Description

Editors: Painter, Muriel Thayer (1892-1975); Savala, Refugio (1904-1991); and Alvarez, Ignacio

Publisher: University of Arizona Press

Pub Date: 1955

Binding: Paperback

Condition: Poor.  Ex-library.  Binding tight, but wearing.  Library stamp on bottom front cover at spine foot, with tape extending onto front and rear lower covers.  Probably at least 3 previous owners.  Library (first owner?) stamps on front cover, title page.  Library card in pocket at rear.  Second previous owner’s stamp on upper front cover corner.  Third previous owner’s stamp on lower front cover, lower title page, and on upper rear cover.  Pen and pencil markings on front cover.   Lower front cover corner has approx. 2″ bend.  Lower title page corner has folding, wrinkling.  Spine and spine head chipped, exposing signatures. ..  Upper rear cover at spine head has approx. 1″ tear, extends to last page.  Smudging to covers, bottom text block.  Some foxing to page edges.  About 2/3 of the book is an English/Yaqui “text and interlinear translation” of the ceremony

Notes: Social Science Bulletin No. 26.  “One major activity which first moved Budge (n.b. Painter) deeply into the life of Pascua Village began in 1941 and continued through the 1960s. Working with an anthropologist and a photographer at the University of Arizona, she made an arrangement with the ceremonial authorities to record on discs a selection of Yaqui music and the whole of a sermon delivered at the end of the Easter ceremonies, as well as to make a motion picture in color. The sermon was given by the head maestro of the Pascua church organization, Don Ignacio Alvarez. Later with technical aid from the anthropologist in the linguistic transcription and the devoted assistance of both Don Ignacio and the man who became her principal interpreter, Refugio Savala, Mrs. Painter carried out the full transcription of the Yaqui sermon and its translation into English. The whole vocabulary of Yaqui Christian devotions and concepts, as expressed in the Yaqui language, is contained in this sermon of some sixty-five annotated printed pages. The exacting work of transcribing accurately and translating carefully became an important training field for all three persons primarily involved. It was regarded especially by Savala, as he indicated in later years, as an important discipline in his life during which he learned not only a useful method of writing Yaqui but also the difficulties of determining precisely what the original speaker meant in Yaqui and the even greater problems of putting these meanings into satisfactory English. As he said, “Mrs. Painter made me see things I didn’t see before.” The collaboration of the unusually sensitive Yaqui and Mrs. Painter, meticulously careful to avoid any distortion of the maestro’s own point of view, constituted an important landmark in the interpretation of Yaqui ritual concepts for both Yaquis and non-Yaquis. In some measure Savala devoted much of his later life to this task, stimulated by the experience with Mrs. Painter. The collaboration of the two continued for many years after the completion of the sermon. The sermon became an important document not only from an ethnological and linguistic standpoint but also in Pascua religious life. The maestro himself used the published version on subsequent ceremonial occasions; for him it supplemented the handwritten notebooks on which he, like other Yaqui maestros, relied in their ritual duties.”  With Good Heart: Yaqui Beliefs and Ceremonies in Pascua Village, https://open.uapress.arizona.edu/read/with-good-heart/section/ae942112-3a55-4a91-a926-1a696e2ec54b