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CHASQUI PERUVIAN MAIL

Year 12, number 24 Cultural Bulletin of the Ministry of Foreign Affairs December, 2014 . , March 20, 1828. Oil on canvas. 204 x 137 cm. National Museum of Archaeology, Anthropology, and History of , Ministry of of Peru, Lima. Ministry of Peru, and History of , Anthropology, Museum of Archaeology, cm. National 204 x 137 Oil on canvas. 20, 1828. . Lima, March José Olaya GIL DE CASTRO / PUMACAHUA’S REBELLION / JULIO RAMON RIBEYRO NATURE OF NATURE / A VIEW OF IQUITOS Photo above: Musuk Nolte. PONDERING ON THE LANDSCAPE OF PERU Photo below: Leslie Searles. NATURE OF NATURE The international meeting on change in Lima is also an opportunity to seek, in various artistic expressions, for new approaches to the relationship we have with our natural environment. A striking photography exhibition of some landscapes of Peru is part of that perspective.

THE SOUL OF LANDSCAPE NATURAL RESOURCES INVENTORY

he images of the landscape shine faraway and pure eru’s overwhelming natural wealth calls for its resolute like a vision of fantasy —the fantasy of matter— and conservation. Over 2,000 species of fish, 395 reptiles, Photo: Roberto Huarcaya. Roberto Photo: Tunwrap in a scenario which we separated from with a Pand 403 amphibians, for instance, have been recorded. refined, but shatterproof. There are 182 species of domesticated endemic plants, some he Conference of the As chair of the COP20 And yet, distant like the stars, such images of landscape 3,000 varieties of potatoes, 36 ecotypes of corn, 623 species Parties of the United and host of the conference, are close to us. They are our own remoteness, and so they in- of fruits, 15 of tomatoes, and 5 species of domesticated chi- TNations Convention on Peru undertook a series of still in us, along with the melancholy feeling of distance, the lies; plus dozens of varieties of these spicy fruit. 1,200 food Climate Change, known as efforts to ensure the success inexplicable metaphysical impression that in the enchanted plants, 1,048 medicinal plants, and 1,600 ornamental plants COP20, was held in Lima in of the event. Two factors fa- contemplation sphere, distance while remaining, fades away, have been identified. There are 462 species of mammals, early December 2014 and was cilitated the role of mediator and that as it straying away, allows the opposites of life of 1,815 birds, 4,000 butterflies, and 3,000 orchids. The sur- attended by about twelve thou- Peru was also called upon to space and soul come together as one. face of tropical forests, one of the most important globally, sand people. This gathering play: its recognized status as Iberico Mariano Rodríguez holds 15 billion tons of carbon. The seahorse, a symbol of marks a milestone in the long a megadiverse country and resilience, still whirls with her slender figure in the waters negotiations process to be con- the emerging nature of its Notes on the landscape of the highlands, 1973. of our coast. cluded in next year with economy, which places it in the final approval of a legally an intermediate situation binding global climate agree- of rising expectations and ment, whose key purpose is to compels it to influence its limit global warming, increase domestic agenda on issues resilience, and ensure sustain- related to environmental

able development globally. sustainability. Leslie Searles. Photo:

In this context, and through a series of related activities, the Nature of Nature exhibition, organized by the Inca Garcilaso Cultural Center of the Ministry of Foreign Affairs, proposes a symbolic return to its origins, to a succession of iconic landscapes of our country where human pres- ence is limited to the eyes of the beholder. Such view, as if giving truce, entices beholders to ponder on the emergence of the ancient cultural adventure endeavored by species and the various peoples of the world. Nature and culture, inhabitants, and landscapes, con- fluence and interference, once again challenge us. The challenges of today recur to the temptations lurking in different paradises and landscapes, whose continuity is re- quired to keep the solidarity of life. The exhibition includes works by outstanding Peruvian photogra- phers from different generations: Roberto Huarcaya, Nora Chiozza, Leslie Searles, Musk Nolte, Hans

Foto: Nora Chiozza. Nora Foto: Stoll, and Francisco Vigo.

