthropology blog and at Museum Anthropology Review has been slow of late because I have been traveling to (and getting organized in) Oklahoma, where I am pursuing six weeks of curatorial work and research at the Sam Noble Oklahoma Museum of Natural History in Norman, OK. In the midst of this I have been trying to finalize issue 30(2) of Museum Anthropology for submission to the press.

Things will slowly return to normal over the next couple of weeks. In the meantime, I realized that I did not note here the publication of a fine review by Kristina Wirtz of the book Santería Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion. Find her review here.

Fashioning Tradition: Maya Huipiles in the Field Museum Collections

Fashioning Tradition: Maya Huipiles in the Field Museum Collections. Fieldiana: Anthropology, New Series No. 38. J. Claire Odland. Chicago: Field Museum of Natural History, 2006. 67 pp.

Carol Hendrickson

The Field Museum of Natural History (FMNH) holds a sizeable collection of Guatemalan traje (‘Maya clothing’), including 500 pieces of women’s attire. J. Claire Odland focuses her study on 145 huipiles (‘Maya blouses’) collected between 1893 and 1995 from seven municipalities: Quetzaltenango, Chichicastenango, San Juan Comalapa, San Antonio Aguas Calientes, Santa María de Jesús, San Pedro Sacatepequéz, and Cobán. Drawing insights from the holdings of the Field Museum and other textile collections, published works, and field research in Comalapa and San Antonio Aguas Calientes between 1994-2005, the author has produced a museum monograph with twenty-two pages of text, seventy illustrations, and six pages of descriptions of the illustrations. Her aim is to analyze the huipiles in terms of the materials and technologies with which they were produced; the social, political, and economic dimensions of their use; and fashion changes that mark significant historical shifts. Given the ambitious nature of this project—topically, geographically, and temporally—it is no surprise that Odland touches only briefly on a vast range of topics.

The body of the text is divided into six sections. Odland presents a sketch of each of the seven municipalities and distinguishing characteristics of the huipiles from each of the different areas. Fashion trends in traditional wear and the social uses of traje are recurring themes, and these link to the second section where, in less than three pages, Odland describes various social characteristics and uses that can be signaled by Maya blouses (e.g., age, wealth, sexuality, and worldliness). She then considers the materials and technologies that figure in huipil production, including the subjects of design motifs and their meanings, and markets for traje sales. The final sections of the monograph outline some of the traditional activities of Maya women as well as changes in Guatemalan life that have been reflected in huipil design. Throughout the text, references to particular pieces are keyed to the photographs bound at the back of the volume.

Odland’s work is most informative when she presents insights about particular pieces in the Field Museum collection (e.g., that “the oldest huipil… was a gift of the Government of Guatemala to the 1893 Chicago Colombian [sic] Exposition” [p. 8]). It is also a pleasure to see the images, and this work will surely serve to alert readers to the wealth of the Field Museum holdings. However, the length of the monograph is simply too short to do justice to the breadth of topics, and the author is often left making such gross generalizations that these fail to get at the complexity of situations and can even lead the reader astray. The author was also challenged to organize her narrative around sets of huipiles from so many regions and different time periods. The result is a good photographic record of a segment of the FMNH’s huipil holdings but a very general account of their historical and cultural significance.

Carol Hendrickson is Professor of Anthropology at Marlboro College. She has has been researching weaving in the central highlands of Guatemala for more than twenty-five years. Her research focuses on the ways clothing non-verbally relates cultural meanings and provides insight into local understandings of issues such as ethnicity, gender, class, politics, and national identity. She is the author of Weaving Identities: Construction of Dress and Self in a Highland Guatemala Town (University of Texas Press, 1995). With Edward Fischer she co-wrote Tecpán Guatemala: A Modern Maya Town in Global and Local Context (Westview, 2002).