Peruvian Mail

Total Page:16

File Type:pdf, Size:1020Kb

Peruvian Mail CHASQUI PERUVIAN MAIL Year 13, number 25 Cultural Bulletin of the Ministry of Foreign Affairs July, 2015 Monolithic sandeel, drawing by Wari Wilka, 1958. Wari by Monolithic sandeel, drawing CHAVÍN DE HUÁNTAR, MYTHICAL ANCIENT RUINS/ CHRONICLER GUAMAN POMA / MARIANO MELGAR´S POETRY Huántar, where at least some evidence of the use of ceramics erty claims and specialized skills organic materials were preserved and the emergence of the earliest emerged in the Early Formative thanks to the rough dry desert Andean 'classic' civilizations, period (circa 1700-1200 BC.). WHAT IS CHAVÍN Museum. Larco climate. The artifacts found in i.e. the Nazca and Mochica, was At various sites, competition for the tombs of the Paracas civiliza- called Early or Formative period resources and arable land led to tion bear some resemblance to (circa 1700-200 BC.). the creation of larger and more the Chavín stone sculptures, and The authors of this catalog ostentatious ceremonial centers. DE HUÁNTAR? also provided the first reliable agree that it is time that the ar- In the next period, the Middle dating since organic material can cheology of the Central Andes Formative period (circa 1200-800 Peter Fux* be dated physically. During the transcends preconceived notions BC.), the distinctive artistic style second half of the twentieth cen- of the Old World and in order and iconography associated with Chavin was one of the most fundamental civilizations of ancient Peru. Its imposing ceremonial center is included in tury, archaeologists preferred not to reflect this trend they use new the later findings in Chavín de to speculate on the social structure words. After all, recent archaeo- Huántar developed-the one now UNESCO´s World Heritage list. The Lima Art Museum, in co-organization with the Rietberg Museum in Zurich or on finding an explanation and, logical discoveries show that the known as the "Chavin style." Here and the Peruvian Ministry of Culture, has put up an ambitious exhibit. instead, preferred to concentrate peoples in this region had built a number of supernatural mytho- on chronological or material type large ceremonial centers since logical creatures with human and questions. It is for this reason that 3500 BC, long before the earliest animal features become especially they talk of a "Chavín Horizon” or known evidence of pottery, i.e., important. In the Late Formative Woman breastfeeding her child. Ceramics “Early Horizon" to refer to the first during the Archaic period (to period (circa 800-400 BC.), the 22.6 × 14, 8 × 12.8 cm. Cupisnique style. circa millennium BC, when the Chavín use the old term). These events Andean world, and its current 1200-1500 BC. iconography and style were ad- are remarkably early compared system of meaning as expressed opted by different civilizations of to the cultural history of other and consolidated through its art the Andean Central region. The regions of the world, including and architecture, gained strength time known as “Early Horizon” is ancient Egypt. Collective plan- and supremacy. Amazon basin and that such ties were extremely primeval. Chavín de Huántar suddenly had become a key indicator of the local origin of the High Andean civilization and a center of such "cultural melting pot" of the Andes. The exhibition Fux. Peter Photo: in Lima of the monoliths known as "Estela Raimondi" (Raimondi´s Start) and "Tello Obelisk", two emblematic sculptures of Chavín, reinforced the hypothesis that there must have been a parent Chavín de Huántar Archeological Site civilization. he Chavin civilization de- Chavín de Huántar could well rives its name from the ar- have been used as a reference to chaeological site of Chavín trace the local origin of known T civilizations in Peru, but, in the de Huántar, in the Peruvian high- lands. The breathtaking ruins of same way, raised even more ques- this monumental complex are tions: where did the Chavín peo- located at 3180 meters above sea Ministry of Peru. of Culture Ministry of Peru. of Culture ples come from? This was a highly level, on the eastern side of the developed society and yet had no Cordillera Blanca. Remains of mas- clear ancestor. There simply was sive stone buildings in the Ancash no archaeological evidence to region, located in a narrow valley support the alleged links to the of the mountain called Callejón de Amazon basin. How old is Chavín? Conchucos, caught the attention of How did its society function? Was many early travelers and scholars. Chavín ever an empire that con- In the mid-sixteenth century, a trolled a vast territory from one chronicler reported seeing a huge powerful center, like Rome or the Cabezas Clavas (Stone Nail Head), Etched stone. fortress with faces etched on its Incas-who came much later? This walls, and in the early seventeenth was the obvious conclusion, at