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THE JAKALTEK MAYA BLOWGUN IN MYTHOLOGICAL AND HISTORICAL CONTEXT

Published online by Cambridge University Press:  04 March 2004

Carol Ventura
Affiliation:
Department of Music and Art, Box 5045, Tennessee Technological University, Cookeville, TN 38505, USA
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Abstract

Blowguns (or blow-guns) have been depicted on pre-Columbian pottery, mentioned in Maya myths, and are still used to hunt small game and birds in many parts of the Americas. This paper surveys the history of the blowgun in Mesoamerica and documents the manufacture and use of the blowgun in Jacaltenango, Guatemala, where it is used to hunt birds.

Information

Type
Research Article
Copyright
© 2003 Cambridge University Press
Figure 0

This roll-out photograph of a polychrome Maya vase probably features Hun Ah Pu in the Underworld using a blowgun to shoot Vucub Caquix. Notice the sight on the blowgun (Kerr 2000; Robicsek and Hales 1981, 1982). Collection of the Museum of Fine Arts, Boston. Photo K1126, courtesy Justin Kerr.

Figure 1

This roll-out photograph of a polychrome Maya vase probably features Hun Ah Pu and X Balan Ke in the underworld (Kerr 2000; Robicsek and Hales 1981). Photo K1345, courtesy Justin Kerr.

Figure 2

The blowgun hunters on this Maya vase are shooting Itzam Ye (Kerr 2000). Photo K4546, courtesy Justin Kerr.

Figure 3

The blowgun hunters on this Maya vase are probably hunting birds in the underworld. Notice the sight (Kerr 2000). Collection of the Museum of Fine Arts, Houston. Photo K4151, courtesy Justin Kerr.

Figure 4

Unfired clay blowgun pellets, a looped bag for carrying them, and an empty gun cartridge to shave the pellets were collected by LaFarge and Byers in 1927. Courtesy Middle American Research Institute, Tulane University, New Orleans. Photo by Carol Ventura, 1987.

Figure 5

This Jakaltek man demonstrated the use of the blowgun to LaFarge and Byers in 1927. Photographed by LaFarge and Byers in 1927. Courtesy Middle American Research Institute, Tulane University, New Orleans.

Figure 6

The tip of the branch, which was too thin, was cut off the debarked thicker portion. Photo by Carol Ventura, 1986.

Figure 7

The core of the branch is very soft and gelatinous looking. Photo by Carol Ventura, 1986.

Figure 8

After the wood has been roasted, the bark is completely removed with a machete. Photo by Carol Ventura, 1986.

Figure 9

A wire is pushed through and pulled out of the soft core to make a hole. Photo by Carol Ventura, 1986.

Figure 10

The thorny stalks from 12 Cycadaceae are used to enlarge the barrel hole. Photo by Carol Ventura, 1986.

Figure 11

The leaves are carefully removed from the Cycadaceae. Care is taken to leave the thorns intact, and the thick end of the stalk is broken off. Photo by Carol Ventura, 1986.

Figure 12

The loosened particles inside the blowgun are blown out each time the stalk is removed. Photo by Carol Ventura, 1986.

Figure 13

José Ros Silvestre wraps a wire with sisal. It will be pushed and pulled inside the blowgun over and over until the bore is smooth. Photo by Carol Ventura, 1986.

Figure 14

The outside of the blowgun is smoothed with sandpaper. Photo by Carol Ventura, 1986.

Figure 15

A depression around the mouthpiece is cut with a machete. Photo by Carol Ventura, 1986.

Figure 16

Clay is rolled between the palms of the hand to make pellets that are slightly larger than needed, because the pellets will shrink as they dry and then be scraped. Photo by Carol Ventura, 1986.

Figure 17

As a pellet is needed, it is removed from the storage pouch and shaved smooth with a tubular tool. Photo by Carol Ventura, 1986.

Figure 18

The pellet is placed between the hunter's lips before the blowgun is brought to his mouth. Photo by Carol Ventura, 1986.

Figure 19

Like the Hero Twins before him, he brings the blowgun to his mouth, steadies it with his hands, sights it on the head of a bird or the eye of a small animal, and then fires it with a powerful blow. Photo by Carol Ventura, 1986.