Revitalistic techniques used in Nima' K'iche'

There are many examples of revitalistic techniques used by the activists who are restoring the Moreria Nima' K'iche' and they are constant and ongoing, some are:
*teaching classes in tailoring and in Mayan culture
*sponsoring musicians who practicie tradional music
*sponsoring indigenous dance troupes
*holding fair to showcase local artisans
*sponsoring apprentice morero's and craftspeople
*setting realistic rental pricing thus expanding participation
*offering a knowledge base to others

By working with and within the local communities, the activists have recreated the Moreria and made it an active part of the community.

This is unlike most of the tourist attractions that I have visited- the Moreria is alive, the people involved are not performing as a museum piece or only as a tourist attractions, this is living art, this art will continue to grow and expand.  In contrast, most of the performances I have seen at tourist attractions are dead, they are not actively growing, the people involved are not apprenticing for future involvement.  The closest example that I can think of to the Moreria is Charleston, where there are people making bread, beer, soap, cloths, etc, the way that they did in the 17th c.  The people are very involved and take their "jobs" seriously but in the Moreria they are not "acting", this is not just a day job, this is their culture and this is their life!

Angela Thurman

Here is a screen shot that I took from an article about local dance- these are 2 masks used in the Dance of Conquest referred to in the article.

Popol Vuh

The attempts at understanding and translating the popol vuh into oral performance are speculated on by Dennis Tedlock.  The language was very specific having multiple voice, guttural, and unvoiced nuances.  The transcript of Popol Vuh was written in such a manner that these nuances were difficult and sometimes impossible to determine.  Instead, multiple possible translations existed for simple phrases.  At one point, a character either arrives or dies, the translation makes the verb unclear.  In order to reconstruct this performance and once again give it life, the use of a ethnopaleographer is employed.

It is the job of this translator to not only gain insight from those left in the culture as to the wording of the text, but also the context and implications as well.  It is not enough to simply transcribe as one would from Elizabethan to contemporary English.  Ethnopaleography accounts for the understanding of the shifting cultural dynamics such as power relations and religion.  This is essential for an accurate transcription and performance of the text.  More than a translation, it is a cultural reading and deciphering.  This is also essential to the field of performance studies.  Without this tool, the texts of indigenous or marginalized groups could be lost forever, or worse, over simplified in to oblivion.

I wonder how many people do this work for a living?  How dense is this field?  The performance space for such works seems limited in the contemporary world.  I fully agree with the implications and need to preserve this, but where does it go if not for National Geographic or a research journal.  I wish there was a stronger draw and mass appeal.  It seems very interesting.

- Hailey Drescher

Q1 Revitalistic Techniques

Revitalistic techniques used by the activists involved in the restoration of the Moreria  Nima K’iche are diverse. It’s not a traditional family-run enterprise, but a community directed institution for cultural preservation. Activists work for the resurrection of elements of Mayan culture while prompting governmental reform within the framework of the current (1985) Guatemalan constitution and international law.  The most important effect revitalization has on the day to day operations of the moreria is in the pricing. The rental rates are lower than other prices charged by for-profit morerias. The low rates allow for more participation. Without the participation, the vitality of the dance would not survive.

The Nima K’iche can’t offer the same level of quality that the traditional morerias in San Cristobal provide. They operate with inexperienced staff and a relatively old stock. However, groups that are new to the dance-drama are attracted to the lower prices. Along with lower pricing, they inform the participants with the important knowledge of the dance and culture. Moreover, there are no kin-based relationships among any of the workers. The prototypical moreria traditionally passes craft knowledge and material from parent to offspring. Trainees are usually acquaintances of existing personnel and the possibility of future employment is not the main incentive. Being involved in the preservation of the culture in the community is the main goal. As part of an incentive, the trainees are given small scholarships, but the focus is away from the scholarship itself and more about the cultural agenda.Tourism is a tool to serve the means through which these strategies are enacted. The performances the moreria offers enhance many public events. The costumes, masks, cofradia suits and other artifacts are made available for use. The display enhances the quality of the culture for the sake of tourism.

Another approach utilized in the revitalization is the illustrations from books and other sources about the traditional Maya clothing. The moreria recently made several cofradia suits. The suits are symbolic of the religious brotherhood. Musicians will wear the suits as they play traditional instruments at public events. Along with religious revitalization, other activities are directed towards economic development. The moreria has been involved in several projects to provide people with vocational training. The morero is an ideal teacher of basic sewing.

These are very unlike the tourist attractions that we have in the U.S. When I think of tourism, I think of flashy productions. The best example that is so opposite of this approach is the Universal Studios production in Florida. The approach is more per formative in the U.S versus the interactive approach that the culture uses for their participants. We have limited strategies for engaging individuals in other cultures. In the U.S we highlight entertainment, not interaction. Thus, our tourist focus is more interested in making money and performing a flashy production. The Moreria are more concerned with the preservation of their culture, than they are concerned about making a profit.

-Submitted by Jenna Quinn

Q1: Presentation in Passion Play

So fascinating.  Because this is a primarily a religious experience and not focused on pure entertainment, the audience understands and accepts symbolic sets.  A bowl of water serves as a river.  A palm tree as an entire grove.  I love that a door is held by two men and moved about to represent various entrances and exits.  Nothing about this is meant to seem realistic.  The actors purposely separate themselves from their villianous roles and openly weep when they recite offensive lines.  In an attempt to place as much distance between their true selves and their character, they wave to friends, talk normally to audience members, and frequently break character.  Therefore, it should not be surprising that a bowl of water is the Nile.