CHASQUI 2 CHASQUI 3 unmovable assumptions when in his diary on March 11, 1965: assessing Ribeyro's work, a work "sometimes I think that, for me, PRESENCE AND PERMANENCE that despite having crossed a is only an alibi that I century, is still awaiting readings turn to so as to free myself from to renew its senses and offer other the process of life. What I call my possibilities of interpretation. In sacrifices (not to be a lawyer, nor OF JULIO RAMÓN RIBEYRO any case, the current outlook a college professor, or politician, is encouraging. A sure sign of or cultural attaché) are perhaps good health is the appearance simulated failures, impossibili- Alonso Rabí do Carmo* in the last decade of a number ties. My excuse: I am a writer. My of readings that renew the look relative success in this field makes on Ribeyro. A fair tribute to the up for my awkwardness in others. Twenty years ago, Julio Ramón Ribeyro died in Lima, the city where he was born in 1929. His sharp, unmistakable author of a work that does not I have always walked away from hide the wonder and pain its any test, any confrontation, and figure, which bore several years of residence in Paris, seems to fade into legend. His narrative, including short stories creator felt; a work that offers us any responsibility; except from and lectures, instill growing fervor among those who read and discover his writings. one the most intense literary life writing". and adventures of our tradition, * He studied literature at the National University although such forces might appar- of San Marcos and the University of Colorado ently be contradictory, as noted (Boulder, USA). With writers Alfredo Bryce Echenique, Manuel Escorza, Juan Rulfo, and two lady friends in Paris in the mid- ne of the key messages gaged in hybridity and reflection, 1970s. kept in the minds of the of some books which in addition Omany readers of Julio to fueling the uncertainty of some Ramón Ribeyro’s narrative work critics, easily placed themselves is that insignificance, failure, in such margin taken over by an REMARKS ON RECEIVING A PRIZE and defeat are forms of heroism. eccentric, little literature lacking THE CRAFT OF WRITING Many of his characters make up a large formal ambitions like the would like to remind you of some reflections that I have pondered legion of little and forgotten peo- one implemented by Ribeyro rite, rather than conveying knowledge, provides access to knowledge. over my life regarding my literary activity. Every story I have written The act of writing allows us to apprehend a reality of which we so far has been the result of spiritual accidents, ideas or experiences that ple, inhabitants of a world that is in Prosas apátridas (Stateless Prose I had an incomplete, veiled, elusive or chaotic grasp. We learn about amused, startled or marked me. Their dispersion and variety actually hostile to them, a universe whose Piece) (1975), Dichos de Luder W or understand many things only when we write about them because writing is rest on the fact that each story takes from, and sometimes symbolizes, rules of life keep such people in a (Luder's Sayings) (1989), his now scrutinizing ourselves and the world with a much more rigorous instrument the alternatives of my own life, the elliptical path of a rather dull, dis- state of perpetual alienation and monumental diary La tentación than the invisible thought; it entails appealing to the graphic, visual, reversible, parate, and wandering existence. Written in bars, hotels, boats, hostels neglect. del fracaso (The Temptation of Fail- implacable thought underlying alphabet signs. or offices, each of such stories has, in turn, its own history and its own By subverting the meaning ure) (1992- 1995) and Cartas a Stateless Prose Pieces # 55 destiny, and grouping them into series is an arbitrary task. I have always of these life trajectories and sid- Juan Antonio (Letters to Juan Anto- thought of writing a short story and very rarely about writing a book. ing with them, Ribeyro dignifies nio) (1996-1998), correspondence The art of storytelling: sensitivity to perceive the meanings of things. If I say, Since short story writing is a species that transmutes, perhaps mine them. These characters are not with his brother. These four texts "The barman was a bald guy", this is a childish remark. But I can also say: represent an alternative of a writer who still believed in the literary exactly antiheroes; it is not their are united by a sense of fragmen- "All baldness are unfortunate, but some baldness inspire deep shame". Such genres and stories yet to be told. As I wrote such stories in poverty contradictions or moral ambigui- tation that dominates his writing baldness grew from inglorious actions, as a result of routine and not pleasure, or prosperity, in my country or abroad, in a few hours or in years of ties which take up the foreground, and in more than one case fuels liken that of the man drinking beer in the Violin Gitano. Looking at him, I corrections, I just wanted them to entertain, teach or touch. And I but rather their helplessness and the inability to find, for at least wondered: "In what public agency did this poor Christian lose his hair!" It is also wanted to please myself, since writing is, after all, nothing but replication triggered by the narra- two of them, Prosas apátridas perhaps, however, in the first formula that narrative art resides. (May 7, 1959. inventing an author to suit our taste. (Excerpt from speech delivered tor of the short stories The Word (Stateless Prose Piece) and Dichos In: The Temptation of Failure [La tentación del fracaso], 1993). by Juan Rulfo on receiving the Prize for American and Caribbean of the Mute (La palabra del mudo), de Luder (Luder's Sayings), a stable Literature 1994). a rejoinder full of subtle empathy, place in the most convenient and silent solidarity. It is, in any case, conventional