Guatemalan Civil War Archives

Indelibly Inked: Bodies, Tattoos, and Violence during Guatemala’s Civil War

Sitting in a humble home in Huehuetenango, Manuel Alvarez told me the story of his near execution at the hands of the Guatemalan military. It was 1982 when the soldiers, under the direction of a Pentecostal dictator, first shoved his helpless body to the pavement and then placed an ice-cold muzzle against his back. “They told me that I better believe in Jesus,” he said softly, “because only Dios could save me from their bullets.” While Alvarez miraculously survived this encounter, he returned home that night deeply disturbed by the soldiers’ threats. He knew that his country’s military frequently killed, mutilated, and disappeared civilians. Yet he never before experienced how swiftly his body could be seized without repercussions or retribution. If he were to die on that pavement, he imagined, his family was unlikely to identify him and they would be forever haunted by not knowing what happened. In the wake of this terror, Alvarez called his brother Felipe to his bedroom and asked him to tattoo both his arms, to identify his body if need be.

As Alvarez rolled up his tee-shirt sleeves, his brother cautioned him that marking his arms was “not going to be good.” Nobody carried tattoos during those days and Felipe worried that his older brother would be judged harshly at church that Sunday. Despite this warning, Alvarez pressed his younger sibling to gather a pen, black ink, and a needle from the kitchen. Felipe listened, returned, and hesitantly began to sketch a blurry outline of a bear on his brother’s left arm. At that moment, Alvarez did not care what the tattoo was of, he simply implored his brother to “just do something here.” After the first tattoo was finished, Alvarez thought about what other indelible ink could identify him in the event of his death. He considered his childhood nickname, “canche,” which his friends lovingly called him because of his unusually light hair. He remembered the American missionaries he befriended in the 1970s who called him “blondy,” canche’s English variant. Following the soldiers’ threats to his body, it was this name that Alvarez felt could best distinguish him if he were discovered dead on the streets of Huehuetenango.

Manuel Alvarez Tattoo by Jana Wallace. March 22nd, 2020. Los Angeles, CA

After this haunting evening, Alvarez’s brother also went on to tattoo a small circle on one of his own bare knuckles. His best friend Alberto, who was similarly menaced by the Guatemalan military, came over later to ask Felipe to brand his body. The young man requested an image of a wolf, or lobo in Spanish, which was his nickname throughout the town. During a time of ever-present violence in Guatemala’s western highlands, all three Huehuetecos decided to tattoo their own bodies.

In voicing this history, Alvarez prompts us not only to reassess our understanding of Guatemala’s bloody Civil War, but authoritarianism writ large. For one, his story lays bare the immense corporeal costs of the Guatemalan military’s counterinsurgency strategy. In deploying terror tactics to pacify the population, the ejercito (army) not only murdered thousands of civilians but prompted men like Alvarez to mark their own bodies. In this way, one may interpret Alvarez’s tattoo as participation in his own discipline, as the physical embodiment of the fear the government sought to instill. Alvarez even suggests this at the end of his testimony when he states that, looking back, “it was not really my choice because I just did it out of fear.”

Manuel Alvarez Tattoo by Jana Wallace. March 22nd, 2020. Los Angeles, CA

However, if we understand Alvarez’s decision to tattoo as a direct response to the soldiers’ threats, his story elucidates the limits of state power. Where death squads in Guatemala repeatedly executed civilians and deprived their families of closure, Alvarez’s tattoo might have thwarted such efforts had he died. If the army killed him, or Felipe, or Alberto, their markings might have rendered them more recognizable to their families regardless of the military’s brutality. Their mothers and fathers could then recite the Lord’s Prayer and give them a proper burial. In this sense, Alvarez’s tattoo embodies rebellion against the Guatemalan government’s authority to deprive families of the ability to grieve. His indelible ink, even in death, may have prevented the state from terrorizing his people and denying them this right. By sharing his story, Alvarez not only reveals these bodily costs of war, but illuminates the power of a few, defiant marks.

