Download PDF Becoming an Ancestor: The Isthmus Zapotec Way of Death

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A striking look at the death rituals of an indigenous community in North America. Powerful and beautifully written, this is the story of the Isthmus Zapotecs of southern Mexico and their unbroken chain of ancestors and collective memory over the generations.

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Mortuary beliefs and actions are collective and pervasive in ways not seen in the United States, a resonant deep structure across many domains of Zapotec culture. Focusing especially on the lives of Zapotec women, Becoming an Ancestor highlights the aesthetic sensibility and durability of mortuary traditions in the past and present. An intricate blending of Roman Catholicism and indigenous spiritual tradition, death through beliefs and practices expresses a collective solidarity that connects families, binds the living and dead, and blurs the past and present.

A model of ethnographic research and presentation, Becoming an Ancestor not only reveals the luminescent heart of Zapotec culture but also provides important clues about the cultural power and potential of mortuary traditions for all societies.


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See All Customer Reviews. The writers speak out of and to their own cultures but also to a world that does not know them. Most have been honored with national and international prizes for their literary production. Their work is known to those specialists who work in one or more of the indigenous languages of Mexico or who have read them in Spanish translations.

This is the first effort with which I am familiar to make this literature available in trilingual editions—indigenous language-Spanish-English. The volumes are a result of a collaboration across borders between the two editors, Carlos Montemayor, a distinguished Mexican writer and observer of Mexican cultures, and Donald Frischmann, Professor of Spanish and Latin American Studies with appointments both in the United States and Mexico. It is also, in a very important sense, a collaboration between them and the indigenous writers represented here.

Editors spent time with poets and dramatists, each coming to know and respect the other.

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This deep mutual knowledge made possible the beauty and depth of the poetry and plays in all of the languages. Careful footnotes present the reader with subtle details of choices—choices of words made by the indigenous writers, choices of translations made by the translators, and, as with all creative writing, the choice of words that are filled with condensed meanings. Part I of the poem describes a scene reenacted in many Juchiteco homes in the nine days around the Day of the Dead and All Souls.

The notes provide that background so that the reader without specialist knowledge can appreciate the depth of the poem and the vividness of the images. Similarly, the notes for each of the plays in volume three provide explanations of linguistic play that allows the reader to appreciate the double entendre and bilingual punning that illustrates the confrontation between Mayas and Spanish-speakers.

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The rich historical background in the notes gives us the context in which to draw the very subtle and complicated meanings that arise from the weaving of history, tradition, and language. The front material gives the reader valuable information in knowledgeable and carefully crafted essays that appear in both Spanish and English. The first essay in each of the two volumes provides all the necessary background about the languages and their alphabets, including the number of speakers.

The information about the alphabets of all the languages in the volume, especially the references to the groups responsible for the official versions, would be difficult for the specialist in any one of the indigenous languages to accumulate.

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Having it here in one place is an excellent reference tool as it stands or as a guide for further research. He then discusses the peculiar challenges presented by indigenous languages such as unequal vowel length, tonal pitch, and glottal stops all of which make for a rich auditory experience quite apart from any poetic conventions of sound, pause, and phrasing. He illustrates the powerful effect that these indigenous characteristics can have with examples drawn from specific instances of the languages and poets in this volume.

The discussion about the Spanish translations is extremely helpful both in terms of the process itself and the individual choices to change the meaning from one language to the other. He writes thorough and insightful mini-histories of the indigenous writers for each group.

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His analysis of indigenous Isthmus Zapotec writers is impeccable and allows him to situate each of the three poets in the cultural and historical context. With this background, the reader can see why particular poets, out of many others, were chosen for inclusion. My own area of specialization is the Isthmus Zapotec language and culture but I found this essay invaluable for understanding both the specific histories of the other languages as well as the trajectory of indigenous language literary production in general. However, with the onset of globalized industry and Mexico's transition from an agricultural economy to one revolving around services and manufacturing, the ideas about women and work have been shifting dramatically.

Women now see a way that they can participate in the market economy to make extra money for their families, and still are able to maintain the additional work they do at home which has no monetary value. As men are migrating for other, mostly industrial, work opportunities and agrarian work is decreasing, women have come to dominate the textile industry, which caters mainly to tourists. Weaving and factory life has become a way of life for many Zapotec women in Oaxaca.

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The industry has had a significant impact on the wage-earning opportunity of Zapotec women. Workers in Teotitlan's textile industry employ a variety of strategies and systems of production [from] piecework production As women are increasingly working and involved in the market because of their contribution to the industry, the role they have in society is changing in relation to other aspects of their lives.

The merchant has come to symbolize a higher class status than the worker because they are the individuals who essentially control the market. For Zapotec communities, occupations are divided by gender. Furthermore, even though the manufacturing industry has been thriving on a global scale, because of the gender separation of labor, there is a lower value placed on the work. Local industry is not seen as a glorious business in the Zapotec community because it is essentially controlled by women. Teotiteco industrial exports, such as textiles, clothing and manufactured goods such as electronics and white goods , are being absorbed into the U.

The women are producing goods which are being bought and sold not only in Mexico, but also in the United States and the rest of the world. In the central valleys of Oaxaca , the Zapotec villages often have a specific craft associated with them. In those villages, most of the people of that village will be makers of that particular product.

In San Bartolo Coyotepec , they are known for their black pottery. Although there are very specifically defined gender roles regarding industrial production, it varies by city and by technique. In larger cities, such as Oaxaca , where the industry is based around more expensive goods, such as automotive production or electronics manufacturing, men typically command factories and are engineers and directors, while women are usually in the lower positions of line workers and assistants.

In villages such as San Bartolo Yautepec , where back-strap weaving is done, the weaving is done by women. These are usually lightweight fabrics used for table runners, purses and smaller items. Women's contributions are becoming greater and many women have a certain degree of independence and autonomy through their income from weaving.

But feeding, clothing and taking care of the family is usually their primary responsibility. In Mitla , fly shuttle weaving, of light-weight, but large-scale, fabrics are also more often done by men than by women, probably because of the physical effort required. Mann, James Saumarez In Chisholm, Hugh ed.

Cambridge University Press.


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