However, there is a vast array of spectacle.  Depending on the size of the arena or theatre, horses may be used in battle scenes as if galloping into war.  Actors move about the space freely and may relocate the action of the play to the roof.  The prop list contains a vast amount of weaponry, chain mail, helmets, swords, and spears.  These items are not symbolized, and used throughout the ongoing battles in the play. The costumes are also colorful and detailed.

The closest I've seen to this was my One Act Play director who believed that strong acting should not be overshadowed by spectacle.  He used one tree stump for five different things... it was a chair, a forest, a table, a trunk,... you get the idea...  he loved that stump...  We were definitely not allowed to wave at the audience though...

- Hailey Drescher

Iranian Passion Play- Actors Responsibilities

What are the responsibilities of an actor in a Taziyeh?  How do the traditions and purposes of this dramatic form limit the actor's freedom to interpret his role in a unique & individual manner?

There are no actual "actors" in the traditional sense in a Taziyeh.  There are only men who "represent" their character.  There are no "lines", rather the participants "recite" the verses written in their scripts, which they carry with them throughout the presentation and read aloud from.  They must read from this script to maintain immediacy and spiritual truth and there is no deviation or interpretation of the lines or the role.  The actor's do not "get into" the role so there is never a concern about "falling out of character". The performers must always maintain distance from their characters- they are not actors so much as narrators.

There is a main narrator who is allowed to move the action along, or stop it altogether and offer clarification or perhaps a prayer- this is the Ostad.  The Ostad also gives an overview of the performance as a prelude.  The overview is not really neccessary since everyone already knows the story and there is no deviation from it.

There is no characater development and none is expected- all know who is "good" and who is "evil", the participants might even announce their characters "character".   Likewise, nothing new should be introduced into the play- the audience must never be surprised, alarmed or repelled.  There are elements of story-telling in the plays, the participants might stomp their feet or clap to emphasize a certain point.

The actor does have the freedom to move around- he (always a "he") can walk around, move to a new location, even climb onto a roof if that seems appropriate.  They can portray darkness or light by pantomiming groping in the dark or squinting into the sunlight.  They can also talk freely to the audience in their "true form" since they are never "in character" to begin with!

The Iranian Passion Play does appear to be full of passion, and it certainly entertains its audience but it is a watered down version of a "play" since the actors have limited ability- or even desire- to develop their characters or to change their performances in any way. However, this is what is expected and this is what the audience comes to see so it would be unfair to judge this performance by the norms of typical Western performances.  If the audience is happy, these plays are obviously successful in achieving their goal.

Angela Thurman

http://youtu.be/8aKAPL9Fkz4  Check out this You Tube video of a Taziyeh!

Presentational Elements in Passion Plays

List presentational elements of the Iranian Taziyeh. Why does this performance format rely so heavily on non-realistic techniques?

Iranian passion plays’ primary purpose is rooted in the Islamic faith. The play is meant to honor the death of Imam Hussein and his family, and is an emotional and spiritual experience for both the audience and the performers. Because the purpose of the performance is religious and not simply for entertainment, the performances do not need to be realistic in order to be effective in their purposes. The plays include many symbolic and presentational elements to convey the story. The actors dress in elaborate costumes with symbolic colors that indicate to the audience the type of character each actor portrays. Props are also symbolic. A chair used to symbolize a hill, for example, is unrealistic; however, the realism of the actual performance is not important in Taziyeh. So little emphasis is placed on realism that the performers often break character in order to wave to a family member in the crowd and even hold their scripts in hand while performing. Actors typically maintain a great distance between themselves and the characters they portray in the plays, and it does not affect the audience’s experience at the performance. Since the performance depicts a religious story that the audience and performers know well, the performance does not require realistic performance techniques or convincing acting. The performance is about the experience of witnessing the familiar religious story, not just about entertainment for the audience. Although I cannot think of any parallels in our culture off hand, this seems to be the case for any kind of reenactment performance. The purpose is for the audience to feel the emotional connection to the events portrayed rather than entertainment. 

- Jenna Barclay

Iranian Passion Plays

Q3: How do performance conventions of the Taziyeh reflect or contradict Islamic principles of truth or truthfulness?

     The source of the plays lie not in fact but in the Islamic faith. Taziyeh can be used as a vehicle of education and enlightenment. The writers, however do not have any interest in the historical research and have never been constrained to tell a true story. Thus, it has no value at all as historical evidence. The theme of Taziyeh is a confrontation between good and evil. Taziyeh as a religious play includes a collection of stories dedicated to religious acts. The patterns exists in a uniform way through the saints and devils of confrontation. The Taziyeh has been defined as both a passion play and an indigenous drama. It's traditional function as a religious observance is clear. However, there are aspects which some find unacceptable in this respect. The play entails violent actions, gashing oneself with knives, pricking the arms and cheeks with needles, and various other violent acts. These are all common among some of the demonstrators of Ashura. These were strictly prohibited immediately following a constitutional change. Taziyeh manuscripts and the manner in which the performances are carried out, require careful reconsideration. If this form is to continue to fulfill its role as a didactic drama by seeking to reinforce ideological morality in religion and politics, than the play should modify the violent contradictions within the play.

Submitted by Jenna Quinn