In the Realm of the Vision Serpent: Decipherments and Discoveries in Mesoamerica. A Symposium in Homage to Linda Schele

In the Real of the Vision Serpent FINAL PRINT with added name (opacity 87)This symposium in homage to Linda Schele, organized by the Art History Society of California State University, Los Angeles, promises to be our largest Mesoamerican Symposium to date.  It will take place on April 10 – 11 of 2015 in the Golden Eagle Hall of our campus.  This year is particularly special.  In addition to our highly regarded keynote speakers, we will feature several panels composed of prominent experts in the field of Mesoamerican Studies as well as several Ph.D. candidates.  You may select the panels or presentations you wish to attend (please see the program below).

We are also adding a very special event in conjunction with the 2015 symposium: all attendees and participants are invited to the inaugural viewing of a special Mesoamerican Art exhibit in the Fine Arts Gallery at California State University, Los Angeles after the closing of Friday’s Symposium presentations.  The title of the exhibit is: Eternal Realms of Revelry: The MAW Collection of Pre-Columbian Art.  This collection is intended to be donated to California State University, Los Angeles with the intention to be used for educational purposes and to be an integral part of a center for the advancement of Mesoamerican Studies in our campus.

As you all know, events of this nature are costly and the added features of this year’s symposium have added to that expense. However, in an effort to better help cover costs we will implement a door price and a presale price.  The door price will be $20 with no exceptions to category.  Advance purchase will be unchanged as in previous years as follows:

  •  $15 for general admission,
  • $10 for all other University and College students with student ID, and
  •  $5 for CSULA students with student ID

The $5 CSULA student price is made possible by a subsidy of CSULA’s student body through Associated Students, Inc. (ASI).  This will be our 3rd year with no price increase if you pay in advance. The fee is for the whole weekend, both Friday & Saturday (and admission to the inaugural exhibit with reception).

For RSVP and information, please contact us at:

Advance payment may be made in the following three ways:

BY MAIL: You can mail a check made payable to Art History Society of CSULA to the following address:

Art History Society
California State University, Los Angeles
Fine Arts Building, FA228
5151 State University Drive
Los Angeles, CA 90032

We will send you an email, text or call confirming receipt of payment.

PAYPAL:  You can pay through PayPal.  We will add a dollar to the cost as a convenience fee to offset the fees and commissions charge to us by PayPal for the service.  Please email us expressing your desire to use this feature and we will send you a PayPal invoice to pay using a credit or debit account.

IN PERSON: You can pay in cash or by check to the Art History Department located on the third floor of the Fine Arts Building at California State University, Los Angeles.

Students will need to provide their student number via email or letter and present their student ID at the door.

Those that do not pay in advance and wish to attend, will pay $20 at door without exception to status as a student or not.  As the date approaches, we will provide you with more information.

Recommended Hotels Near California State University, Los Angeles (CSULA):

City of Pasadena

Pasadena Hilton Hotel (official hotel of the symposium)

Pasadena Inn

Bissell House Bed and Breakfast

Sheraton Pasadena

Courtyard Marriot

City of Alhambra

Days Inn Alhambra


In the Realm of the Vision Serpent: Decipherments and Discoveries in Mesoamerica. A Symposium in Homage to Linda Schele

Linda Schele

Our 2015 Mesoamerican Symposium titled In the Realm of the Vision Serpent: Decipherments and Discoveries in Mesoamerica, a Symposium in Homage to Linda Schele will take place on April 10-11, 2015 at California State University, Los Angeles.

Dr. Linda Schele was a pioneer in the decipherment of the Maya Hieroglyphic Writing and an extraordinary professor of Maya and Mesoamerican Studies at the University of Texas at Austin. She was a very influential and passionate professor that mentored her students to excellence and inspired them to discover and interpret the diverse aspects of the Mesoamerican World eith a critical approach.  Many of them are today among the leaders in the field of Mesoamerican Studies.  On April 18, 1998, she passed away of pancreatic cancer at the age of 55. She was laid to rest on a hill top overlooking Lake Atitlan in Guatemala. For more details of her enormous contributions please read the following: 1999/memorials/Schele/schele.html

On April 11, 2015 Linda Schele will be presented posthumously the Tlamatini Award at California State University, Los Angeles.  David Schele, her widower, will be present to receive the award on her behalf as will be many of her former students.


