A long-known verbal glyph in Classic Maya inscriptions is reinterpreted as a glyph for dancing (ahk'ot), apparently an important ritual of the ancient Maya. The glyph is found with scenes showing one or several dancers. Glyphs after the verb can be shown to describe the objects and instruments employed in dances. This article analyzes several examples of Maya dances and the ritual and social context in which they occur. These include the dance with a staff with cloth tied down its length, a dance with a “God K” scepter, a dance with a staff with birds attached to it, a dance with a staff with a “God K” figure seated on top of it, a snake dance, dances in warrior outfit, and dances at royal visits. A variety of dances is represented on polychrome ceramics. Many polychrome ceramics can be shown to depict dancing companion spirits, while others show dances associated with historical events. A comparison with colonial and modern Maya dances shows that they share the same emphasis on dance objects, but that the underlying religious and political messages have changed almost completely.

Two genera of nonhuman primates that include howler monkeys (Alouatta palliata and Alouatta pigra) and spider monkeys (Ateles geoffroyi) currently are located throughout the Maya region. It has been suggested that the Classic Maya associated these monkeys, especially howler monkeys, with the arts. This view is exemplified in the Popol Vuh and in depictions of monkey-man scribes on Late Classic (c. a.d. 550–900) ceramics. This paper provides evidence that a third genus, the capuchin monkey (Cebus capucinus), is also located in the southern Maya region and may have extended as far north as Belize within the last century. Supporting data are drawn from historic accounts, artifact and faunal analysis, and linguistic data. It is also proposed, based on an interspecific comparison of morphological and behavioral characteristics, that capuchin monkeys rather than howler monkeys are the animals represented in depictions of monkey scribes.

Excavations of a ceremonial ballcourt, undertaken at the Lowland Maya center of Pacbitun in western Belize, have provided details about ancient construction techniques and major diachronic structural changes to this special class of Precolumbian architecture. Some of the identified building alterations may have necessitated changes in the manner of playing the sacred Maya game at Pacbitun. A brief description of the excavations and construction history is provided. Analysis of artifactual remains from the ballcourt indicate it was built during the Late Preclassic period (100 b.c.-a.d. 300), but substantially altered in form during the Late Classic period (a.d. 550–900). The importance of the ballgame in the southern Lowlands is noted, and the particular significance of the Pacbitun court is discussed.

The Canek Manuscript describes a visit by Fray András de Avendaño y Loyola, two Franciscan companions, and ten Maya sacristans from the town of Tipu to the towns of Chacan on the western shore of Lake Peten Itza and Noh Peten (Tah Itza or Tayasal) on the island that today is Flores, Peten, Guatemala. This visit probably occurred in January or February, 1695, two years before the Spanish conquest of Noh Peten. The four-folio manuscript is a fragment of a larger document, the remainder of which is lost. The Franciscan author, a lay brother, was probably Fray Alonso de Vargas. This contribution places the manuscript in its ethnohistorical context, describes it content, and discusses its significance.

The Canek manuscript is written in a distinctive linguistic style, probably a local variant of Spanish influenced by Yucatec Maya and archaic forms of Spanish. It also reflects a curiously ambivalent perspective on the Itza king Canek, at once aligning him with the pagan Indians and suggesting an affinity with Saint Francis. Like many other colonial texts, the four extant folia of this manuscript show a blending of verbal genres. This paper presents a discourse analysis of the manuscript, demonstrating that it is organized according to a systematic rhetorical structure based on syntactic foregrounding, poetic parallelism and thematic development. Placed in the context of other colonial documents, this one displays the cultural and linguistic ambivalence of its author.

The Canek Manuscript offers an unusual opportunity for examination of the material culture of the Itza Maya of the seventeenth century. The document contains information about beds, canoes, musical instruments, royal jewelry and clothing, buildings, and religious objects. We interpret the textual information in terms of its reflection in the archaeological record and in ethnohistoric and ethnographic sources.