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Popol Wujis considered one of the oldest books in the Americas. Various elements of Popol Wuj have appeared in different written forms over the last two millennia and several parts of Popol Wuj likely coalesced in hieroglyphic book form a few centuries before contact with Europeans. Popol Wuj offers a unique interpretation of the Maya world and ways of being from a Maya perspective. However, that perspective is often occluded since the extant Popol Wuj is likely a copy of a copy of a precontact Indigenous text that has been translated many times since the fifteenth century.

Reading Popol Wujoffers readers a path to look beyond Western constructions of literature to engage with this text through the philosophical foundation of Maya thought and culture. This guide deconstructs various translations to ask readers to break out of the colonial mold in approaching this seminal Maya text.

Popol Wuj, or Popol Vuh, in its modern form, can be divided thematically into three parts: cosmogony (the formation of the world), tales of the beings who inhabited the Earth before the coming of people, and chronicles of different ethnic Maya groups in the Guatemala area. Examining thirteen translations of the K’iche’ text, Henne offers a decolonial framework to read between what translations offer via specific practice exercises for reading, studying, and teaching. Each chapter provides a close reading and analysis of a different critical scene based on a comparison of several translations (English and Spanish) of a key K’iche’ word or phrase in order to uncover important philosophical elements of Maya worldviews that resist precise expression in Indo-European languages.

Charts and passages are frontloaded in each chapter so the reader engages in the comparative process before reading any leading arguments. This approach challenges traditional Western reading practices and enables scholars and students to read Popol Wuj—and other Indigenous texts—from within the worldview that created them.

Tracing identity, law, and legacy in an inheritance dispute that reveals the intersection of two cultural and legal systems: Creek Indian and Euro-American.

In 1846, in the Chancery Court of Mobile, Alabama, William “Red Eagle” Weatherford’s son, by the Indian woman Supalamy, sued his half siblings fathered by Weatherford with two other Creek women, Polly Moniac and Mary Stiggins, for a greater share of Weatherford’s estate. While the court recognized William Jr. as the son of William Sr., he nevertheless lost his petition for inheritance due to the lack of legal evidence concerning the marriage of his biological mother to William Sr. The case, which went to the Alabama Supreme Court in 1851, provides a record of an attempt to interrelate and, perhaps, manipulate differences in cultures as they played out within the ritualized, arcane world of antebellum Alabama jurisprudence.

Although the case has value in the classic mold of salvage ethnography of Creek Indian culture, Red Eagle’s Children, edited by J. Anthony Paredes and Judith Knight, shows that its more enduring value lies in being a source for historical ethnography—that is, for anthropological analyses of cultural dynamics of the past events that complement the narratives of professional historians.
 

CONTRIBUTORS: David I. Durham / Robbie Ethridge / Judith Knight / J. Anthony Paredes / Paul M. Pruitt Jr. / Nina Gail Thrower / Robert Thrower / Gregory A. Waselkov
 

An examination of anticolonial thought and practice across key Indigenous thinkers.

Accounts of decolonization routinely neglect Indigenous societies, yet Native communities have made unique contributions to anticolonial thought and activism. Remapping Sovereignty examines how twentieth-century Indigenous activists in North America debated questions of decolonization and self-determination, developing distinctive conceptual approaches that both resonate with and reformulate key strands in other civil rights and global decolonization movements. In contrast to decolonization projects that envisioned liberation through state sovereignty, Indigenous theorists emphasized the self-determination of peoples against sovereign state supremacy and articulated a visionary politics of decolonization as earthmaking. Temin traces the interplay between anticolonial thought and practice across key thinkers, interweaving history and textual analysis. He shows how these insights broaden the political and intellectual horizons open to us today.

