Heb’ Kab’nal
The Lacandones

A Q'anjob'al Maya story

Ay jun ab’ix chiyal intxutx yet heb’ jichmam tzet maxyun pitz’oj heb’ a heb’ anima yet payxa. K’am chi pitzk’oj heb’ yuj no’ tiltik chijayi chi chiontoq no’ chiyab’en no’ b’ay chiajteq heb’ unin okoq. Maxb’et chalayayteq a no’ chib’et chaonayteq. Chi pitzk’oj jun jun unin chi chionaytoq no’ k’am chipitzk’oj heb’ anima. Axa P’elixh maxnaoni tzet oq-yun pitzk’oj heb’ anima kaq ti’ ta kak’alti’. Maxpitzk’oj heb’ maxsayon rason. Maxb’et sayonteq te’ q’olal taj maxtoj b’ay nanlaq ak’al. Maxb’et chikon chib’ej. Maxyab’en no’ tiltik tu’ jab’ chib’ej tu’ maxayk’ay no’ kaq chiyun yayk’ay no’ ostok. Maxb’et maxayk’ay no’. Chikon P’elixh tu’ te’ q’olal taj tu’. "Echinb’el wuxhtaq oqachlowoq ti’ chiwat’nej alob’ej." Maxyi’onaj te’ q’olal taj tu’ lanan yuqi te’ maxq’anwontoq yul nuq’ no’ tiltik tu’ kax chikamel no’. A b’ay chib’etek’ jun junel chib’et ya’kan kam, otaqk’on waqtaqk’on lajlajonk’on tiltik. Kay tu’ maxyun kami. Kay tu’ maxyun pitzk’ojkan heb’. Axkatu k’amxa maqtxel oqchiontoq heb’ kax maxpitzk’ojkan heb’. Axkatu maxyun pitzk’ojkan heb’ anima yet antiwo ley yet heb’ jichmam.

There is a story my mother tells about our ancestors, how it happened they grew [progressed] those people from long ago. They do not progress because of the lacandon. They [the lacandones] come, they eat, they hear where they [children] go up, the children enter [the steambath]. [And they] go to receive, those animals go receiving to themselves. Each child is born, the animal eats him up, the people do not progress. And so Vírvez [P’elixh] was thinking: How will it happen the people grow, thus if it is [to be] they grow [and he] looked for a way. He went looking for pine resin, he went in among the valleys. He went to cook meat. Those lacandon smelled the meat [and] they fell as it happens the buzzard falls. They went, they fell down. That Vírvez was cooking that pine tree sap. "Wait, my brother, you will eat, here I am preparing your meal." And he raised up that pine tree resin—it was boiling—[and he] threw it down the throats of those lacandones and they died. There he went by every time he went to leave them dead—five, six, ten animal lacandones. Thus it happened that they died. Thus it happened the people continued to grow. Thus no more will anyone eat them up and they progressed. So it happened the people grew in the old law of our ancestors.

This story is about a group of Ch'ol-speaking Maya people called the Lacandon, or Lacandones, who were never conquered by the Europeans and who were apparently not on good terms with the Q'anjob'al at this point in history. Note that the story-teller (see below) uses the term no' tiltik for the Lacandon, instead of the usual Q'anjob'al term naq kab'nal. The no'(1) is a classifier for animals (most Q'anjob'al nouns take some type of classifier usually translated 'the' in English), and the tiltik was described by informants as an inhuman, vampire-like creature with deep red eyes and long black clothes over a skeleton. There is one occurrence of lajlajonk'on tiltik, with lajlajon (ten) and k'on the numerical version of the no' classifier for animals. The word naq is a human classifier used with kab'nal, the actual term for the Lacandon, but her repeated use of no' tiltik seems to indicate her equation of them with something less than human probably due to their behavior.

Note the Spanish borrowings: anima (borrowed into most Mayan languages and in Q'anjob'al means 'person' or 'people'), rason (razón, reason), antiwo (antiguo, old), and ley (law).

This story was told by Eulalia Garcia M., a native speaker of Q'anjob'al, as it appears in an International Journal of American Linguistics (IJAL) article of 1980 by Laura Martin.

