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Many secrets are hidden within the darkness of the jungle. Behold this one about a man, a woman, a black jaguar, and an ancient Mayan legend. When Andrea Granger was assigned to go to Honduras, ‘get inside and gather evidence’ against the DEA’s main suspect, she was determined to accomplish her mission with the same efficiency as in her previous assignments. But that was before she met her culprit, Brandon Shaw. He melted her heart and her resolve, and so did Naja, Brandon’s 300 pound black jaguar and closest companion. She quickly discovered there was much more to Brandon Shaw than met the eye, and just as quickly, she found her mission in jeopardy. Instead of arresting him, she became determined to rescue the flawed man of the jungle. But could she successfully extricate him from the web he had tangled himself in? As if that weren’t enough, she found that Brandon Shaw was somehow connected to a thousand year old Mayan legend which threatened to destroy everything. Unprepared, she found herself having to deal with an ancient spirit determined to kill her.
“This elegantly written and thoroughly researched ethnography” is the definitive study of the Mixe people of mountain Oaxaca (Ethnohistory). The Mixe of Oaxaca is the first extensive ethnography of the Mixe, with a special focus on Mixe religious beliefs and rituals and the curing practices associated with them. It records the procedures, design-plan, corresponding prayers, and symbolic context of well over one hundred rituals. First published in 1991, The Mixe of Oaxaca was hailed as a model of ethnographic research. For this edition, Frank Lipp has written a new preface in which he comments on the relationship of Mixe religion to current theoretical understandings of present-day Middle American folk religions.
Vols. 1-3 paged continuously. Vol. 4 by W.G. Sumner, A.G. Keller, and M.R. Davie."Published under the auspices of the Sumner Club on the foundation established in memory of Philip Hamilton McMillan of the class of 1894, Yale College." "Bibliographical note": v. 4, p. [1193]-1268.
Winner, Association for Latin American Art Book Award, 2010 The Maya of Mexico and Central America have performed ritual dances for more than two millennia. Dance is still an essential component of religious experience today, serving as a medium for communication with the supernatural. During the Late Classic period (AD 600-900), dance assumed additional importance in Maya royal courts through an association with feasting and gift exchange. These performances allowed rulers to forge political alliances and demonstrate their control of trade in luxury goods. The aesthetic values embodied in these performances were closely tied to Maya social structure, expressing notions of gender, rank, and status. Dance was thus not simply entertainment, but was fundamental to ancient Maya notions of social, religious, and political identity. Using an innovative interdisciplinary approach, Matthew Looper examines several types of data relevant to ancient Maya dance, including hieroglyphic texts, pictorial images in diverse media, and architecture. A series of case studies illustrates the application of various analytical methodologies and offers interpretations of the form, meaning, and social significance of dance performance. Although the nuances of movement in Maya dances are impossible to recover, Looper demonstrates that a wealth of other data survives which allows a detailed consideration of many aspects of performance. To Be Like Gods thus provides the first comprehensive interpretation of the role of dance in ancient Maya society and also serves as a model for comparative research in the archaeology of performance.
Here is one of the most important surviving works of pre-Columbian civilization, Rabinal Achi, a Mayan drama set a century before the arrival of the Spanish, produced by the translator of the best selling Popol Vuh. The first direct translation into English from Quiché Maya, based on the original text, Rabinal Achi is the story of city-states, war, and nobility, of diplomacy, mysticism, and psychic journeys. Cawek of the Forest People has been captured by Man of Rabinal, who serves a ruler named Lord Five Thunder. Cawek is a renegade, a warrior who has inflicted much suffering on Rabinal. Yet he is also the son of the lord of the allied city of Quiché--a noble who once fought alongside Man of Rabinal. The drama presents the confrontation between the two during the trial of Cawek, who defies his captors and proudly accepts death by beheading. Dennis Tedlock's translation is clear and vivid; more than that, it is rooted in an understanding of how the play is actually performed. Despite being banned for centuries by Spanish authorities, it survived in actual practice, and is still performed in the town of Rabinal today. Tedlock's photographs and diagrams accompany the text, capturing nuances not apparent in the dialogue alone. He also provides an introduction and commentary that explain the historical events compressed into the play, the Spanish influence on the Mayan dramatic tradition, and the cultural and religious world preserved in this remarkable play. Rabinal Achi ranks as a classic of Mayan literature--and a rare window on a world that had yet to be invaded by Europeans. Dennis Tedlock brings this drama to life in all its richness.
Nothing is sacred in the satire of Latins Anonymous. The hilarious Latino comedy theater company has toured the United States poking fun at all, from political figures to Latino entertainment personalities. Formed in 1988 and performing at such mainstream venues as the Los Angeles Theater Center as well as alternative space sin barrios across the Southwest, Latins Anonymous has developed its own distinctive, post-modern and very irreverent style of commenting on life and culture in the U.S. Included in this first published collection are the troupeÕs signature play, Latins Anonymous, which satirizes the rejection of oneÕs cultural heritage and The La La Awards, in which the media are lampooned through outlandish impersonations of favorite Latino stars.
Foias argues that there is no single Maya political history, but multiple histories, no single Maya state, but multiple polities that need to be understood at the level of the lived experience of individuals. She explores the ways in which the dynamics of political power shaped the lives and landscape of the Maya and how this information can be used to look at other complex societies.
In its conventional meaning, masquerade refers to a festive gathering of people wearing masks and elegant costumes. But traditional forms of masquerade have evolved over the past century to include the representation of alternate identities in the media and venues of popular culture, including television, film, the internet, theater, museums, sports arenas, popular magazines and a range of community celebrations, reenactments and conventions. This collection of fresh essays examines the art and function of masquerade from a broad range of perspectives. From African slave masquerade in New World iconography, to the familiar Guy Fawkes masks of the Occupy Wall Street movement, to the branded identities created by celebrities like Madonna, Beyonce and Lady Gaga, the essays show how masquerade permeates modern life.