Symposium Schedule


Panel Presentations



Dr. Mary Miller







Mary Miller, Sterling Professor of History of Art, served as dean of Yale College from December 2008 until June 2014. Before assuming the deanship, Miller served as master of Saybrook College for nearly a decade. Miller earned her A.B. from Princeton in 1975 and her Ph.D. from Yale in 1981, joining the faculty in that year. She has served as chair of the Department of History of Art, chair of the Council on Latin American Studies, director of Graduate Studies in Archeological Studies, and as a member of the Steering Committee of the Women Faculty Forum at Yale. A specialist of the art of the ancient New World, Miller curated The Courtly Art of the Ancient Maya at the National Gallery of Art, Washington, D.C., and the Fine Arts Museums of San Francisco in 2004. For that exhibition, she wrote the catalogue of the same title with Simon Martin, senior epigrapher at the University of Pennsylvania Museum. Among her other books are The Murals of Bonampak, The Blood of Kings (with Linda Schele), The Art of Mesoamerica, Maya Art and Architecture, The Gods and Symbols of Ancient Mexico and the Maya (with Karl Taube), and A Pre-Columbian World (co-edited with Jeffrey Quilter). She has most recently completed Painting a Map of Mexico City (co-edited with Barbara Mundy; 2012, a study of the rare indigenous map in the Beinecke Library) and The Spectacle of the Late Maya Court: Reflections on the Murals of Bonampak (with Claudia Brittenham; 2013).

PRESENTATION: A Feathered Plate for the Afterlife.

ABSTRACT:    From at least 600 onward, plates painted with geometric feather designs form a critical element of funerary offering, and nowhere more so than at Tikal and Uaxactun; Tikal’s famous “Tomb of the Jade Jaguar” had ten such vessels, almost certainly piled high with food for the dead lord. What do the feathers mean? How can we link this imagery with the other common subject painted inside plates, the dancing Maize God? In this talk, the feathered plates, Maize God plates, and muwan bird plates of Campeche and Yucatan will all be brought into one narrative frame.

Dr. Karl Taube

Dr. Karl Taube is a Mesoamericanist, archaeologist, epigrapher and ethno-historian, known for his publications and research into the pre-Columbian cultures of Mesoamerica and the American Southwest. In 2008 he was named the College of Humanities, Arts, and Social Sciences distinguished lecturer. Dr. Taube received his B .A. in Anthropology in 1980 from Berkeley. At Yale he received his M.A. in 1983 and Ph.D. in 1988. Dr. Taube studied under several notable Mayanist researchers, including Michael D. Coe, Floyd Lounsbury and art historian Mary Miller. Taube later co-authored with Miller a well-received encyclopedic work, The Gods and Symbols of Ancient Mexico and the Maya. Field research undertaken during the course of his career include a number of assignments on archaeological, linguistic and ethnological projects conducted in the Chiapas highlands, Yucatán Peninsula, Central Mexico, Honduras and most recently, Guatemala. As of 2003, Taube has served as Project Iconographer for the Proyecto San Bartolo, co-directed by William Saturno and Monica Urquizu. His primary role is to interpret the murals of Pinturas Structure Sub-1, dating to the first century B.C. In 2004, Dr. Taube co-directed an archaeological project documenting previously unknown sources of “Olmec Blue” jadeite in eastern Guatemala. He has also investigated pre-Columbian sites in Ecuador and Peru.

PRESENTATION: The Initial Series Group at Chichen Itza, Yucatan: Recent Studies and Interpretations

ABSTRACT: Archaeological fieldwork performed by the Proyecto Chichen Itza under the direction of Peter Schmidt during 1999 to 2002 uncovered a remarkable series of bas-relief friezes from the upper portions of palace and temple structures. The focus of this study will be buildings featuring avian and floral imagery, including abundant representations of cacao. Many of the friezes contain scenes portraying an avian-headed figure playing music surrounded by floating elements pertaining to music and dance. The relation of music to precious birds is well known for Late Postclassic Central Mexico, as can be seen in the early colonial Nahuatl texts in the Cantares Mexicanos. In addition, these same songs as well other early colonial Nahuatl sources also relate music, flowers and birds to concepts of paradise. However, it is becoming increasingly clear that a very similar complex existed among the more ancient Classic Maya, including the wind deity — god of music and closely related to flowers as well as the embodiment of the breath soul. For the Classic Maya, there was also a duck-billed form of the wind god, forms of which can probably can be traced to much more ancient periods, probably even to the Early Formative of south coastal Chiapas. In contrast to southeastern Mesoamerica, duck-billed anthropomorphic figures are notably absent until the Late Postclassic period in Central Mexico, where he appears as the wind god Ehecatl, a being also closely related to music. In this study, I argue that the avian figure in the Initial Series at Chichen Itza constitutes an Early Postclassic form of the wind god and as such, can be considered as an ancestral form of Ehecatl. Moreover, the Initial Series Group has the most developed monumental program dedicated to the production of cacao in ancient Mesoamerica, with the immediate topography strongly indicating why.