The article's English translation is not too smooth, but it gets the basic idea across.

(1) In Q'anjob'al, you cannot simply say "I have a dog" or "There is a house." You must use the appropriate classifiers for dog or house: Ay jun no' hintx'i' (exists-one-[animal]-my-dog) or Ay jun te' na (exists-one-[wood]-house; te' the classifier for houses, wooden objects, etc.). There is no verb 'to have' in Q'anjob'al.

A real Yukatek Maya perspective on the movie Apocalypto

I especially liked his ending sentence:

"Perhaps Gibson could make a movie showing how the Mayas still are suffering discrimination, even to the point of being cheated out of our lands and displaced, because of the ships he showed arriving as the finale of 'Apocalypto.'"

Not to mention his remarks on the Yukatek language as spoken by non-Maya actors!

Who were the Maya?

Not the people in 'Apocalypto'

By PATRICIO G. BALONA
Staff Writer

The Mayas were savages and needed to be straightened out.

That is the message Mel Gibson's movie "Apocalypto" conveyed to me when it contrasted savage bloodthirsty pagans meeting with arriving Europeans carrying the symbol of the cross.
But we are not savages.

Spanish invaders who arrived among the Maya in the 16th century depicted natives as barbaric people dedicated to devil worship in order to justify brutality and conquest. We all know native peoples didn't fare well under Christianity; some cultures were completely lost. Coincidentally, Christianity is the foundation of Gibson's belief and spirituality.

But a more serious massacre -- that of the Yukatek language -- begins early in the movie. The non-Maya actors of North American Indian heritage pronouncing their rehearsed Yukatek lines sounded like Hollywood Western stereotypes saying: "How! Me Tonto, this Painted Horse."
Although I was born a Yukatek Maya and raised in a Yukatek village, speaking Yukatek as the first of four languages I know, I had to glance at the subtitles to figure out what the actors were trying to say.

It was slightly refreshing that Gibson cast an elder, a storyteller, who spoke the language without pauses, with such musical flow and accuracy that for a moment I thought I was in my village listening to my own elders. But, sad to say, the only other significant part in the movie where the power of the Yukatek language was genuinely demonstrated is when the tiny village girl talks about the prophecy of the jaguar ending the evil and vile ways of the devil people.

The film is full of violence, floods of blood, throat-slitting, beheadings, heads rolling down the steps of temples and hearts being wrenched out of gaping holes in upper abdomens.

I had to turn to my friend, Robert Sitler, a Latin American studies professor at Stetson University, to ask for his reaction.

"Sadly, 'Apocalypto' will leave mainstream American moviegoers seeing Maya as heartless savages," Sitler said after the movie. He said the movie "unwittingly reinforces a long-standing tradition of virulent racism against the Maya among white Europeans and their Spanish-speaking descendents."

The film falls short of Gibson's intention -- which, remotely, appears to be telling the story of Jaguar Paw, the hero played by Rudy Youngblood, and the prophecy of his rise to power. The film fails for two reasons.

First, Gibson bogs down the plot with his craze for blood and death. Second, just as Jaguar Paw appears to be achieving success, he runs into ships anchored in the bay with boats rowing ashore carrying grim-faced conquistadors bearing the symbols of the cross.

I am not certain which Jaguar Paw Gibson tried to portray in his movie. There were several famous Jaguar Paws in Maya hieroglyphics, including one who became king of the great Maya city of Calakmul in 686 and was long gone when the Spaniards arrived 806 years later. There were no glorious Maya cities, simply small communities scattered throughout the Maya world.
And Mr. Gibson, that world is not only Guatemala, Mexico and Honduras, as you defined it in promoting your movie. It also includes what is now Belize and El Salvador.

Unlike the sadistic and violent caricatures of Maya in "Apocalypto," real Maya intensely nurture their children and honor both their elders and ancestors, embracing human mortality in the context of a cultural heritage going back more than a hundred generations.

My only hope is that moviegoers would take the movie as a misleading and distorted Hollywood drama designed to entertain.