century, people talked about an least in the absence of any other the first period of the history of ning and engineering works like Chavín de Huántar was not the oracle comparable with those clear alternative. Andean civilizations in which this undoubtedly went hand in only set of temples of the time, of ancient Rome or Jerusalem, It was possible to close in a certain style and iconography hand with social and economic but it may well have been the which existed in this remote valley on an answer from a series of spread over a wide region. developments such as the use of biggest. Other centers like Kuntur Mountain range. findings, such as richly decorated To describe, sort, and prepare irrigation to increase crop yields, Wasi, Pocapampa, and Kotosh de- The existence of such massive pottery and textiles developed on diligently a typology of the various the formation of ever larger social veloped in this time too. We can stone building with gigantic, yet the coast, about one thousand discoveries made in the second units, and growing interdepen- even go as far as to say that despite strange, sculpted figures, in such kilometers south of Chavín de half of the twentieth century, dence: in short, the beginnings of their similarities and differences a remote and inhospitable place, researchers were able to identify a complex society. Thus, the au- and their sharing the same social proved irresistibly fascinating for several different civilizations thors have proposed to look back system and worldview, they were newcomers from the Old World. and styles, and nowadays studies at the beginning of the Formative rivals seeking to exert influence Nevertheless, it is not surprising talk about new developments period in the Central Andes in and gain followers. The fasci- that coming across such ruins, like the Cupisnique civilization, 3500 BC. nation that Chavín de Huántar newcomers interpreted its former Lima Art Museum. the Tembladera- and Chavín-style If we are to view Chavín not as still awakens in us and the long function in the light of the con- ceramics, or the Limoncarro style just a stylistic category of material history of its excavations have cepts they brought with them, not Acrobat. Ceramics. 25.4 × 15 × 20 cm. circa 1200-1500 BC. stone etchings. remains but as the social system opened a unique window into out of ignorance but because they Some of the Old World con- that produced such artifacts and the past, through which we can had no other alternative. cepts that were imported into lived with them, we must first learn to understand the way in When archaeological research important sculpture, measuring to hypothesize that the archeology of the Americas investigate the process through which this central Andean society began in South America in the more than four meters high and the deity worshiped in include the assumption that the which the oldest complex society functioned-and which is strikingly early twentieth century, researchers known as "El Lanzón" (sandeel) be- Chavín de Huántar was use of ceramics is an essential pre- of the central Andean region was different from what was originally hypothesized that the civilizations cause of its pointed shape, stands Wiracocha, the same condition for the highest degree formed, starting with the first expected. of the High Central Andes had in an extremely narrow and one the Incas would of complexity with which a society steps that led to its formation. is defined. Terminology follows Early ceremonial centers were * Archaeologist at the University of Zurich. He originated in Mesoamerica. dark side in one of the temple´s worship later, but in has worked in various archaeological projects, Julio C. Tello (1880-1947), a chambers, which is accessible only the form of a jaguar. this same premise: in the Cen- built in the fertile coastal oasis such as the one dedicated to Nazca-Palpa, pioneer in Peruvian archeology, through a long, narrow passage. This theory was based tral Andes, the long period that by agricultural-based societies. In sponsored by the German Archaeological elapsed prior to the dissemination addition, they served as a place for Institute. He is curator of pre-Columbian art made a crucial shift in the per- The anthropomorphic image, like on two assumptions: in the Rietberg Museum in Zurich and has spective people had on Chavín de many others, has fangs and claws. that the builders of of pottery (circa 1200-1700 BC) social encounter and to promote been in charge of the Chavin exhibit. The Huántar and again made the stone Other embossed figures show such site had had is known as the Archaic period, social cohesion through rituals. text above is an excerpt from the exhibition “Estela de Raimondi" [Raimondi’s Star]. Etched stone. Rodent. Ceramics. 20 × 10.5 × 15 cm. catalog. sculptures the spotlight. The most even more cats; all of this led Tello connections with the 1.98 m.