Dr. Marc Zender

Marc Zender received his PhD in archaeology from the University of Calgary in 2004. He has taught at the University of Calgary (2002-2004) and Harvard University (2005-2011), and is now an Assistant Professor of Anthropology at Tulane University, New Orleans, where he has taught epigraphy, linguistics and Mesoamerican languages since September 2011. Marc’s research interests include anthropological and historical linguistics, comparative writing systems, and archaeological decipherment, with a regional focus on Mesoamerica (particularly Mayan and Nahuatl/Aztec). He is the author of several books and dozens of articles exploring these subjects. In addition to his research and writing, Marc is associate editor of The PARI Journal, and (with Joel Skidmore) co-maintainer of Mesoweb, a major internet resource for the study of Mesoamerican cultures.

PRESENTATION:  Abbreviational Conventions of Classic Maya Writing

ABSTRACT: Logosyllabic scripts frequently abbreviate phonemes and morphemes that are nonetheless critical to linguistic interpretation and translation. Abbreviational conventions therefore represent a particularly important field of study for those who propose to understand ancient texts. In the case of Maya writing, it is now well known that this script routinely elides word-final consonants and the first consonant of a cluster when they belong to a class of weak consonants: ʔ, h, j, l, m, n, w, and y (Lacadena and Zender 2001:2-3; Zender 1999:130-142). Another widespread abbreviational convention, shared with such diverse scripts as Egyptian hieroglyphic and Runic, has been termed haplography, whereby a given sign is recorded only once when it should be represented twice, as in ka-wa for ka[ka]w and AJAW-le for ajawle[l] (Zender 2010:4). We can recognize haplography in Maya writing because it alternates with double writing (e.g., ka-ka-wa and AJAW-le-le) and with a diacritical marker that apparently signals the presence of duplicate consonants (e.g., ²ka-wa and AJAW-²le), sometimes also appearing with logograms that are C₁VC₁ in shape (e.g., ²K’AHK’, ²TZUTZ). Finally, Maya writing also frequently elides essential morphological suffixes in the presence of logograms, such that BAJ alternates with ba-la-ja (bajlaj) and OCH with o-chi (och-i) (Zender 2010:4-5). These complex conventions now cast doubt on several previously accepted decipherments, but they also cast new light on others, and suggest procedures that will help to minimize their confounding influences in the future.

Dr. David Stuart

Dr. David Stuart is the David and Linda Schele Professor of Mesoamerican Art and Writing at the University of Texas at Austin. He received his Ph.D in Anthropology from Vanderbilt University in 1995, and taught at Harvard University for eleven years before arriving at UT Austin in 2004, where he now teaches in the Department of Art and Art History. His interests in the traditional cultures of Mesoamerica are wide-ranging, but his primary research focuses is the archaeology and epigraphy of ancient Maya civilization, and for the past three decades he has been very active in the decipherment of Maya hieroglyphic writing. Over the past two decades his major research has centered on the art and epigraphy at Copan (Honduras), Palenque (Mexico), Piedras Negras, La Corona, and San Bartolo (Guatemala). Stuart’s early work on the decipherment of Maya hieroglyphs led to a MacArthur Fellowship (1984-1989). His books include Palenque: Eternal City of the Maya (Thames and Hudson), and most recently The Order of Days (Random House), a popular account of ancient Maya calendars and cosmology. Stuart is also currently the director of The Mesoamerica Center at the University of Texas at Austin, which fosters multi-disciplinary studies on ancient American art and culture. In addition, he oversees the activities of the newly established Casa Herrera, UT’s academic research center in Antigua, Guatemala, devoted to studies in the art, archaeology and culture of Mesoamerica.

PRESENTATION: The 8,000 Gods: An Examination of Sacred Beings and Categories in Classic Maya Theology

ABSTRACT: Today we know a great deal about ancient Maya gods, especially their individual imagery and associated iconography. What we lack, however, is a sense of how gods were conceived and categorized within a larger theological system of sacred beings. Using new translations of several revealing texts I will examine the ways the Maya described and classified their own religious system. These sources hint at the internal structure of the animate Maya cosmos — a topic that was always central to Linda’s research and to our own close collaborations.

