Eclectic Peru
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Museums and Galleries in Lima.Indd
Tel: + 51 1 651 2424 @aracaritravel Website: www.aracari.com Aracari Travel Email: [email protected] MUSEUMS & GALLERIES IN LIMA Lima boasts an excellent range of museums and art galleries which can be visited with our guides and specialists, or in your own time. The Larco Museum is not to be missed if you’re interested in Pre-Colombian art and cultures aside the Incas, holding the best collection of Moche pottery in Peru and a fine collection of textiles and gold. Amano Museum is dedicated to pre-Colombian textiles, displaying an impressive private collection. MALI, Lima’s art museum, shows work from the pre-Colombian era to recent past and is housed in an attractive building in the downtown area. In Barranco, the Pedro de Osma Museum exhibits pieces from the second to eighteenth century, providing the best, small showcase of artifacts to understand the origin of the Incas. Next door is MATE (Mario Testino Museum) exhibiting the famous Peruvian’s photography; you can purchase a double ticket at either museum to visit both at a reduced cost. A triple ticket can be purchased to additionally include MAC Contemporary Art Museum, when they have temporary exhibitions, which is also located in Barranco. (*) Highly recommended The Great Cultures Hall at the Larco Museum Larco Museum (*) Av. Bolívar 1515, Pueblo Libre Tel. 461-1835 / 461-1312 Monday - Sunday: 9am - 10pm Web: www.museolarco.org Email: [email protected] Housed in an elegant, whitewashed hacienda with a lovely garden, this museum contains the largest private collection of Pre- Colombian artifacts in Peru, with thousands of the finest ceramics from diverse Pre-Colombian cultures. -
Galápagos: + Peru's Land of the Inca
voyaging to galápagos voyaging to galápagos Galápagos: + Peru’s Land of the Inca > ITINERARY – 16 DAYS/15 NIGHTS, Departing EVery Friday ABOARD POLARIS Thematically, one might ask why Day 1 through Day 8: The afternoon is free to explore the Val- connect a visit to Peru with an expe- As per the Galápagos itinerary. ley on your own. (B,L,D) dition to Galápagos? We have two answers: as magnificent as Galápagos Day 9: Galápagos/Guayaquil/ Day 11: Sacred Valley of the Inca is for nature, so is Peru from an histori- Lima, Peru Visit the town and important archaeo- cal and archaeological perspective; and Disembark Polaris this morning and fly logical site of Pisac. Gateway to the second, Lima — Peru’s capital is less to Lima, Peru via Guayaquil, arriving in Sacred Valley, Pisac has an “old town” than two hours away by air from Guaya- the early evening. Spend the night at (one of the most beautiful Inca complex- quil, roughly the distance from New the gracious Orient Express Miraflores es) and a “new town” from the Colonial York City to Chicago. So, if you have Park Hotel. Tomorrow you’ll be getting era. There will be a late lunch at the the time, you’re almost there anyway. up early, so you are on your own for Hacienda Orihuela. Here the Orihuela A couple of key issues to point out. dinner. (B,L) family continues a 350-year-old tradition We spend a week in Peru. Occasion- of farming. In addition, they have gath- ally people ask, “why so long when the Day 10: Lima/Cusco/Sacred Valley ered a valuable collection of Colonial art highlight is Machu Picchu?” The fact of the Inca housed in their country mansion. -
Visual Epistemologies of Resistance: Imaging Virgins and Saints in Contemporary Cusco