classification of an alternate heroism: his heroes genres. Julio Ramón Ribeyro. Paris, 1986, Photograph by Carlos Dominguez. might even have capitulated, but This choice in favor of "minor that does not negate compassion writing" establishes a bridge with to them. a personal attitude in which fierce DECALOGUE FOR THE STORY WRITER The presence of these lesser criticism, absolute lack of com- (Barranco, 1994) lives, which stormed the Peruvian placency, and a peculiar sense of literary scene in 1955 with the self-harm are common everyday 1. A short story must tell a story. There is no short story without a publication of Featherless Vultures affairs. For example, in one of story. The short story is written in such a way that the reader can, (Los gallinazos sin plumas), did not the first entries in his diary on in turn, tell the story. go unnoticed. And although these August 17, 1950, he wrote: "I am 2. The tale of a short story can be true or invented. If it is true, it initial stories are embedded with inferiorly equipped for the strug- must seem to be created and if invented, it must seem true. underlying refined social realism Julio Ramón Ribeyro. Paris, Photograph by Baldomero Pestana. gle for existence." Thus Ribeyro (it is not in vain that people al- was forming a supportive space 3. A short story should preferably be brief, so that it can be read in ways speak of the classical breath to self-criticism, the implacable one sitting. of Ribeyro’s prose), attention was yuela) (1963), by Julio Cortazar; profundos) (1956), by José María judgment on the process of his 4. The tale told by the short story should entertain, move, intrigue, also placed on those individu- One Hundred Years of Solitude (Cien Arguedas, and Country of Jauja own writing. In part, this act of or surprise; if it achieves all of this together, the better. If it fails als marked by misfortune and años de soledad) (1967), by Gabriel (País de Jauja) (1993), by Edgardo radical honesty is especially owed to achieve any of these effects, it does not exist as a short story. indifference —all such characters García Márquez; or Conversation Rivera Martínez. to La tentación del fracaso (The throughout the four volumes of in the Cathedral (Conversación en Compared with this novel- Temptation of Failure), in many of 5. The storytelling style should be direct, simple, unadorned and Rebeyro’s short stories make up La Catedral) (1969), by Mario Var- istic circle, the corpus made up its pages, he tests his writing and have no detours. These features are more appropriate for poetry his human comedy. gas Llosa —just to mention four of his stories reached moments vocation. or novels. One cannot help wondering examples. of perfection which are hard to Moreover the Rebeyro’s short 6. A short story should only describe; not teaching -otherwise it why the work of Ribeyro, who On the other hand, the novels overcome. However, we must stories also seemed to drift away would be a moral tale. began writing at a time very close of Ribeyro were not fervently wel- also recognize that the boom put from the 'novelties of the boom. to the years when the so-called comed. Although they could not aside other writings, which would For many years, his stories have 7. A short story supports all techniques: dialogue, monologue, boom of Latin American literature be condemned to the category of take Julio Ramón Ribeyro down a been falsely protected by the straightforward narrative, letter, reports, and collage of other emerged, was not more broadly "failed", it remains true that they path of formal and intellectual de- epithet "classic", which led to texts, etc.; as long as, the reader cannot turn the short story into disseminated. There are several did not cause any transcendental canting. The boom was not open the equivocal phrase that placed an oral tale. factors that could explain this par- excitement. Of the three novels to what could be called a set of Ribeyro as the "Best Peruvian 8. A short story must start from situations in which the character adox. First, one cannot doubt that he wrote —Chronicle of Saint Ga- "minor writings," such as Camus's writer of the 19th century." The or characters face a conflict that forces them to make decisions the boom was primarily a romantic briel or aka Saint Gabriel Chronicle forms, aphorism, fragments, truth is that, viewed today, many putting their destinies at stake. novel movement and within this (Crónica de San Gabriel) (1960), quasi-essay texts, autobiographi- of his realistic stories, like the 9. A short story should not have downtime or scraps. Every word is movement short story and other Sunday Elves or, aka Elves Sunday cal fragments, and recording of famous «Los gallinazos sin plu- absolutely essential. genres had less impact compared (Los geniecillos dominicales) (1965), daily life from a radically intimate mas» ("Featherless Vultures”, aka to one caused by the cycle called and Changing of the Guard or, aka perspectives. “Featherless Buzzards”) which 10. A short story should necessarily and inexorably lead to a single "complete novel," among which Change of Guard (Cambio de guar- To the rhythm of this rejec- actually placed it at the top of a outcome, no matter how unexpected it may be. If the reader does prevail the Where the Air Is Clear dia) (1976), the first is perhaps the tion, Julio Ramón Ribeyro built, rather modern discourse, for his not accept the outcome of the story, this means the short story or, aka The most transparent region most remarkable: one of the few alongside the great structure of profound critical formulations. has failed. (La región más transparente) (1958), bildungsroman of our narrative, his stories, a small neighborhood, Certainly, future literary stud- by Carlos Fuentes; Hopscotch (Ra- along with Deep Rivers (Los ríos consisting of texts that are en- ies will have to do without many

