En este texto realizamos una revisión del espacio ritual de dos celebraciones que tienen una historia profunda entre los pueblos indígenas de Mesoamérica, la ceremonia ritual de los Voladores y el Juego de Pelota. A partir de la indagación en evidencias arqueológicas, históricas y de la experiencia de la ritualidad, exponemos los principios comunes en la diversidad de estas celebraciones rituales. Consideramos la perspectiva de los practicantes contemporáneos para incluir su conocimiento sensitivo a la discusión, esto es, un punto de vista emic que complementa el abordaje etic de los principales aspectos documentados de estos rituales. Proponemos que, como opuestos complementarios, ambos rituales constituyeron un medio para que sus practicantes lograran transitar entre los niveles del cosmos. El ritual de los Voladores es metáfora y experiencia de acceder a los niveles superiores, mientras que el Juego de Pelota lo es de acceder a los niveles inferiores. Estas celebraciones requieren del sacrificio y de un estado latente de muerte que demanda de sus practicantes una rigurosa preparación y conocimiento de las normas rituales. Concluimos observando que, a pesar de las profundas trasformaciones históricas, la pervivencia de estas celebraciones expresa los esquemas organizativos de las cosmovisiones mesoamericanas, manifiestas en la experiencia de los complejos y elaborados programas rituales indígenas.

Burial 10 is a unique Manteño (AD 650–1532) burial from Buen Suceso, Ecuador, dating between AD 771 and 953. This burial included the remains of a young female, pregnant at the time of death and buried with an elaborate array of goods, including anachronistic spondylus ornaments, green stones, and shell eye coverings. Perimortem trauma, including a cranial fracture and cutmarks on hand bones, perimortem removal of the hands and left leg, and other body manipulation suggest she was sacrificed, a rare event for coastal Ecuadorian peoples.

This article analyzes the sketches of Ernesto “Che” Guevara and fellow guerrillas made by the Argentine Ciro Bustos during his captivity in Bolivia in 1967. Many of the references to Bustos in biographies of Guevara and in writings about the latter’s failed Bolivian campaign depict Bustos, because of those sketches, as “the man who betrayed Che.” The tensions and discrepancies in those accounts suggest instead that Bustos’s sketches should be seen not merely as documents of betrayal but as artworks embedded in the period’s wider revolutionary visualities. The article argues that Bustos’s drawing of Che Guevara, who is usually depicted visually as “heroic guerrilla” or “saintly martyr,” introduces an affective, intimate gaze of armed struggle in all its complications.

Traditionally, historians believed that taking captives was a major goal in Mexica warfare, and this tendency has even been given as a reason why the Spanish conquistadors defeated the Mexica. Although historians have largely revised these conclusions, the perception that captives were important to Aztec strategy and warfare persists. In this article I argue that the need for captives was not great enough to affect Aztec military strategy or battlefield conduct. First, rituals only needed a small number of victims, which could easily be acquired through the normal course of battle, and thus did not constitute a specific objective. Second, Mexica strategy focused on economic objectives, rather than captive taking. Finally, individual warriors were not well equipped to take prisoners. Although captives played a vital role in Mexica society, the practice should be thought of as opportunistic, rather than strategic.