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The past is never dead. It's not even past

Not Even Past

The Archaeology and History of Colonial Mexico by Enrique Rodríguez Alegría (2016)

by Brittany Erwin

In this study of the social significance of material culture in Mexico City and Xaltocan in the early colonial period, Rodriguez Alegría uses a variety of sources, including archaeological evidence relating to food consumption, catalogues of ceramic sherds from several dig sites in these cities, and wills, stock lists, and auction records. His use of archaeological data and historical records together reveals the benefits of incorporating disparate kinds of evidence: the archaeological data on food and material consumption filled in the blanks of historical records, which often leave out explicit descriptions of such daily practices.

The works of historians and anthropologists frequently overlap in theme and subject, however, the two disciplines gather and use evidence differently. Rodríguez Alegría argues that such differences should not stand in the way of interdisciplinary investigations. His main contribution is a discussion of the ways scholars conceptualize their methodologies. He asserts that in an interdisciplinary study, there should not be a contest over which kind of evidence is more worthwhile. Rather, researchers should pay careful attention to the implications of the interpretative strategies they use.

Part of what makes his methodology innovative is his acceptance of the inherent incommensurability of archaeological and historical evidence. He outlines common interpretative strategies used in each of these disciplines, openly acknowledging the differences between them. For archaeologists, analogical reasoning is common because it allows them to utilize “known behaviors in the present” in order to shed light on “unknown behaviors [of] the past.” Historians, on the other hand, tend to conceptualize evidence from their documents as synecdoches, “where qualities or practices found in a document or a few documents are replicated to stand for wider processes or patterns in a society.”

In his openness to the contradictions that result from simultaneously using these distinct methods, Rodríguez Alegría creates a provocative rejection of the established practice of seeking an uncontested line of reasoning. He asserts that the incorporation of more evidence fundamentally creates a more nuanced understanding, even if all the pieces do not come together to neatly form a single image. As a result, both the synecdoche favored by historians and the analogy used in anthropology have their place in a single work.

Rodríguez Alegría provides numerous examples of the benefits of interdisciplinarity, including his illustration of how quantitative and qualitative analysis of pottery fragments combine with historical data on markets and production methods to reveal new understanding of of the role of pottery in these cultures. In that sense, the writing and presentation style achieves the important goal of encouraging cross-disciplinary understanding.

The most compelling aspect of this work is the author’s insistence that scholars redirect their attention towards a more critical analysis of how they interpret their evidence. Forcing this awareness about discipline-determined approaches to data analysis promises new insights, but it also presents potential problems. At some point, scholars have to assert a coherent narrative, or at least a conceptual image, of the phenomenon under investigation. That process inherently requires a selection of relevant information. If scholars choose to incorporate apparently contradictory data collected outside of their discipline, they could face criticism for knowingly promoting an argument that goes against some of the data. It is possible that the scholarly community as a whole would resist this approach because of the widely ingrained attachment to uncontested narratives that Rodríguez Alegría criticizes.

This work prompts an important reexamination of disciplinary divisions and approaches to the interpretation of evidence. It fundamentally brings the question of what makes a document representative of a larger phenomenon to the forefront of historical analysis. Furthermore, it encourages scholars to think about how their investigation engages with contextual information from unwritten sources. Overall, Rodríguez Alegría’s book opens up an important discussion on the value of questioning the validity of even the most standardized interpretive strategies. As he points out, establishing a narrative is fundamental for historians because of its apparent utility in illustrating change over time. It is also, however, a method that reflects our aesthetic preference for presenting information this way. Both historians and anthropologists must, therefore, aim to break down barriers that would prevent the fruitful sharing of methodologies between disciplines.

