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Violence in Peru: Performances and Dialogues Made in United States of America Reprinted from AMERICAN ANTHROPOLOGIST Vol. 100, No. 2, June 1998 Copyright © 1998 by the American Anthropological Association Violence in Peru: Performances and Dialogues BILLIE JEAN ISBELL 51 others, from the village of Quispillaqta, district of Cornell University Chuschi, province of Cangallo, department of Ayacucho. GUADALUPE CCALLACUNTO WAS dragged from her ** a yOUng mOther °f tWO Sma11 children' GuadaluPe had parents' home in the city of Ayacucho about 2:30 am. become active in the work of the Committee of the Fami" on June 10, 1990, when she returned from Lima to lies of the Disappeared in the Emergency Zone and in vote; I dedicate this work to her. In 1983-84 her hus- Serpaj International, a Catholic human rights organi- band and brother-in-law were disappeared, along with zation. Her name appeared on Amnesty International's FORUM 283 Rapid Response Network in 1990. She is presumed were disappeared by masked and hooded men during dead. I read this dedication for the first time in New the night of March 14, 1991, in the village of Chuschi, York City on December 1990, at Columbia University, department of Ayacucho, Peru. They refused to form and then again in London at a conference at Kings the obligatory civil patrols, and their disapearances are College in 1991. It was repeated at a conference at attributed to the national police officer in charge of the Rutgers University in 1992.1 traveled with the Quilt of Chuschi post, Alfarez Bobadilla Cuba. He is alleged to the Disappeared and read the same dedication at the have threatened to disappear anyone who refused to University of California at Riverside and at the Univer- participate in the patrols. Their case was brought be- sity of Utah in 1993. When my play Public Secrets from fore the Peruvian congress, but no action was taken Peru was given a concert reading at Cornell in 1994,1 due to President Fiyimori's unilateral disbanding of the dedicated it to Guadalupe. congress on April 5, 1992.1 first learned of their disap- I also dedicate this work to Martin Cayllahua, Mar- pearances while presenting a paper in London in 1991 cel Cabana, and Isias Huaman, the elected officials who and subsequently added their names to my dedications. "Democraciana Libertadllana" "Democracy and Liberty" nan parriba, nan pabaju, path above, path below, sukullukuchallay, like a lizard nan parriba, nan pabaju, path above, path below, sukullukuchallay. like a lizard. Casado qespiykamuptin, When a married man suddenly appears, pakachaykuy. we take cover. Soltero qespiykamuptin, When a single man suddenly appears, qawachariykuy, we watch out, qawachariykuy. we take care. "Democraciana libertadllana," "It's said there's democracy and liberty now," nispa niwachkanku. you tell us. "Democraciana libertadllana," "It's said there's democracy and liberty now," nispa niwachkanku. you tell us. Allin libertadllaqa, But this fine liberty wanuyllawantaq. is fatal to us. Allin democraciaqa, This good democracy earcelllawantaq, brings prison wanuyllawantaq. and death. Pillatapas mayllatapas, Whom have I offended so? imanallan niytan. Where have I done harm? Pillatapas mayllatapas, laykan-nallan niytan. Llaqtayman chayaramuspa, They arrived at my village aparunanpaq. and took him prisoner. Kuyasqa yanachallayta They carried off my beloved husband chinkachinanpaq to disappear him forever. apakunanpaq. Chuschicha plasapi, In the plaza of Chuschi, pans palomitay. two little doves. Chuschicha plasapi, In the plaza of Chuschi, paris palomitay. two little doves. Imallataq kunanqa rikurillanchu. What appears there now? Imallataq kunanqa rikurillanchu. What has taken their place? 284 AMERICAN ANTHROPOLOGIST • VOL. 100, No. 2 • JUNE 1998 Rikurillanchu. What reappears there now? Rikurillanchu. What reappears there now? Wakincha carcelpi, Some might be in prison wakincha allpapi. and others in the ground. Wakincha carcelpi, Some might be in prison wakincha allpapi. and others in the ground. Pitaraq nakachkan. Who is damning us? Maytaraq nakachkan. How much longer will we be cursed? Pitaraq nakachkan. Who is damning us? Maytaraq nakachkan. How much longer will we be cursed? Pitaraq nakachkan. Who is damning us? Over the past five years I have begun public pre- rather in terms of hybridization in the exchange of ideo- sentations about political violence in Chuschi, Peru, logical and cultural goods. Hybridity is "fragmentation with dedications and songs like the ones that open this and multiple combinations among tradition, modernity, essay. It is my intention to create a lament, a com- and post-modernity," and it "is indispensable for con- memorative text. One of my objectives is to situate my sidering the Latin American conjuncture at the end of knowledge (Haraway 1991). Another is to place my own the century" (Garcia Canclini 1995:264). Postwar Peru practices on the same dialogical ground (Mannheim is especially amenable to the framework that Nestor and Tedlock 1995:19) with performers in Peru. I wish Garcia Canclini advocates. He argues that the current not only to influence my