CHASQUI PERUVIAN MAIL

Year 12, number 23 Cultural Bulletin of the Ministry of Foreign Affairs October, 2014 Jaime Mamani. Oil on canvas. 2000. Jaime Mamani. Oil on canvas. Portrait, Portrait, PAZ SOLDAN’S ATLAS / ELEGIA APU INKA ATAWALLPAMAN / THE DEVELOPMENT OF IDEAS IN CONTEMPORARY PERU/ PRAISE OF RIVERA MARTINEZ / JAIME MAMANI: RARA AVIS / TEÓFILO HINOSTROZA’S PHOTOGRAPHY / THE PEOPLES OF YUCCA BRAVA Apu Inka Atawallpaman Sporadically felt Those touched by its My heart sensed it Original version in Quechua A nasty blow fly- the harbinger of many powerful hands; again and again death; those enfolded in And in my dreams too, bewildered, Ima k’uychin kay yana k’uychi Endless pain. the wings of his heart; trapped, Sayarimun? (...) those protected I noticed the nasty blow fly- the Qosqoq awqanpaq millay wach’i by the delicate fabric of his chest; harbinger of death, Illarimun, And its strong teeth gnaw wail with the unbridled cries fate, misfortune Tukuy imapi seqra chikchi Sadness they cannot stop; of inconsolable widows. T’akakamun Its sun-like eyes have become eyes of (...) lead, (...) Watupakurqan sunqollaymi The Inka’s eyes. They say its firm bite already begins to Sapa kutin, Ruled by heaped up punishments, gnaw, Musqoyniypipas ch’eqmi ch’eqmi Atahualpa’s great heart has now turned Cut to the quick; unbearable condition Uti uti, Bitter cold, Stupefied, estranged, without justice They say the clear eye-sight of Chiririnka qhenchataraqmi, Men from the Four Regions are Isolated the great patriarch blurs Aqoy phuti. shouting out Weighing how our bodies have no […] Their lungs. shadows They say Atawallpa’s great heart has We cry, Turned cold Q’eqmaq kirus yarphachakunña The clouds of heaven have turned Having no one or nowhere to go, They say that in his four dominions Llakiy salqa. misty, Talking crazy people cry Titiyanñas Inti ñawillan blackening; So much so as to hoarse Apu Inkaq. They say that a dense fog has come Chiriyanñas hatun sunqollan darkening Atawallpaq. They say that mother moon is already Tawantinsuyus waqallaskan shrinking Hik’isparaq. as if reborn And they say that everything is Pacha phuyus tiyaykamunña plunging Tutayaspa. regretfully Mama killas q’anparmananña Wawayaspa; They say that the earth itself refuses to Tukuy imapas pakakunña shelter within it Llakikuspa. its Lord as if abashed by the body Allpas mich’akun meqllayllanta which he loved, Apullanpaq, as if afraid to swallow it, P’enqakoq hina ayallanta gulp its guardian Munaqninpaq Manchakuq hina wamink’antan (...) Millp’unqampaq. […] Aching, rueful; heartbroken, ¡Anchhiq, phutiq sunqo k’irilla restless Mana thaklla! What maiden, what dove would not Atahualpa Funerals, Luis Montero. Florence, 1867. Oil on canvas, 350 x 537 cm. Municipal Art Gallery of Ignacio Merino, in trust at the Lima Art Museum. Ima urpin mana kanmanchu take care Yananmanta? of her lover? Musphaykachaq t’illa luychu And what passionate stag Sunqonmanta? does not get carried away by his […] feelings? Chunka maki kamarinninwan ELEGIA APU INKA ATAWALLPAMAN lulusqanta (...) Sunqonllanpa raphrallanwan Those who were touched by P’intuykuspa, his strong ten fingers Qhasqollanpa llikallanwan Those that were struck by his strokes, The anonymous Quechua elegy on the death of the Inca Atahualpa is one of the greatest masterpieces of the Qataykuspa enveloped in his heart Peruvian lyrical works. Heartfelt testimony of the collapse of the Tahuantinsuyo1 Empire and heartbreaking song Llakiq ikmaq qhaqyaynillanwan Those who were sheltered Qaparispa. with fine mesh of its torso imbued with an underlying message of hope, the elegy remained unknown until 1930, when it was first translated by […] squeal with shouts Huk makipi ñak’ay qotu like mourning widows J.B. Benigno Farfan. In 1955, José María Arguedas divulged his literary translation and we have now a new version T’ipi t’ipi, Tunki tunki yuyaymanaspa (...) into Spanish, with a careful critical study by Odi Gonzales,* a poet from Cusco. Sapallayku, Mana llanthuyoq rikukuspa Ruled by a hand quenching pain, he discovery of this elegy signi- us recognize here another key aspect Waqasqayku, disaggregated ficantly impacted the Peruvian of the poem, the secret of its special Mana pi mayman kutirispa Thoughtless, estranged, without Tliterature and art of the second appeal for those who feel doomed to Musphasqayku common sense, half of the 20th century. José María a crisis similar to the world around alone, Arguedas then purposely pointed out us: the poem has expressed the Atinqachu sunqollayki, Atahualpa ("Atabalipa" Huascar’s brother, Inca or emperor of Peru) by André Thevet. 1584. Engraving. Contemplating our body without its aesthetic and literary value, "This hidden power of our people which Apu Inka, shadow elegy is a poem that is very close, in leads them to tighten and focus all Kanaykuta chinkay chaki We sob form and in the general conception its energies to overcome such bitter Mana kuska Mother moon, withdrawn, with a sick Will your heart allow us, Without turning to anyone Ch’eqe ch’eqe hoqpa makinpi face, Great Inca, among us, rambling of the composition itself, to Western trance, —although it might be hur- dwindles. poetry. It is written in stanzas with pie ting, overwhelmed, confused, hope- Saruchasqa? To wander every which way 2 And everything and everyone hides, Scattered, Your heart will allow quebrado . The rhythm, a formal ele- less— to save enough embers of life disappears, Surrounded by danger without story, great patriarch, ment, is wielded as a means of expres- that allows it, in the face of the first Ñukñu wach’eq ñawillaykita Kicharimuy, remorseful. in the wrong hands, us to wander aimlessly sion. The short verses, such as those glimpse of good weather, to make the Trampled? scattered in the verses of Manrique, strike the most of any favorable circumstances". Ancha qokoq makillaykita Mast’arimuy Earth refuses to bury separated; into the wrong hands, listener.” "The strength and drama Westphalen also pinpoints: "Szyszlo’s Its Master Open your eyes which like arrows humiliated? of the elegy were also key stimuli art is particularly suited to express Chay samiwan kallpanchasqata Ripuy niway as if ashamed of the body would hurt for the painter Fernando de Szyszlo these new aspirations, hopes, and of one who once loved it, Reach out your hands Look down and open your eyes to compose a series of oil paintings fears. His art can be compared to that As if mortified of having to devour Most giving radiating clarity which would later be exhibited at the of some painters of our time, in the its lord. Stretching them out; reach out And with this good sign your generous hands Lima Institute of Contemporary Art words of Werner Haftmann, [they] Apu Inka Atawallpaman in 1963: "It is probably in this exhibi- 'do not paint trees, streams, and Translation into Spanish by José María (...) Leave us strong. And with that good sign encouraged tion that I began to find my very own dunes but instead growth, trends, Arguedas, 1955 Tell us: come back! language [...]. It is there that I really yearnings'. In this regard, we describe Moaning, heavy heart struck started live not only painting but also his painting as one of 'meditation'.” What sort of rainbow is that black Without fanfare. Al patriarca, Inka Atawallpa to discover my path. That is the most rainbow What virgin dove would not surrender Translation into Spanish by Odi Gonzales, important exhibition of my life." 1 Translator’s note: Tahuantinsuyo: Quechua word on the Rise? to 2013 This exhibition inspired Emilio literally meaning "The Four Regions" used to For Cuzco’s enemy an awful arrow The one it loves * Odi Gonzales. Elegía Apu Inka Atawallpaman. refer to the Inca Empire, the largest empire in Al loved? What is this pernicious black rainbow Primer documento de la resistencia inka [Elegy of Apu Adolfo Westphalen to write the essay pre-Columbian America, located in Cusco. The That dawns. What delirious and restless stag Inka Atawallpaman. First document of the Inka Poesía quechua y pintura abstracta. A Inca civilization arose from the highlands of Peru An evil hailstorm In the sky? sometime in the early 13th century, and the last Does not follow its heart? A dreadful dawn glowing resistance (XVI century). Lima, Pakarina Editors, Hitting everywhere. 2014. The book and an allusive exhibition were propósito de una exposición de pinturas de Inca stronghold was conquered by the Spanish in to harass Cuzco Szyszlo [Quechua Poetry and abstract 1572. presented at the Inca Garcilaso Cultural Center of Umallantas Wittunkuña (Su amada cabeza ya la envuelve) [wrapping its beloved head], by (...) Unstoppable hailing striking the Ministry of Foreign Affairs as part of the cycle painting concerning an exhibition 2 Translator’s note: type of lines in Spanish versifica- My heart sensed Fernando de Szyszlo. Apu Inka Atawallpaman Series. Oil, 114 x 130 cm. 1963. Private tion: a short line included in a sequence of longer It coming time and time again, against all of La república de los poetas. Antología viva de la poe- of Szyszlo’s paintings], in which he Collection. lines, either randomly or according to a regular sía peruana 2014-2021 [The republic of poets. Live stressed the virtues of the elegy: "Let pattern While I, still sunk in my dreams, Anthology of the Peruvian poetry of 2014-2021.

