The Art of Becoming: The Graffiti of Tikal, Guatemala

In their 1995 Latin American Antiquity article, Haviland and Haviland argued that the people who produced much of the graffiti of Tikal were depicting visions from altered states of consciousness. In this paper, I argue that there is room for alternative interpretations. Comparison with children"s drawings from across the world suggests that children or people without training in Maya representational conventions authored a portion of the graffiti. Though this portion may be small, the possibility that children were involved provides a rare opportunity to discuss the experience of childhood. I argue that the content of the graffiti and the inter-subjective context of its production reveal several processes of becoming. Among other things, the graffiti permit an account of how children learn: legitimate participation in a community of people with varied levels of experience. This relational understanding of graffiti production also provides grounds for considering innovation and transformation in the medium of expression. Finally, I argue that the act of representation gives young people a form of mastery over the themes they portray. This helps them to accommodate confusing or difficult relations in their lives and to harmonize with their world in such a way that makes them culturally intelligible subjects.