This theoretical dissertation examines the relationships between performance and the regeneration of worlds targeted for destruction by genocidal coloniality. Building on the unpublished writings of Raphaël Lemkin (in Docker 2010), Firmino Castillo argues that genocide is imbricated with coloniality in a complex process involving mass killings as well as ontological violence. She draws from Freya Mathews (2005) and Mario Blaser’s (2010) critiques of modernity to identify three ontological tenets associated with genocidal coloniality: that some persons are considered objects, that matter is thought to be inert, and that some humans are thought to be autonomous of an ecological matrix. The author examines how these tenets were performed by the Guatemalan state during the genocidal counterinsurgency campaign leveled against Ixil Maya communities during the height (1979–1985) of the thirty-six-year war that ended in 1996. This analysis of ontological violence sets the stage for an exploration of performance as an insistent regeneration of Ixil ontological understandings of an agentive and relational world. Firmino Castillo participated in diverse performance practices—from the quotidian to the ceremonial to the experimental—while living in Nab’aa’ (“Nebaj” in Spanish), an Ixil Maya town in the northwestern highlands of Guatemala, between 2010 and 2014. In consonance with her social-positioning as a family and community member—as well as a cultural worker, performance-maker, and critical scholar—Firmino Castillo employed dialogical performance ethnography (Conquergood 2002) and intersubjective “border dialogues” (Blaser 2010), epistemological approaches that engage ontologies on their own terms while reflexively interrogating positivist knowledge production. Through these means, Firmino Castillo found that these embodied ontological practices underscore the ontological workings of what Gerald Vizenor (1998) termed “survivance,” understood here as an active resistance to the three tenets of coloniality through the embodied and storied insistence on complex relational personhoods and persistent enactments of inextricable relationality within a living and agentive material world. Finally, in the epilogue Firmino Castillo critiques her difficulties with the border dialogue while, nonetheless, charting possible paths forward in the sustained ontological critique of genocidal coloniality.
|Commitee:||Blaser, Mario, Deslauriers, Daniel|
|School:||California Institute of Integral Studies|
|School Location:||United States -- California|
|Source:||DAI-A 79/10(E), Dissertation Abstracts International|
|Keywords:||Dance, Decoloniality, Ixil Maya, Performance, Theater|
Copyright in each Dissertation and Thesis is retained by the author. All Rights Reserved
The supplemental file or files you are about to download were provided to ProQuest by the author as part of a
dissertation or thesis. The supplemental files are provided "AS IS" without warranty. ProQuest is not responsible for the
content, format or impact on the supplemental file(s) on our system. in some cases, the file type may be unknown or
may be a .exe file. We recommend caution as you open such files.
Copyright of the original materials contained in the supplemental file is retained by the author and your access to the
supplemental files is subject to the ProQuest Terms and Conditions of use.
Depending on the size of the file(s) you are downloading, the system may take some time to download them. Please be