CHASQUI 2 CHASQUI 3 was first undertaken by Alejandro some of his ideas, adjusted to the AUGUSTO SALAZAR BONDY Deustua and the philosophers that Peruvian reality. he most influenced like Mariano Throughout his book, Salazar Iberico, Ricardo Dulanto (1896- Bondy takes a look at each of these 1930), and Humberto Borja García authors with greater acuteness, THE DEVELOPMENT OF IDEAS (1895-1925). Mejia Valera believes both historical and analytical. As that for some authors, like Clem- for his historical approach, he ente Palma, Alejandrino Maguiña, makes a strong textual criticism Ezequiel Burga, Guillermo Salinas and reconstructs the intellectual, Cossio (1882-1941), and Juan social, and political environment in IN CONTEMPORARY PERU Bautista de Lavalle (1887- 1970)5, which their thoughts appeared and the decisive driver for turning to unfolded. For the analytical per- spiritualism was his interest in spective, he resorts to his argumen- Pablo Quintanilla* aesthetics. The argument is inter- tative and analytical understanding esting but not definitive, as some to dissect with surgical skill the 1 of them were interested precisely explicit positions and implicit Two of the most important books by the multifaceted Peruvian intellectual Augusto Salazar Bondy (1925-1974) have in the development of an aesthetic assumptions of the philosophers just been republish in one volume. Salazar Bondy’s thoughts primarily developed in the intersection of philosophy of positivist theory, as was the case studied, showing their weaknesses of Jorge Polar (1856-1932), who and originality, while mentioning history, political philosophy, and intellectual history in contemporary Peru. even wrote a manual of positivist their obscurities and clarities. aesthetic6 and saw no major objec- Salazar Bondy's book ends with tions to continue writing poetry a review of the most important while maintaining this Catholic issues and most salient authors n Mexico, in 1968, Salazar Bon- 19th century —immediately after faith and defending positivism. It in Peruvian thoughts towards dy published the book ¿Existe the War of the Pacific, when Peru is true that Polar finally gave up this the middle of the 20th century: Iuna filosofía de nuestra América? began rebuilding and recovering position, arguing that it limited his Neo-Thomism and non-Thomist [Is there one philosophy in our slowly and painfully, a generation worldview and the breadth of his Catholic thought, phenomenology, Americas?], generating debate that of philosophers appeared out of intellectual interests7, but that fact philosophy of law, history philoso- was first articulated in the Argen- the need to apply the philosophical that he previously did not consider phy, and philosophy of politics, art tine National Congress of Philoso- intuitions to the specific problems them to be contradictory concep- and philosophy. phy in 1970, arguably the founding of national reality that they turn tions shows, first, that the positiv- Particularly valuable is the part- moment of the liberation philoso- their eyes towards the French and ism of the second generation of nership between the Congress and phy. At that conference were some English positivism. evolutionary inspiration in line the Central Reserve Bank of Peru Latin American philosophers At the time, Positivism and its with Spencer that came to Peru, to publish a volume like this. It is concerned with the ideological Kantian remnants are seen almost was much broader than the first an important book not only for un- role that philosophy could have in as an instrument of liberation of Comptean generation. Moreover, derstanding the recent intellectual our countries, which, according to scholastic philosophy and what this explains how the transition history of Peru but also for being them, would be more harmful than they represented, also as a form of from positivism to spiritualism a beautiful book, with beautiful beneficial. access to scientific knowledge and, could be, for this generation of Former cloister of the National University of San Marcos. photographs of the time and great Now, almost half a century after finally, as a means of rational and Peruvian philosophers, so seamless print quality. such ideas were originally conceived efficient social transformation of and little traumatic. * Ph.D. in philosophy from the University and raised, it is possible to have a the country, which is consistent Spiritualists abandoned the of Virginia, MA in philosophy from the more academic, objective, and less Alejandro Deustua, positivist philosopher Philosopher Mariano Iberico. with the promise of its motto "or- anti-metaphysical attitude of pos- University of London, King's College and corrupt approach, politically or der and progress". Thus, from the itivism and what they then saw as a graduate degree and bachelor in philoso- phy from PUCP. He is the editor of Ensayos ideologically. As any intellectual point of view of Salazar Bondy, the scientific reductionism, to propose de metafilosofia [Essays on metaphilosophy] proposal, these ideas are subject the time as well as the intellectual as narrated by the author in the generation that truly began phil- and defend the existence of a cre- (2009), coeditor of Desarrollo humano y liber- to preparation, revision, and im- context that far exceeds the philo- "Foreword". The main draft of the osophical reflection in Peru is the ative intuition which despite not tades [Human development and freedoms] (2009) and Lógica, lenguaje y mente [Logic, provement. I believe, however, that sophical arena. book was written in 1948, but its post-war positivists. These authors being material allowed to explain Language and Mind], Volume IV of the there is a kernel of truth in the In 1954, Salazar Bondy published author was persecuted for political are mainly Manuel González Prada the freedom and autonomy of hu- collection Tolerance. He is coauthor of Pensamiento y acción: la filosofía peruana a ideas proposed by Salazar Bondy a historical overview of Peruvian reasons between 1950 and 1952, (1848-1918), Alejandro Deustua man being. Therefore, the concept comienzos del siglo XX [Thought and action: and the other authors mentioned, philosophy2, hence beginning his by the General Manuel A. Odría (1849-1945), Joaquín Capelo of freedom became essential to the the Peruvian philosophy in the early 20th and this is so because intellectual work as one of the classic histori- dictatorship and two manuscripts (1852-1928), Jorge Polar Vargas work of many, especially Alejandro century] (2009). production can easily become ans of philosophy in Peru. Between of the research were subsequently (1856-1932), Alejandrino Maguiña Deustua8. Just as the Peruvian 1 In Historia de las ideas en el Perú contemporá- neo y ¿Existe una filosofía de nuestra América? a mechanism of alienation, not 1955 and 1959, he received a grant destroyed. Mejia Valera had to (1864-1935), Mariano H. Cornejo philosophers became familiar with [History of Ideas in Contemporary Peru only in the political sense which from the Pan American Institute of completely rewrite the book in (1866-1942), Javier Prado Ugar- the French spiritualist, so did they and is there one philosophy in our Ameri- cas?] Lima: Editorial Fund of the Congress stems from Marx, Feuerbach, and Geography and History, Mexico, Mexico and finally finished it in teche (1871-1921), Clemente Palma become familiar with critical au- and the Central Reserve Bank of Peru, Hegel, but also in other associated in order to develop a history of 1961. Needless to say, as a result of (1872-1946), Manuel Vicente thors of positivism but with other 2013. This article is a summary of the senses. Wittgenstein also thought ideas in contemporary Peru, a first such unfortunate situation much Villarán (1873-1918), and Mariano philosophical inclinations, such as preliminary study that I prepared for that that philosophy could become an edition of which was published information was lost along the way; Iberico (1892-1974), among others. Dilthey, Nietzsche, and William publication. 2 Salazar Bondy, Augusto, La filosofía en el instrument of self-deception when by Francisco Moncloa in Lima in hence the book is less a history of They were inspired both by the James, among others. Perú. Panorama histórico, [Philosophy in he encourages us to ask questions 1965. This book it is the bench- philosophical ideas in Peru than a first generation of European posi- The so-called "1905 generation" Peru: A Historical Study] Washington D.C.: Panamerican Union, 1954 (Spanish that are disconnected from our mark of classic Peruvian philosoph- compilation of bibliographic sourc- tivists, whose most notable figure was also of importance for the and English). reality, both personal and social. ical thought from the late 19th to es, as recognized by the author. was certainly the French Auguste definitive abandonment of posi- Augusto Salazar Bondy circa 1970. 3 Barreda Laos, Felipe, Vida intelectual de la When that happens, philosophers mid-20th century as it presents an The book by Augusto Salazar Comte, and by the second gen- tivism. Francisco García Calderón Colonia (educación, filosofía y ciencias): ensayo become repeaters of ideas that informed, and with first hand tex- Bondy not only is a pioneer in the eration, whose main figures were (1883-1953), Victor Andres Belaun- histórico crítico, Lima: Imprenta La Indu- stria, 1909; Vida intelectual del Virreinato others have thought of for different tual evidence, positions and phil- historiography of Peruvian philoso- Herbert Spencer, Boutroux, Taine, de (1883-1966), and Oscar Miró del Perú, Buenos Aires: Talleres Gráficos purposes and moments, so they osophical debates of the period, phy but also aims to reconstruct the and Guyau; however, this second Quesada (1884-1981) belonged to nature of aesthetic. He was a very itualist philosophical environment, Argentinos L. J. Rosso, 1937. require some kind of intellectual including an interpretation of the implicit assumptions of the authors generation, much less restrictive this generation. The removal of good literary philosopher, original, including Iberico. He later wrote 4 Mejía Valera, Manuel, Fuentes para la histo- ria de la filosofía en el Perú, Lima: Imprenta therapy, which is precisely what intellectual dialectic that underlies studied, while portraying a line of than the first, is the one that most positivism, the interaction with and with a vast and profound phil- a valuable book on the history of de la Universidad de San Marcos, 1963.5 leads us to consider the role that such discussions. development that gives meaning influenced them. spiritualists, and the readings of osophical culture. Anglo-American philosophy of Ibíd., p. 155. philosophy has in our lives as well When the first edition of this book and makes intelligible the various It is important to note that most other philosophers of the late 19th Zulen was a real prodigy philos- the late 19th and early 20th centu- 5 Ibíd., p. 155. as the role we have in philosophy. by Salazar Bondy was published, stages of Peruvian philosophy. of these Peruvian authors, who and early 20th centuries set out opher. Originally from a poor ries10. In this book, Zulen critically 6 Polar, Jorge, Nociones de estética, [Notions One of the central theses of Salazar of aesthetics] Arequipa: Cáceres Print- Salazar Bondy also had an import- little research had been undertaken received an essentially traditional the intellectual framework that environment with little access to reconstructs the origins of British ing-house, 1903. ant role as a historian of Peruvian on the development of philosophy Bondy, in this book, is that until scholastic education, and eventu- enabled the development of Peru- culture, he studied at the National philosophy and the American 7 Polar, Jorge, Confesión de un catedrático, philosophy. His diverse interests in our country. The best sources the late 19th century philosophy ally turned to positivism, suffered vian philosophers of the early 20th University of San Marcos, like most pragmatism of the 20th century, [Confessions of a profesor] Arequipa: converged in this field, since he of information that existed on the nurtured in Peru was an implant a second revolution in their century. Among them, perhaps of the authors abovementioned, based in its links with Hegelianism, Cuadros Printing-house, 1925 was proposed to reconstructing the colonial era were the books by Fe- of European scholastic doctrines intellectual development. Virtu- the most important were Mariano and later earned a scholarship to take a position that is close to 8 Deustua, Alejandro, Las ideas de orden y de 3 libertad en la historia del pensamiento humano, philosophical ideas in Peru consid- lipe Barreda Laos . Regarding the and, in general, traditional ways of ally, with the turn of the century, Iberico, Pedro Zulen (1889-1925), to study at Harvard University. the neo-Hegelianism conception of [The ideas of order and freedom in the ering its own and creative elements, entire period of the history of Peru, thinking that there were more con- positivism was directly challenged and José Carlos Mariátegui (1894- He published a critical and well Josiah Royce’s pragmatist. history of human thought] Lima: Printing and differentiating them from the the book Fuentes para la historia de nected with our social reality and by what was called "spiritualism" 1930). informed book against Bergson, Mariátegui was not a philosopher Press Casa Editorial E. R. Villarán, 1919. 4 9 9 Zulen, Pedro, La filosofía de lo inexpresable. positions that were only copy or la filosofía en el Perú [Sources for with modern scientific knowledge. in France —this was also called Iberico was interested, above all, La filosofía de lo inexpresable [The in the traditional sense, instead he Bosquejo de una interpretación y una crítica de receipt of thoughts from other the history of philosophy in Peru] He also thinks that this philosophy "vitalism" or "intuitionism," and in the phenomena of beauty and Philosophy of the inexpressible], addressed political and social prob- la filosofía de Bergson, Lima: Sanmartí, 1920. countries. Similarly, he believed it by Manuel Mejia Valera, was the played an ideological role of polit- emerged as a reaction against sympathy, and throughout his work in which he describes his objec- lems with unique approach and 10 Zulen, Pedro, Del neohegelianismo al neor- was important to show the flow of mandatory reference text. Mejia ical control, both in what we now the reaction that positivism once he depicted an interest in capturing tions against a more intuitive than realismo. Estudio de las corrientes filosóficas philosophical talent. As is known, en Inglaterra y los Estados Unidos desde la ideas in relation to the social pro- Valera’s research faced a series of call civil society, and in universities. represented. The redirectioning conceptually, though not always argumentative philosophical style, the author critically read Marx with introducción de Hegel hasta la actual reacción cesses that Peru was experiencing at ordeals before being published, Thus, he believes that until the late of positivism towards spiritualism with sufficient argumentation, the as was the fashionable for the spir- the intention of implementing neorrealista, Lima: Lux, 1924.