Perhaps Gibson could make a movie showing how the Mayas still are suffering discrimination, even to the point of being cheated out of our lands and displaced, because of the ships he showed arriving as the finale of "Apocalypto."

Makahiki Hou

I was looking through some of my old notes and handouts from when I took a Hawaiian class a few years ago and came across some seasonally appropriate material:

Makahiki is the traditional Hawaiian version of New Year. The Makahiki season begins with the first sighting of the constellation Pleiades, Makali’i, in late October or November and ends about four months later with the rising of the fourth new moon. It is the time when the god Lono-i-ka-makahiki reigns over the ancient god of war Kū, and the people enjoy peace and harmony. It is also the time for tax collection, thanksgiving, and feasting. There are various rites of purification and celebrations during the Makahiki season.

Once the Makahiki season ends, Lono(1) returns to Kahiki (Tahiti) and the time of Kū begins again, which is symbolic of the ali’i (chief) reasserting his power and imposing kapu (taboo) to be observed for the rest of the year.

Here is an ancient chant from the Makahiki season:

Nā ‘Aumākua

Nā ‘Aumākua mai ka lā hiki a ka lā ‘ākau
Mai ka ho’okui a ka hālawai
Nā ‘Aumākua ia Kahinakua ia Kahina’alo
Ia ka ‘ākau i ka lani
O kīhā i ka lani, ‘owē i ka lani
Nunulu i ka lani, kāholo i ka lani
Eia ka pulapula a ‘oukou, nā po’e o ka Pakipika
E mālama ‘oukou ia mākou
E ulu i ka lani, e ulu i ka honua, e ulu i ka pae ‘āina o ka Pakipika
E homai ka ‘ike
E homai ka ‘ikaika
E homai ka ‘akamai
E homai ka maopopo pono
E homai ka ‘ike pāpālua
E homai ka mana
‘Āmama ua noa.

To the ancestral deities from the rising to the setting sun
From the zenith to the horizon
The ancestral deities who stand at our back and at our front
You who stand at the right side
A breathing in the heavens
An utterance in the heavens
Here are your descendants, the people of the Pacific(2)
Safeguard us
That we may flourish in the heavens
That we may flourish on the earth
That we may flourish on the islands of the Pacific
Grant us knowledge
Grant us strength
Grant us intelligence
Grant us the understanding
Grant us the spiritual insight
Grant us the power.
The prayer is lifted, it is free.(3)

The translation of the chant above is not my own, and as I was thumbing through the dictionary to find some unfamiliar words, it seems some poetic liberties were taken by the translator. For instance, although kīhā is translated as 'breathing' by this translator, the only dictionary entry I found defines it as 'belch.' A belch in the heavens?! Well, I guess breathing sounds better than belching, so I'll go along with this more poetic translation!

1. Lono is one of the four ancient gods brought from Tahiti and is associated with peace, fertility, and agriculture, the clustering of dark clouds, thunder, whirlwinds, waterspouts, earthquakes, and the Kona rain. This same god is known as Rongo on Rapanui (Easter Island; Hawaiian l = Rapanui and Tahitian r) and is the namesake of the Rongorongo hieroglyphic script of that island, which has not been deciphered.
2. I suspect this is altered from the traditional chant, since Pakipika for 'Pacific' was obviously borrowed from English in post-missionary times. Perhaps the original was simply moana or kai, 'ocean' or 'sea.'
3. This is a pre-missionary, or pre-Christian, ending of a traditional prayer.

Hau'oli Makahiki Hou! Happy New Year!

Native Language Bill Signed Into Law

Finally, some good news from the pen of the president. This bill was signed into law on December 14. I hope it hails a new era in indigenous language preservation and revitalization!

"This innovative and timely legislation helps stem an impending tragedy for our nation; the rapid decline and potential loss of Native American languages" -- Rep. Steve Pearce

WASHINGTON - The New Mexico Congressional Delegation today announced that President Bush has signed into law the Esther Martinez Native Languages Preservation Act. The new law helps prevent the loss of an important part of New Mexico's heritage, the Native American languages that are rapidly disappearing.