Revista de Estudios Globales y Arte Contemporáneo| Vol. 7 | Núm. 1| 2020 | 237-266 Omar Rivera, Patrick Hajovsky Southwestern University, VISUAL EPISTEMOLOGIES OF Texas, US RESISTANCE: IMAGING VIRGINS AND SAINTS IN CONTEMPORARY CUSCO The project of indigenous modernity can emerge from the present in a spiral whose movement is a continuous feedback from the past to the future—a “principle of hope” or “anticipatory cons- ciousness”—that both discerns and realizes decolonization at the same time. -Silvia Rivera Cusicanqui (citing Ernst Bloch)1 In Andean aesthetics, visuality is a site of epistemic tension and a continual reverberation of colonialism. Through art that aligns with pre- 1 Ch’ixinakax utxiwa: A Reflection on the Practices and Discourses of Decolonization, The South Atlantic Quarterly 111:1 (Winter 2012): 95-109, 96. Revista de Estudios Globales y Arte Contemporáneo ISSN: 2013-8652 online http://revistes.ub.edu/index.php/REGAC/index http://creativecommons.org/licenses/by/3.0/es/ colonial indigenous epistemologies, contemporary Andean artists resist colonial and post-colonial cultural domination. In particular, they resist viewers’ designation of “syncretic” or “hybrid” to produce knowledge about art that has been fashioned by indigenous hands. Epistemological claims of “syncretism” and “hybridity” may be intended to transcend the borders between “us” and “them,” between West and non-West, or between eras in Latin America that depend on the presence or absence of Spanish colonists, but such iterations can reinvest viewers in a history of misrecognition. Nevertheless, such terms are not sedimented, for indigenous artists continue to reclaim visuality as they steadfastly hold a mirror toward artistic and epistemic paradigms that attempt to translate, erase, or manage localized colonial differences. -
The Metropolitan Museum of Art's Our Lady of Cocharcas
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-1-2020 Performance, Ritual, and Procession: The Metropolitan Museum of Art’s Our Lady of Cocharcas Evelin M. Chabot CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/576 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Performance, Ritual, and Procession: The Metropolitan Museum of Art’s Our Lady of Cocharcas by Evelin Chabot Griffin Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the History of Art, Hunter College The City University of New York 2020 4/27/2020 Professor Tara Zanardi Date Thesis Sponsor 4/26/2020 Professor Maria Loh Date Second Reader Contents Acknowledgements…………………………………………………………………………..……ii List of Images…………………………………………………………………….………...…iii, iv Introduction…………………………………………………………………………………..……1 Chapter One: Power, Proselytism, and Purpose……………………………………………..……8 Chapter Two: The Metropolitan Museum of Art’s Our Lady of Cocharcas…………………….34 Conclusion……………………………………………………………………………………….51 Bibliography……………………………………………………………………………………..54 Images……………………………………………………………………………………………57 i Acknowledgements Professor Tara Zanardi has my deepest gratitude for her patience and wisdom, which helped guide this thesis from its very early stages to where it is now. I am also grateful to Professor Maria Loh for her thorough review of the thesis in its final form and incredibly helpful and incisive input. I want to thank Ronda Kasl, Curator of Latin American Art at The Metropolitan Museum of Art, for inspiring me to work on these enchanting statue paintings and for her insight and guidance that spring-boarded my research at the beginning of this process. -
Highlights of Peru V2020
HIGH LIG H T S OF PER U HIGHLIGHTS OF PERU Experience Cusco from it's different angles, Cusco city, sacred valley and Machu Picchu. Expert guides will make your trip fascinating bringing ancient cultures to life. With a selection of stunning hotels, trains and bespoke EXPLORE FURTHER Enhance your 8-day itinerary with these exciting options. experiences spread across Peru’s most spectacular destinations, the Belmond Journeys in Peru team Belmond Andean Explorer - Cusco to Puno and Arequipa: has perfected the art of creating immersive Peruvian Join South America's first luxury sleeper train to Puno. escapes to leave you spellbound. Visit Raqch’i, La Raya, witness the sunrise at Lake Titicaca A jewel in South America's crown, Peru encapsulates before sailing to the Uros floating islands and Taquile everything we love about travel: time-honored traditions, Island. Admire Lake Lagunillas and the ancient Sumbay vibrant cultures and wild landscapes. Cave paintings. Finally, plunge into the Colca Canyon. Join us to explore this captivating, mystical realm of lost Amazon River: Fly from Lima to Iquitos. Board the Aria civilizations and tangible history. Journey to the beating Amazon, a luxury riverboat, and cruise along the mighty heart of the Land of the Incas. jungle waterway alighting to explore the rainforest. E I G H T - D AY IT I NER A R Y combined with the mysticism of the sacred valley. DAY 1 DAY 5 Arrive at Lima International Airport where one of our representatives Travel to Machu Picchu aboard Peru Rail Vistadome train. Enjoy will be waiting to escort you to Belmond Miraflores Park. -