CHASQUI 4 CHASQUI 5 PRAISE OF THE ATLAS OF PERU BY MARIANO FELIPE PAZ SOLDÁN EDGARDO RIVERA MARTÍNEZ GEOGRAPHY AS César Ferreira* The remarkable writer born in the city of Jauja is the first member of the cycle Peru: novel by novelists. Contemporary ONE OF THE FINE ARTS Peruvian narrative. 2014-2021 at the Inca Garcilaso Cultural Center of the Ministry of Foreign Affairs.

he work of Edgardo Rivera Mar- Martinez has continued to grow sig- tinez is unique among the works nificantly. Let’s remember, for exam- A facsimile reprint and a traveling exhibition celebrating the upcoming sesquicentennial of the Tof a cluster of Peruvian writers ple, a new edition of his short stories of today. For a long time, his books in 2000, Ciudad de fuego [City of fire], were a sort of exquisite secret for more which, besides offering definitive ver- publication of the first atlas devoted entirely to the Peruvian geography. than one reader in Peru. That fortune sions of El visitante [The Visitor] y Ciu- changed, however, when in 1993, he dad de fuego [City of Fire], includes the gave the printing press his novel País story Un viejo señor en la neblina [An de Jauja [Land of Jauja]. Today, more old gentleman in the fog]. The latter is than twenty years after its publication, a text that revives the myth of Icarus, no one hesitates to say that, thanks to while confirming the unique portrayal this book, the author holds a special that the author makes of Lima as enig- place in the history of contemporary matic and decadent. We must also re- Peruvian novel. member the full collection of Rivera Rivera Martinez nurtured his love Martínez short stories, Cuentos del of literature from a very early stage. Ande y la neblina [Tales of the Andes He was born in Jauja, in 1933, into a and haze], 2008. provincial middle class family. Thanks In recent times, Rivera Martínez to a family effort, he had access to a published his third short story, Diario stimulating family library and classical de Santa María, [Saint Mary’s Diary], music. He also learned firsthand 2009. In this piece, the writer again about the life of local peasants, espe- explores the happy intermingling of cially the myths, music, and dances of the Western culture with the Andean that central part of the Andes. Until traditions through the diary of Felicia the early 1950’s, Jauja was, thanks to de los Ríos. The text successfully over- its good weather, a place where those comes the challenge of telling, with a afflicted with TBC from Lima and female voice, the vicissitudes of an ad- also Europe would come to heal. As a olescent, her sexual awakening, and result a small educated society arose her artistic learning. In that sense, the and the writer participated fully in it real axis of the story is developing a until he graduated from high school. poetic universe in which the joy for In 1951, Rivera Martínez was admit- life prevails over the voices of Vallejo ted the University of San Marcos and Eguren, de Safo, and García Lor- where he studied literature. There he ca. These rhythms of Yaraví and was a student of Fernando Tola, whose Tunantada join such voices. And to influence will be central to his aca- establish new meeting points with his demic training because of his interest novelistic world, let’s finally remem- in Greek and Hellenic culture. ber Mariano de los Rios, the central In 1957, he continued his studies character of A la luz del amanecer [The at Sorbonne University. In Paris, amid Light of Dawn], 2012. In this novel, a great life experience, he prepare a after many years of absence, the cen- dissertation paper on European travel- tral character returns to the family ers in Peru. After returning to Peru, he home in Soray, a small Andean vil- engaged in teaching at San Marcos lage. University and published his first two There, between sleep and wakeful- books: El unicornio [The Unicorn], ness, he spends all night talking with 1963, a collection of fantasy stories the ghosts of his friends, relatives, and from the Andes in which this fabulous ancestors. We are again looking at an animal appeared in the middle of an Edgardo Rivera Martínez. early story, full of nostalgia and melan- Andean village; and in 1974, El visi- choly, in which the idea of a harmoni-