Recommended publications
  • A Propósito De Bicentenarios, Romanticismo Y Emancipación: El Caso De Mariano Melgar
    Vol. 9, No. 1, Fall 2011, 270-286 www.ncsu.edu/project/acontracorriente A propósito de bicentenarios, romanticismo y emancipación: el caso de Mariano Melgar Eric Carbajal Indiana University En 1928, en su séptimo ensayo titulado “El proceso de la literatura” de su muy estudiada obra Siete ensayos de interpretación de la realidad peruana, el pensador José Carlos Mariátegui pretendió corregir al escritor peruano, José de la Riva Agüero, declarando que el poeta Mariano Melgar no representa solamente un momento curioso en la literatura peruana, que era lo Riva Agüero había publicado, sino que su importancia está en ser el “primer momento peruano de esta literatura” (174). Al evaluar la obra de Melgar, sin embargo, es evidente que su carácter cívico, inclinación rebelde y actitud reconciliadora con un pasado y presente peruano―es decir, con la cultura criolla e indígena―efectivamente hacen de él un curioso momento dentro de las letras peruanas. De hecho, el que Mariano Melgar sea prácticamente desconocido dentro del canon de la literatura en América Latina agrega un tanto más de curiosidad a su perfil literario. Continuando una tarea iniciada por algunos críticos y dejada en el olvido por otros, este trabajo propone una relectura de la obra de Melgar Carbajal 271 que denote su anacronismo en la literatura latinoamericana. A través de versos cívicos y amatorios como “Ya llegó el dulce momento” (“Poesías” 58) y “Llegó el terrible momento” (275) se puede reparar en que el romanticismo no llegó tarde a Latinoamérica, como se cree, sino que, con la poesía de Melgar, ya estaba vigente en la primera década del siglo XIX.
    [Show full text]
  • 3. Indigeneity in the Oruro Carnival: Official Memory, Bolivian Identity and the Politics of Recognition
    3. Indigeneity in the Oruro Carnival: official memory, Bolivian identity and the politics of recognition Ximena Córdova Oviedo ruro, Bolivia’s fifth city, established in the highlands at an altitude of almost 4,000 metres, nestles quietly most of the year among the mineral-rich mountains that were the reason for its foundation Oin 1606 as a Spanish colonial mining settlement. Between the months of November and March, its quiet buzz is transformed into a momentous crescendo of activity leading up to the region’s most renowned festival, the Oruro Carnival parade. Carnival is celebrated around February or March according to the Christian calendar and celebrations in Oruro include a four- day national public holiday, a street party with food and drink stalls, a variety of private and public rituals, and a dance parade made up of around 16,000 performers. An audience of 400,000 watches the parade (ACFO, 2000, p. 6), from paid seats along its route across the city, and it is broadcast nationally to millions more via television and the internet. During the festivities, orureños welcome hundreds of thousands of visitors from other cities in Bolivia and around the world, who arrive to witness and take part in the festival. Those who are not performing are watching, drinking, eating, taking part in water fights or dancing, often all at the same time. The event is highly regarded because of its inclusion since 2001 on the UNESCO list of Masterpieces of the Oral and Intangible Heritage of Humanity, and local authorities promote it for its ability to bring the nation together.
