Results by title

The helmet-shaped mapiko masks of Mozam­bique have garnered admiration from African art scholars and collectors alike, due to their striking aesthetics and their grotesque allure. This book restores to mapiko its historic and artistic context, charting in detail the transformations of this masquerading tradition throughout the twentieth century.

Based on field research spanning seven years, this study shows how mapiko has undergone continuous reinvention by visionary individuals, has diversified into genres with broad generational appeal, and has enacted historical events and political engagements. This dense history of creativity and change has been sustained by a culture of competition deeply ingrained within the logic of ritual itself. The desire to outshine rivals on the dance ground drives performers to search for the new, the astonishing, and the topical. It is this spirit of rivalry and one-upmanship that keeps mapiko attuned to the times that it traverses.

In Step with the Times is illustrated with vibrant photographs of mapiko masks and performances. It marks the most radical attempt to date to historicize an African performative tradition.

While King Carlos I of Spain struggled to suppress the Protestant Reformation in the Old World, the Spanish turned to New Spain to promote the Catholic cause, unimpeded by the presence of the “false” Old World religions. To this end, Osowski writes, the Spanish “saw indigenous people as necessary protagonists in the anticipated triumph of the faith.” As the conversion of the indigenous people of Mexico proceeded in earnest, Catholic ritual became the medium through which indigenous leaders and Spaniards negotiated colonial hegemony.

Indigenous Miracles is about how the Nahua elite of central Mexico secured political legitimacy through the administration of public rituals centered on miraculous images of Christ the King. Osowski argues that these images were adopted as community symbols and furthermore allowed Nahua leaders to “represent their own kingship,” protecting their claims to legitimacy. This legitimacy allowed them to act collectively to prevent the loss of many aspects of their culture. Osowski demonstrates how a shared religion admitted the possibility of indigenous agency and new ethnic identities.

Consulting both Nahuatl and Spanish sources, Osowski strives to fill a gap in the history of the Nahuas from 1760 to 1810, a momentous time when previously sanctioned religious practices were condemned by the viceroys and archbishops of the Bourbon royal dynasty. His approach synthesizes ethnohistory and institutional history to create a fascinating account of how and why the Nahuas protected the practices and symbols they had appropriated under Hapsburg rule. Ultimately, Osowski’s account contributes to our understanding of the ways in which indigenous agency was negotiated in colonial Mexico.

In Inka Bodies and the Body of Christ Carolyn Dean investigates the multiple meanings of the Roman Catholic feast of Corpus Christi as it was performed in the Andean city of Cuzco after the Spanish conquest. By concentrating on the era’s paintings and its historical archives, Dean explores how the festival celebrated the victory of the Christian God over sin and death, the triumph of Christian orthodoxy over the imperial Inka patron (the Sun), and Spain’s conquest of Peruvian society.
As Dean clearly illustrates, the central rite of the festival—the taking of the Eucharist—symbolized both the acceptance of Christ and the power of the colonizers over the colonized. The most remarkable of Andean celebrants were those who appeared costumed as the vanquished Inka kings of Peru’s pagan past. Despite the subjugation of the indigenous population, Dean shows how these and other Andean nobles used the occasion of Corpus Christi as an opportunity to construct new identities through tinkuy, a native term used to describe the conjoining of opposites. By mediating the chasms between the Andean region and Europe, pagans and Christians, and the past and the present, these Andean elites negotiated a new sense of themselves. Dean moves beyond the colonial period to examine how these hybrid forms of Inka identity are still evident in the festive life of modern Cuzco.
Inka Bodies and the Body of Christ offers the first in-depth analysis of the culture and paintings of colonial Cuzco. This volume will be welcomed by historians of Peruvian culture, art, and politics. It will also interest those engaged in performance studies, religion, and postcolonial and Latin American studies.