readers' perceptions of the po- reorganization of culture(s) is not a linear process but litical violence that has shaken Peru in the last decade rather a struggle over symbolic capital and cultural and a half, but also to transform the relationship of re- goods with multiple actors and decentered and mul- searchers to such events and the rules of academic dis- tidetermined sociopolitical relations: course about such events. I find it remarkable that there has been relatively little academic discourse on The cultural reconversions that we analyzed reveal that modernity is not only a space or a state one enters into or the aftermath of the war. Only a few young researchers from which one emigrates. It is a condition that involves are addressing these issues (Theidon and Del Pino us, in the cities and in the countryside, in the metropolises 1997). and in the underdeveloped countries. With all the contra- As anthropologists, we share with Peruvian musi- dictions that exist between modernism and modern- cians our engagement in public performances and our ization—and precisely because of them—it is a situation construction of dialogues. We address audiences, make of unending transit in which the uncertainty of what it commentaries, and engage in "world making." The per- means to be modern is never eliminated.... At this point formers of "Democracy and Liberty" are engaging in it can be perceived how wrong the notion of postmoder- what John Attinasi and Paul Friedrich (1995) have nity is if we want to avoid having the post designate an called a "dialogic breakthrough," in which the "dialogu- overcoming of the modern. Can we speak critically about modernity and search for it at the same time that we are ing imaginations" of the performers and listeners pro- passing it by? If it were not so awkward, we would have to vide a catalyst for change. The song is constructed as say something like post-intra-modern. [1995:268] an imaginary dialogue with power and illustrates the situated discursive practices of Quechua speakers. Garcia Canclini is not referring simply to "multitempo- Like my dedication, it commemorates the disappeared ral heterogeneity" of the "traditional" and the "mod- elected officials and comments on democracy. This ern," as asserted by Renato Rosaldo in the foreword to song, which first appeared in 1991-92, quickly passed the English translation (1995:xi-xvii). Rather, he ex- from one performance group to another. Facilitated by plicitly criticizes such dichotomies and totalizing su- the informal tape industry, it spread throughout the perparadigms, as well as descriptions that omit Ayacucho Department and beyond, to refugee settle- "ambiguous processes of interpenetration and mixing ments within and outside of Peru. My analysis of this in which the symbolic movements of different classes song, presented as a dialogue alongside my dialogues engender other processes that cannot be ordered un- with creators of protest art, is the result of a cathexis, a der the classifications of hegemonic and subaltern, realignment of my thinking which resulted in a life- modern, and traditional" (Garcia Canclini 1995:199). changing experience in my practice of anthropology. Hybridity rejects these temporalities, as well as the The protest songs and art will not be analyzed in implied evolutionary thrusts of development and po- terms of subaltern art and hegemonic texts or in any of larities. Garcia Canclini's concept of hybridity is espe- the usual oppositions such as traditional-modern, but cially productive when applied to contestatory FORUM 285 discourses and forms of protest that have become cul- singer questions the touted democracy of Peru. Her dis- tural goods on the transnational market in the after- course then moves to a personal lament as she recounts math of the years of war in Peru. the disappearance of her beloved. She is referring to the disappeared elected officials eulogized in the dedi- Protest Songs and Oblique Power Relations cation. The song is not simply a counterhegemonic practice directed toward other Quechua speakers. From one point of view, "Democracy and Liberty," More importantly, it is an oblique dialogue with those in which is a constructed dialogue between a woman and power, most of whom do not speak Quechua. a government authority, is an example of counter- The stanza that begins the song is a metaphorical hegemonic expression of solidarity. The singer, using warning to be wary of the unknown. The lizard is the the exclusive first-person pronoun, speaks for a collec- transformed disguise of unknown agents such as for- tivity that challenges the repeated assertion "It is said eigners or supernatural beings. The song warns of all there is democracy and liberty now." From another unknowns: married men, single men, anyone. Another point of view, however, the song decenters the speaker- protest song, "Chinkaqkuna" (The Disappeared), spo- listener relationship. The performers situate their own ken and sung in Quechua, represents (again with irony) knowledge in a different political space from authori- the discourse between a woman petitioner and a judge.
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