    [Show full text]
  • Universidad Nacional Del Altiplano Facultad De Ciencias De La Educación Escuela Profesional De Educación Secundaria
    UNIVERSIDAD NACIONAL DEL ALTIPLANO FACULTAD DE CIENCIAS DE LA EDUCACIÓN ESCUELA PROFESIONAL DE EDUCACIÓN SECUNDARIA “EL PROCESO HISTÓRICO Y LA IMPORTANCIA DE LA BATALLA DE UMACHIRI DESDE EL AÑO 1808 HASTA 1815, PUNO - 2015” TESIS PRESENTADA POR: GILVER LIMA FLORES PARA OPTAR EL TÍTULO PROFESIONAL DE LICENCIADO EN: EDUCACIÓN, CON MENCIÓN EN LA ESPECIALIDAD DE CIENCIAS SOCIALES. PROMOCIÓN: 2016 - II PUNO – PERÚ 2017 UNIVERSIDAD NACIONAL DEL ALTIPLANO FACULTAD CIENCIAS DE LA EDUCACIÓN ESCUELA PROFESIONAL DE EDUCACIÓN SECUNDARIA "EL PROCESO HISTÓRICO Y LA IMPOR TANCIA DE LA BATALLA DE UMACHIRI DESDE EL AÑO 1808 HASTA 1815, PUN0-2015" GJLVER LIMA FLORES TESIS PARA OPTAR EL TÍTULO PROFESIONAL DE LICENCIADO EN EDUCACIÓN, CON MENCIÓN EN LA ESPEC IDAD CIENCIAS SOCIALES. APROBADO POR EL SIGUIENTE JURADO: PRESIDENTE: PRIMER MIEMBRO: SEGUNDO MIEMBRO: DIRECTOR: Dr. Jorge Alfredo Ortiz Del Carpio ASESOR: Área: Disciplinas Científicas Tema: Historia Regional Fecha de sustentación 10/oct./2017. DEDICATORIA Este trabajo de investigación va dedicado en especial a mi querida madre, y a mis hermanos quienes me dan su apoyo incondicional para seguir adelante y ser un hombre de bien y contribuir a la sociedad AGRADECIMIENTO A Dios, por iluminar mi pensamiento y dar luz a mi andar dentro de este mundo tan adverso y al mismo tiempo maravilloso. Una gratitud eterna. También expreso mi reconocimiento a mis queridos maestro de la especialidad de Ciencias Sociales de la Facultad de Ciencia de la Educación, de la Universidad Nacional del Altiplano, por compartir sus conocimientos y sabios consejos en mi formación profesional. ÍNDICE DEDICATORIA AGRADECIMIENTO ÍNDICE GENERAL ÍNDICE DE FIGURAS RESUMEN ..................................................................................................................
    [Show full text]
  • Formato De Proyecto De Tesis
    UNIVERSIDAD NACIONAL DEL ALTIPLANO FACULTAD DE CIENCIAS SOCIALES ESCUELA PROFESIONAL DE ARTE LA MÁSCARA DEL DIABLO DE PUNO, COMO ELEMENTO SIMBÓLICO, EN LA OBRA BIDIMENSIONAL TESIS PRESENTADA POR: Bach. ROSMERI CONDORI ALVAREZ PARA OPTAR EL TÍTULO PROFESIONAL DE: LICENCIADO EN ARTE: ARTES PLÁSTICAS PUNO – PERÚ 2018 UNIVERSIDAD NACIONAL DEL ALTIPLANO – PUNO FACULTAD DE CIENCIAS SOCIALES ESCUELA PROFESIONAL DE ARTE LA MÁSCARA DEL DIABLO DE PUNO, COMO ELEMENTO SIMBÓLICO, EN LA OBRA BIDIMENSIONAL TESIS PRESENTADA POR: Bach. ROSMERI CONDORI ALVAREZ PARA OPTAR EL TÍTULO PROFESIONAL DE: LICENCIADO EN ARTE: ARTES PLÁSTICAS APROBADA POR EL REVISOR CONFORMADO: PRESIDENTE: _________________________________________ D. Sc. WILBER CESAR CALSINA PONCE PRIMER MIEMBRO: _________________________________________ Lic. JOEL BENITO CASTILLO SEGUNDO MIEMBRO: _________________________________________ M. Sc. ERICH FELICIANO MORALES QUISPE DIRECTOR _________________________________________ Lic. YOVANY QUISPE VILLALTA ASESOR: _________________________________________ Mg. BENJAMÍN VELAZCO REYES Área : Artes Plásticas Tema : Producción Artística Fecha de sustentación: 10 de octubre del 2018 DEDICATORIA Quiero dedicarle este trabajo con mucho cariño. A mis padres, Julio, Matilde A mi novio Tony Yack. A todos mis hermanos. A Dios que me ha dado la vida y fortaleza para terminar este proyecto. Rosmeri, Condori Alvarez AGRADECIMIENTO ▪ A la Universidad Nacional del Altiplano de Puno, que me dio la oportunidad de formarme profesionalmente. ▪ Al Dr. Cesar Calsina y Lic. Joel Benito, a quienes me gustaría expresar mis más profundos agradecimientos, por su paciencia, tiempo, dedicación, expectativas por sus aportes para la consolidación del presenté trabajo de investigación. ▪ Mg. Oscar Bueno, por haberme brindado enseñanzas. ▪ A mi padre, por ser el apoyo más grande durante mi educación universitaria, ya que sin él no hubiera logrado mis objetivos y sueños.