The bill, written and introduced by Congresswoman Heather Wilson in February, was passed by the House in September and the Senate earlier this month with the support of the entire New Mexico delegation. "These languages will be preserved with attention and effort. Once lost, they will never be recovered," Wilson said. "The native languages were precious to Esther Martinez, and this bill is designed to help preserve them. It is a fitting tribute to her life's work." "This bill is a tremendous way to honor the memory of Esther Martinez. It aims to preserve the unique linguistic heritage of Native Americans, and I'm pleased to see it become law," said U.S. Senator Pete Domenici, who worked to ensure passage in the Senate. "For many years, tribes were discouraged from speaking their native languages and now many languages have disappeared."

This legislation will help ensure native languages are preserved, and passed on to future generations," U.S. Senator Jeff Bingaman said. "Considering Esther's dedication to preserving her native language, it is a fitting tribute that this legislation be named after her," said Rep. Tom Udall. "The urgent need to protect and preserve Native American languages is clear. We must invest in their preservation by implementing immersion programs. This legislation is an important step toward reversing the trend of disappearing native languages. I would like to congratulate Congresswoman Wilson on this legislation being signed into law, and thank her for her efforts on this important issue." "This innovative and timely legislation helps stem an impending tragedy for our nation; the rapid decline and potential loss of Native American languages," said Rep. Steve Pearce, also a co-sponsor of the legislation. "I commend Rep. Wilson for her leadership in reconnecting younger generations of Native Americans to the language and culture of their ancestors while preserving an irreplaceable treasure for every American."

The bill was designated in honor of Esther Martinez of New Mexico, following her death in September. On September 14, Esther Martinez of Ohkay Owingeh was awarded a National Heritage Fellowship in Washington, DC. She died at 94 years of age in Espanola en route home after attending a ceremony at the National Endowment for the Arts.

Sadly, only an estimated 20 of more than 300 pre-colonial indigenous languages will remain by the year 2050. In 1996, 175 of these languages remained, but now we're losing them at a rate of 12 languages every 3 years. New Mexico is home to 19 different pueblos and 3 tribes. Among the tribes and pueblos, there are six major languages, plus varying dialects. Language is a key element of each community's identity. A recent survey of Native languages found that among the Lipan Apache on the Mescalero reservation in southern New Mexico there are just ten speakers of the native language remaining. At the Sandia Pueblo, north of Albuquerque, most of their Native speakers are middle aged or older. Even Navajo, spoken more than any other Native Language in the U.S., is spoken fluently by less than half of the Navajo children entering kindergarten.

The bill authorizes competitive grants through the U.S. Department of Health and Human Services to establish Native American language "nests" for students under the age of seven and their families. It supports Native American language survival schools. It will help to preserve all the indigenous languages that are still being spoken, and increase the support for Native American language immersion programs to create fluent speakers, and allow tribes and pueblos to develop their own immersion programs.

Is 1491 a more accurate version of American history prior to the arrival of Columbus?

If any of you who are interested in American history before the cataclysmic arrival of Columbus in 1492 hasn’t already done so, I’d highly suggest reading 1491 by Charles Mann. It is a thought-provoking book based on up-to-date anthropological and archeological evidence of what the Americas really looked like before the European arrival and the mass assault on the indigenous peoples who welcomed him began.

In what little free time I have these days, I’ve been reading a couple of articles* about Poverty Point**, an archeological site in northeastern Louisiana. I’d heard of Cahokia in western Illinois (in what’s now East St. Louis) and Aztalan in Wisconsin, but I hadn’t heard of this massive site in Louisiana until now.

The site was first reported in 1873 by archeologist Samuel Lockett. But its unusual nature didn’t become evident until excavations were conducted by the American Museum of Natural History in the 1950s. An examination of an aerial photograph revealed that Poverty Point was an earthen enclosure built on such a huge scale that it couldn’t be recognized from the ground.