CHASQUI 4 CHASQUI 5 CÉSAR VALLEJO BY STEPHEN M. HART PERU’S FIRST PAINTER AN ESSENTIAL BIOGRAPHY Marco Martos* PERU’S FIRST PAINTER

Finally, a comprehensive study on the life of one of the most important poets of the 20th century. A traveling exhibition opened at the Museum of Art of Lima* brings together the work of artist usually dispersed in collections in Peru, , and Chile. This great effort allows us to understand the decisive scope of his painting in iography is a form of lit- that the quality of his poetry is erature with a wide range of not forestalled by that of Eliot or defining the region’s cultural imaginary. The catalog is the first volume of the Library of Peru / Bicentennial Collection. Bstructures. Thus, in the past, Apollinaire. some writers like Emil Ludwig and Flaubert used to say that the Stefan Zweig based their writings life of any person is interesting, mainly on the power of their char- that it was just a matter of looking acters. Napoleon or Catherine of carefully to find the events that Russia or Bismarck or Lincoln attract attention; and if we are have always drawn the attention dealing with an exceptional poet, of any reader, regardless of how we believe that this is even truer. much the reader knew about them There have been biographies of before. However, there have been Huidobro or Neruda or Borges periods of time -and not so long for decades; yet there was none for ago, in the field of literature, in Vallejo, until today. Stephen M. which the biographical references Hart has become the first literary to writers were anathematized and biographer of César Vallejo and judged only in elementary or high this achievement will accompany school. Teachers sharing details him all his life. Before Hart all of the life of such writers were we had was partial, and some- chastised as resorting to this ploy times contradictory, information in order to circumvent the proper provided by many scholars. So, analysis and commentary of the first, we find those of his friends texts themselves. As for the com- like Juan Espejo, Ernesto More, munication plot, we have long Domingo Cordova, and Juan been told that the only important Larrea, who left memorable pages thing is the text itself and that we about him. We are also aware of can do without the rest —a lesson the pages written by Georgette which is but a distortion of what de Vallejo, passionate and con- the Russian formalists used to troversial, but full of love to the sustain. We especially owe Georg poet and a privileged juggling Lukács for calling attention to of the sources. A second group social facts included in the liter- of scholars like Luis Monguió, ary work. We must also remember André Coyné, Américo Ferrari, that Walter Benjamin studied the David Sobrevilla, Ricardo Silva- Baudelaire’s poetry through the Santisteban, Julio Ortega, Ricardo pulse of life in Paris. And from González Vigil, Max Silva, and that perspective, we, once again, Jesus Cabel, who included some gain insight on the individual, on biographical aspects as they make the sum of individuals with their their literary criticism. And then, experiences, their passions, their or at the same time, we see what interests, conflicts —all of which could call the passion for Vallejo, undoubtedly impact the texts of throughout Peru and in many writers. places far from the poet’s home- In more recent times, actually land. And subsequent questions from Borges —who was prouder Vallejo with his wife, Georget Philippart, in Paris. arise: Who is Rita? Who is Otilia? of what he read than what he What did Vallejo think of Trotsky, wrote- to the theories of recep- Stalin? Did Marxism erase the tion, the encounter of the reader then came Kristeva, Lacan, Dolto, the presence of Beatriz Poltinari poet’s initial Christian upbring- and the literary text is favored. Bachelard. So we can say categori- in his life. Surely, we are wrong, ing? Hart has written a rigorous However, the author, vilified as cally that, in the field of scholars, but not totally. The large number and magnificent book. Each of superfluous, is a lure diverting it is no longer possible to neglect of Florentines in the circles of the pieces of data provided is cor- the biography of the author, and hell can only be explained by the attention from what is secondary roborated by reliable sources; but History x 83.5 cm. Natural Museum, Ministry Buenos Aires. of Argentina, Republic of Culture, 107 Oil on canvas. Lima, 1822. and becomes a matter of interest if someone did disregard such bi- animosity of the poet whose coun- the text is not a linear story of the from various angles. One of such ography, he would run the risk of trymen had expelled him from his life of Vallejo, since it stops at the angles is, certainly, psychological leaving very interesting passages hometown. most controversial events such as which Freud fiercely addressed in the dark, especially in poetry. Something quite unique hap- his 112-day imprisonment in Tru- in his theoretical texts and in his But one thing is what hap- pens with César Vallejo some- jillo, his love for two girls named own literary and psychoanalytic pens in an academic environment thing that does not happen with Otilia, his political Marxist activ- analysis. In addition to the pa- and a different one outside such any other Latin American poet: ism, his wandering through the tient's speech, his free association places. Ordinary readers, over the after his death, his reputation streets of Paris for some time of ideas or the author’s text, ana- centuries, have always considered continues to grow. Forty years without a known address, all of lysts or readers face a free floating the biography of an important au- ago, the critic Saul Yurkievich this in order to better illustrate attention; it is this mindset that thor to be of interest. Sometime placed him among the founding some passages of his poetry or his allows to discover and specify the we are more aware of the details of poets of Latin American po- drama or prose. This book can be alterations to normal speeches, the life of Cervantes or San Juan etry, alongside Borges, Huidobro, read like any good novels, in one to isolate a symptom or a valu- de la Cruz than of those of our Neruda, and Paz. Since then, sitting, and like any good book of able literary techniques, which own lives. We believe, certainly devotion to Vallejo worldwide poems, once the reader finishes is nothing but the essence of mistakenly, that knowing about has continued to multiply to the reading it, he rereads many of its difference and ultimately beauty, Dante's life in minute detail will point that a Greek critic, who has pages in order to savor the writing & Trujillo. Tagle of Torre Marquis y Portocarrero, de Tagle José Bernardo including the monstrous or ex- bring us closer to finding some also translated César Vallejo’s po- slowly, like sipping a glass of beer cess as in Rabelais or Sade. And keys to reading his Comedy —about etry into his language, Rigas Kap- at the café de La Régence where he wars of independence Spanish Empire in America. that briefly integrated the terri- 1824. The portrait, imbued both Charles Mauron came out of one the Guelphs and the Ghibellines, patos, considered César Vallejo Vallejo himself spoke about Peru. of South America mark The wars following the vacancy tories of future Latin American old notions of social prestige of Freud’s rib; Charles Mauron the whites and blacks in the the most important poet of the a time of great social and of the Spanish throne in 1808 nations in a common cause. and new ideas about individual Guelph party, Dante’s dilemma * Former President of the Peruvian Academy T provided brilliant analysis of modern times. In any case, not political transformations that resulted in the mobilization of Independence was finally sealed heroism, would become the Baudelaire or Mallarmé. And whether or not to see the Pope, to seem overexerting, we can say of Language. changed forever the fate of the entire armies towards a process with the battle of in main genre of the visual culture