    [Show full text]
  • DISTRITO FISCAL FISCALIA Despacho TELEFONO OFICINA DIRECCION
    DISTRITO FISCAL FISCALIA Despacho TELEFONO OFICINA DIRECCION Jr. Ángela Sabarbeín Cdra. 2 - AA.HH. - Santa Rosa de Luya Urco - AMAZONAS FPEDCF- Amazonas - Sede Chachapoyas Único 041-479017 Chachapoyas AMAZONAS FPEDCF- Amazonas - Sede en Bagua Único 041-472214 Jr. Mariano Melgar N° 456 - Bagua ANCASH 1° FSEDCF Único (043) 425554 Jr. Simon BolIvar 784 ANCASH 2° FSEDCF Único (043) 222068 Mariano Melgar 465 Independencia - Ancash ANCASH FPCEDCF 1er al 5to Despacho (043) 222068 Mariano Melgar 465 Independencia - Ancash APURIMAC FPEDCF-Andahuaylas Único 083-322122 Jr. Juan Francisco Ramos N° 248, 4to piso – Andahuaylas APURIMAC FSEDCF-Abancay Superior 083-322223 Jr. Unión Nº 227-229 Abancay APURIMAC FPEDCF-Abancay 1er al 2do Despacho 083-322223 Jr. Unión Nº 227-229 Abancay-Apurimac Calle Manuel Belgrano F-19 Urb Alvares Thomas Cercado de Arequipa AREQUIPA FPCEDCF 1er al 4do Despacho (054) 241834 AYACUCHO FSEDCF Superior 066-313736 Jr. Libertad 205, Ayacucho, Huamanga, Ayacucho AYACUCHO FPCEDCF 1er al 3ro Despacho 066-311115 Jr. Libertad 205, Ayacucho, Huamanga, Ayacucho CAJAMARCA FPCEDCF 1er al 3ro Despacho 076-367790 Jr. Casuarinas N° 363 Urb. El Ingenio- 4° Piso- Cajamarca CALLAO FSEDCF Superior 4296783 Jr. Adolfo King N° 156 - Callao CALLAO FPCEDCF 1er al 3ro Despacho 4296783 Jr. Adolfo King N° 156 - Callao CAÑETE FPCEDCF Único 625-5555 Urb. Tercer Mundo Mz. B, Lote 8- 2do Piso - Cañete COBERTURA NACIONAL 1° FSNEDCF Superior (01) 208-5555 Av. Abancay N° 491 - Cercado de Lima COBERTURA NACIONAL 2° FSNEDCF Superior (01) 208-5555 Av. Abancay N° 491 - Cercado de Lima COBERTURA NACIONAL F. SUPRAPROVINCIAL CEDCF 2do Despacho (01) 208-5555 Av.
    [Show full text]
  • Las Danzas De Oruro En Buenos Aires: Tradición E Innovación En El Campo
    Cuadernos de la Facultad de Humanidades y Ciencias Sociales - Universidad Nacional de Jujuy ISSN: 0327-1471 [email protected] Universidad Nacional de Jujuy Argentina Gavazzo, Natalia Las danzas de oruro en buenos aires: Tradición e innovación en el campo cultural boliviano Cuadernos de la Facultad de Humanidades y Ciencias Sociales - Universidad Nacional de Jujuy, núm. 31, octubre, 2006, pp. 79-105 Universidad Nacional de Jujuy Jujuy, Argentina Disponible en: http://www.redalyc.org/articulo.oa?id=18503105 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto CUADERNOS FHyCS-UNJu, Nro. 31:79-105, Año 2006 LAS DANZAS DE ORURO EN BUENOS AIRES: TRADICIÓN E INNOVACIÓN EN EL CAMPO CULTURAL BOLIVIANO (ORURO´S DANCES IN BUENOS AIRES: TRADITION AND INNOVATION INTO THE BOLIVIAN CULTURAL FIELD) Natalia GAVAZZO * RESUMEN El presente trabajo constituye un fragmento de una investigación realizada entre 1999 y 2002 sobre la migración boliviana en Buenos Aires. La misma describía las diferencias que se dan entre la práctica de las danzas del Carnaval de Oruro en esta ciudad, y particularmente la Diablada, y la que se da en Bolivia, para poner en evidencia las disputas que los cambios producido por el proceso migratorio conllevan en el plano de las relaciones sociales. Este trabajo analizará entonces los complejos procesos de selección, reactualización e invención de formas culturales bolivianas en Buenos Aires, particularmente de esas danzas, como parte de la dinámica de relaciones propia de un campo cultural, en el que la construcción de la autoridad y de poderes constituyen elementos centrales.