Citations And Further Readings:

Interview with Manuel Alvarez, December 28th, 2019, Huehuetenango
Manuel Alvarez Tattoo, Photos by Jana Wallace. March 22nd, 2020. Los Angeles, CA
Garrard, Virginia. Terror in the Land of the Holy Spirit: Guatemala Under General Efraín Ríos Montt, 1982-1983. New York, NY: Oxford University Press, 2011.

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.

Civil War and Daily Life: Snapshots of the Early War in Guatemala

by Vasken Markarian

(All photos here are published with the permission of the photographer.)

Two young Guatemalan soldiers abruptly pose for the camera. They rush to stand upright with rifles at their sides. On a dirt road overlooking an ominous Guatemala City, they stand on guard duty. This snapshot formed the title page of an exhibit at the University of Texas at Austin’s Benson Latin American Collection in 2018. A collection of these and other documents by Rupert Chambers will become part of a permanent archive at the library. The photographs depict the year 1966, a time of martial law and increasing state repression of leftist movements and supporters of reform. A storm was brewing in Guatemala.

Historians can situate this collection of photographs in the context of Guatemala’s civil war. The Guatemalan military was mobilizing to eliminate leftist guerrilla armies, which had recently arrived on the scene. Leaders of these rebel armies framed their struggle in the hope of democratic reform. The Guatemalan state would not budge. The state military agenda rested on two pillars: fierce Cold War anti-communism and protection of the Guatemalan oligarchs’ monopoly on land and labor. Nearly two decades later Guatemalans would learn of the brutality of a military regime that would go to any lengths, including genocide against innocent indigenous-Mayan civilians, to suppress the insurgency.

Was this snapshot of two young foot soldiers a sign of what was to come? It is convenient to position these two soldiers as symbols of the violence that ensued in coming decades. But in 1966, terror had not yet reached its apex. The conflict was still, in part, a “gentlemen’s war,” fought between members of the upper and middle classes. At the time, foot soldiers, many of whom came from poor Mayan communities, were unaware of the military operations that would define the ensuing decades. They experienced the same ominous environment of uncertainty that most Guatemalans did.

This past February, the author of these photographs, Rupert Chambers, reflected on his work for a public audience at the Benson Latin American Collection and took time to answer my questions. He visited Guatemala in 1966 as a UT graduate student doing historical research. There, Chambers documented the streets and people of Guatemala City and rural towns. He photographed Mayan women at local markets, children selling goods, and funeral processions through the streets. The camera lens captures citizens who continued to make a living, coping through poverty, violence, and discrimination. How do these photographs help us understand the context of the civil war?

As an American in a highly fragile moment in Guatemala, Chambers reflects on the lack of awareness among Americans in Guatemala about the military and political conflict at the time. “They [Guatemalans] knew we [the U.S. Government] had overthrown their revolution in 1954; we had not yet admitted it to ourselves.” He was referring to the CIA administered revolt that replaced Guatemala’s 10-year old democratic government with a right-wing regime.

In 1966, roughly a decade into the Vietnam war, U.S. military advisers were exporting their anti-communist military infrastructure into their neighbor in Central America. Guatemalan generals obligingly received aid in the form of training, as well as technical and material support. The American military also authorized thousands of Guatemalan military commissioners to help combat the perceived communist threat. In the 1980s, the military collaboration was more obvious to American observers. In 1966, however, Americans in Guatemala were still in the dark. Chambers remembered how “few of us were aware of the full extent of U.S. support and intervention.”

An air of uncertainty occupied the minds of ordinary Guatemalans as well. Chambers spoke about this overall atmosphere, pointing out that most Guatemalans were aware of the conflict but not the extent, and no one would have used the term “civil war” at that juncture. “While not exactly the calm before the storm, the mid-1960s gave only clues and portents.”

