Structure 5N2 (initially named "Group A") at Río Bec is the first ruin in the region to have been recorded and is its most important towered building. While it is reasonable to question the specific role such emblematic monumental structures played in the region's sociopolitical organization, precise data concerning their dating, construction history, and functions has been lacking. The recent study of Structure 5N2 has improved our understanding of this building type and of the structure itself, which combines a private residential sector (that astonishingly includes a central pyramid-temple) and a public space. The structure's construction history also reveals a great deal. Originally it consisted of only a tandem two-room residence constructed at roughly a.d. 700-720. Around a.d. 830-850 the original residence was transformed into a large palace, which remained unfinished until abandonment just after a.d. 950. Analysis of the final building, replaced in the process of transformation to the settlement around Structure 5N2, also enables us to explore the social and economic dimensions of its dramatic but incomplete growth.

This article focuses on graffiti recorded in the micro-region of Río Bec (a 10 × 10 km zone around Group B), an art form well-known but little studied to date. Incised in plastered supports (wall, benches, or doorjambs), graffiti is found on residences of all ranks. A meticulous recording method has enabled us to distinguish two classes: graffiti produced during a building's occupation and those executed postabandonment. The former were probably made by the residence dwellers themselves, children and adults. Their productions, which can be considered authentic artistic creations, reflected their unequal technical capacities, talents, ages, and inspirations. The subject matter was personal; remarkable individuals or animals, or outstanding collective events as memorialized by individuals. These graffiti emerge as the principal form of individual expression (retrieved by the archaeologist) from Río Bec society. Once the buildings were abandoned and full of rubble, new graffitists (occasional visitors or squatters) decorated the still accessible portions of plastered walls and notably illustrated some specific topics, such as female imagery and fabulous entities perhaps drawn during specific ceremonies. In the region as a whole, where glyphic inscriptions are scarce, graffiti provide a privileged emic source for the understanding of Río Bec society. These striking Maya productions are often mentioned, but less documented in terms of precise description and illustration in the literature (Mayer 2009). Indeed, even if graffiti are reported for numerous Maya cities and known by every scholar, they are generally considered of little interest at the moment of being reported, recorded, and illustrated in field reports. The Río Bec region provides a huge quantity of examples and information on graffiti. Since its discovery at the turn of the twentieth century, the first explorerers noted the presence of this form of expression. Along with architecture, iconography, and settlement patterns, these graffiti attracted the attention of archaeologists and iconographers

Río Bec. Des grandes maisons et des récoltes Río Bec. Big houses and staple production Río Bec. Grandes residencias y cosechas