tante [The visitor], a short story nota- ous intermingling of Andean culture Soldan. Paz Mariano Felipe by of Peru], [Geographic Atlas ble for the presence of the figure of between the Andean world and the gives way to an intense and rich dia- with the Western world is never sur- the fallen angel, a recurring character Western world stuck with him. Thus, logue among the many characters of rendered. All this in the middle of two in his work. In 1978, he published in the early 1990’s, amid the great so- the book, often tinged with fine characteristics of Rivera Martínez: an Azurite, a collection including "Ama- cial crisis in Peru, Rivera Martínez touches of irony and humor. Thanks intimate and reflective voice, and ru," a tale told from the voice of the wrote about the life and vicissitudes of to this great novel, Jauja is a mythical great lyrical prose. Andean mythical serpent, which con- young Claudio Alaya. The appearance space for Peruvian imagery of our Rivera Martínez is, in short, owner firms the expertise of the author in of País de Jauja in 1993 soon awakens days, from its nostalgic look, there is of his own universe among the Peruvi- the brief genre. Rigor with language critical acclaim. The book is not only claim for the configuration of a new an writers of today; not only because geográficoAtlas del Perú and its great lyrical style, also stand among the nominees to the Rómulo melting pot for the entire Peruvian na- he has managed to write and put the out in his next book, Enunciación Gallegos Award in Venezuela, but tion. It is indeed a book, from Uto- city of Jauja in our collective imagina- [Enunciation], 1979, a volume gather- also, at the end of the 90’s, is chosen pia, betting on a potential country: a tion, but because his work continues ing all of the short novels he handwrit- as the preferred novel by Peruvian place where "the sun always [shines] to focus on Peru as a multicultural ten so far. readers and critics. and the air is always clear and very country, owner of a new and necessary In 1982, the magazine Caretas or- País de Jauja is a novel that breaks clear," as the final words of the story intermingling (mestizaje). The positive ganized the first version of its contest the hard and painful look of the Peru- say. outtake of this proposal among its "A 1000-word Tale." Among hundreds vian Andean world. Under the pen of Jauja is also the scene of Libro del many readers reminds us that in Peru of participants, Rivera Martinez won Rivera Martínez, that ancient city of amor y de las profecías [The Book of such task is still pending. with one of its most emblematic sto- the Mantaro Valley became a meeting Love and Prophecies], 1999. In this ries: «Ángel de Ocongate» ["Angel of place between the Andes and the new novel, Juan Esteban Uscamayta * Literary critic, professor at the University of Wisconsin and co-author of Los mundos de Alfredo Ocongate"]. Mario Vargas Llosa, a for- Western world, an idyllic place where lives a vital adventure whose storylines Bryce-Echenique [The Many Worlds of Alfredo mer classmate from San Marcos Uni- friendly characters from different plac- belong to different orders. These Bryce Echenique], (1994), Asedios a Julio Ramón versity, gave him the award. This text es coexist in harmony. In País de Jauja, range from supernatural and sublime Ribeyro [Sieges of Julio Ramón Ribeyro] (1996), La obra de Edgardo Rivera Martínez [The work of Edgar- would serve as the title of his next the legend of the Amarus shares the to erotic and humorous. Hence the do Rivera Martínez] (1999), (1999), De lo andino a book of short stories in 1986, Ángel de same stage with classical myths; Mo- book is not only a kind of great come- lo universal: Edgardo Rivera Martínez: Nuevas lecturas, Ocongate y otros cuentos [Angel Ocon- zart's music is heard alongside the An- dy of provincial customs, but also [From the Andes to the Universe: Edgardo Rivera Martínez: New readings] (2006), Para leer a Luis gate and other stories]. dean rhythms; and the lyrics of huay- serves to turn Jauja into a stage for of Emile Garreaud. a photo Lithograph from [Porter]. 1 Loayza to read Luis Loayza (2009) and La palabra During all this time, the idea of nos is recited along with the Vallejo’s emotional and existential experience según Clarice Lispector: Aproximaciones críticas [The writing a novel about a young teenage poems. In the midst of this new, cos- for the main character. word according to Clarice Lispector: Critical Ap- proaches] (2011). character who lived a horse ride away mopolitan mixture, Claudio's voice Since then, the literature of Rivera Cargador.

CHASQUI 6 CHASQUI 7 Chincha Islands. Port of Huanchaco. Below: View of Moquegua.

he geographical work of work done during the first years of Mariano Felipe Paz Soldan the Republic. T(Arequipa, 1821-Lima, 1886) Republishing, 150 years later, this is considered the most important of true bibliographical jewel fills an im- 19th century Peru. In 1865, the noted portant gap in the history of Peruvian scholar while in Paris composed the geography and does justice to a Peru- first complete, illustrated map with vian scholar. This task, undertaken beautiful vignettes, of Republican by the National University of San Peru in Paris. This map was greeted Marcos, the Embassy of France, and with high praise in academia and was the French Institute of Andean Stud- given a prize at the Universal Exhi- M. F. Paz Soldán. ies, rescues from oblivion an editorial bition in Paris in 1867. That same jewel from the 19th century, hence year, 1865, Paz Soldan published his allowing us to understand a time and magnum opus, Atlas geográfico del Perú In Peru, at the beginning of to continue to explore Peru with the [The Geographic Atlas of Peru], first the Republic, there was a need for same methodically and innovative of its kind in the country. This work surveying and mapping in order to approach as did Mariano Felipe Paz compiled the last Peruvian geographi- implement a new land plan. In this Soldan. The Inca Garcilaso Cultural cal contributions with the technolog- context, the work of Paz Soldan Center of the Ministry of Foreign ical advancement of French presses. allowed, for the first time, to have Affairs joins such valuable effort with For its exceptional breadth and the real knowledge of Peru, on all scales: the exhibition "Geography as a Fine quality of its lithographic printing, cities, regions, and departments. Art. The Atlas of Peru by Mariano Fe- the Atlas must be appreciated as a He also endeavored to delineate the lipe Paz Soldan”, which aims to be a monumental work. It contains several borders of the country and helped traveling exhibition and is also one of sheets that were lithographed for the land management by providing the the events included in the upcoming first time using photographic images authorities and officials the import- commemoration of the bicentennial captured by Garreaud and Helsby. ant achievements of his geographical of Peru. Above: Overview of comparative heights of Peru. Bottom left: Vista de la calle de Mercaderes [View of Merchants Street], Lima. Bottom right: Overview of Arequipa.

