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History Of Use

Played only to accompany Dance of the Conquest, the most popular of Indian post-contact dances. Composed by Spanish priest in 1542 to celebrate victory of the Spanish over the Indians. One of two specific post-contact instruments, each accompanying one of two specific post-contact dances, all others being accompanied indiscriminately (Kelsey and Osborne).

Narrative

This object forms part of the Inge Ruus Collection of Guatemalan Textiles in the Museum of Anthropology. The Inge Ruus Collection of Guatemalan Textiles was collected on behalf of the Museum of Anthropology by Inge Ruus, Curatorial Assistant in the Museum from 1974 to 1978. Some items were purchased by the Museum and others were donated by Inge Ruus. Inge Ruus collected these materials while attending courses on Guatemalan textiles in Guatemala during the summers of 1976 and 1977, taught by Anne Lambert, instructor on textiles at the University of Alberta.

Iconographic Meaning

Carving enveloping 4 holes at base of bell resembles cross which has significance in both Mayan and Christian religions (Kelsey and Osborne).

Cultural Context

played by men to accompany specific dance.

Description

Flute of brown stained wood, which has a three part reed mouthpiece. There is a tube, and a bell. Mouthpiece has remains of fibre(?) reeds in a cylindrical metal container, both within a circular wooden enclosure. Tube of six finger holes, side by side, lengthwise. Base of bell has four holes equally spaced, cylindrically intersecting tube. White cotton thread is used acoustically to prevent air escape and as handle. Larger piece is part b, and smaller piece is part a.