“A Millennial Palimpsest: Musical Quechua Poetry in Los ríos profundos (1958) and Todaslas sangres (1964) by José María Arguedas (1911- 1969)” (original) (raw)
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From grief and joy we sing: Social and cosmic regenerative processes in the songs of Q'eros, Peru
2009
Fieldwork in Peru for this project was supported by a Fulbright-Hays Doctoral Dissertation Research Abroad Grant (2007), and initial stages, including an intensive Quechua language course, were supported by a grant from the Presser Foundation (2002). I thank my employer, Wilderness Travel, who gave me additional tour groups in Peru in 2005 and 2006, which funded my fieldwork during those years. Friends and scholars in Cusco, Peru helped in a variety of ways. Jorge Flores Ochoa provided rich insight into Andean concepts, and José Luis Venero clarified classification of Andean plants, flowers, and birds. Janett Vengoa de Orós, Ines Callalli, and Edith F. Zevallos worked diligently with me on many transcriptions and translations of Quechua texts, and helped in discussions with Q'eros friends. In particular, Gina Maldonado spent many days, which translated into months and years (2005-2007), working with me during intensive transcription and translation sessions with the Q'eros. The camaraderie and trust Gina and I developed, both between ourselves and with the Q'eros, led into hours of deep discussions that helped clarify so much of the detail, nuance, and spiritual aspects of Q'eros' music-making, for which I am most grateful and indebted. Peter Frost, Rosi Blume, Amy Tai, Luis Gonzales, and Carmela Sierra were continual sources of friendship and support, always there to "end an ear"when I needed to discuss conflicts or bounce ideas. I thank Paul Heggarty in England for his generous information about linguistic aspects of Quechua. On the U.S. front, I am grateful to Trevor Harvey for his help and expertise in creating my alternative transcription design that shows yanantin in song structure, and Deborah Olander who helped my writing attain an active voice. I am most grateful to Catherine Allen who read entire chapters of the dissertation, and gave poignant, guiding suggestions. I also thank my advisor, Dale Olsen, whose expert writing and editing skills helped me to organize and articulate my ideas in such a way so that they would be more easily accessible to the reader. Robin Davis, Flynn Donovan, and my sister Terry Wissler were supportive friends who listened to my ideas, conflicts, joys, and sorrows in every stage of this project. In the spirit world I thank my Mom and Dad from whom I inherited some personality traits that proved to be essential in both my fieldwork in Q'eros and writing in the U.S. From my Dad, his childlike ability to hunker down and joyfully hang out with anyone helped me in the v field, and from my mother, her tenacity and discerning, critical thinking helped me to write it up. Their presence was always with me. Finally, I extend my heartfelt gratitude to John Cohen, who laid some of the essential groundwork from which I was able to orient my own thoughts about Q'eros music. John's continual stream of penetrating, prodding, forthright, and challenging questions and insightful feedback have been foundational in my work, which this dissertation builds and expands on. Lastly, no words can express my thanks to the Q'eros community and my dear comadres and compadres who took me in and taught me so much about love, humanness, conflict and resolution in the Andean world, connection to the earth and spirits, and deeply meaningful ritual. There are too many to name here, but some key figures have been: Víctor Flores Salas, whose passion and zeal for learning and playing all kinds of music pulled me in from day one, and whose outrageous sense of humor made it fun; the sage wisdom of Agustín Machacca Flores and Isaac Flores Machacca, who provided deep insight into complex issues; Juliana Apasa Flores and Juana Flores Salas, who loved me like a sister, and willingly taught me so much about the women's role in Q'eros music-making; the brothers Marcelino and Jacinto Qapa Huamán, who provided profound detail about the relationship of music-making among the people, animals, and the spirit world; and another set of brothers, Juan and Luis Quispe Calcina, and their wives Rebecca Machacca Quispe and Sebastiana Machacca Apasa, who took me in like family and were steady, subtle supports in practical aspects of my fieldwork. The list goes on and on, but suffice to say that living and working with the Q'eros has changed my own life and perceptions in profound and subtle ways, and I am forever beholden to all Q'eros people, the ones I know well and the ones I have not yet met.