CHASQUI 6 CHASQUI 7 Mariano Alejo Álvarez and his son Mariano. Lima, circa 1834. Oil on canvas. 221 x 151 cm. Lima Art Bernardo O'Higgins. Santiago, 1820. Oil on canvas. 205 x 136.6 cm. National History Museum, Simón Bolívar. Lima, circa 1826-1830. Oil on canvas. 203 x 133 cm. National Museum of Mariana Micaela de Echevarría Santiago y Ulloa, Marchioness of Torre Tagle. Lima, 1822. Oil on Ramon Martinez de Luco & Caldera and his son José Fabián. Santiago, 1816. Oil on canvas. 106 x 81 cm. National Museum. Santiago. Archaeology, Anthropology and . Ministry of Culture of Peru, Lima. canvas. 203.8 x 127.5 cm. Ministry of Foreign Affairs, Torre Tagle Palace, Lima. Art Museum, Santiago. of such period. In this context, nando VII in Spain would lead which he signed his last portrait José Gil de Castro Morales to a First National Government of Fernando VII, Gil de Castro (Lima, 1785-1837), a Peruvian in 1810, which govern in the began the great series of paint- painter living between Santiago name of the king, although the ings of San Martin, his circle of and Lima, would become the circumstances then lead to the officers, and prominent figures main portraitist of the leaders of open search for autonomy and of the new independent state of this transition. independence of Chile. While Chile. Thanks to his closeness to Little is known about this it is possible that the painter the new political class, and in rec- "faceless portraitist". The mar- decided to go on this journey ognition of the services rendered riage certificate of his parents reg- driven by expectations of the op- to the cause, the painter was isters Mariano Carbajal Castro as portunities that the new repub- incorporated as a captain of in- a free brown and María Leocadia lican regime would offer, these fantry to the Infantes de la Patria Morales as black slave. Although possibilities would be annulled battalion, a company called the her mother would become free soon after his arrival to Santiago African descendants of Santiago. shortly before the birth of Gil, with the end of "Patria Vieja", This would be an essentially hon- his older brother spent his child- after the battle of Rancagua in orary position, since it is known hood and adolescence as a slave. October 1814, when the royalist that Gil de Castro remained in Although he was born free, slav- troops retook power in Chile. Santiago and did not participate ery would be a family stigma from As one of the few active paint- in military campaigns in subse- which the portraitist could not ers in Santiago, Gil de Castro quent years. escape. As a child, he became earned a spot as the portraitist By July 1822, following the an apprentice in a shop in Lima; of choice for families identified path of the Liberating Expedition, he probably joined the shop of with the Spanish monarchy. His the painter returned to Lima. His Pedro Diaz (act. 1770-1815), a images of the king, the Chilean close ties with San Martín, then prominent painter and portraitist aristocracy, and some of the protector of Peru, allowed him working closely with the viceregal leading officials of the colonial to quickly access the patriotic court. Gil de Castro must have administration, however, must circles of the capital which had been Diaz’s assistant for several not be construed as a political declared independence a year years as was the regular practice position. The painter had few earlier. He painted what could José de San Martín. Santiago, 1818. Oil on canvas, 111 x 83.5 cm. National History Carlota Caspe & Rodríguez. Santiago, 1816. Oil on canvas. 82.5 x 61.5 cm. Tucson Dolores Díaz Durán de Gómez. Santiago, 1814. Oil on canvas. 102.5 x 78.5 cm. Lorenzo del Valle y García. Lima, October 2, 1835. Oil on canvas. 106.5 x 82.6 cm. for teaching such . As was options, since portraits were, be- be considered the first portrait Museum, Ministry of Culture, Republic of Argentina, Buenos Aires. Museum of Art, Arizona. Private collection, Santiago. Central Reserve Bank of Peru, Lima. common in the Hispanic world, fore and after the revolution, a of the Republic of Peru, the one he probably began working with genre necessarily associated with of José Bernardo de Tagle as su- the religious genre, before mov- the highest levels of power. preme chief, a position he held a portraitist under the protection continued his work as a por- ually decreased while he tried limitations imposed by such * The exhibition will remain in Lima from ing on to support his master in On February 12, 1817, after for temporary absence of San of San Martin’s circle, the rise traitist, alternating images of to adapt his painting to new rigid hierarchies that the repub- October 22, 2014 to February 22, 2015. executing portraits. We know that the risky crossing of the Andes, Martín. Gil de Castro’s sojourn of Bolivar involved a completely public and private figures. It is aesthetic trends. Apparently, lican society inherited from the Then it will go to the National Art Museum around 1807 he received some Chilean exiles troops and sol- in Lima would be interrupted by new game board. The painter, at this time, when he painted in those years, he began to fade old regime, clearly opposing the (Museo Nacional de Bellas Artes) in San- tiago, Chile, from April to June, and then to important commissions in Lima, diers of the United Provinces of the royalist forces taking over the however, managed to quickly es- his great imaginary painting away as a new sensibility arose egalitarian discourse it so fierce- National History Museum of Buenos Aires, but we lose his tracks soon after. the Río de la Plata led by José de city in early 1824, thus forcing tablish itself as the portraitist of of José Olaya, one of the few with the arrival of the European ly defended. The titles and posi- from July to October. The catalog José Gil de Castro, painter liberators (Lima, MALI, 2014, He later declared to have been a San Martín defeated the royal- him to move to Santiago until choice of the Libertador, and even portraits of an indigenous char- artists and their works. The tions he wrote next to his signa- 560 pages) was edited under the direction of "disciplined militia captain of the ists at the Battle of Chacabuco, victory by the patriots sealed created the iconic images of the acter that still remains today, cosmopolitan model settled in tures have ensured his memory Natalia Majluf. The exhibition is sponsored City of Trujillo, attached to the sealing victory and definitively the end of the war in Ayacucho. Venezuelan hero, including large in which Gil de Castro depicts among the upper echelon of in the hypothetical dimension by the Ministries of Foreign Affairs of Peru, 1 Argentina, and Chile; and counts with the Yngenieros Corps". ending the old order. Santiago When he definitively returned to full length portraits that are now the Peruvian martyr as a sort Criolla society and painting of a classless society —the ideal support of various companies and institu- When Gil de Castro moved would be, in subsequent years, Lima in early 1825, Gil de Castro in Caracas, Lima, and Sucre. of "secular saint," all dressed in was no longer a for com- that the democratic revolutions tions. to Chile around 1813, the the center where the main forces faced an entirely different com- Amid the rough political white against the landscape his moners. This would explain the for independence failed to real- 1 Translator’s Note: “criolla” term used to re- fer to a person from Spanish origin in South country was at war. The political fighting for independence co- plex political scenario. For Gil de environment of the early years native Chorrillos. Throughout oblivion into which he fell. The ize, but which certainly allowed or Central America, especially one of pure crisis caused by the fall of Fer- alesce. Hence, in the same year in Castro, who had achieved fame as of the republic, Gil de Castro the 1830s, his production grad- painter failed to transcend the people to imagine. Spanish descent.