CHASQUI 8 CHASQUI 9 JAIME MAMANI: RARA AVIS TEÓFILO HINOSTROZA Oswaldo Chanove IN THE HEART OF THE ANDES Approaching the painting of a unique artist who explores the realms of dreams and mystery. Commemoration of the 100th Anniversary of the Birth of one of the masters of Andean photography. he first thing that comes to mind Teofilo Hinostroza was born Colca- when faced with the work of Jai- bamba, a small town in Huancaveli- me Mamani (Puno, 1964) is that T ca, in 1914. There he was raised by it is an anomaly in the path of Peruvian painting; but then the quarrelsome ar- his mother, Faustina Irrazábal. gument that every true artist is an anom- When he was 15, they both moved aly surfaces. This has to be true. While it to Huancayo, where Hinostroza gra- is necessary to consider that in these duated from high school, while times when "authentic" dares to con- front or assume authenticity manipulat- working as an assistant in the photo ing fallacy, one cannot say with enough studio of Fortunato Pecho, from conviction what type of anomaly is the whom he learned the trade. In mutant form that will impose its place 1937, he became independent and with consistency. On the other hand, the forms that bet for the comfortable established his own studio, which replication of the artistically correct pro- operated until 1985 at Calle Real, cedures no longer produce any strange- under the name of "Foto El Arte" ness and that does not seem to be exact- [Art Photo Studio]. ly the best indicator. In addition to the usual photo- What catches the attention of Jaime Mamani is not that it has not tipped by graphic portraits for his clients, Hi- one of the routine innovations of con- nojosa took the opportunity to tour temporary art, but that has chosen not the nearby villages and capture with always virtuous tradition. Because if it is his lens the landscapes, monu- infernal his debt to Hieronymus Bosch ments, and above all, experiences, and other masters of the time, there is something extremely disturbing in its ¿Hay alguien? [Is there anyone?] 2010. Oil customs, and traditions of the rural choice not to appeal to the fox-trot of on wood. world. His mastery of Quechua postmodernism (and draw a paradoxical allowed him to communicate clo- or sarcastic or humorous touch and in- sely with people. His photographs sert the incoherent and reinterpret and reveal, therefore, an impeccable alter and conversion). Because when looking at his pictures one is tempted to composition and skillful handling swear that Jaime Mamani is a damn of light and shadows. "We must cap- (and authentic) untimely disciple (for ture images of rural Peru," said the several hundred years) of delirious old artist, imposing upon himself a task geniuses Flanders. And then one won- Procession of the Virgin, by 1970. ders how he fell here in this Peru who so that he carried out for more than eagerly pursues novelty, this work with a half a century and that allowed him 1 2 3 worldview so damn medieval. to leave the most valuable photogra- The story of Jaime Mamani, if one is phic record of the central region of carried away by what people say, is also Peru, in addition to outstanding somewhat peculiar. His father, a fore- man, used to move with his family for photographs of other places he visi- months while the construction of the ted occasionally. little cottage in the suburbs of Arequipa His high spirits for travelling lasted. The small Jaime then wandered also had to do with Hinostroza’s through the rooms freshly plastered, other lifetime passion: music. Since only covered by grout base. Until one day, the architect and developer Carlos he was 5 years old, he played the Maldonado and his wife, Angelita, quena [Andean flute], which earned passed by and were amazed with his him the national music award. He work. The living room, the dining room, set up the Andean Music Center, kitchen, bedrooms and even the three which was welcomed in several ci- bathrooms were covered by scenes me- ticulously drawn with charcoal. A equi- Figura. [Figure]. 2000. Oil on canvas. ties and he was a music and dance distant universe. teacher for many years at the Uni- 4 Later, when finally driven by the en- mals. A huge percentage of Jaime Mama- versidad del Centro. In 1975, the couragement of the couple, he joined ni’s work shows humans deploying BBC of London recorded and bro- the School of Arts at the Universidad some kind of animal traits, such as a adcast one of his renditions. 5 Nacional de San Agustin de Arequipa, pair of wings that do not look like angel he continued to record the images that wings, or simply showing lively animal Passionate about all Andean cul- sprang spontaneously but in the ab- viscera. But here humans do not feel tural expressions, Hinojosa became sence of walls, he had to settle for old threatened and tormented by the aware- close friends with José María Argue- hardcover notebooks he found there. ness of such extreme substantiality with das, who appears in several photo- "This is my diary," he answered tersely beings from another species but, as indi- when someone inquired what it was. cated by the strangely impassive faces, graphs taken in his studio. In the Jaime Mamani, inevitably, is a bi- shows a clear recognition of this ancient 50s, he even made some documen- zarre character. Once someone stared at community of soul and body. The mon- taries in 16mm format, which recor- him intently and impertinently, "You are strous is aberrant. But if one accepts as ded communal work and religious just like Data, the character from Star true monstrous aspects, then monstrous holidays and other important foota- Trek." Yes, Jaime said, unsmiling. Of reveals a cardinal beauty. course, that similarity is not so much due In many places the protesters and ges that is still unpublished, except to his mathematician heart but rather others who continued the avant-garde for "Tarpuy" (1959), showing the due to his being somewhat odd, not fully tradition have rebelled opting for inevi- planting of potato in Ñahuinpu- belonging to this place or time. His eyes, table performances, installations, for quio and was once exhibited in mainly, reveal this. Eyes like those of the diptychs and triptychs in large format, Lima, at the National Museum of characters in his oil paintings or draw- following the lesson of some masters of ings. Persons who never look towards the the second half of the 20th century. He La tentación de Eufrasia. [Euphrasia’s temptation]. 2010. Oil on canvas. Peruvian Civilizations. horizon, but elsewhere. Where? Who also works with mixed techniques, which Hinostroza’s legacy constitutes knows But the truth is that Jaime Mama- he achieves very naturally to crush the an invaluable visual testimony of a ni does not have inquisitive and piercing subtle features while letting emphatic people are looking for it in a house of lap-top he has on his desktop. And those key era in Andean culture. It was 1. Cornetero con wacrapuco [Player with wacrapuco], musical instrument made of horns. Huancayo, 1958 / 2. Fiesta de los Reyes Magos look like some hyperactive artists or the and explicit aspects bloom gloriously. Jai- ashlar, a few meters off the Main Square characters -who knows if they are inner said of him, quite rightly, that he [Feast of the Three Wise Men]. Huancavelica, 1982. / 3. Self Portrait, circa 1945. / 4. Fiesta del Corpus Christi [Feast of Corpus Christi]. luminous eyeballs that thoughtful one me Mamani says nothing about this pan- [Plaza de Armas] of Arequipa, where he demons or perhaps simply the way Jaime Colcabamba, 1958. / 5. Musician with tuba, circa 1980. do. Instead there is something rather orama. He is quite a quiet person. But works as a graphic designer. What hap- Mamani sees us all of those who wander was "the Chambi of Mid-Peru." Hi- old, that perhaps dates back to the era in he certainly does not seem to belong to pens, he says, is that some time ago he around. Because it is true, we are each nostroza died in Huancayo in 1991. which fish and reptiles ruled a world of any of the many groups of artists that an- had had to move his studio, his canvases, odd individuals. His work might have been forgotten grapher based in our country and exhibition in Lima, and the publi- photograph, the Inca Garcilaso elusive primates. imate the cultural life of the second big- but something happened and he stayed had it not been for the care of his passionate about Peruvian culture, cation of a valuable book in 2008. Cultural Center of the Ministry of gest city in Peru. He has had his exhibi- -something always happens, and he sim- Rara Avis. Retrospective exhibition of But, beyond his opting for an imag- paintings by Jaime Mamani in the gallery daughter Zoila, who jealously keeps had occasion to meet her, review In Commemoration of the Foreign Affairs paid tribute to this ery of some underworld, what is striking tions, of course, but they have been so ply stays with all his material packed. So of Inca Garcilaso Cultural Center of the is his research on an old big issue: the discreet that when asked he makes an now he is working on his ideas no longer Ministry of Foreign Affairs, September 25 her father’s legacy. A decade ago, the negatives, and scan a number 100th Anniversary of the Birth of artist with a retrospective of his relationship between humans and ani- enigmatic gesture. In general, he says, in those hardcover notebooks, but on a to November 9. Servais Thissen, a Belgian photo- views. His effort resulted in a first one of the masters of the Andean work.

