By Hilary E. Kahn
The perform of morality and the formation of identification between an indigenous Latin American tradition are framed in a pioneering ethnography of sight that makes an attempt to opposite the fad of anthropological fieldwork and thought overshadowing one another.
In this very important and richly designated paintings, method and conception are taken care of as complementary companions because the writer explores the dynamic Mayan customs of the Q'eqchi' humans dwelling within the cultural crossroads of Livingston, Guatemala. right here, Q'eqchi', Ladino, and Garifuna (Caribbean-coast Afro-Indians) societies have interaction between themselves and with others starting from executive officers to capitalists to modern tourists.
The fieldwork explores the politics of sight and contains a video digital camera operated by means of a number of people—the writer and the Q'eqchi' humans themselves—to watch unobtrusively the traditions, rituals, and daily activities that exemplify the long-standing ethical strategies guiding the Q'eqchi' of their relationships and tribulations. Sharing the digital camera lens, in addition to the lens of ethnographic authority, permits the writer to slide into the area of the Q'eqchi' and trap their ethical, social, political, fiscal, and non secular constructs formed by means of historical past, ancestry, exterior forces, and time itself.
A entire historical past of the Q'eqchi' illustrates how those former plantation workers migrated to lands faraway from their Mayan ancestral houses to co-exist as one of many competing cultures, and what influence this had on retaining continuity of their identities, ethical codes of behavior, and belief of the altering outdoors world.
With the leading edge use of visible tools and theories, the author's reflexive, sensory-oriented ethnographic technique makes this a examine that itself turns into a mirrored image of the complicated set of social constructions embodied in its subject.
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