Fertur Peru Travel 2011 Vacation Package Brochure
lquttos LORETO "* Tal _/'VJNauta ../ ~ \ BRAZIL Pucallpa ;- BOL PERU • Departaments and Capital Roads + Airport Rivers ++++++! Train GENERAL INFORMATION Geography Population Peru encompasses on area 01 514,100 square miles Approximately 28 million residents with nearly 8 million (1,285,216 km2) and isthe third largest country in South concentrated in limo, the Pacific coast capitol of Peru. America alter Brazil and Argentino. It is divided into three regions: Coast, Highlands and 1ungle. \ Capital ~ Location limo is Peru's capitol as well as the main gateway to Peru. rt" Peru is located in Western South America, bordered by the South Pacific Ocean, Ecuador, Colombia, Brazil, Bolivia and Chile ~JC.Official Languages Spanish, Quechuo and Aymara. Main exports iii ~ Terrain Minerals, oil, petroleum, gold, copper, zinc, crude petroleum and byproducts, lead, metal fabrication, Weslern coaslal plain (costa). high and rugged Andes cement, auto assembly, steel, shipbuilding, textiles, in cenler (sierra), eastern lowland jungle of Amazon clothing, food processing, coffee, colton, fruits, Basin (selva). sugarcane, rice, wheat, potatoes, corn, plantains, coco; poultry, beef, dairy products, wool; lish. @Electric voltage 220 volts. The majorily 01 lour and live stor holels also Climate offer 110 valls. Varies from tropical in east to dry desert in wesl,' temperate 10 frigid in Andes Exchange rates US Dollar to Nuevo Sol Peruvian 2.70 Currency British Pound 10 Nuevo Sol Peruvian 4.80 Euro 10 Nuevo Sol Peruvian 3.3 Peru's official currency is Ihe Nuevo sol (S/,I Currency code; PEN, divided inlo 100 cents. IIcirculates in coins of 10, 20,50, cenls and I, 2, 5 Nuevas Soles. -
Orgues Historiques D'andahuaylillas
ORGUES HISTORIquES D’ANDAHUAYLILLAS (PÉROU) Fiesta andina Aux orgues historiques : Juan Capistrano Percca Francis Chapelet – Uriel Valadeau Avec la participation de : El Coro de Niños y la Danza Cápac Qolla de Andahuaylillas, Les jeunes musiciens baroques du ”Conservatoire Itinérant” Préparation et direction : Judith Pacquier, Jennifer Vera & Fabio Pérez Avec la contribution d’Éric Samson, journaliste, pour Radio France Internationale Photos intérieures : Ferrante Ferranti 1 Les circonstances de l’enregistrement À l’exception de sa première plage, qui fait appel à un document sonore d’archive (capté en août1965) le présent enregistrement a été réalisé pour une partie par la captation « in vivo » du concert inaugural des orgues historiques de l’église Saint Pierre d’Andahuaylillas, au Pérou, le samedi 31 octobre. Cependant toutes les œuvres pour orgues ont été enregistrées au cours des nuits qui suivirent cet événement. Présenté avec le concours de plus de quatre-vingt musiciens – enfants d’Andahuaylillas, jeunes musiciens en provenance du Chili, Cuba, Colombie, Paraguay et Pérou, et de France, ce concert placé sous la haute présidence de Madame Cécile Pozzo di Borgo, ambassadeur de France au Pérou, marquait également la conclusion du premier sommet panaméricain des jeunes musiciens baroques organisé simultanément à Andahuaylillas. On pourra s’étonner de la présence, ici, d’un reportage effectué pour Radio France Internationale à l’issue de ce concert. Mais il nous a semblé que ce « bonus » pouvait contribuer de façon très significative à restituer aussi bien l’ambiance qui régnait ce jour là à Andahuaylillas, qu’à témoigner de l’action des Chemins du Baroque en Amérique Latine. -