CHASQUI 10 CHASQUI 11 JOSÉ MIGUEL OVIEDO FUNDAMENTAL TEXTS BETWEEN REFLECTION AND PASSION BY ANTONIO CORNEJO POLAR A collection of valuable texts* by a prominent critic and university professor. According to the scholar Raul Bueno, Guillermo Niño de Guzmán* 'the' heterogeneity' classification given by Antonio Cornejo Polar nearly two decades ago, is one of the most powerful The renowned literary critic, novelist, and professor published his memoires. conceptual resources with which Latin America interprets itself." Here is a fragment of Esquema de la pluralidad [Structure of plurality] a key essay by Cornejo Polar (Lima, 1936-1997), former director of the House of Culture of Peru and t 80, José Miguel Oviedo has president of the National University of San Marcos, and founder of Revista de Crítica Literaria Latinoamericana [Journal of surprised us with an unusual, Latin American Literary Criticism]. Ayet significant, book which tells a lot about his comings and go- ings in the world of letters, but also part from the diachronic ing media (written/verbal) to the the biggest challenge literary history about his private life. Una locura ra- zonable: memorias de un crítico literario diversity that allows to place different types of social-economic and criticism have to face in Peru. [A reasonable Madness: Memoirs of a Athe historical process of our structures underlying them. Prob- Undoubtedly, until today its theoret- literary critic] (Lima: Aguilar, 2014) is literature, including pre-Hispanic lit- ably the best way to set those limits ical and methodological equipment the lucid and passionate story of a erature, the collection encompasses a clearly is to establish the inner nature meets the requirements of the study personal calling, while an interesting much more significant diversity that of each system and to define their of scholarly literature, but it is also firsthand account of a crucial period unfolds on the same time axis. A first internal stratification, meaning a clear that there are no alternatives to in the development of Latin Ameri- analysis of this last point allows the detailed study of the mode of literary work on other systems and, of course, can literature. However, first and coexistence of at least three systems: works primarily in each of them and to integrate their globalization as dif- foremost, it is the confession of an author who searches his past and re- the scholarly literature written in how they fit in the varied context of ferent signs of a story that participate veals his innermost instincts —some- Spanish, which has traditionally mo- social reality. In this context, it does in different ways and even opposite times with some impudence, though, nopolized the naming of literature in not seem debatable that productive manners. For this purpose, literary always with honesty-but, spurred by a native languages, where the Quechua instances will change from one case thought will have to resort to contri- need for disclosure (in both senses, oral literature obviously prevails. Al- to another, languages, and literary butions from other disciplines, espe- i.e., as a manifestation of something though the provisional tentativeness practices and consumer circuits; ulti- cially anthropology and linguistics, hidden and as a discovery of an irre- of this structure is obvious, both mately they change the institutions, so as to claim the almost forgotten futable truth), which can perhaps due to the imprecise nomenclature functions, and literary values and task of who initiated the compilation only be reached through writing. For those who do not know about used by the overgeneralization of therefore the concept of literature is and analysis of popular literature and his history, we must recall that this its boundaries, what is true is the modified. Values such as originality Quechua literature. tripartite proposal accounting for and modernity are privileged as such Peruvian scholar is considered one of * Antonio Cornejo Polar. Crítica de la razón the most remarkable literary critics arguably less hidden and challenge- in the system of scholarly literature, heterogénea. Textos esenciales. [Critique of in Latin America. He embraced this able failures: which, in general terms, but mostly eliminated in others, heterogeneous reasoning. Essential texts]. Selection, prologue, and notes by José An- trade from a very young age when he disintegrating all literature produced while the mythical-sacrificial func- tonio Mazzotti. Lima: Editorial Fund of the became interested in arts. Curiously, Antonio Cornejo Polar. National Assembly of Rectors, 2013. The in Peru. tion that still prevails in a sector of fragment is part of the essay «El problema he gave his first stroke as an author Clearly the boundaries between the Quechua literature has no organ- nacional en la literatura peruana» ["The and not as critic. He wrote a piece ti- items, from different languages and national problem in Peruvian literature"], these systems are made by the con- ic place within the first system, for originally published in the journal quechua, tled Pruvonena, with which won a different materiality of their support- playwriting contest in 1957. In his José Miguel Oviedo. Photo of Cervantes Institute, New York. vergence of several differentiating example. This diversity is certainly in April 1980. memoirs, he evoked this event and describes the emotion he felt the day prospects mattered to a very few, creative traits of the novelist (in our tes). After all, they were fellow travel- Sebastián Salazar Bondy, one of the which made it easier to be tolerated. " opinion, the best study ever pub- ers to whom he devoted influential most important writers and cultural Undoubtedly, the specific re- lished about our Nobel Prize win- critical works. The story abounds journalists of the time, who was ju- quirements of journalism decisively ner). In the middle of that decade, he with anecdotes, such as the one in ror, went to his home in Santa Beat- influenced the development of his moved to the United States where he which he describes his encounter SOUNDS OF PERU riz to give him the good news. This style, one of the clearest, most fluent, continues his promising teaching ca- with his admired Borges, whom he meeting marked the beginning of a and comprehensible modern literary reer that had begun at the Catholic had the honor of helping as a ‘guide Rafael Santa Cruz & Afroperú Manuel Miranda close friendship. Salazar Bondy, who criticism (in line with the comments University. It was a momentous deci- dog’ as he wandered through the ONLY CAJÓN, HORIZONS was ten years older, became his intel- of such an important figure as Ed- sion because he changed his life and streets of Buenos Aires. AFROPERUVIAN RHYTMES lectual mentor and encouraged him mund Wilson). Oviedo is, in that professional road map. Among other A key aspect of this autobiograph- (Play Music and Video, 2013, to write for newspapers. Thus, Ovie- sense, a rare bird who also moves like things, his new situation (he taught ical volume is its inward focus, the ANOS RUM BA-FLAMENCO www.playmusicvideo.com.pe) do became a theater critic for the a fish in water in both academic and at UCLA and the University of Penn- confrontation of the past with pres- (Play Music and Video, 2006, newspaper La Prensa and, later, in journalistic writings. Unlike most of sylvania) faced him with an unprece- ent perspective. Oviedo is aware that www.playmusicv.com) Going through a wide spectrum the Sunday supplement of El Comer- his colleagues from academia, he dented challenge as a researcher: pre- evoking the facts of life involves some of sounds, styles, genres, and cio, he expanded his scope of action presents his ideas with clarity, with- paring Historia de la literatura invention, albeit an involuntary act. This production, directed by to include literature in general. out resorting to cryptic jargon or an- hispanoamericana [A history of Latin However, this inevitable condition musical instruments, the Peru- alytical models incomprehensible to American Literature] (1995-2001), an seems to have encouraged his desire Rafael Santa Cruz (who died on vian musician Manuel Miranda Looking back on that period of Rafael and Victoria Santa Cruz. learning, the author ponders on his the layperson. His prose, flowing ambitious piece of work written in to tell stories (let’s remember that he August 4, 2014), a member of includes 11 tracks on this disc youthful audacity —he was still a col- with ease and precision, easily stimu- four volumes and is now an indis- also authored three fiction books). the Santa Cruz clan, which also of his own and an arrangement lege student- and the enthusiasm lates the curiosity of the reader. pensable work of reference in that Beyond its intellectual value, these includes late Nicomedes and of JS Bach’s prelude 2 turned with which he tried to overcome the Of course, this simplicity involves discipline. A true feat when we con- memories are an effort to make sense Victoria Santa Cruz (who died played by several of the best into, at times, by virtue of his lack of authority and experience to no sacrifice of rigor and depth of his sider that, given the trend towards of a life that, for better or worse, had perform such critical task. Aware of views. Instead of dismantling a piece specialization which now prevails in been essentially bookish (Salazar on August 30, 2014) presents 19 known Peruvian cajon players irrepressible expressive free- ideas and thoughts, the enig- the responsibility, began to read in- of work with the coldness of a taxi- the fields of knowledge, such type of Bondy had already highlighted this tracks that, like a lecture on Ca- like Freddy Lobatón, Eduardo dom, a sound similar to that of matic crossing of very personal tense and disciplined to write reviews dermist, Oviedo opts for an approach undertaking usually exceeds the fact in his youth: «A tu vida le falta jon, the instrument in the title, Balcazar, Manuel Vasquez, Gigio baroque-like samba. In most of subjectivities or coexistence of and articles should appear each week. which combines reflection with pas- competence of a single author. aventura» ["Your life is lacking adven- plays a series of African-Amer- Parodi, Juan Medrano Cotito, his pieces, Miranda recorded all cultures apparently dissimilar And, if he was able to maintain that sion. He examines the use of certain Una locura razonable [A reason- ture”]. ican, mestizo, and Spanish Marco Oliveros, etc., is a com- the instruments (pre-Columbian but with profound common pace for fifteen years in El Dominical, formal mechanisms, but without los- able madness] is a valuable testimony Una locura razonable [A reason- rhythms in their most simple pendium of what we might call reconstructions, flutes, saxo- it was because he had found his call- ing sight that its value lies in its abili- of unique times. In its pages, he de- able madness] is an extreme state- traits, such as persistence of ing. "By chance and without having ty to express his creative imagination scribes a long gone Lima, the Lima of ment of a writer who, looking in ret- and direct way, sometimes to the imaginary Afro-Peruvian phones, percussion) also using rhythm, abandoning the seduc- planned it, I become a literary critic with consistency. Moreover, he ex- the 50’s and 60’s where several writ- rospect, notes that he has many the accompaniment of a guitar music of the Santa Cruz family, keyboards and samplers, and, tion of melody, contemplation he says in his book-and discovering plores the motivations underlying ers, artists, and leading intellectuals vicarious experiences, through the or other percussion instruments as this family has devoted great in four of the tracks, accompa- or catharsis, taking the auditor that this was what I liked to do and the text and builds bridges between in contemporary Peru converged. spell of literature. Hence represent- such as the cajita , quijada de efforts to rebuild a musical mem- nied by a group of remarkable on a one way trip along the paths could do so permanently. Practice its significant resonances. His broad Oviedo trace vivid and poignant por- ing the final gesture of a man who, in burro , güiro or el cencerro. ory that was lost in time, recre- musicians, which adds further of ancient fire or shamanic evo- was becoming a trade, an attitude, a interest in other fields of arts (film, traits of his very close friends like the last part of his life, decided to set- In small musical fragments or role to fulfill, almost without my real- theater, painting, sculpture, photog- Sebastian Salazar Bondy, José María tle accounts with himself and, thanks ating the signs of history and dynamism to this unique and cation, while passing through izing it. He also realized that "being a raphy, jazz) allows him to establish Arguedas, Blanca Varela, Fernando to the magic of writing, achieves the somewhat longer pieces, one its contemporary effects, with a eclectic vision of music and experimentation with forms, poet, novelist, especially in Peru in associations that enrich his critical de Szyszlo, Abelardo Oquendo, Luis impossible: to reinvent his life. can hear rhythms and genres of strong imprint on the local and creation. Recorded with careful structures, and sounds, some those years, meant assuming a eye. Loayza, and Mario Vargas Llosa, festejo , zamacueca , panalivio international media. The album precision in the author’s studio typical jazz, but also flamen- unique, unlikely, pilgrim callings. In 1970, Oviedo delivered to the among many others. It also offers a * He has published books of stories Caballos , marinera , lando , tondero , also includes a video that very (except the live version of the co, romantic ballad, electronic printing press the book Mario Vargas privileged view of the emergence of de medianoche [Midnight Horses] (1984), What, then, can we say about his Una mujer no hace un verano [One woman and creole waltz, making some succinctly explains some basic song "Latin American"), all dance, the quote from pygmies calling for becoming a literary critic? Llosa: la invención de una realidad [Ma- the "boom" in Latin America and its does not make a summer] (1995), and Algo allusions to rumba , bulerías techniques and rhythms associ- tracks on this album reflect the [...]. This could perhaps be construed rio Vargas Llosa: The Invention of a main protagonists (in addition to que nunca serás [Something you will never playing in the river, a barking as a form of madness, a form of rea- reality], a biographical and critical Vargas Llosa, Oviedo befriended be] (2007). José Miguel Oviedo. Photo of or flamenco. With a clear ed- ated to the cajón, thus becoming contemporaneity of these times dog or the amazing music in the sonable madness, whose reality and essay that analyzes and deciphers the García Márquez, Cortázar and Fuen- the Cervantes Institute in New York. ucational purpose, this album, both a testimony and a tribute. of fragmentation of overlapping street. (Abraham Padilla).

