Prayers for the Community: Parallelism and Performance in San Juan Quiahije Eastern Chatino

Processing note: review neededLa42[superscript] qin4[superscript] kchin4[superscript] or 'Prayers for the Community' are supplications spoken by elders, traditional authorities, and virtuoso Chatino speakers from Oaxaca, Mexico. Chatino prayers are composed of varied, and complex forms of parallelism, repetition, and formulaic expressions. Units of meaning in these prayers are developed and presented in semantically and syntactically related stanzas consisting of any number of verses, including couplets, triplets, or quatrains. Chatino supplications achieve poetic tension, imagery, and metaphor through the extensive use of formulaic expressions, which are conventionally paired parallel words and phrases. These well established units of the poetic lexicon are part of the collective knowledge of the community. Formulaic expressions make extensive use of positional and existential predicates, making them challenging to translate into English or any Western languages.Abstract from website.Hilaria Cruz is a documentary linguist and native speaker of San Juan Quiahije Chatino (SJQ). She received her Ph.D. in Linguistics from the University of Texas at Austin. She is currently a Neukom Fellow at Dartmouth College, where she is conducting research on Chatino language variation and creating a speech corpus for automatic speech recognition and technologies for (SJQ) Chatino. She also develops educational materials for documenting, revitalizing, and promoting the Chatino language

KwanC laE ngyanJanI siK tykwenqEenE ktyiC chaqF tnyaJ

This anthology brings together all the six books from the Chatino Tonal Books project through the Endangered Languages Course into one.https://ir.library.louisville.edu/chatino/1006/thumbnail.jp

Linguistic poetic and rhetoric of Eastern Chatino of San Juan Quiahije

textVerbal art plays a crucial role in the culture and traditions of Chatino communities, which is in the mountains of southern Oaxaca, Mexico. This study examines verbal art in the SJQ variety of Eastern Chatino, a language which belongs to the Chatino group in the Zapotecan branch of the Otomanguean stock. There is a wide range of discourse genres practiced in the community including prayers, persuasive talk, political speeches, narrative, jokes, and everyday conversation. The analysis presented here is based on six ritual texts, three of which are presented in their entirety. These six texts are drawn from a corpus of approximately 100 hours of audio recordings collected during language documentation work from 2004 to 2010 in the two Chatino communities of the municipality of San Juan Quiahije: the town of San Juan and the adjacent community of Cieneguilla. These texts were transcribed, translated, and analyzed using linguistic and poetic tools developed for the study of oral discourse. The intricate poetic texture and style of SJQ verbal art is created through the confluence of multiple, distinct elements including parallelism, formulaic phrases, difrasismo, sentential adverbs, poetization of grammar, assonance, and performance. Parallelism is one of the most prevalent recurrent poetic tools in SJQ poetics. This verbal art tradition also comprises a large number of conventional lexical set or formulaic phrases, which are part of the communities' collective knowledge. A large number of these formulaic phrases have metaphorical meaning, known in Mesoamerican poetics as difrasismo. Many grammatical features in the language have an additional poetic function. This is a widespread process in oral discourse, referred to by some scholar as the “poetization of grammar”. For example, persuasive speech recited in political contexts, such as at the City Hall of the town of San Juan, shows a more frequent than average use of the first person plural pronoun. Orators use this grammatical person to convey humbleness, a sense of community, belonging, and inclusiveness, as well as to evoke feelings of endearment. Finally, San Juan Quiahije oral discourse is performed before an audience for the benefit of the community. One of the major features of performance in San Juan Quiahije discourse in performance is overlapping speech.Linguistic

23. Navigating Consent, Rights, and Intellectual Property (A, D, E)

This course is intended for anyone (community members, language teachers, archives users, students, faculty, senior researchers) of any level who wants to have a better understanding of how consent, permission, intellectual property, cultural property, traditional knowledge and copyright interact with each other and how they affect language researchers, community members, archive staff and the general public. The class will be organized into a combination of lecture and open discussion about the above-named concepts, as well as other concepts such as open versus public access, fair use, public domain, terms and conditions of use, access embargos, access restrictions, access protocols, attribution, etc. To contextualize the class content, we will explore various real and hypothetical scenarios to illustrate processes and legislature that control access and articulate rights and property

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Originally produced by students in the Winter 2018 Language Revitalization course at Dartmouth College, taught by Hilaria Cruz, Neukom Postdoctoral Fellow in Linguistics and Anthropology.https://digitalcommons.dartmouth.edu/motherlanguage/1001/thumbnail.jp

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SqweF qaJ chaqF ndaH renqJ naF ntykuJ tqaG sqweF renqJ Written by: Hilaria Cruz & Lauren Olson Illustrated by: Mackenzie McCamishhttps://ir.library.louisville.edu/chatino/1001/thumbnail.jp

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KlaB klaA Written by: Hilaria Cruz & Hollyn Barr Illustrated by: Mackenzie McCamishhttps://ir.library.louisville.edu/chatino/1005/thumbnail.jp

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JyanF Written by: Hilaria Cruz & Kylee Auten Illustrated by: Sofia Alfarohttps://ir.library.louisville.edu/chatino/1004/thumbnail.jp