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This paper engages a Maya sonorous concept known as “q’ojom” as a means of understanding the role of sound in the K’iche’ Maya Popol Wuj. While the notion that the Popol Wuj and similar texts are performative in nature has been widely recognized and well-studied, we argue that an analysis of the text grounded in q’ojom enables us to better grasp how such a performance may have been carried out, as well as how sound itself is integral at different moments in the text. As this article is also a collaboration among Maya and non-Maya scholars, we also hope that it plays a small role in furthering efforts to develop and hone new forms of scholarship and relations in the hemisphere.