CHASQUI 12 CHASQUI 13 PEOPLES OF YUCCA BRAVA

The anthropologist Alberto Chirif, renowned scholar of the Peruvian Amazon, published a book about the culinary culture of four villages in the region. The following excerpt is part of the introduction to the work and explains its scope.

his book is the result of an in- In connection with the ex- vestigation into the cooking traordinary fact of transforming a Tof some indigenous peoples poisonous yucca into food, death of the Peruvian Amazon. Although into life, there is a mythical story these different peoples have some of an indigenous people of Ven- common characteristics. This text ezuela settled along the Orinoco addresses one of such traits: the use Desplats Jacques Photo: River. The myth tells the story of a of "wild" or poisonous yucca as a young man named Manioc, son of key ingredient in their meals. Only a Cacique (chieftain). Later, when four indigenous peoples living in they were digging up his remains to Peru grow and consume wild yuc- proceed, according to custom, the ca: Huitoto, Ocaina (both from the final burial, they found no trace linguistic family of Huitoto), Bora of his corpse. Instead, however, (sole representative of the trunk they found a large root, manioc or of the same name), and Secoya or cassava which became the staple Airo Pai (Western Tucano). The food of the natives of the region. four are located in the northern The death-life association to which part of the region of Loreto, prov- I have just referred, in this case rep- ince of Maynas. resented by the conversion of the The deadly poisonous yucca is corpse of a boy into a staple food called "wild yucca" or "bitter yucca" of a society is something also worth naturally given its high content of admiring from this tribe. hydrocyanic or prussic acid; once Secoya woman laying out casaba flat bread. The other reason is that indig- processed, it is fit for consumption enous peoples who use yucca as offering advantages compared roasted or fried without consum- of this book. In the final chapters, a core ingredient for food prepa- to the non-poisonous yucca for ers having any health problems1. when I addressing the issue of food ration have a more complex and its higher content of starch and Instead, they call sweet yucca the and beverage preparation by the in- varied cuisine than those who do because it is used to make foods one that produces a delicious tuber, digenous peoples I will refer to the not. This paper is not limited to giv- like cassava, which are storable with low starch content and serves classification of the three categories ing an account on the preparation products. It is the wisdom of those only to make soft beverages. How- mentioned here. of meals from wild yucca, but also peoples that overcome such strong ever, the juice that can be obtained Why do I limit this paper only includes notes on their knowledge opposite like poison and food, life by grating the yucca should be to those peoples who grow and and culinary techniques in gener- and death, by developing a product boiled before consumption because consume wild yucca? Basically for al and, in some cases, about the in service of society. it contains a certain percentage of two reasons. The first is the extraor- social environment in which such I would like to now make a hydrocyanic acid. On a trip to La dinary fact that I mentioned regard- food is consumed. This paper is parenthesis to explain the types of Chorrera (Colombian Amazon), ing the conversion of a poisonous complemented with historic and yucca. When I started this paper, in October 2012, I found that the product into food. Although it is current information about each the literature I reviewed distin- Huitotos who live also make this well known that this is a physical of these peoples. In other words, guished between the wild or bitter same differentiation, and calling and chemical treatment process on this is not only a cookbook even El casabe y su origen [Cassava and its origin], painting by Brus Rubio. Natural dyes on llanchama (bark). Yucca plant. Etching. yucca and the sweet yucca, actually the “good yucca” "yucca for eating". yucca to make it edible, a scientific if it talks about culinary issues and called in English literature bitter Later, I would confirm that this explanation does not exhaust the presents recipes for preparing some and placed in the sun for several hours is roasted in a large blandona [...]. seven days until the fungus (pore) —that in the Spanish spoken in the region and sweet, respectively. My first same distinction is made by the wonderful fact that a harmful fruit meals. This book is intended only to dry. [...]. It is then stored in baskets This must be constantly stirred using gives the name to this drink- appears. and u'cuisi by the Secoya, is the fruit conversations with Mrs. Rebeca Ru- Boras and Ocainas. Since I did not can become a beneficial cultural as a first approach to a much larger or in large plastic buckets with lids. a wooden spoon to prevent burning. Then the yucca is crushed and mixed of a plant of the genus Renealmia sp., bio, from the Huitotos community know of its existence, I did not ask product. The elimination of the poi- issue, to the extent that feeding in A variant of this type of cassava is with cooked banana. These bananas with ovoid-shaped fruits with a pulp of Pucaurquillo (river Ampiyacu), the Secoyas about it when I visited son is straightforward in its applica- indigenous peoples compromises to add hominy to the dough before it Black Pepper (Aji Negro) are taken from bunches that have that adds flavor and color to meals. some of their communities in tion, to the extent that it does not is roasted, with which it takes on a red- The black pepper (neapia) is made been hung and left to ripen so that To take advantage of its properties, the made me realize that something their entire universe of knowledge, dish hue and a crisper texture because from the juice of the yucca dough after they are really ripe ‘muro, muro’, i.e. fleshy part of the seed is separated and was hampering our communica- September 2011. However, I guess require complicated instruments, beliefs, modes of organization and it is thinner and roasted over. This it is squeezed. Both wild and good so ripe that they have turned black. "veneered" in raw water. The juice is tion. I then noticed that "sweet they do not have this third category but complex in their discovery, relationship with the forest and type of cassava is called huea ao. It is yucca can be used to make neapia. Then these very ripe bananas are boiled in the same water and is used as yucca" meant to her something else because they never referred to it in because they probably discovered it the tutelary spirits of plants and not rubbed with starch like the cassava Sometimes camica is added. Camica mixed with the yucca dough and some broth to prepare various types of meals. than what I thought and that her any of the conversations I had with following knowledge thoughts that animal. made of yucca. is a plant that gives it a flavor which of it is chewed, but before doing so "a 1 Translator’s Note: a flour or meal made of cereal community used a third category of them. are still to be elucidated. It is also I have not been able to distinguish. It mountain leaf that makes teeth and grains, nuts, or starchy roots. which I had never heard: "good yuc- However, to avoid confusing the very laborious, especially when it 1 Even sweet yucca, which normally con- OTHER DERIVATIVES was described to me as "a rope [reed] mouth black (weo'co) is chewed." The 2 Translator’s Note: drink made from fermented ca". This category is actually what reader, I will continue using the bi- comes to exploiting their products, sumed in cities, has a percentage of hydrocy- casting flower'. Like the other people dough is left to ferment for about five maize, bananas, yucca etc drink made from fer- 1 mented maize, bananas, yucca. our society knows as sweet yucca, nary, common distinction as used such as poisonous juices to prepare anic acid, but this is so small that it has no Fariña who use wild yucca, the Secoyas also or more days in tightly closed clay pots 3 Translator’s Note: a fermented or non-fermented i.e. one that can be eaten boiled, in literature, in the early chapters a spicy pasta. toxic effects on those who consume it. Both good yucca and wild yucca are added to this core culinary seasoning tied with banana leaves. Holes are dug beverage usually derived from maize popular in used to prepare fariña (afuaro). The in the curuinsis ants. in the ground to lay the pots. Before South and Central America. 4 Translator’s Note: a tropical vine native to the yucca is rotten or softened by soak- serving the dough is diluted in water Amazon region, noted for its hallucinogenic prop- ing in water for a few days, then it is Masato2 and sieved. erties. Also a hallucinogenic drink prepared from crushed before putting it in the tipiti. Masato is not part of the Secoya The pore cone is drunk after taking the bark of this vine. 4 5 Translator’s Note: A member of certain traditional Then it is squeezed. Later, the dough tradition and has been copied from ayahuasca . For this reason, the whole societies, who acts as a medium between the visi- their Quechua neighbors who, like the transformation process, both the ble world and an invisible spiritual world and who practices magic or sorcery for purposes of healing, Secoya, live along the Putumayo and preparation of chicha and of the aya- divination, and control overnatural events. CASABE AND OTHER MEALS the Napo rivers. This cultural borrow- huasca, is supervised by the chamán ing is evidenced even in the name: a'so, or shaman5. This chicha is prepared Recipe from the Secoya people dough is placed in the tipiti (tsënorio), holding one a'oqueotupë and turning (from jije, name of material used to while in Quechua it is called Atso [...]. only in summer time, from January to CHASQUI Yucca or Cassava (ao) begins with the made of topa bark (yëhuio). The tipiti around the other aoqueotarapë. These manufacture it, like the isana). At this Masato is prepared with good yucca. March, when the bananas are harvest- Cultural Bulletin harvesting of yucca carried out at home is a wide knitted cloth about 2 meters three sticks, due to the pressure they point the dough is turned into flour The first step, after peeling and wash- ed. MINISTRY OF FOREIGN AFFAIRS in large baskets or ‘paneros (do'rohuë). long, with eyelets at both ends. The receive, need to be made of resilient by cooking on wood fire. ing, is to cook it. It is then crushed in a Here yuccas are peeled and then grat- yucca dough is spread over the tohuë. wood. The juice that comes from the On the stove, a pot or ‘blandona’ canoe-type container (asototeo), made Based broths Directorate General of Cultural Affairs ed with grater (quënacua'a). The liquid After the cloth is rolled and hung from squeezed yucca is collected in a pot (socotiqui) is heating —this pot is made Jr. Ucayali 337, Lima 1, Perú of wood from the tree charapilla (cal- The juice obtained from squeezing Telephone: (511) 204-2638 exiting from the grated yucca dough one of the eyelets on the cross bar (cuacoro), where, by sedimentation, by women from clay. Clay cones, toasa'o la'o). Women then chew some of the both wild and good yucca is used as and let to rest in a basket that is cov- (a'oqueoquepë) of a frame specially built will turn into starch. The remaining (toa flame), serve to support the pot. dough which is then put back into the broth to prepare various foods, as E-mail: [email protected] ered with banana leaves, whether it is for this purpose. The frame is support- water will serve to prepare the black Using a pate (jísoe), the women pour pan; this process is used so that their pointed out below. Web: www.rree.gob.pe/politicaexterior wild or good yucca [...] and it drains. ed with a vertical stick (a'oqueotupë) pepper (neapia). the flour into the pot and smoothed saliva accelerates the fermentation The views expressed in the articles are those of When the dough is from wild yucca, it that reaches the ground and serves as The squeezed mixture is ground- it with the rounded part of the pate process. This dough diluted in water Meals the authors. must be left to rest for about three days a foundation with a third stick (aoque- ed immediately in the pan (tohuë), to give the yucca a uniform thickness. can be served immediately, but it is Cassava is the essential side dish to This bulletin is distributed free of charge by the for the fermentation process to help otarapë) that is mobile and not fixed using for this purpose a heavy grinder With a carved wood (tieperupë) made usually kept for a few days to continue every meal of the Secoyas. Moreover, diplomatic missions of Peru abroad. eliminate the poison. If good yucca is like the previous two, passing through (tocahuaro), made of charapilla wood from blood stick, she molds the yucca fermenting. there are two basic seasonings to pre- Translated by: used, it shall rest just one day. Then it the eye at other end of the cloth so (calla'o), whose base is rounded to tilt to get good shape. When she finishes pare meals. One is the black pepper Business Communications Consulting is spread out in an elongated trough that a torque is formed. Women are the yucca dough. At the top, it has two grilling it on one side, she turn the Pore cone (neapia) and the other the Shihuango Mare Gordillo (tohuë), similar to a canoe but with in change of distributing the dough specially carved handles for female plate to roast on the other side. This is a fermented yucca chicha3, but (u'cuisi). Regarding the first seasoning, Printing: open longitudinal ends, which is made on the tipiti, rolling it up, hanging it hands. When properly grounded, the At the end of this process, the cas- different from masato. Yucca is cooked, I have explained above how to prepare Gráfica Esbelia Quijano S. R. L. from blood wood (witosawio). Then the and finally performing the torsion by dough is passed through the sieve jijepë sava is rubbed with a little bit of starch Cassava plant. Engraving. then smoked, and set aside for five to it. The second one, called Shihuango

