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University, Cumez is aiding in research of indigenous mentorship-models in aims of restructuring the way in which art is taught today. Additionally, through research, Cumez has, to an extent, both aided in the broadening of
European-centered art history as well as stressed the importance of indigenous Mayan art-history. Cumez has worked with professors and students to help them rethink the way in which art is created and utilized as a form of liberation; she helps people acknowledge how in some cases art can bridge groups together, as seen through her ability to mentor others outside of her own culture through indigenous-centred art. Cumez is also profiled in a scholarly book that discusses implementing art and social justice education into the classroom and has a chapter devoted to her own work, which relates her subject matter to the realities of immigration. An example of such artworks that discuss these realities can be seen in Cumez's
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260:(2004) is an oil on the wood painting which is cited in scholarly works. In the introduction section titled "Mayan Women as History," the artwork is used as a way to discuss a contemporary Central American exploited agricultural economy and how this affects working-class labour opportunities in third world countries. To see her works you can visit the following websites:
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Cumez has been cited in numerous scholarly articles which discuss the engendering of Latin
American art history and has helped improve the visibility of the indigenous narratives at the undercurrent of many Central-American countries. For example, working with Dr Kryssi Staikidis of Northern Illinois
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Mayan deity who is known to weave for the people in order to create flourishing agriculture for the people. Ixchel also represents fertility. In Cumez's works, the goddess is depicted sowing and threading the soil and natural environment as a reflection of the Ichzel's role in the day-to-day life of
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Paula is a self-proclaimed Mayan and
Guatemalan artist who was a weaver before she became a painter, and whose influence stems from both her contemporary culture and ancestry. Through the encouragement of her grandfather Francisco Cumez (a sculptor himself) to develop her artistic skills and
166:: A text which is foundational to the understanding of Mesoamerican mythology, theology, and cosmology. The text explains the Mayan understanding of creation and the important deities that arose successively from the dating back to the origin of creation.
192:. Regardless, an interesting distinction between the male and female artists of this community that one should acknowledge is: that where male artists focus more on ritual processions, female artists focus on surrealism. Cumez identifies with her
268:. Author and researcher Staikidis in regards to Cumez's work state, "the paintings become visual metaphorical windows into Mayan Kaqchikel female cultural worlds." Furthermore, this can be seen through artworks that carry these motifs such as,
134:(born January 15, 1955) is a Mayan-Guatemalan artist. Cumez is inspired by Mayan tradition and culture and focuses on expressing the context of native women’s experience in her artwork; additionally, Cumez was inspired by the
286:: these are traditional and indigenous clothes which are used by the women specifically in Tz'utujil Mayan culture. Regardless they are typical Guatemalan garments with a variety of floral designs and bright colours.
304:. The use of guipils and the acts of weaving relate to not only Cumez's upbringing but Mayan cosmology such as to Ixchel (which is also incorporated in her works). This indigenous clothing appears in works such as
138:. Cumez is known for creating an artist community of women within the Tz’uthil Mayan artists, named "Kaqchikel Surrealist Painters.” Additionally, a short film was made about Paula Nicho Cumez’s background called
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learning from her teacher and future-husband
Salvador Cumez Currichich, she began her career at thirty years old in 1985. Paula Nicho Cumez is an artist from the town of
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The artworks reflect the narratives of Mayan-indigenous culture in
Guatemala, and by creating narratives in the story there is a sense of individualized and embraced
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people. Ixchel is usually depicted in natural settings and kneeling in the earth as a representation of her connection to earthly fertility.
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Staikidis, Kryssi (November 17, 2015). "Learning
Outside the Box: How Mayan Pedagogy Informs a Community/University Partnership".
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Mayan identity. The use of weaving as a motif of female authorship and ownership is seen throughout the works: for example, the
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culture, and this is demonstrated through her various artworks. There are four cities which compose the Tz’utujil: (1)
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Cumez's work is attributed with surrealist artistic types, and many view her works as being reflective of
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Engendering Mayan
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which is a series of two painting one made in 2002 and one made in 2004.
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external links, and converting useful links where appropriate into
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Quinn, Therese M.; Ploof, John; Hochtritt, Lisa J. (2012-04-23).
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Art and Social
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