Behind the scenes, networks of right-wing terror groups flowed in the capital city. Signs of terror reared their ugly heads. Chambers described witnessing street signs of the mano blanco (white hand). The “white hand” was a symbol for a clandestine terror organization that used death lists to assassinate democratic leaders and decorated the corpses of their victims with threatening notes. In the 1960s, Guatemala would become one of Latin America’s first settings of “forced disappearances.”

Despite this violent background, Rupert Chambers’ photographs provide an important perspective on the “day-to-day.” As Chambers states, “Guatemalans had lived in a context of violence for so long that in the mid-sixties this all appeared to them as more of the same, a constantly fluctuating level of violence, a cause for concern but not yet something very much out of the ordinary as it was soon to become.”

Chambers prompts historians to consider whether we can we document a tragedy before it happens. Photographer Sally Mann once stated that “photographs open doors into the past, but they also allow a look into the future.” Historians may examine such photographs for clues of terror, silence, and ambiguity. There is something deceptive, however, about looking at these photographs solely through the prism of what was to come; something deterministic. The precariousness of Guatemala’s situation was as much a product of history as it was an unfortunate feature of daily life. And while Guatemalans feared the past and future, their dignity remained in the present.

Photo documentary evidence of state violence also has a history. About a decade after Chambers’ 1966 photographs, a new wave of visual records would help document the violence in Guatemala, spearheaded by the likes of Jean-Marie Simon, in her book Guatemala: Eternal Spring, Eternal Tyranny, and Pamela Yates, in her documentary, When the Mountains Tremble. Such visual documentation propelled human rights efforts to combat the impunity of the Guatemalan state apparatus, which was responsible for around of 90% of civilian deaths during the war.

Chambers’ photographs embodied one of the earlier stages of the documentation of the civil war. His photographs document an underexamined area of history in the ambiguities and fears of daily life under violent regimes. While photography was Chambers’ hobby, he intentionally set out to document human dignity, something he claimed to learn much about from the people of Guatemala. Chambers continues this work in his new project in Mexico.

An Anticipated Tragedy: Reflections on Brazil’s National Museum by Edward Shore

Black Amateur Photography by Joan Neuberger

Media and Politics from the Prague Spring Archive by Ian Goodale

Secrecy and Bureaucratic Distancing: Tracing Complaints through the Guatemalan National Police Historical Archive

By Vasken Markarian

On June 1982, two pages of official letter sized paper marked by the symbol of the Ministry of Finance made their way across a network of various bureaucratic desks of the National Police of Guatemala. A rural farmer and grandfather from Uspantán in El Quiché, Julio Ortiz (this is a pseudonym for reasons of privacy and safety) was addressing a top-level Police Chief in the capital city about his deep concern for a missing grandson. Kidnapped by a certain state authority figure under the false accusation of subversive activity, Julio’s grandson was missing and Julio had no information as to his whereabouts. The letter was Julio’s plea to the Chief to find out what happened to his grandson, pointing out that such a disappearance was “unjust.”

El Quiché department (via Wikimedia Commons).

This and many other similar complaints to authorities, called denuncias, or complaint reports, flowed into the offices of police officials and clerks at an alarming rate during the 36 years of civil war in Guatemala. They represented the responses of people in Guatemala to the widespread political agitation and repression that in some way or another affected their loved ones and friends, a pattern of repression that was the staple of successive governmental regimes with heavy anti-communist agendas since 1954. Julio’s 1982 denuncia belonged to a period in Guatemala’s history when state authorities ignored legal due process, violated civil rights and constitutional guarantees, and maintained widespread impunity for Police and Military actors.

For historians of Guatemala, a document such as this may be only one of a large number of such denuncias, yet Julio’s letter nevertheless serves to help us make educated guesses about the nature of the State Police in Guatemala, about secrecy in the structure of institutionalized violence, and about the relationship between Guatemalan society and its authoritarian figures. What stands out about this document in particular is the number of possible intermediaries involved in producing it and passing it along. To better understand such a document, we can try to recreate the course it ran, before reaching a final audience and a final verdict.