CHASQUI 8 CHASQUI 9 PIERO QUIJANO: A RETROSPECTIVE THE REPUBLIC OF POETRY A CITY ON TRACK Cuerpo multiplicado Multiplied Body

Nicolás Tarnawiecki Chávez* No tengo límites I have no limits Mi piel es una puerta abierta My skin is an open door The artist’s twenty years of painting collected in an anthology that allows viewers to appreciate his unique Y mi cerebro una casa vacía And my brain an empty house La punta de mis dedos toca fácilmente The tips of my fingers touch easily exploration of the city of Lima. El firmamento y el piso de madera The sky and the wooden floor

Bodegón con cafetera (Still life with coffee). 2009, oil. Balconcillo (Small Balcony). 1989. acrylic. No tengo pies ni cabeza My arms and legs Mis brazos y mis piernas Are the arms and legs of Son los brazos y las piernas An animal who sneezes De un animal que estornuda And that has no limitations Y que no tiene límites If I am joyous, we all enjoy Si gozo somos todos que gozamos Even if not all enjoy Aunque no todos gocen If I cry, we all cry Si lloro somos todos que lloramos Even if not all cry Aunque no todos lloren If I sit in a chair Si me siento en una silla Thousands will sit Son millares que se sientan In their chair En su silla And if I smoke a cigarette Y si fumo un cigarrillo The smoke reaches for the stars El humo llega a las estrellas The same color La misma película en colores In the same dark room En la misma sala oscura Unites me to all and separates me from all Me reúne y me separa de todos I am one like all and like all Soy uno solo como todos y como todos I am only one Soy uno sólo

Jorge Eduardo Eielson (Lima, 1924-Milán, 2006) does not only hold a unique place among the Ibero- American poets, but is also considered a particularly innovative artist. In commemoration his 90th birth anniversary, a number of reissues of some of his works have appeared, such as Primera muerte de María y El cuerpo de Giuliano (First death of Mary and Body Giuliano) (Lustra Publishers); congresses have been held in Lima «Palabra, color y materia en la obra de Jorge Eduardo Eielson» ("Word, Color, and Matter in the work n the paintings of Piero Qui- of Jorge Eduardo Eielson") and «Congreso de las artes-Homenaje a Jorge Eduardo Eielson», ("Arts Congress jano (Lima, 1959), the seventies –A Tribute to Jorge Eielson”), organized by the House of and Universidad Científica Ior early eighties are very much del Sur (Southern Science University), respectively; and exhibitions of his anthology «El lenguaje mágico present, but not in a nostalgic way, del nudo» ("The Magical Language of Knot") at Enlace art gallery, with the support of Centro Studi Jorge but rather as a recognition of the Eielson directed by Martha Canfield, based in Florence. Also see: www.centroeielson.com positive aspects of that era that for remembrances of a long gone and an attempt to encourage view- ered as ‘citizens’” because it forces disappeared in the early nineties, past. ers to ponder about our identity us to take note of issues such as when the artist began to exhibit his In this anthology of Piero Qui- and social change. Someone once coexistence, participation, and liv- work. The city painted by Quijano jano, one can see a selection of his told the artist that his work was a ing in a rapidly changing city. seemed livable, with cars circulat- work performed between 1989 and "citizens’ painting' and she prob- ing, industries booming, etc.: it was 2009 reflecting 20 years of produc- ably said so because his paintings * Curator and art critic. SOUNDS OF PERU Piero Quijano’s Exhibition was presented in simply a different Lima, not neces- tion dedicated to exploring the depicted many images of the city. the Luis Miró Quesada Garland Art Gallery sarily better. Moreover, it seemed a images of the city and musicians, Moreover, it could also be consid- of Miraflores. October 2014. city accessible to all. Architectural African and Coastal Music / Susana by members of the Baca band, joined Afro-Peruvian music, instruments, Baca & Papá Roncón by Ecuadorian musicians and singers. harmonies, and scores. The cajón master pieces were at everybody’s Caras (Faces), 1995, acrylic. COMMON KINSHIP, The neat instrumental interaction and guitar are the core instruments reach, not protected behind bars / PERU does not conceal the two sources supporting this production and or labeled as private places. gathered in the album: on one hand, greatly articulating some musical When we look at Quijano’s (Embassy of Ecuador in Peru, 2011, http://peru.embajada.gob.ec) the musical arrangements by Susana themes with others. The repertoire paintings, we can identify the great Baca, with a distinctly modern style, includes traditional Spanish and architectural wonders that used to Published by the Honorable Embassy using jazz harmonies and Western Peruvian music, themes of Chabuca stand in public space. The paint- of Ecuador in Peru, this album is formal schemes —this has become Granda, and some by González. ings dedicated to the city add bits the third in a series that includes common among Peruvian Afro fusion The arrangements are clearly driven of information to our memory and Criolla folk music (CD 1. «Romance musicians; and, the other hand, the towards the concepts of fusion, blen- image of Lima, making us ponder de nuestro destino» "Romance of Ecuadorian traditional subjects, with ding, dithering. In this search and its about the transformations and our destiny"), (CD 2. the imprint of Papá Roncón, whose subsequent formal experimentation drastic changes that have occurred «Cerquita del corazón»"Very Close to sound is similar to that of musicolo- and sound, the artist challenges the in just a few years. Among other Our Hearts") and a selection part of gical field work, showing the cyclic listener to make an effort to integrate images of the city, we find old cars African music and music from the forms, the tones of ancestral voices disparate —sometimes very dispa- coasts of both countries (CD 3). The and local instruments, as well as tex- rate— elements and dares -without and trucks, jukeboxes, buildings, tures and nuances that undoubtedly much uneasiness- to create complex etc. whose designs are of special whole series was developed jointly by Peruvian and Ecuadorian musicians, connect with their African origins, musical pieces whose unity, at times, interest to the artist. These objects with extensive experience in folk and except for the Amorfino of the last hangs by a very thin thread, that of seem to have a life inside and show traditional music. In this case, Susana song. While not intended to be an customs and public expectations. the passing of time. Baca of Peru (voice) and Papá Roncón academic study, the brochure includes Almost all of the pieces, however, CHASQUI On the other hand, the artist of Ecuador (marimba) perform to- data and comments about each track, have a strong Andalusian accent, Cultural Bulletin also depicts another of his pas- gether. They are mostly accompanied which will certainly help put in pers- since the singer’s use, hassles, and MINISTRY OF FOREIGN AFFAIRS pective the importance of listening to palms are omnipresent throughout sion: music. His various paintings Directorate General of Cultural Affairs and portraits of musicians and this album. the album. Renditions are delivered Jr. Ucayali 337, Lima 1, Perú orchestras illustrate his intention by a number of prominent Spanish Telephone: (511) 204-2638 and Peruvian singers and musicians, of portraying another world or E-mail: [email protected] Miki González among whom Bandolero, Amalia Web: www.rree.gob.pe/politicaexterior the music scene. Like Quijano’s LANDÓ POR BULERÍAS Barbero, Tomasito, Ernesto Hermosa, paintings of the city, his images Marco Campos, Noel Marambio, and The views expressed in the articles are those of of musicians take viewers to a dif- (Play Music and Video, 2009, the authors. www.playmusicvideo.com.pe) others. They successfully project this This bulletin is distributed free of charge by the ferent time in history and, once vibrant and generous energy; a cons- diplomatic missions of Peru abroad. again, he has no intention of tant feature of the Peruvian-Spanish Reconnecting with a fundamen- Translated by: making this a nostalgic experi- tal part of the Andalusian soul, singer. This production won the 2011 Business Communications Consulting ence but rather has the intention Miki González, Spanish musician Record Gold Award. The songs were Mare Gordillo recorded in Lima and Madrid during of showing us another time. Like living in Peru, delivers 14 tracks full Printing: a metaphor, the paintings of mu- of overflowing incisive Flamenco an eight-month period. Gráfica Esbelia Quijano S. R. L. sicians are filled with a passion rhythm, combined with Criollo and (Abraham Padilla)

