Captivating Portraits: The Essence of Maya Women Through Ajpu Nicho’s Lens

“Every portrait I capture is a means to honor our identity and narrate our story from our own viewpoint,” Ajpu Nicho.

Ajpu Nicho is a photographer whose artistry is deeply anchored in the essence of Guatemala, where the time-honored customs of the Maya community remain vibrant and alive. Hailing from Comalapa, a locality steeped in cultural richness, Ajpu’s existence has been profoundly influenced by his Maya heritage. His name, inspired by the revered Cholq’ij calendar, symbolizes the Maya perception of eras and the sanctity of time.

Raised in a household with a rich artistic tradition—his great-grandfather was a painter, sculptor, and theater artist, while his mother was a trailblazer in Maya women’s oil painting—Ajpu’s artistic journey has been shaped by the insights and tales of his ancestors.

It is through the lens of his camera that Ajpu has genuinely discovered his expressive capacity. His photographic equipment functions not merely as a device for documenting images but as a vessel of defiance and cultural portrayal. His imagery encapsulates more than mere moments; it captures identity, honor, and tenacity. In a milieu where the narratives and cultures of Indigenous peoples have frequently been viewed through the perspectives of outsiders, Ajpu’s artistry confronts those interpretations, granting a platform for Maya voices to articulate their own truths.

By creating close-knit portraits of Maya women and elders who safeguard ancestral knowledge, Ajpu’s photography transcends conventional artistry. It transforms into an endeavor of cultural conservation—a tribute to the lasting resilience of the Maya populace and a potent assertion of opposition to colonial perceptions.

In the quaint town of Comalapa, Guatemala, the name Ajpu is laden with significance, heritage, and a profound bond to Mayan ancestry. “Ajpu is a term of Mayan origin,” Ajpu elucidates, “and it constitutes one of the 20 days of the Cholq’ij calendar, a chronicle that traces back to our forebears.”

Growing up enveloped by an artistic family legacy, Ajpu was profoundly shaped by the cultural depth that surrounded his youth. At the tender age of seven, his family relocated to Comalapa, the municipality of his parents’ origins. It was within this community that he became steeped in the artistic expertise passed down through his lineage.

“My great-grandfather Francisco was a painter, sculptor, and theater artist. One of his notable works is still on display at the communal fountain, ‘El Lagarto,’ where he sculpted the likeness of a lizard,” Ajpu recounts. His mother also left her mark on the artistic world by establishing a collective of Maya women painters in an era defined by political oppression.

“They showcased their artwork internationally and made strides in oil painting,” he further explains. This visual inheritance, according to Ajpu, flows in his veins. Now, as a photographer, he channels this legacy, capturing the beauty and narratives of his Mayan lineage through light.

Ajpu’s venture into photography was not initially a quest he sought. In 2010, he was awarded a scholarship to study cinematography, gaining insights into various facets of film creation. Yet, it was photography that ensnared his fascination. “Interestingly, it wasn’t something I initially pursued; my focus was more on computer science. However, photography came to me first,” he reflects.

“Upon graduation, I set aside the earnings from my first job to acquire a professional camera, the same model we utilized in class: a Canon EOS 7D. I vividly recall the thrill of unpackaging the camera, assembling it, and capturing my inaugural shot: a small bird resting on a tree branch. Although I had previously taken pictures, this was the first one I felt truly belonged to me. The following day, I brought my camera to the market, feeling like a photojournalist. I took numerous photographs and uncovered the joy associated with freezing moments through the lens.”

For Ajpu, photography swiftly evolved into more than just a creative pursuit—it became an act of defiance and cultural portrayal. As a Kaqchikel Maya, he became aware of the inadequacies of Western narratives in portraying Indigenous communities. “Traditionally, most photography references have originated from the Global North,” he notes, “but my aim is to carve a path for future generations to discover a more inclusive representation.

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His artistry in photography evolved into a method to escape the colonial viewpoint through which Indigenous groups were frequently depicted, aiming instead to honor and empower those he captured.

“To me, being a photographer signifies an act of defiance and cultural representation. As a Kaqchikel Maya, my work defies norms in an arena where cinema and photography were birthed from a colonial and elitist viewpoint,” he asserts.

“Initially, my connection to photography was more technical and investigative. I lacked a concrete objective, but as time progressed, I recognized that my genuine enthusiasm resided in encapsulating the spirit of my culture and the ancestral heritage I embody. Nowadays, every portrait I capture serves as a means to dignify our identity and narrate our narrative from our own vantage point.”

One of the central elements in his art is the respect of Maya identity. “A significant moment that influenced my viewpoint arose when I observed an outsider photographing local Maya women in a community, regarding them as exotic subjects and offering money to pose,” Ajpu reminisces. This incident encouraged him to scrutinize how Indigenous individuals were represented and the detrimental stereotypes that were sustained.

