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La Virgen De Copacabana: Construcción De Identidades De

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La Virgen De Copacabana: Construcción De Identidades De 1 UNIVERSIDAD MAYOR DE SAN ANDRÉS FACULTAD DE HUMANIDADES CARRERA DE HISTORIA MAESTRÍA DE HISTORIAS ANDINAS Y AMAZÓNICAS LA VIRGEN DE COPACABANA: CONSTRUCCIÓN DE IDENTIDADES DE GÉNERO EN TORNO AL IMAGINARIO DE UNA MUJER MADRE EN LOS ANDES POSTULANTE: LIC. ANGELA MARIA CABALLERO ESPINOZA TUTOR DE TESIS: MTRO. ROBERTO CHOQUE CANQUI COORDINADORA DE LA MAESTRÍA: DRA. MARY MONEY 5 DE MARZO DE 2010 LA PAZ 2 LA VIRGEN DE COPACABANA: CONSTRUCCIÓN DE IDENTIDADES DE GÉNERO EN TORNO AL IMAGINARIO DE UNA MUJER MADRE EN LOS ANDES ANGELA MARIA CABALLERO ESPINOZA 3 A mis padres Grima Espinoza y Fausto Caballero y a Mi querido tío Juan Espinoza… Para ellos con todo el amor y la gratitud por la esperanza, la vida, la fe, alegría y el amor con que han cantado, escrito y pintado mi camino. 4 AGRADECIMIENTOS En este camino que me ha llevado a culminar la elaboración de este trabajo, agradezco por todo su apoyo y generosidad al Mtro. Roberto Choque Canqui quien con paciencia y sabiduría me ha guiado como tutor. Así mismo agradezco a la Dra. Mary Money, gestora de la Maestría de Historias Andinas y Amazónicas por alentar y apoyar este proceso en todas sus fases, al igual que al Doctor Raúl Calderón, Director de la Carrera de Historia. A los Maestros Juan Jáuregui y Carlos Mamani que han comentado este trabajo y me han brindado importantes aportes que espero en un futuro no muy lejano estudiar a profundidad para que éste estudio sea mejor completado. Mi gratitud también para los/as fieles devotos de la Virgen de Copacabana, que han compartido parte de sus vidas en sus narraciones. Gracias también al Arq. Ernesto Alarcón, Gisèle Caballero y Johnnie F. Vella por proporcionarme documentos importantes a la hora de la reflexionar sobre la imagen. Agradezco con inmenso amor a mis padres Grima Espinoza y Fausto Caballero por su apoyo durante el trabajo de campo en Copacabana y a lo largo de todo este largo proceso que me he llevado a la conclusión de este trabajo. Finalmente y sobre todo agradezco a la Virgen de Copacabana por el amor que genera en todos/as los hombres y mujeres quienes miramos su imagen al andar nuestros pasos en tierra andina. Angela Maria Caballero Espinoza La Paz, 2009 5 Tabla de contenido Tabla de contenido ........................................................................................................................................................... 5 Lista de Ilustraciones ....................................................................................................................................................... 6 Introducción ...................................................................................................................................................................... 8 Capítulo 1 ......................................................................................................................................................................... 15 La Virgen de Copacabana…la obra ............................................................................................................................... 15 1.1. LA IMAGEN DE LA VIRGEN DE COPACABANA: ARTE INDÍGENA DE LA ÉPOCA COLONIAL ............................................. 17 El niño y las manos. ....................................................................................................................................................... 25 1.2. VARIACIONES Y ADECUACIONES DE SOPORTES MATERIALES DE TRANSMISIÓN DE LA IMAGEN (1582 – 2009) ............. 26 1.3. LOS SIGNOS CONTENIDOS EN LA IMAGEN DE LA VIRGEN DE COPACABANA ............................................................... 39 Capítulo 2 ......................................................................................................................................................................... 41 Francisco Tito Yupanqui…escultor ............................................................................................................................... 41 2.1. COPACABANA DE FRANCISCO TITO YUPANQUI: ORGANIZACIÓN SOCIAL DEL ESPACIO ....................................... 41 EPOCA PRE – INCA .............................................................................................................................................................. 41 ÉPOCA INCA ....................................................................................................................................................................... 44 ÉPOCA COLONIAL. ............................................................................................................................................................... 48 2.2. LINAJE DE FRANCISCO TITO YUPANQUI (¿1540? – 1616) ........................................................................................ 54 2.3. ELITES INDÍGENAS EN COPACABANA DE FRANCISCO TITO YUPANQUI ....................................................................... 61 2.4. EL ESCUDO DE PAULLU: EMBLEMA DE LA NOBLEZA INCA EN COPACABANA ............................................................. 64 2.5. FRANCISCO TITO YUPANQUI: ARTISTA INCA CRISTIANO ............................................................................................ 74 2. 6. FRANCISCO TITO YUPANQUI Y EL PODER DEL ARTE ................................................................................................. 78 Capítulo 3 ......................................................................................................................................................................... 83 La mirada a la imagen sagrada de la Virgen de Copacabana ..................................................................................... 83 3. 1. COPACABANA: EL NOMBRE .................................................................................................................................... 86 3.2. MANTO – CERRO – PACHAMAMA - APACHETA ........................................................................................................ 91 3.3. APACHETA – CRUZ Y SANTIAGO – RAYO .............................................................................................................. 102 3.4. LA LUNA A LOS PIES DE LA VIRGEN ....................................................................................................................... 106 3.5. EL SOL SOBRE LA LUNA ....................................................................................................................................... 110 3.6. CANDELA – VARA ................................................................................................................................................. 120 Capítulo 4 ....................................................................................................................................................................... 122 La Virgen de Copacabana: imagen sagrada de una .................................................................................................. 122 mujer-madre en los Andes ........................................................................................................................................... 122 4.1. REGISTROS DE LA MEMORIA: LA PROYECCIÓN DE LAS CARACTERÍSTICAS DE LA MUJER – MADRE ANDINA EN LOS RELATOS VINCULADOS A LA IMAGEN DE LA VIRGEN DE COPACABANA ........................................................................... 122 Relato 1: Una imilla se hace virgen, patrona y madre soltera por culpa del Rayo ................................................. 122 Relato 2: El castigo como mecanismo generador de equilibrio de las relaciones madre–hijo ............................ 124 Relato 3: Milagro del padre mortificante, protector e infante ................................................................................... 125 Relato 4: Milagro y poder de la maternidad sobre el poder público masculinizante ............................................. 127 Relato 5: Dones y gratitud de la reproducción y la producción ............................................................................... 128 4.2. LA IMAGEN DE UNA MUJER – MADRE SAGRADA EN LAS IDENTIDADES ANDINAS DE GÉNERO. .................................... 129 Conclusiones ................................................................................................................................................................. 139 CONSIDERACIONES FINALES .................................................................................................................................... 145 Abreviaturas ............................................................................................................................................................. 145 Fuentes Publicadas ................................................................................................................................................. 145 Bibliografía General ................................................................................................................................................. 146 Páginas web, folletos y material audiovisual consultado ................................................................................... 150 Anexo 1 ..................................................................................................................................................................... 151 6 Lista de Ilustraciones Virgen de Copacabana en el Altar Mayor de la Basílica de Copacabana .................................. 16 Modelo de la escultura de F.T. Yupanqui .................................................................................
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