CHASQUI 14 CHASQUI 15 TEXTILE JEWEL OFANCIENT PERU THE "GOTHENBURG MANTLE” Carmen Thays* The emblematic textile of the Paracas civilization and other valuable items return to Peru, as part of the repatriation process of cultural heritage promoted by the Ministry of Foreign Affairs and the Ministry of Culture.

ecently, four Paracas textiles was customary for the Paracas civi- simple tools: a continuous thread both sides, all of this achieved were repatriated; among lization to bury the naked body of and a needle with a hook on the by just using a cactus needle and R them was the "Gothenburg the late in squatting position cove- end that helped manipulate the cotton and fine camelid threads, Mantle". These items were delive- ring it with clothes on their backs thread in each stitch. but executed with great skill and red by the government of Sweden folded forward, ornamenting his Similarly, each panel of the technical mastery. and marks an important landmark head with headpieces or ñañacas field, has been like a small pa- Some researchers have sugges- in Peru’s efforts to recover its and headbands; clothes, acces- nel made from separately woven ted that this textile has all the cultural heritage. This was part of sories, and ornaments were always pieces and then assembled into characteristics of an agricultural Sweden’s commitment to return placed on the body in such a way larger panels or sections. Each calendar. As is known, the ancient 89 Paracas textile items it has held as for the individual to continue small panel consists of a three- Peruvians depended on intensive since 1930 and which were kept using them as if alive. These offe- dimensional red frame and a figu- agriculture, whose success was in the Museum of World Culture. rings were alternated with one to re in the middle. Each figure has based on the knowledge accrued These items were taken there as a three layers of large cotton cloths a cotton center with cross stitch, over centuries of experimentation donation by the Swede Sven Karell with which a false head was orna- which was performed with a cactus and manipulation of different (consul to Peru). mented with colorful headdresses thorn used as a needle threaded plant species harvested following Many experts agree that this just like the skull of the deceased. with a fine thread that is gradually certain seasons and depending on piece sums up the excellence of Because of its size, 104 cm knitted, drawing continuous rings the water supply that they learned textile art of ancient Peru, feature long by 53 cm wide, it is actually a supported by the previous stitch, to predict from observing the be- it shares with another recognized small mantle, possibly to be placed so, and with such mastery that havior of animals. But like many piece: the "Brooklyn Museum Ca- on the back or to adorn the head each figure was reproduced exactly agrarian societies, they worked lendar Mantle" (179.8 x 84.5 cm) as a ñañaca used during special in all its details. the land while also looking at the dating the same period: Nasca 1, rituals throughout the year. It Upon completing the center, sky, the movement of the stars and made with similar technical has 32 black and red squares in- craftsperson went on to the next announced their harvest time, characteristics. This piece was side of which are figures of plants step: wrap on both sides with a planting season, and even periods looted from the Arena Blanca ce- and seeds with anthropomorphic variant of the same stitch (single of drought. metery in the Paracas Peninsula, attributes, birds like hawks, ringed), this time using brightly This world of wisdom depic- famous since 1902 when it was hummingbirds and tendrils, cats, colored threads of camelid fiber ted by birds, cats, shrimp, frogs, discovered by chance by Domingo toads, men, and anthropomorphic which wove each tiny detail in the edible roots and seeds, anthro- Canepa, who helped his workers beings with plant attributes. The figures, which they also outlined pomorphous, half plant or seed (later turned into ‘huaqueros’ or edges are also ornamented with with black thread. hybrid beings, at different stages looters), carried out the systematic three unique assortment of men, Next, each figure was framed in of maturation is registered in this looting of one of the most impor- birds and cats. the center of a three-dimensional textile woven by our ancestors two tant funeral sited in this cemetery. The way it has been prepared border with red festoons on both thousand years ago. This piece Due to the similarities mentioned, shows mastery of technical skills edges. Each panel is joined by is a synthesis of the scientific it is possible that the "Gothenburg and is aimed at showing off a following certain order forming a knowledge of the time. On the Mantle" also comes from Arena piece made by highly qualified sort of grid with 32 panels woven other hand, it is quite possible Blanca. craftspeople. At first, each of the with the same technique and black that the character that was buried For its excellent condition, this 32 figures was woven separately threads. Around the grid there are with this piece was responsible garment must have been placed in and then assembled; somehow four red bands with polychrome for the administration of the rites the outer layer and close to the it reminds us of the fine crochet motifs with half protruding edges related to agricultural festivities headform of the funerary bundle pieces made by the skillful hands as if giving motion to the fringes throughout the year. of an important character of the of grandmothers from separately attached. * Archaeologist. Specialist Textile Conservation time, so that was not affected by woven panels then joined to make The final output is a garment Area of the National Museum of Archaeology, the decomposition of the body, as a larger piece and made with very with exactly the same prints on Anthropology and History of Peru.

CHASQUI 16