    [Show full text]
  • VI. Institutional Activities
    ANNUAL REPORT 2015 INSTITUTIONAL ACTIVITies 137 CENTRAL RESERVE BANK OF PERU “The Mint Worker”, sculpture in homage to the workers of Casa Nacional de Moneda. In the background,138 a “catalina” or water wheel, which used the moving water of river Huatica as a power source to drive the mechanical processes of the machines used at Casa Nacional de Moneda. ANNUAL REPORT 2015 INSTITUTIONAL ACTIVITIES 1. Board of Directors On December 31, 2015, the Board of Directors of BCRP was integrated by Julio Velarde Flores (Governor), Luis Alberto Arias Minaya (Deputy Governor), Francisco González García, Drago Kisic Wagner, Waldo Mendoza Bellido, Carlos Oliva Neyra, and Gustavo Yamada Fukusaki. In 2015 the Board held 60 meetings. 2. Transparency and Social Responsibility Efficiency and transparency characterize the BCRP in all of its actions. Monetary policy decisions are taken in accordance with the BCRP monetary policy independence and informed to the public through various communication channels. 2.1 Transparency The Board of BCRP informs the public about monetary policy decisions through the Monetary Program Communiqués released each month. These communiqués are published on the BCRP website and its social media sites, disseminated through press releases, and emailed to subscribers. Teleconferences are also held with the media to inform the public about these decisions. In 2015, the Inflation Report was published in the months of January, May, September, and December. This report discusses the BCRP monetary policy actions, provides an analysis of economic developments, explains the evolution of inflation and provides forecasts on inflation and the main macroeconomic variables. Invited by the Budget and General Account Committee of Congress, Governor Julio Velarde spoke before Congress Members on “Macroeconomic Assumptions of the 2016 Budget” on October 12.
    [Show full text]
  • ÁNGELES Y DIABLOS EN EL CARNAVAL DE ORURO
    ÁNGELES y DIABLOS EN EL CARNAVAL DE ORURO FERNANDO CAJÍAS DE LA VEGA / BOLIVIA INTRODUCCIÓN es el cuadro de la "Muerte" de Caquiaviri. Este cuadro está dividido en dos partes. En la primera, se representa OS españoles introdujeron en nuestro territorio la Muerte de! Bueno (ver Imagen 1). El "Bueno" es asistido la concepción que, después de la muerte, de la por un ángel y está recostado sobre tres almohadas; en resurrección de los muertos y de! juicio final, a cada una de ellas están pintadas, sucesivamente, tres Llos seres humanos, según su comportamiento, virtudes: la Fe, representada por una mujer con los ojos les está destinado e! cielo o e! infierno. Desde la Edad vendados, una cruz y un cáliz; la Esperanza, como una Media hasta hace pocos años, también se concebía un mujer que lleva un ancla, y la Caridad, como una mujer destino intermedio: el purgatorio. amamantando a un niño. Alrededor, en forma de escul­ En Hispanoamérica, como en Europa, artistas y literatos turas, están las representaciones de: la Prudencia, mujer se encargaron de presentar imágenes de cómo podrían ser leyendo con cirio; la Justicia, mujer con espada y balanza; e! cielo, e! infierno y e! purgatorio. la Fortaleza, mujer con columna (atributo de Hércules) Se han conservado numerosas obras de arte de la época y la Templanza, mujer escanciando una copa de vino. colonial en las que se representa e! cielo, paraíso o gloria, Todas las representaciones coinciden exactamente con a los ángeles y virtudes; así como el infierno o averno con los manuales de iconografía cristiana.