Also by Brittany Erwin on Not Even Past:

The Museo Regional de Oriente in San Miguel, El Salvador
The National Museum of Anthropology in in San Salvador

You may also like:

Haley Schroer reviews Infrastructures of Race: Concentration and Biopolitics in Colonial Mexico by Daniel Nemser (2017)
Explore Diana Heredia’s virtual exhibition “Of Merchants and Nature: Colonial Latin America through Objects”
Ann Twinam reviews No Mere Shadows: Faces of Widowhood in Early Colonial Mexico by Shirley Cushing Flint (2013)

The National Museum of Anthropology in San Salvador

Picture of a mural at the Museo Nacional de Antropología (National Museum of Anthropology), San Salvador
Museo Nacional de Antropología (National Museum of Anthropology), San Salvador (via Brittany Erwin)

By Brittany Erwin

With its multiple universities, extensive commercial sector, and fast-growing population, the city of San Salvador has become an important axis of cultural production for the Salvadoran nation. As the country’s capital city, it houses many notable institutions, including the National Archive, The Museum of Art, and the National Theater, in addition to several historic churches. Included in these important institutions is MUNA, the Museo Nacional de Antropología.

Founded in 1883, MUNA was a product of cooperation between Salvadoran president Rafael Zaldívar and David J. Guzmán, a politician and scholar. Today the full name of the museum is the David J. Guzman National Museum of Anthropology in honor of his contributions to natural and archaeological knowledge in the country.

Located in the heart of downtown San Salvador, this museum offers the nation’s most comprehensive exhibition of Salvadoran history. With five exhibit halls, space for temporary displays and artists’ showcases, MUNA serves as a pillar of El Salvador’s effort towards cultural preservation.

The current temporary exhibit explores the legacy of the last significant eruption of the San Salvador Volcano a hundred years ago, in 1917. Seismic activity and its effects on all aspects of daily life is an important reoccurring theme in the historical narrative that this museum presents.

As visitors enter, they encounter a large, striking mural on the interior courtyard wall. Its vibrant colors and graphic scenery illustrate the significant historical impression that this small country has made. Painted by Antonio Barilla and completed in 2011, the work illustrates the story of the nation. Over centuries, struggles for power among different social, cultural, and ethnic groups have manifested in cycles of conquest, internal conflict, and war. In this sense, Barilla’s mural represents the history of this country as a story about people who have turned a legacy of suffering into one of perseverance and triumph. In that same sense, the mural also provides a thematic map to enhance the museum visitor’s examination of the artifacts that make up that history.

The quantity of exhibits in this museum is impressive, ranging from early-Mayan ceramics to modern-day markers of Catholic culture. Three of its more prominent specialties are the agricultural foundations of El Salvador’s early civilizations, the ongoing role of ritual worship in community life, and the consequences of living in a highly volcanic region.

For the student, this institution offers a wide range of historical, biological, and anthropological information about the interesting dynamics between the past, present, and future in this Central American country. In addition to the artifact displays, MUNA is home to a specialized library. Its collections comprise a variety of primary and secondary works pertaining to the political, economic, social, and cultural history of the nation. These resources are available to local and international researchers.

For the tourist, the historian, or the curious visitor, MUNA allows for a Salvadoran excursion to the past, starting from the earliest days of inhabitance and ending in the contemporary reality of twenty-first century life.

For more information about this museum and its collections, visit: http://www.cultura.gob.sv/museo-nacional-de-antropologia-dr-david-j-guzman/

Also by Brittany Erwin on Not Even Past:

The Museo Regional de Oriente in San Miguel, El Salvador

You may also like:

Too much Inclusion? Museo Casa de la Memoria, Medellín, Colombia, by Jimena Perry
History Museums: Museo Nacionál de Antropología, Mexico, by Robert Wilks
History Museums: the Good, the Bad, and the Beautiful by Joan Neuberger


The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.

History Museums: Museo Nacionál de Antropología, Mexico

By Robert Wilks

Museo Nacionál de Antropología, Mexico. Via Wikipedia.

Museo Nacionál de Antropología, Mexico. Via Wikipedia.

My favorite history museum, and one of my favorite museums of any type, is the Museo Nacionál de Antropología in Mexico City. It is housed in an enormous structure filled with the pre-Columbian culture of Mexico. It covers every civilization, period and style in its artifacts. They are beautifully displayed, perfectly lit and present a dazzling array of forms and colors. There is so much to see, multiple visits are required. I was totally amazed at the richness and variety of cultures. I highly recommend it.

Monolith of the Stone of the Sun, also named Aztec calendar stone.

Monolith of the Stone of the Sun, also named Aztec calendar stone.

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