“That experience made me resolve that my photography would serve not as a means for exotification, but as a vehicle to honor the memory and wisdom of my ancestors,” he clarifies. Through his portraits, Ajpu endeavors to communicate the richness of his culture and the fortitude of his community, dismissing the external lenses that frequently skew their authentic essence. “My primary aim is to elevate our representation, highlight our cultural wealth, and render our narratives visible from our own, respectful lens,” he articulates.

One of Ajpu’s early remarkable collections, “Survivors,” highlighted Maya Achi individuals who endured the genocide perpetrated by the Guatemalan government during the 1980s. “In this collection, I contemplate the repercussions of violence and the significance of those who, in spite of everything, persist in enriching their communities as midwives, healers, and artisans,” he remarks.

Another essential series, “Kirinïk” (translating to “to untie”), depicted four Maya women from varied linguistic backgrounds. “This creation aims to celebrate the vibrance and strength of Maya women against stereotypes and folklorization,” Ajpu elucidates. He notes that both projects encourage viewers to ponder identity, resistance, and cultural dignity.

Ajpu’s journey has recently been elevated by global acknowledgment, particularly achieving first place in a contest hosted by the World Intellectual Property Organization (WIPO). “This international recognition has proven to be a significant uplift in my profession, not merely because it affirms my vision and efforts, but also due to the expanded circulation of my artistry,” he states.

Proud of this achievement, he remains dedicated to the dynamic nature of his art. “Photography is an ever-evolving journey,” he mentions, “and every experience nurtures fresh narratives and perspectives that align with the contexts and stories of my people.”

In his work, Ajpu persists in concentrating on Maya women, whom he regards as the true guardians of cultural resilience. “They are the ones who have endured most fiercely against dispossession and colonialism, safeguarding their clothing and customs, while males, for the majority, have relinquished these aspects,” he clarifies.

“My images are primarily for my own enjoyment; each shot taken during a session embodies my unique perspective. Following a careful selection, I pick the ones that will articulate my thoughts and transmit the messages of identity, resilience, and honor that I aim to express.”

Ajpu underscores the importance of showcasing the culture from the standpoint of the Maya. “It’s a declaration: this is our identity, this is our attire, these are our customs and knowledge, without the exotic lens frequently imposed by the West,” he states.

He perceives his artistry as part of a shared endeavor to depict the richness of Maya culture from the inside out. “Our identity, rich in history and ancestral knowledge, should instill a sense of internal pride before we seek validation from outside,” he continues. “My photography contributes to that journey.” Regarding recognition, Ajpu insists, “we must first understand and appreciate who we are as a community.”

In Guatemala, where the artistic landscape has been primarily shaped by urban and affluent demographics, Ajpu feels that Maya communities have been poorly represented. “This has led to expressions rooted in racism, as seen in the reinterpretation of cultural aspects from a detached, biased, and external viewpoint,” he mentions.

“The principal obstacle for modern photography within the Maya context is the scarcity of chances and venues to narrate our stories from our viewpoint. It’s crucial to cultivate spaces where Maya creatives can produce and exhibit their work absent external narratives,” he asserts.

At present, Ajpu is pondering numerous projects. “I possess several ideas that I wish to realize,” he mentions. These concepts draw inspiration from the endeavors of his peers and consistently align with his aspirations of honoring and showcasing his culture. One particular dream project emerged during the pandemic.

“In my village, numerous elderly individuals succumbed to Covid-19—those who held the history and memory of Comalapa,” Ajpu reflects. This project, which he aspires to bring to fruition soon, entails documenting the remaining elders, preserving their wisdom and legacy through a photographic series.

“It would encompass an exhibition where they take part, along with a publication featuring contributions from local authors. It would act as a tribute to their lives and a means of transmitting their knowledge to future generations.”

Through his artistic efforts, Ajpu remains dedicated to highlighting the narratives of his community. “My aim is to honor our representation, display our cultural depth, and render our stories visible from our own, respectful viewpoint,” he proclaims.

In his perspective, the endeavor to safeguard Maya culture and heritage transcends the mere photographs. “Photography is an instrument for cultural conservation, a form of resistance, and a testament to the resilience of our community,” Ajpu expresses. His efforts form part of a broader initiative to guarantee that Maya culture is not only acknowledged but also revered—from within.

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Ajpu Nicho

Soledad Quartucci, CEO, Latina Republic

Latina Republic envisions a future where the beauty and strength of Latin American and Caribbean cultures are acknowledged and valued worldwide. By enhancing the voices of creators and cultural guardians, our aim is to foster a deeper comprehension of the region’s hurdles and triumphs. Our mission is to motivate a greater appreciation for the arts as a means for empathy, union, and transformative societal change. Through our initiatives, we strive to provide all participants with vital insights to tackle regional issues, ultimately enriching the global cultural landscape and portraying both the victories and struggles of everyday life in Latin America.