Notes
1 On the screenfolds and performance, see King 1990, 1994; Monaghan 1990, 1994; Byland and Pohl 1994, 9; Pohl 1994.
2 King 1994, 105; Jansen and Pérez Jiménez 201, 12-14.
3 This discussion of the scrolling imagery of Ñudzavui song is taken entirely from King 1994.
4 King 1994, 115-122.
5 Burgoa 1989 [1670], 210; translated in León-Portilla 1992, 326.
6 See also the animation of a prehispanic Ñudzavui palace on the main screen of the Codex Nuttall in the Archive section of Mesolore.
7 King 1994, 105-108.
8 King (1990, 1994) proposed the “musical score” analogy for the codices, and the following discussion is based on his ideas.
9 John Monaghan’s 1990 “Performance and the Structure of the Mixtec Codices” is the primary source for all of the discussions in the paragraphs that follow.
10 Monaghan 1990, 134.
11 Garcia 1981 [1607], 327-329.
12 León-Portilla 1969, 55.
13 This translation is based on those published by León-Portilla 1969, 55-58 and Furst 1978, 56. A third translation of Garcia’s text, by Scott Mahler, is found in Roberta H. Markman and Peter T. Markman 1992 The Flayed God: The Mythology of Mesoamerica, 149-150.
14 Monaghan 1990.
15 The majority of the images from the Screenfold Vienna reproduced here were originally analyzed for their poetic structures in Monaghan 1990.
16 Monaghan 1990, 135.
17 Monaghan 1990, 134.
18 Monaghan 1990, 135.
19 Monaghan 1990, 135.
20 Monaghan 1990, 137-138. Monaghan’s interpretations of the guises of Lord 9 Wind are based on the work of Maarten Jansen (1982) and Jill Furst (1978).
21 Monaghan 1990, 135.
22 Monaghan 1990, 135.
23 Monaghan 1990, 138-139.
24 Monaghan 1990, 135.
25 Monaghan 1990, 137.
26 The use of single phrases to introduce the place at which the story takes place is used in contemporary Quiché Maya storytelling; see Tedlock 1987, 154-155.
27 See León-Portilla 1992 and Markman and Markman 1992.