Dr. David Freidel

Dr. David Freidel studies the emergence and fluorescence of government institutions among the lowland Maya of southeastern Mexico and Central America. Currently he is directing long-term research at the royal city of El Perú, ancient Waka’, in northwestern Petén, Guatemala. Established in the Preclassic period by roughly 100 BC, El Perú-Waka’ was the capital of a kingdom and seat of a royal dynasty that endured more than five hundred years and boasted more than 26 successors to the throne, finally collapsing in early ninth century. The Waka’ kingdom commanded strategic trade routes, to the west along a major river, the San Pedro Martir, and to the north overland to the central lowlands of the Yucatan peninsula. Major historical events at the city include its subordination to the principal imperial conquerors of the Maya world: Siyaj K’ahk’ in the fourth century, and Yuknoom Chen II in the seventh century. Although not as large or imposing as the major regional capitals of the Maya world, El Perú-Waka’ is historically important and a productive laboratory for investigating all aspects of Classic Maya civilization.

PRESENTATION: Standing on the Edge dreaming of the Center: Linda Schele’s Vision of a Unified Maya Field

ABSTRACT: When Linda and I were collaborating in the eighties she looked forward to the day when all students of the southern lowland Classic Maya civilization would participate in a common effort, their independent sources of information and insight embraced, as Evon Vogt would have said, by the collective intention of the ancient sages to inscribe a common history. She was clear in her own mind that the decipherment would reveal that the rulers and courtiers of Classic kingdoms addressed not only their own local constituencies but also their peers throughout the Classic world. Her efforts to articulate this view of the center from afar informed her books. I reflect on this effort and the current state of the center.

Dr. F. Kent Reilly

Dr. F. Kent Reilly, III ia a pre-historian and his interests converge around religion, art, and visual validation of elite authority in New World chiefdoms and early states. His primary focus is Mesoamerican Civilization and has spent a great deal of research examining the art and symbols of the ancient Olmec (1200-400 BC), and Classic Maya (AD 200-900) cultures. In 1995 he was a guest curator and a catalog contributor to the Princeton University exhibition “The Olmec World: Art, Ritual, and Rulership.” He has published articles on the ecological origin of Olmec symbolsThe Mesoamerica Center-University of Texas at Austinnfluence of Olmec symbols on the iconography of Maya rulership and the origin and function of the Olmec symbol system. Interest in addition to the ancient Olmec and Maya, include the art and iconography of the prehistoric Mississippian Period of the Southeastern United States. In 2004 Dr. Reilly was a member of the advisory board and a catalog contributor to the Art Institute of Chicago exhibition “Hero, Hawk, and Open Hand; Ancient Native American Art of the Midwest and South.” In 2011 Dr. Reilly was chosen as the Field Anthropologist Consultant for the Muscogee Nation of Florida. The tribe hopes Dr. Reilly will be able to offer fresh insight, research material and advice as they seek federal recognition. This is the final phase of a 63 year journey and the tribe asked Dr. Reilly for his assistance in this last step because of his extensive knowledge of Muscogee government, ceremonial cycles and traditions.

PRESENTATION: The Maya Hauberg Stela and the late Olmec-style sculpture The Young Lord: Middle Formative Origin of the Early Classic Period Maya Stela Cult

ABSTRACT: The stela is a rare form of public monument in the Maya Lowlands before the Classic Period. Stela were, however, a prominent medium for recording ritual activity at such Middle and Late Formative Period sites as La Venta, in the Olmec heartland and Izapa, on the Pacific coast of Chiapas. The iconography and hieroglyphic inscription carved on the Protoclassic (A.D. 100-200) Hauberg Stela (H.83.8 cm) clearly illustrates that at this early date Maya rulers were validating their elite position through information carved on stela. Specifically, the Hauberg Stela (a Maya work of art near and dear to Linda Schele) depicts a standing, masked, male ruler engaged in ritual actions focusing on bloodletting, supernatural communication, and the establishment of a cosmological framework. A comparison of a Late Middle Formative, stela-like, three-dimensional sculpture from the Pacific Coast region of Guatemala with the Hauberg Stela demonstrates that all of the major themes carried on the Hauberg were fully functioning in a similar medium some 500 years earlier. Like the Hauberg, The “The Young Lord’ or ‘Slim” (65.5 cm) depicts a thin standing, masked, male figure incised with a complex set of secondary symbols. A structural examination of these symbols reveals the same themes of bloodletting, supernatural communication, and cosmological framework which are used to validate the elite position of the ruler depicted on the Hauberg Stela. Furthermore, the relative size of the two sculptures and the similarities of the costuming strongly suggests that they are both fulfilling identical ideological and political functions.