    [Show full text]
  • AR 040109 MARIANO MELGAR.Pdf
    74° W 72° W 230000 235000 240000 ANGARAES HUANTA MADRE MANU HUANCAVELICA LA MAR CALCA DE DIOS LA CONVENCION CASTROVIRREYNA URUBAMBA PAUCARTAMBO HUAMANGA CUSCO CANGALLO CHINCHEROS ANTA APURIMAC CUSCO HUAYTARA VILCAS QUISPICANCHI VICTOR FAJARDO HUAMAN ANDAHUAYLAS PARURO ABANCAY COTABAMBAS S HUANCA S ° Reserva Nacional SANCOS ° 4 ACOMAYO 4 1 GRAU de Salinas y SUCRE CANCHIS CARABAYA 1 Aguada Blanca ICA PALPA Villa Ecologica ANTABAMBA CANAS AYACUCHO AYMARAES CHUMBIVILCAS Æ Ä LUCANAS MELGAR CAYMA ICA AR 7 ESPINAR PUNO 116 NASCA PARINACOCHAS LA UNION PAUCAR DEL SARA Pta. Carretera. SARA ili Ch Río LAMPA CASTILLA CAYLLOMA 30 de Marzo µ CARAVELI AREQUIPA CONDESUYOS SAN S S ° ROMAN 6 MARIANO ° 1 6 MELGAR AREQUIPA 1 CAMANA GENERAL SANCHEZ CERRO AR 752 «¬ MOQUEGUA ISLAY MARISCAL NIETO CANDARAVE OCÉANO PACÍFICO ILO JORGE BASADRE TACNA S S ° TACNA 8 ° 1 8 1 74° W 72° W ALTO SELVA ALEGRE AR «¬751 Comunidad Campesina Chiguata Villa Ecologica 0 0 0 0 0 0 0 0 9 9 1 1 8 8 Mirador de Chilina Asuncion Dv. Selva Alegre AR «¬750 Villa Chachas MIRAFLORES Villa Union Chilina Villa Florida Javier Heraud Independencia San Luis Galaxias Alto Selva Alegre SELVA ALEGRE Leones del Misti Garcilazo de La Vega El Peñon Chapi Chico Apurimac Porvenir CHIGUATA Emp. AR-751 (Dv. Selva Alegre) Mateo Pumacahua Rafael Hoyos Rubio Mateo Pumacahua Santa Luisa YANAHUARA Aproma MARIANO MELGAR Los Eucaliptos AR Villa El Sol Ramiro Priale LEYENDA 749 ¬ Tomasa Tito Condemayta « Solidaridad Emp. AR-749 Francisco Paulet Mostajo Luceros del Misti RVN Trayectoria o Aeropuertos i l i San Jose h C o p í Villa Esperanza RVD Trayectoria Aerodromos R Villa El Conquistador Conquistador I Enatru RVV Trayectoria Helipuertos # RVN (Km 5) Puertos Vista Alegre # RVD (Km 5) Restos Arq.