CHASQUI 10 CHASQUI 11 1 the measures taken by the Cadiz MATEO PUMACAHUA, CACIQUE OF CHINCHERO Cortes, nullifying its Constitution and, thereby reinstating taxes and mita, as soon as the king recovered the throne of Spain, in 1814. The BETWEEN THE GREAT REBELLION liberal spring had barely lasted six years.

2 * Senior Professor at the Pontifical Catholic Uni- versity of Peru and professor at the Diplomatic AND THE ASSEMBLY OF 1814 Academy of Peru. 1 Translator’s Note: a native chief in or the Spanish-speaking Caribbean countries. 2 Translator’s Note: The Cuzco Rebellion of 1814 Scarlett O'Phelan* was an episode of the Peruvian War of Indepen- dence led by Mateo Pumacahua. 3 Translator’s Note: aka “Upper Peru,” a region in In commemoration of the bicentennial of the uprising in Cusco -the ancient Inca capital- of the libertarian movement led by the , now . 4 David Garrett. Shadows of Empire. The Indian No- the Angulo brothers, in which Brigadier General Matthew Pumacahua played a key role. bility of Cusco, 1750-1825. Cambridge University Press, 2005, p. 80. 5 Luz Peralta and Miguel Pinto. Matheo Pumacahua, cacique de Chinchero. [Matheo Pumacahua, Cacique of Chinchero] Andean Rural History Seminar. San Marcos National University. Lima, 2003, p. 179. 6 Ibid. p. 184. 7 David Garrett. Shadows of Empire, p. 240. 8 Translator’s Note: A (Royal) Audiencia was an administrative unit of the Spanish government during its period of empire. Its officials served as the highest court within its jurisdiction and answered directly to the king. The administrator was known as President or Governor-General. They provided a system of checks against power- hungry governors and their duties dramatically expanded with time. 9 Translator’s Note: a term used in Spain and Spanish-speaking America to mean a person of combined European and Native American descent. The term was used as a racial category in the caste system used during the Spanish Empire in the American colonies. 10 Translator’s Note: viceroy of Peru from1806 to 1816. 11 Translator’s Note: a Spanish constitution, ad- opted by the constituent Cortes in Cádiz. 12 Translator’s Note: mandatory public service in the society of the . 13 Translator’s Note: a constituent assembly in Qorikancha and Church of Santo Domingo, Cusco. Peru: Incidents of travel and exploration in the land of the Incas. Squier, E. George. , 1877. Spain during the Spanish Revolution of 1808- 1814. The Cortes adopted a number of impor- tant resolutions aimed at strengthening the other hand, and according to Abas- [Pumacahua] had agreed to defend fought for the king in the great revolution. 10 15 14 Luz Peralta and Miguel Pinto. Matheo Pumaca- cal , Pumacahua was systemati- their rights ". If to look after their rebellion, and participated in the hua, pp. 185-187. cally delaying the implementation interests he had to endorse a move Angulo junta because he believed 15 Scarlett O’Phelan Godoy. «El mito de la ‘inde- 11 pendencia concedida.’ Los programas políticos of the Constitution of Cadiz , in that had the support of the Inca that the king was dead and, in that del siglo XVIII y del temprano XIX en el Perú y Battle of Guaqui. Panoramic view depicting the Battle of Guaqui (detail). the Audiencia of Cusco, where constituents, this was —in his mind context, he was called upon to de- el Alto Perú (1730-1814)» [The myth of 'achieved the abolition of taxes and mita12, —a better option than not doing fend their rights. In other words, independence.' The political agenda of the 18th 13 century and early 19th century in Peru and Alto ordered by the Cadiz Cortes , had anything or ignoring the matter. the political, economic, and social Peru 1730-1814]. Inge Buisson et al. Problemas de la Formación del Estado y de la Nación en Hispanoa- he rebellion led by the Ca- nobility was settled with the royal Pumacahua presented the docu- ner and swear loyalty to Fernando had a significant impact. More- Furthermore, there is a possibil- position he had managed to earn mérica. [Problems of State and National Forma- cique of Tinta, Jose Gabriel decree of 1544, through which the ments proving his noble origin VII, the captive king; this amount over, Pumacahua would send an ity that the Cacique of Chinchero during his stressful military career tion in Latin America]. Inter Nationes. Bonn, Condorcanqui or Túpac natural children of Cristóbal Topa and affiliation, and the following would eventually be reduced to 200 official letter implying that he had would likely confront the colonial and the high positions he had 1984, p. 69. T 16 Scarlett O’Phelan Godoy. «El mito de la inde- Amaru II, was an unprecedented Inga, also known as Paullo Inca, month Isidoro Paz issued the cer- pesos. By 1809, Mateo Pumacahua been forced to accept the request authority, since he had been re- managed to ear during colonial pendencia concedida» [The myth of achieved mass movement that swept the were legitimized. That same year, tificate qualifying him as such and was a royal lieutenant and was of indigenous to continue paying moved from the presidency of the times. Independence], p. 87. Viceroyalty