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To browse Academia. This dissertation examines theater's capacity to communicate Maya ontologies and nurture cultural-political imaginaries among rural Mayas engaged in decolonization politics. This rural grassroots movement of farmers and schoolteachers, which I call Tejido Social Social Fabric , demonstrated an enormous capacity for mobilization around a range of issues including recovering ancestral land, expelling a military base, building a bilingual Kaqchikel community school, and revitalizing the practice of Maya customary law and governance.
Beginning in , a local political party sought to incorporate the Tejido Social movement, at times using tactics of intimidation and violence. In , children of Tejido Social leaders, curious about aspects of Maya culture and ontology that had been repressed by genocide and colonization, took another approach.
Through an ethnography of rehearsals, theater productions, and audience responses to the theater group Sotz'il, I analyze what Sotz'il's theater performances do for performers and audiences. Extending Hirschkind's concept of "ethical soundscapes," I contend that Sotz'il shapes Maya worlds through theater.
This research finds that Sotz'il's theater performances evoke sensory memories of Maya ontology and lifeways. Sotz'il's project, however, stands in tension with the maintenance of the village networks that are central to Indigenous communities' mobilizing power, leaving open questions about its future amidst repression. By exploring this tension I seek to rethink subaltern politics more generally, beyond social movements as a political formation, to conceptualize processes through which subaltern peoples internalize and emotionally attach to - and then mobilize around - identity-based causes and values.