    [Show full text]
  • Moving Away from Silence: Music of the Peruvian Altiplano and the Experiment of Urban Migration / Thomas Turino
    MOVING AWAY FROM SILENCE CHICAGO STUDIES IN ETHNOMUSICOLOGY edited by Philip V. Bohlman and Bruno Nettl EDITORIAL BOARD Margaret J. Kartomi Hiromi Lorraine Sakata Anthony Seeger Kay Kaufman Shelemay Bonnie c. Wade Thomas Turino MOVING AWAY FROM SILENCE Music of the Peruvian Altiplano and the Experience of Urban Migration THE UNIVERSITY OF CHICAGO PRESS Chicago & London THOMAS TURlNo is associate professor of music at the University of Ulinois, Urbana. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1993 by The University of Chicago All rights reserved. Published 1993 Printed in the United States ofAmerica 02 01 00 99 98 97 96 95 94 93 1 2 3 4 5 6 ISBN (cloth): 0-226-81699-0 ISBN (paper): 0-226-81700-8 Library of Congress Cataloging-in-Publication Data Turino, Thomas. Moving away from silence: music of the Peruvian Altiplano and the experiment of urban migration / Thomas Turino. p. cm. - (Chicago studies in ethnomusicology) Discography: p. Includes bibliographical references and index. I. Folk music-Peru-Conirna (District)-History and criticism. 2. Folk music-Peru-Lirna-History and criticism. 3. Rural-urban migration-Peru. I. Title. II. Series. ML3575.P4T87 1993 761.62'688508536 dc20 92-26935 CIP MN @) The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI 239.48-1984. For Elisabeth CONTENTS List of Illustrations ix Acknowledgments xi Introduction: From Conima to Lima
    [Show full text]
  • Mariano Melgar: O Primeiro Peruano Na Literatura Indigenista 1
    HISPANISTA – Vol XIII nº 50 – Julio – Agosto – Septiembre de 2012 Revista electrónica de los Hispanistas de Brasil - Fundada en abril de 2000 ISSN 1676-9058 ( español) ISSN 1676-904X (portugués) MARIANO MELGAR: O PRIMEIRO PERUANO NA LITERATURA INDIGENISTA 1 Manoel de Andrade Conta-se que Arequipa nasceu sobre as ruínas de uma antiga cidade inca e que foi fundada em 1540 pelo próprio conquistador do Peru, Francisco Pizarro. Berço de notáveis nomes da política e da literatura peruana, nela nasceu Mario Vargas Llosa, no ano de 1936. Contudo sua celebridade literária, coroada com o Nobel em 2010, dispensa aqui qualquer comentário. Devo, entretanto dizer que quando por lá passei, na virada da década de sessenta, o nome de Vargas Llosa, apesar de seus quatro livros já publicados, ainda não era tão comentado como o do poeta Mariano Melgar, um dos filhos mais queridos da cidade. Falo de um poeta libertário, combatente pela independência do Peru, com o qual se inicia o Romantismo e o Indigenismo na literatura peruana e, tal como o nosso Castro Alves, também libertário pelo abolicionismo, morre igualmente aos vinte e quatro anos. Mariano Lorenzo Melgar Valdivieso, nasceu em Arequipa em 10 de agosto de 1790 e por sua precocidade foi um verdadeiro prodígio intelectual. Aos três anos já lia e escrevia, aos oito falava latim e aos nove anos dominava o inglês e o francês. Profundamente identificado com o povo na sua expressão indígena, encontrou no singelo lirismo das canções quechuas a motivação poética para grande parte de seus versos compostos em forma de yaravís, gênero musical de origem incaica, de composição breve e com um caráter elegíaco, amoroso e melancólico.
    [Show full text]
  • Rebuilt Indigeneity: Architectural Transformations in El Alto
    ISSN 2624-9081 • DOI 10.26034/roadsides-202000402 Rebuilt Indigeneity: Architectural Transformations in El Alto Juliane Müller The colorful façades are best seen from the Blue Line of Mi Teleférico, the aerial cable- car network that has been the backbone of urban transport in the metropolitan area of La Paz and El Alto since 2014. From above, the multistory buildings internationally known as Neo-Andean Architecture can be admired in their distinctive splendor, rising over the sober and nearly treeless landscape of El Alto, Bolivia’s youngest and Latin America’s foremost indigenous city. Populated through rural–urban migration since the early twentieth century, but only founded as an independent municipality in 1985, El Alto has been devoid of monumental sites. These buildings and the new cable-car system are the first structures with sufficient aesthetic and symbolic qualities to evoke positive reactions from residents and tourists alike. In this essay, I approach them through an architectural lens. The cable-car infrastructure is not primarily conceptualized as a network but rather analyzed through its historically informed symbolism and as a series of distinctive material forms with specific social and political effects (Seewang 2013). I show that the Neo-Andean Architecture and the cable-car station buildings not only reshape the city’s landscape but are themselves materializations of an urban understanding of indigeneity that embraces infrastructural development and accommodates social difference. collection no. 004 • Architecture and/as Infrastructure Roadsides Rebuilt Indigeneity 09 Neo-Andean Architecture Regardless of its broad denomination, Neo-Andean Architecture originated in El Alto and is associated with a single name, the Aymara Freddy Mamani.
    [Show full text]