Viewees Who Donated Their Time and Knowledge to the Dissertation Research
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Selling Sacred Cities: Tourism, Region, and Nation in Cusco, Peru A Dissertation Presented by Mark Charles Rice to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History Stony Brook University May 2014 Copyright by Mark Rice 2014 Stony Brook University The Graduate School Mark Charles Rice We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Paul Gootenberg – Dissertation Advisor SUNY Distinguished Professor, History, Stony Brook University Eric Zolov – Chairperson of Defense Associate Professor, History, Stony Brook University Brooke Larson Professor, History, Stony Brook University Deborah Poole Professor, Anthropology, Johns Hopkins University This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Dissertation Selling Sacred Cities: Tourism, Region, and Nation in Cusco, Peru by Mark Charles Rice Doctor of Philosophy in History Stony Brook University 2014 It is hard to imagine a more iconic representation of Peru than the Inca archeological complex of Machu Picchu located in the Cusco region. However, when US explorer, Hiram Bingham, announced that he had discovered the “lost city” in 1911, few would have predicted Machu Picchu’s rise to fame during the twentieth century. My dissertation traces the unlikely transformation of Machu Picchu into its present-day role as a modern tourism destination and a representation of Peruvian national identity. -
HISP-225 Hispanic Civilization 1 (Fall 2021) 1
HISP-225 Hispanic Civilization 1 (Fall 2021) 1 HISP 225: Hispanic Civilization 1 Fall 2021 Tuesdays & Thursdays @ 2:35-3:55 pm (Montreal Time) There is no document of civilization which is not at the same time a document of barbarism Walter Benjamin Instructor: Prof. José Ramón Jouve Martín Office Hours: By email/by appointment Email: [email protected] Teaching Assistant: Julio Meza Office Hours: By email/ by appointment E-mail: [email protected] Table of Contents I. Course Overview (3 credits; no prerequisite; lectures given in English) ............................ 1 II. Learning Outcomes ......................................................................................................... 1 III. Instructional Method and Content Delivery ................................................................. 2 IV. Evaluation ................................................................................................................... 2 V. Online Exams: Rules and Structure .................................................................................. 2 VI. Discussion Board: Rules and Structure ......................................................................... 4 VII. Course materials ......................................................................................................... 6 VIII. Policy Statements ........................................................................................................ 7 IX. General Course Outline ............................................................................................... -
Machu Picchu Was Rediscovered by MACHU PICCHU Hiram Bingham in 1911
Inca-6 Back Cover-Q8__- 22/9/17 10:13 AM Page 1 TRAILBLAZER Inca Trail High Inca Trail, Salkantay, Lares, Choquequirao & Ausangate Treks + Lima Lares, Choquequirao & Ausangate Treks Salkantay, High Inca Trail, THETHE 6 EDN ‘...the Trailblazer series stands head, shoulders, waist and ankles above the rest. Inca Trail They are particularly strong on mapping...’ Inca Trail THE SUNDAY TIMES CUSCOCUSCO && Lost to the jungle for centuries, the Inca city of Machu Picchu was rediscovered by MACHU PICCHU Hiram Bingham in 1911. It’s now probably MACHU PICCHU the most famous sight in South America – includesincludes and justifiably so. Perched high above the river on a knife-edge ridge, the ruins are High Inca Trail, Salkantay Trek Cusco & Machu Picchu truly spectacular. The best way to reach Lares, Choquequirao & Ausangate Treks them is on foot, following parts of the original paved Inca Trail over passes of Lima City Guide 4200m (13,500ft). © Henry Stedman ❏ Choosing and booking a trek – When Includes hiking options from ALEXANDER STEWART & to go; recommended agencies in Peru and two days to three weeks with abroad; porters, arrieros and guides 35 detailed hiking maps HENRY STEDMAN showing walking times, camp- ❏ Peru background – history, people, ing places & points of interest: food, festivals, flora & fauna ● Classic Inca Trail ● High Inca Trail ❏ – a reading of The Imperial Landscape ● Salkantay Trek Inca history in the Sacred Valley, by ● Choquequirao Trek explorer and historian, Hugh Thomson Plus – new for this edition: ❏ Lima & Cusco – hotels, -
ARH3665 Colonial Andean Art 2
UCC2: Course Change Transmittal Form Department Name and Number Current SCNS Course Identication Prex Level Course Number Lab Code Course Title Eective Term and Year Terminate Current Course Other Changes (specify below ) Change Course Identication to: Prex Level Course Number Lab Code Full Course Title Transcript Title (please limit to 21 characters) Credit Hours: From To Contact Hours: Base or Headcount From To yes yes yes yes Rotating Topic: From To S/U Only: From To no no no no yes yes yes yes Variable Credit: From To Repeatable Credit: From To no no no no If yes, minimum and maximum credits/semester If yes, total repeatable credit allowed Prerequisites Co-requisites From From To To Course Description (50 words or less; if requesting a change, please attach a syllabus) From To Rationale /Place in Curriculum/Impact on Program Department Contact Name Phone Email College Contact Name Phone Email Rev. 10/10 Art History 3665 Colonial Andean Art Syllabus Maya Stanfield-Mazzi, Ph.D., Assistant Professor University of Florida, Spring Semester, January 7–April 24, 2013 (3 credit hours) Mondays Periods 6–7 (12:50–2:45) and Wednesdays Period 7 (1:55–2:45) in Fine Arts C 201 Final exam: Tuesday, April 30, 10:00 am to 12:00 pm Email address: [email protected] Office telephone: 352-273-3070 Office location: Fine Arts C 123 Office hours: Mondays Periods 8–9 (3:00–4:55) Course Description This course will examine the colonial art of Peru, Ecuador, Bolivia, and other territories within the Spanish Viceroyalty of Peru. -
HEMISPHERE Visual Cultures of the Americas 2013
Americas 2013 of the of VOLUME VI, Visual Cultures Visual HEMISPHERE HEMISPHERE visual cultures of the americas VOLUME VI, 2013 131–0001 87 Mexico New Albuquerque, University of New Mexico New of University 1 msc04 2560 msc04 Department of Art & Art Hist Art & Art of Department ory Hemisphere Journal Hemisphere The University of New Mexico New of University The HEMISPHERE Visual Cultures of the Americas VOLUME VI, 2013 EDITOR-IN-CHIEF: India Young, Ph.D. Student EDITORIAL COMMITTEE: Willow Grace, M.A. Student HEMISPHERE Kathryn Manis, M.A. Student Rebekah Bellum, M.A. Student Visual Cultures of the Americas Leslie Woolson, M.A. Student Mariah Carrillo, M.A. Student FACULTY ADVISOR: VOLUME VI, 2013 Justine Andrews, Ph.D., Associate Professor All members of the Editorial Committee are affiliated with the Department of Art and Art Hemisphere is an annual publication produced by History at the University of New Mexico. graduate students affiliated with the Department of Art ADVISORY BOARD: and Art History at the University of New Mexico (UNM). Susanne Anderson-Riedel, Ph.D., Associate Professor, Department of Art and Art History, UNM Hemisphere provides a forum for graduate students to Kirsten Pai Buick, Ph.D., Associate Professor, Department of Art and Art History, UNM present scholarship and studio practice pertaining to all Aaron Fry, ABD, Instructor, Department of Art and Art History, UNM Ray Hernández-Durán, Ph.D., Associate Professor, Department of Art and Art History, UNM aspects and time periods of the visual and material cultures Margaret A. Jackson, Ph.D., Assistant Professor, Department of Art and Art History, UNM of North, Central, and South America, and related world Libby Lumpkin, Ph.D., Professor, Department of Art and Art History, UNM contexts.