The South American nation of Colombia has experienced decades of violence involving state, guerrilla, and paramilitary actors, resulting in profound and enduring consequences. Scholars have examined both the violent events and the subsequent truth and reconciliation initiatives addressing this complex history. Pilar Riaño-Alcalá introduces a novel perspective by integrating Black, Indigenous, and memory studies in her analysis of two significant sites of mass violence: Bahia Portete, a Wayuu Indigenous territory in Upper Guajira, and Bojayá, a Black and Embera Indigenous territory in Chocó. By recognizing nonhuman and nonliving community members as actants and foregrounding Indigenous and Black ontologies in collective remembrance, Riaño-Alcalá reveals the processes through which these communities engage in social repair. She demonstrates how they interpret, restore, sustain, and reimagine their identities amid ongoing challenges posed by war and racial capitalism. This work advances scholarship in human rights studies, memory studies, Indigenous studies, Latin American studies, and the anthropology of social repair, offering significant new insights into a well-examined historical context.

Employed on Good Friday, the texts provided mute actors with roles and props with which to reenact the removal of Christ from his cross, his placement into the arms of his grieving mother, and his burial—his Deposition. Through rare translations, vivid historical accounts, and rich cultural insight, the book uncovers how these ceremonies moved audiences to tears, shaped local Catholicisms, and still have the power to stir hearts today.

Such theatrical reenactments were common among Nahuas and Mayas during the colonial period only to become largely overlooked by the scholarly literature on religion. The texts examined here provide not only examples of performances but also insight into how translation altered their content and meaning. More than simply plays or sermons, these hybrid performances  merged European tradition with Nahua and Maya storytelling, creating unforgettable moments of faith, grief, and beauty. Familiarized through local worldviews, concerns, preferences, and language, these texts provide additional and important insights into myriad issues including those of gender, agency, and how Christianity adapted its message of the Deposition to accommodate Indigenous audiences of different cultures. Christensen also mines the deep well of existing European literature on the subject to clearly distinguish the aspects derived from the Old World from those from the New.

The first book examining how the Aztec and Maya were taught about and engaged in the Deposition, Removing Christ from the Cross exposes the colonial origins of modern Latin American commemorations, showing the past clearly reflected in the present and making a significant contribution to the literature on the evangelization of New Spain. This is more than history—it is the rediscovery of performances that connected worlds.

In August 1812, under threat from the Potawatomi, Captain Nathan Heald began the evacuation of ninety-four people from the isolated outpost of Fort Dearborn to Fort Wayne. The group included several dozen soldiers, as well as nine women and eighteen children. After traveling only a mile and a half, they were attacked by five hundred Potawatomi warriors. In under an hour, fifty-two members of Heald’s party were killed, and the rest were taken prisoner; the Potawatomi then burned Fort Dearborn before returning to their villages.

A landmark study of Native American rock art from Atlantic Canada to Chesapeake Bay.

Rock art, petroglyphs, and pictographs have been made by indigenous peoples for thousands of years. Images have been found on bedrock, cliff faces, ridge tops, and boulders and in rock shelters. Some rock surfaces are covered with abstract and geometric designs such as concentric circles, zigzag lines, grids, and cross-hatched and ladder-like patterns. Others depict humans, footprints and handprints, mammals, serpents, and mythic creatures. All were meticulously pecked, incised or painted. This ancient art form connects us to Native Americans’ past, traditions, world views, and sacred places.

Rock Art in an Indigenous Landscape: From Atlantic Canada to Chesapeake Bay is the culmination of the research of preeminent rock art scholar Edward J. Lenik. Here, he profiles more than 64 examples of rock art in varied locations from Nova Scotia to Maryland. Chapters are organized geographically and lead the reader through coastal sites, rivers and streams, lakes and ponds, and upland sites.

Lenik discusses the rock art examples in the context of the indigenous landscape, noting the significance of the place of discovery. Coverage includes a meticulous description of the design or motif and suggestions of time frame, artist-makers, and interpretations. Where possible, indigenous views on the artifacts enrich the narrative. Other invaluable elements are a discussion of how to identify indigenous rock art; a glossary of rock art terms and features and archaeological culture periods; an up-to-date bibliography; and an appendix of a number of reported but unconfirmed petroglyph sites in the regions.