The National Palace in Guatemala City was the seat of the Guatemalan government during the civil war and the target of several attacks (via Wikimedia Commons).

As we zero in on the finer details of Julio’s denuncia, three important trends reveal themselves. First, it is likely that a lawyer or clerk, rather than Julio himself, who was a farmer in a rural town, produced this complaint. The denuncia was typed on formal letter sized paper that had to be bought from the Ministry of Finance. It uses formal language that had to be typed by someone with the resources to do so. The guidelines for what was considered a proper complaint were strict; anything that violated the guidelines would be thrown out.

A formalized complaint-making process was not the only clue that sheds light on the complaint making process. Other traces point to the intervention of a host of different offices, officers, and clerks before the letter reached its final destination. For example, certain stamps and signatures suggest its passing from a local police station or lawyer in El Quiché to the Department of Technical Investigations in the capital, Guatemala City, and then back to the Chief of Police in El Quiché. The back and forth journey of Julio’s letter from the local town to the capital and back was a reflection of the centralized but also dispersed nature of the Police bureaucracy.

Indigenous Ixil people exhume the remains of their disappeared loved ones from a killing field in Guatemala (via Wikimedia Commons).

If Julio had known about the back and forth movement of his denuncia, he still might have hoped his complaint would remain intact. What he had no control over, however, was the fact that the content of his denuncia had to be diluted as it passed through Police offices. A separate cover letter attached to the complaint appeared in front of it. The Inspector General had stamped it, and it also included many clues to suggest that it passed through the hands of one or more clerks in the Inspector General’s office. For example, a one-sentence summary of the contents of the letter appears conspicuously scribbled sideways on the margins, indicating that some clerk in the Inspector General’s office or in the Chief of Police of Quiche’s office wanted to make approaching the document more efficient for the next person who was to read it.

What do these tentative conclusions say about the ability of Julio to make his complaint heard? Efficiency and conciseness were important priorities for police clerks. The diluting of his denuncia and its passing through dispersed offices created distance between the person making the complaint and the highest office where the record ended up. This gap then, contributed to the difficulty for people like Julio to reach authorities and be heard in a more authentic way.

The Guatemalan National Police Historical Archive was discovered in 2005 (via AHPN).

Julio was not likely to receive an answer to his complaint. Like many others, it passed through a complex process of formalizing and diluting while physically moving through a network of intermediaries that was hierarchical and centralized yet dispersed and secretive. Guatemalan authorities rarely responded to inquiries about disappeared or illegally detained family members or friends. This official silence by the police was not simply the product of inaction and indifference. It depended on a concerted effort by various bureaucratic actors to process information and, in so doing, alter its meaning and significance. Over the course of the civil war, thousands of heartfelt denuncias fed an enormous police archive that represented police repression and secrecy.

In a country such as Guatemala with a legacy of state institutionalized violence and impunity, the millions of denuncias such as Julio’s letter, uncovered in the National Police archive, are important tools for seeking justice. Sometimes, they can help uncover links to other documents that serve as further evidence. Thinking about how intermediaries are an integral part of institutional secrecy, we can deconstruct the image of the police state as a homogenous entity. We can locate the responsibilities that rested on the shoulders of important actors at different levels of the authoritarian infrastructure.

Sources:

Digital Archive of the Guatemalan National Police Historical Archive. For reasons of privacy and safety, I have chosen not to cite the specific location of this document.

Archivo Histórico de la Policía Nacional, From Silence to Memory: Revelations of the Archivo Histórico de la Policía Nacional (Eugene, OR: University of Oregon, 2013).

You may also like:

Two documentaries on Guatemala’s violent civil war.
Great Books on La Violencia in Guatemala.
Virginia Garrard-Burnett on La Violencia in Guatemala.

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