Dr. Julia Guernsey 

Julia Guernsey received her Ph.D. from the University of Texas at Austin in 1997, and has taught ancient Mesoamerican art and culture history in the Department of Art and Art History at the University of Texas at Austin since 2001. Her research and publications continue to focus on the Middle and Late Preclassic periods in ancient Mesoamerica, in particular on sculptural expressions of rulership during this time. She also continues to participate on the La Blanca Archaeological Project, which is exploring this large site that dominated the Pacific coastal and piedmont region of Guatemala during the Middle Preclassic period. Her publications include Sculpture and Social Dynamics in Preclassic Mesoamerica, published by (Cambridge University Press); The Place of Stone Monuments: Context, Use, and Meaning in Mesoamerica’s Preclassic Transition co-edited, with colleagues John E. Clark (Brigham Young University) and Bárbara Arroyo (Francisco Marroquín University); and Ritual and Power in Stone: The Performance of Rulership in Mesoamerican Izapan Style Art, published by the University of Texas Press.

PRESENTATION: Preclassic Sculpture and its Relationship to the Popol Vuh

ABSTRACT: This paper will consider the thematic continuities between Preclassic monuments and the text of the Popol Vuh. Numerous scholars have addressed these parallels, particularly as depicted in the sculpture of Izapa, Chiapas, as clear evidence of the duration of key and recurring narratives for well over a thousand years in Mesoamerica. While the continuities are clear and compelling, there are also differences in the narratives throughout time that are more difficult to understand. This paper will explore both of these aspects – continuity and difference – between the text of the Popol Vuh and monuments from the Preclassic period in Mesoamerica.

Dr. Rex Koontz

Dr. Rex Koontz is a Professor and Director of the University of Houston, School of Art. His work centers on the art of the Ancient Americas. He is currently investigating the portable sculpture tradition along the Gulf Coast of Mexico between A.D. 100-1000. These objects, known as yoke, hacha, or palma depending on their form, are important for the understanding of the place of artistry in Ancient Mexican politics and culture. More general interests include the construction of meaningful urban spaces in this area and how the programs of sculpture, architecture, painting, and performance seen in the center of these cities helped shape and focus the ancient urban experience. Recent books include Lightning Gods and Feathered Serpents: The Public Sculpture of El Tajin andBlood and Beauty: Organized Violence in the Art and Archaeology of Mesoamerica and Central America (the latter edited with Heather Orr, both 2009). He has done fieldwork in Mexico, Guatemala, and Honduras under the aegis of the Tinker Foundation, the University Research Council of the University of Texas, and the National Endowment for the Humanities, among others. He is currently working on a digital tool for visual analysis, VWire, that was awarded a Digital Humanities Startup Grant by the NEH in 2011-12.

PRESENTATION: The Identity of Classic Veracruz Palma Figures

ABSTRACT: Palmas – the intricately carved portable sculptures that are closely associated with the Mesoamerican rubber ball game – are found chiefly with the remains of Late Classic Veracruz civilization. Many palmas contain single figures carved in full round who are dressed in complex costumes and hold important objects. Who do these figures represent, and how are they involved with the ball game and its place in Late Classic Veracruz civilization? This presentation will discuss the palma figures in relation to scenes in Veracruz ball courts and elsewhere, proposing that the figures are secondary-tier nobility who were important to rites of investiture of kings, and that the palmas themselves may have been status objects that indicated that noble office.

Dr. Peter Mathews

Dr. Peter Mathews is Emeritus Professor of Archaeology at La Trobe University in Australia. He received his BA from the University of Calgary and his PhD from Yale University. His specialization is Maya hieroglyphic writing, and in 1984 he received a MacArthur Foundation Fellowship Prize for his contribution to the decipherment of the script. Among his publications he co-authored with Dr. Schele the seminal publication, The Code of Kings: The Language of Seven Sacred Maya Temples and Tombs published in 1999.