Recovering the Sound of Early Nineteenth-Century Bolivian Song
The Songs of Pedro Ximenez Abril y Tirado (1784-1856), 2023
In Spanish America, the early nineteenth-century insurgencies and wars of independence mark a historical rupture between the long period of colonialism and a new era in which national cultures coalesced. Each country develops a distinct history, but most share key developments, including the secularization of society, the challenge of forging political relationships with European countries, the United States, and regional neighbors, and the awakening of interest in the pre-Hispanic heritage. As such, the nineteenth century encompasses a complicated, turbulent, and often contradictory period in Latin American history. Among these many contradictions is the vogue for bourgeois European, especially French, culture among Latin American criollos (Americans of Old World heritage) in the decades following independence. Concepts such as indigenismo and mestizaje eventually helped define Latin American nations in the early twentieth century, but these were not yet part of discourse in the early nineteenth century, when the colonial casta system still informed social hierarchies. Nonetheless, several Enlightenment projects had already begun to draw attention to the uniqueness of the natural and cultural history of the Americas. Driven by Aristotelian knowledge building, collecting, and a Cartesian sense of nature's wonder, such projects found in the Americas a marvelous world that remained less spoiled than Europe. Among these projects was the compilation of the Códice Trujillo del Perú following Bishop Baltásar Jaime Martínez Compañón's pastoral visit to remote areas of his diocese in 1782-1785. The codex includes over fourteen hundred water color sketches of local peoples, customs, plants, and other aspects of natural history and geography as encountered in northwestern Perú. It even features the rudimentary transcription of twenty musical pieces, including dances and cachuas, performed within indigenous, criollo, and African-Peruvian communities. These short pieces have recently experienced a revival in the early music performance community. Martínez Compañón also collected pre-Hispanic antiquities, some of which were remitted to Spain. See an image from the Códice Trujillo del Perú that depicts a popular dance here: https://commons.wikimedia.org/wiki/File:Codex\_Compañón\_página\_149.jpg. Alexander von Humboldt's visits to the Andean region, central New Spain, and Caribbean between 1799 and 1804 also raised awareness of the Americas. Accompanied by indigenous guides and European researchers, Humboldt studied the natural geography and history of the Americas and later published the widely-read Political Essay on the Kingdom of New Spain in 1811 which, among other observations, advocated for the independence of the viceroyalties and the emancipation of slaves. See an idealized Ecuadorean landscape with Humboldt and his retinue at the foot of the Chimborazo Volcano in a painting by Friedrich Weitsch (1758-1828):
To Throw the Blessing: Poetics, Prayer, and Performance in the Andes
Journal of Latin American Anthropology, 2004
Flor ida Atl antic Universit y r e s u m e n La bendición es una recontextualización indígena de oraciones Católicas dentro de un oratório Quichua que obedece a normas estéticas de ejecución definidas culturalmente. Constituye un género de discurso que surgió a través de procesos históricos de conversión y catecismo, y la reformulación autóctona de los rituales y textos Católicos. Con el surgimiento histórico del género también surgió una preferéncia por los "mayores" (ancianos del pueblo), vínculados al sistema de auspición de fiestas, como los agentes de ejecución. La institución de este sistema sirve para mantener la sobrevivencia de los textos, ya que los patrocinadores ("alcaldes") memorizan los textos y pasan el conocimiento a los novicios. La bendición, y otras oraciones, constituyen una clase de discurso ceremonial que es necesario para la celebración apropriada de los rituales. Analizo la oración y a los agentes como una instancia de la reformulación de los textos religiosos dentro de contextos locales, y propongo que la ejecución de la bendición merece atención como un acto de memoria y expresión de socialidad Andina.
2016
espanolDesde los tempos pre-hispanicos, Cajamarca ha sido una importante region agricola del Peru gracias a sus recursos hidrograficos. Recientemente se ha convertido, sin embargo, en una zona de intensas revueltas sociales. Durante el gobierno neoliberal de Alberto Fujimori (1990-2002), el estado peruano permitio la entrada de corporaciones mineras transnacionales para la extraccion de oro. La explotacion minera ha causado un impacto negativo en los recursos hidricos de la region, afectando tanto al medio ambiente como a la salud y los modos de subsistencia de los habitantes de la region. Las nuevas concesiones de terrenos a las corporaciones mineras transnacionales por parte del actual gobierno sin el consenso de la poblacion local ha intensificado la conflictividad social. Este articulo discute las canciones de los ronderos a favor del agua y en contra del oro, asi como las actividades del Centro Documental de la Musica Tradicional Peruana en Cajamraca. Ademas, este articulo inve...