Carbon dating has placed the age of the main site at about 1700 BC. Villages apparently interconnected by waterways branching off the Mississippi River are thought to have contained permanent residences and these sites often contained artificial earthen mounds and C-shaped embankments which likely contained the houses of the residents. (The only house pattern so far discovered is small and circular, about 13-15 feet or 4-4.6 m in diameter.) Mounds were often dome-shaped, but at least two mounds at the main Poverty Point site were in the shape of flying birds. Excavations have not determined how the mounds were used.

The geometric layout of Poverty Point suggests that the site was built according to a master plan that indicates the home of a large resident population and a magnet for visitors and traders. In addition to the concentric C-shaped residential embankments, Poverty Point contains a large plaza, a flat open area of about 37 acres. On one side of the plaza some unusually large and deep pits were discovered that are thought to have contained huge posts as calendar markers to mark equinoxes and solstices.

There are several mounds, the largest of which represents a flying bird and stands 70 feet (21 m) high. While the majority of Poverty Point’s inhabitants lived on the embankments in the central enclosure, there’s evidence that people also lived and worked outside the enclosure perhaps as much as up to 25 miles distant.

Among the artifacts so far discovered at the site are simple pottery, stone vessels, and chipped stone and polished stone tools. Polished stone ornaments such as beads, pendants, and animal figurines are also characteristic. Among the more interesting of the artifacts are balls made from silt fashioned in dozens of different styles that were used for cooking. Archeologists have tried cooking in earth ovens made like those at Poverty Point. Using different shaped balls or objects was apparently the ancient cook’s way of regulating cooking temperature, just like setting time and power level on a modern microwave oven. These types of implements appeared to have been made up until about 1350 BC.

Obviously, reading about the Poverty Point site and its similarities to Cahokia and Aztalan (not to mention sites in Mesoamerica) made me realize that perhaps Mann’s view of the ancient Americas as consisting of large settlements, even metropolises, containing huge ceremonial centers and connected by a large network of terrestrial and aquatic trade routes is closer to the real scenario than that which we’re normally taught in high school and even college textbooks of the noble savage.

Gone are the days of seeing Native America as a simple, largely disconnected hodgepodge of hunter-gatherer temporary villages!

* Info from Gibson, J. (1996) Poverty Point, A Terminal Archaic Culture of the Lower Mississippi Valley, 2nd edition by the (Louisiana) Department of Culture, Recreation, and Tourism.

** Named for a plantation that once occupied the site.

For yet more info on Poverty Point, see the Moundbuilders/Ancient Southwest link on the sidebar.

Amerindian End of World Mythology

As promised in a much earlier posting, here are two stories, one from Biloxi with gloss and one from Rumsen Ohlone (without gloss, since I don't have the original Rumsen text--only an Old California Spanish translation*) both being "end of the world" stories:

AMĄ KIDUNAHI
THE EARTH ROLLED

Amą kidunahix ką ąyaa de ca oNni etu xa. Ekeką
earth roll DS people this die PAST they say always. DS

ąxti soNsa ątatka noNpa ye dą ayąk atowe nąk oNni.
woman one child two CAUS ? tree-? she lodge sit PAST

Nąx kide aniyą xepi kacidike de tidupi hi niki nąx
sat until water-DEF low ? go alight FUT none sit

ką exkanaskena ką “Tidu wiyakate,” kiye ką, “eke
DS Red-headed Buzzard DS "help me get down" she said to him DS " so

ko ątatka soNsa ikhu hi ni,” kiyedi. Kiye ką tiduwiye
? child one I give you" DECL-FEM she say. she say DS he help her down

xeni ką ątatkayą khuni oNni etu xa. Kadeska nącįyą
though DS child-DEF she give-NEG PAST they say. bird cloud-DEF

dustuki nąk oNni, sįdipa kiduspe nąk oNnidi sįdipadi
grasp sit PAST tail-all sink sit PAST tail-all-FOC

padi soNsoNti yuke xya etu xa. Omayina etike nąk
only-FOC? sharp ? always they say always. Yellowhammer there sit

oNni eke oNni sįdipa soNsoNti. Pukayi he etike nącįk
PAST so PAST tail-all sharp. Redheaded Woodpecker too there cloud-?

dustuki nąk oNni e he sįdip soNsoNti. Teįkayi ehetike
grasp sit PAST he too tail-all sharp Ivory-billed Woodpecker there

nąk oNnidi sįdip soNsoNti etu xa.
sit PAST tail-all sharp they say always.