PRESENTATION: The Parentage Paper: an unpublished paper by Linda Schele, Peters Mathews, and Floyd G. Lounsbury

ABSTRACT: In 1975 Linda Schele, Peter Mathews, and Floyd Lounsbury saw a pattern in inscriptions from Yaxchilan that named the ruler and then appeared record his parentage. We then looked for similar patterns in the texts of other sites, and found numerous examples. (Christopher Jones had, unbeknownst to us, already discovered the pattern in texts at Tikal.) We proceeded to prepare an article for publication, including illustrations of all the examples we could find, but for various reasons the paper was never published. It was, however, widely circulated in typescript form among our colleagues. This presentation gives a brief history and description of what has come to be known as “the Parentage Paper”

Dr. John M.D. Pohl

Dr. John M.D. Pohl is an eminent authority on North American Indian civilizations and has directed numerous archaeological excavations and surveys in Canada, the United States, Mexico, and Central America, as well as Europe. He has designed many exhibitions on North and Central American Indian peoples, including “The Aztec Pantheon and the Art of Empire” at the Getty Villa in 2010, and co-curated the exhibit “The Children of the Plumed Serpent: The Legacy of Quetzalcoatl in Ancient Mexico” at the Los Angeles County Museum of Art. Dr. Pohl is noted for bringing the ancient past to life using a wide variety of innovative techniques and his experiences have taken him from the Walt Disney Imagineering Department of Cultural Affairs to CBS television where he served as writer and producer for the American Indian Documentary Series “500 Nations,” and Princeton University where he was appointed as the first Peter Jay Sharp Curator and Lecturer in the Art of the Ancient Americas. Among his various titles:

* Children of the Plumed Serpent: The Legacy of Quetzalcoatl in Ancient Mexico. J. Paul Getty Museum, 2012. Co-authors: Virginia Fields and Victoria I. Lyall.
* The Aztec Pantheon and the Art of Empire. Scala Arts Publishers Inc., 2010. Co-author: Claire L. Lyons.
* Lord Eight Wind of Suchixtlan and the Heroes of Ancient Oaxaca: Reading History in the Codex Zouche-Nuttall. University of Texas Press, 2010. Co-authors: Robert Lloyd Williams & F. Kent Reilly III.
* Narrative Mixtec Ceramics of Ancient Mexico. Stinehour Press, 2007.
* The Legend of Lord Eight Deer: An Epic of Ancient Mexico. Oxford University Press, USA, 2002.
* Exploring Mesoamerica (Places in Time). Oxford University Press, USA, 2002.

PRESENTATION: Eternal Realms of Revelry: The MAW Collection of Pre-Columbian Art

Dr. Manuel Aguilar-Moreno

Dr. Manuel Aguilar-Moreno is a Professor of Art History at California State University, Los Angeles.
He received his B.S. in Electronic Engineering and a certification in Education at the ITESO Jesuit University of Mexico. He also earned a degree in Mexican History with emphasis on the state of Jalisco from El Colegio de Jalisco. In 1997 he earned an M.A. in Latin American Studies and in 1999 received an Interdisciplinary Ph.D. in Art History and Anthropology from the University of Texas at Austin under the tutelage of the late Dr. Linda Schele and Dr. Karl Butzer.

Dr. Aguilar-Moreno has made numerous cultural and research trips worldwide. He has been a professor of Mesoamerican and Colonial Mexican Art History, World History, History of México and Biblical Literature at such institutions as the ITESO Jesuit University and the Instituto de Ciencias, in Guadalajara, Mexico; the University of San Diego, California; the University of Texas at Austin; the Semester at Sea Program of the Universities of Pittsburgh and Virginia, teaching a complete semester on board of a ship around the world with fieldwork opportunities.
At present he is preparing a comprehensive book based on his Proyecto Ulama 2003-2013. Among his recent publications:
• The Perfection of Silence: The Cult of Death in Mexico. Guadalajara: Secretary of Culture of Jalisco, 2003.
• Handbook to Life in the Aztec World. New York: Oxford Press, (2007)
• Utopía de Piedra: El Arte Tequitqui de Mexico. Guadalajara: Conexión Gráfica ,(2005)

PRESENTATION: From Texas to California: A Journey with Linda Schele

ABSTRACT:  This is a testimonial presentation and will help to explain what Linda Schele means for me and my students at Cal State LA.  I will tell a moving story that as incredible as it may seem, it is totally real.  This story proves that we live in a world where people and things exist for a reason and their interactions produce effects that change our lives forever.  There are moments in which we just need to say Thanks, keep walking with faith and follow our destiny wherever it takes us.  At the end of the road we will understand why things happen and who we really are.   This story tells about how the spirit and legacy of Linda Schele came to Los Angeles to stay here.

Thank you for your interest and participation in our 5th annual Mesoamerican Symposium!

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