City, Temple, Stage: Eschatological Architecture and Liturgical Theatrics in New Spain (review)
which he argues should be called the Baile or Dance of the Volcano. It is a version of the Baile de la Conquista featuring Sinacán resisting capture until he is taken prisoner by Tlaxcalan warriors, allied with the Spaniards. This annual event likely performed from the late sixteenth century until the seventeenth century, was staged in Santiago’s central plaza and featured a mock volcano. Contreras believes that this version might have survived if it had been performed in pueblos instead of in the capital; with insufficient official or native impetus to keep it going, it was soon forgotten. By contrast, Tecún Umán is the hero of a version of the Baile de la Conquista, which is still performed in Guatemala. Contreras concludes that Tecún did not die in personal combat with Alvarado and that the two men never even met. Though Alvarado mentions the death of the Lord in the first major battle of the conquest surely he would have informed his superior, Cortés, if he had personally killed him. Contreras implies that Tecún Umán’s hero status is a result of legend and folklore and that Sinacán, the true hero, has been unjustly forgotten.