The Earth rolled over and people died, they say always. A woman with two children was lodged in a tree waiting for the water to subside. She said to Redheaded Buzzard, "Help me get down," she said, "and I will give you one child," she said. Redheaded Buzzard helped her down but she did not give him a child. The bird [Redheaded Buzzard] clung to a cloud while his tail sank into the water. This is why his tail is all sharp at the ends, they say always. Yellowhammer was there too and his tail is also all sharp. Redheaded Woodpecker was also there clinging to a cloud and his tail is also sharp. Ivory-billed Woodpecker was there too and his tail is also sharp. This they say always.

This is a Biloxi flood myth similar to many others of different cultures all around the world. If we lop off all the frills of this story, the woman and the children and the birds, could this perhaps refer to an actual historic event, a natural cataclysm perhaps involving an earthquake (the earth rolled?) and a subsequent deluge?


WA-LAKUNIN ŞA PIRRE**
THE EARTH ENDED

Men and women were standing lined up on a small hill. They saw Hummingbird coming toward them. This hill was the only place that had light after the world ended, and the people did not want to give the light to Hummingbird. This was the only dry land, there in Salinas in Gabilan, as they called it, and they covered the light with the clothing they had. But there was an arrow hole in the clothing and Hummingbird got in through it. He carried the light away. Since then there has been light in the world, it is said. Eagle sent Sparrow Hawk to see if the sea was drying up yet. He didn’t trust Hummingbird. Sparrow Hawk brought up a rock from the bottom of the sea. Eagle then sent Crow to see if it was true that the sea was drying up. Crow went and saw many dead people and Crow, they say, started eating the flesh of the dead. That’s why Crow is black. Because Crow spent so much time eating the flesh of the dead, the sea was already drying up. Sparrow Hawk cursed Crow and that’s why Crow is black. Then the sea dried up and there began to be ranches, houses, and there were people again. Hummingbird is Eagle’s nephew. This is why the old people no longer pity Eagle, because he made the world again. That is the story of the Indians, how the world ended.

The Rumsen story seems to share some commonality with the Biloxi story. The Rumsen myth also appears to incorporate a deluge or rising sea. Some survivors are left over to begin again.

Being that both these languages were of the oral tradition with stories passed down from one generation to the next over perhaps thousands of years, it seems logical to assume that these "myths" may be based on actual fact(s) or occurrences of ancient history. Of course the actual fact of the catastrophe has been embellished possibly for purposes of entertainment or ease of memorization, but the stories may have been based on actual disasters kept alive through the ancient memories of multiple generations.

Vine Deloria, in his book, Red Earth White Lies, encourages looking seriously at Amerindian myths and legends to find evidence of the true history of our American continent. These myths were more than just stories to entertain the kids; they were also the oral passing down of history.

* I guess one of my future challenges is to re-translate this story back into Rumsen from the Spanish and English translations once I'm acquainted enough with the Rumsen language!

** The actual title here is The Earth Died, since I don't yet know the word for "end" or "finish" in Rumsen!

Tenochtitlán in 360º

Here is an absolutely incredible web site:

http://www.mexicomaxico.org/Tenoch/qtvr.htm

It is all in Spanish, but it shouldn't matter to non-Spanish speakers for the visual impact. This is an artist's conception based on ancient maps of Tenochtitlán, the ancient capital of the Aztec Empire, which you can manipulate for a 360º view of the ancient city and its surroundings. Once the site loads, and you may need to give it a few minutes (it's worth the wait!), you can center your mouse over any part of the image and left-click to change the angle of view.

You'll notice Lake Texcoco, the lake on which the island city was built, and the several causeways which connected it with various parts of the mainland.

This is probably as close as we can come now to experiencing Tenochtitlán the way Cortez did for the first time in 1521. Awesome! And the background music done by a Mexican Aztec musician is nice too!

Keep in mind that everything you see in the picture is now called México City.