Sharisse McCafferty

Engendering Tomb 7 at Monte Alban: Respinning an Old Yarn [and Comments and Reply]

A contextual analysis of material culture recovered from Tomb 7 at Monte Alban suggests a radical reinterpretation f the gender identification of the tombs principal individual. Spinning and weaving implements found with the burial, previously interpreted as a male, indicate the strong possibility that the individual was gender-female. A reinterpretation fthe skeletal remains as presented in the published accounts further indicates that the osteological evidence is ambiguous at best and the skeleton may have been of a biological female. Finally, the total assemblage is considered in reference to the religious and gender ideologies of pre-Columbian Mesoamerica to suggest that Tomb 7 may have been an important shrine to Lady 9 Grass, a principal member of the Mixtec Mother Goddess complex. This paper points up the necessity of periodic reevaluations of accepted wisdom that may have been developed under theoretical paradigms that minimized cultural diversity.

TEXTILE PRODUCTION IN POSTCLASSIC CHOLULA, MEXICO

Colonial chroniclers marveled at the quality and variety of textiles produced at the Postclassic center of Cholula. As a principal market center, textiles were produced for tribute and exchange, and other woven goods were manufactured for local consumption. This paper examines ethnohistorical and archaeological evidence to interpret the technology, materials, scale, and social relations of textile production. Original spindle-whorl data from the UA-1 domestic compound is contrasted with other whorls from Postclassic Cholula and from other sites in central Mexico. Results of this analysis indicate the complexity of pre-Columbian textile production and the significance of spinning and weaving in economic and social reconstructions of the past.

The Conquered Women of Cacaxtla

The vividly painted “Battle Mural” of Cacaxtla (Tlaxcala, Mexico) depicts the gory results of a battle between racially distinct factions, characterized by their opposing jaguar and bird insignia. The two central Bird figures that remain standing are shown as captives, and in both cases they are attired in elaborate costumes that include diagnostic items of female clothing, including the quechquemitl cape and long skirt. Other figures are nude or are shown in simple male costumes, including the maxtlatl loincloth. This paper considers arguments of whether the two central figures were biological females, or rather, that the presence of female apparel on male actors was used within a context of conquest, symbolically transmitted through a gender ideology of male dominance and female subordination. While the evidence is inconclusive, we employ a contextual analysis of pre-Columbian pictorial manuscripts and Mexican cosmology to argue that these individuals were female. Furthermore, we suggest that the elaborate costume elements associated with these female figures, and their recurrence with the Jaguar Lord 3 Deer Antler “Tlaloc mask,” indicates that this was a noblewoman destined for marriage as a means of binding the Jaguar and Bird dynasties. Thus the Battle Mural depicts the capture of the “founding queen,” with the subsequent union demonstrated by the complementary depictions of Jaguar and Bird lords on Building A.

SPINNING AND WEAVING TOOLS FROM SANTA ISABEL, NICARAGUA

Abstract Costume is one of the most significant forms of material culture in ethnographic contexts, yet remains of cloth are extremely rare at most archaeological sites. Artifacts that typically relate to textile production include spindle whorls and bone tools. This paper summarizes results of analyses of a large corpus of whorls and a remarkably extensive assemblage of bone tools from the Early Postclassic site of Santa Isabel in Pacific Nicaragua. Ethnohistoric sources identify several Mesoamerican groups as living in the region during the Postclassic period, with the Oto-Manguean-speaking Chorotega likely candidates for the cultural group at Santa Isabel. Textiles were probably made from cotton, among other plant fibers. In addition to cloth production, we consider the importance of spinning thread for fishnets and hammocks.