of Peru, including the Paullo Inca was awarded the coat naming him governor and Cacique promoted to the rank of militia taxes14. In this sense, the interests Audiencia of Cusco without much Pumacahua did not seem to 17 Luz Peralta and Miguel Pinto. Matheo Pumaca- Alto Peru3, in 1780 and 1781, put- of arms as the son of Huayna Ca- of Chinchero6. coronel. He had managed, thanks of the Caciques of Cusco, as was scrutiny, to put in his place the be concerned with the fate of hua, p. 188. ting at risk the stability of South pac, from whom the Pumacahuas David Garrett has noticed that to his political and economic also the case of the Cacique of Criollo Brigadier Martin Concha the parish priests once taxes were America. He faced strong opposi- claimed they descended. In 1557, after the great rebellion, Mateo dealings, to enter the circle of the Chinchero- agreed, for different y Xara16. By April 1813, only six repealed, he was more concerned tion from the Inca lineages that Juan Pumacahua filed a dossier Pumacahua significantly expanded 24 electors of Cusco. In 1811, he reasons, with the resistance of the months after taking over as interim about the role (undoubtedly had been favored by the Spanish claiming his noble parentage and, his presence in regional agricultural was awarded the title of brigadier Viceroy Abascal to repeal taxes. president, Pumacahua had noticed limited) the Caciques would play Crown during the 18th century in 1564, the royal decree was given production by leasing plantations, general for his successful military And this resistance was not only that many abhorred him for being, if the taxes and mita were elimi- and, therefore, had a clearly royal- to exempt him and his descendants on one hand, and by purchasing action in the Battle of Guaqui, and due to the significant revenue that among other things, "originally an nated. He possibly sensed that ist position. Worth mentioning are from paying taxes; this privilege land, such as the neighboring on September 24, 1812, he reached such tax collection meant for the indigenous17". As an ally of the An- these liberal measures brought to the lineages of Tito Atauchi and would later be ratified by Viceroy estates of Guaypu and Guaylla- the peak of his career -in the colo- Royal Treasury. gulo brothers, Mateo Pumacahua an end the leadership of the Caci- Sahuaraura, who were part of a Toledo. In the 17th century, spe- bamba both located in Chinchero. nies- when he temporarily became Why was Pumacahua so con- joined the military column sent ques and the significance of their select group of indigenous nobles cifically in 1660, the ancestors of But, why was he so interested in president of Audiencia8 de Cusco. cerned about the abolition of to , to win this province chiefdoms. This is perhaps why connected with the 24 electors of Pumacahua are authorized to use increasing his revenue and what He was never ratified in such posi- taxes? Admittedly, in his capacity for the Cusco junta. Although he said, upon joining the Angulo Cusco, forming the indigenous the Mascapaicha5 royal insignia. was he planning on investing in? tion. After having to enforce the as Cacique, one of his main du- this raid was initially successful, brothers’ movement, that he had elite of Cusco. But this great rebel- Mateo Pumacahua was born in His goal was to strengthen his controversial liberal Constitution ties was collecting taxes from the the Cacique decided to head to- done so in order to "defend their lion also favored other noble indig- Chinchero in 1740, two years after position in the colonial society of of Cadiz in 1812, he was removed indigenous community. If such tax ward , where he would die. rights". Apparently, the proposal to enous, enabling them to rapidly the birth of José Gabriel Túpac Cusco, categorically demonstrating from the presidency and Martín de collection was revoked, relations He was executed in Sichuan, on replace the collective ownership of improve their military and political Amaru. On October 12, 1770, he his loyalty to the king, for which he Concha y Xara, a member of the with the community would have to March 17, 1815. The execution of land by individual ownership was positions within the colonial sys- was appointed Cacique (Chief) had to finance expensive festivities, Cuzco aristocracy, was named in be redefined and, somehow, there the Cacique of Chinchero closed not discussed during his tenure tem. Among this latter group was and acting governor of Chinchero, such as the accession of Charles his stead. It is worth noting that would no longer be a need for Caci- cycle in which the indigenous elite as president of the Audiencia the Cacique of Chinchero, Mateo when he was about 30 years old. IV in 1792, and fund local public the position reached by Puma- ques. In addition, the Constitution had played an important role in of Cusco; however, it is not García Pumacahua. After almost three years, on Au- works such as building and cahua, as president of the newly of Cádiz also repealed the señoríos leading the insurgent movements. idle to think that if this had The Pumacahua lineage was not gust 13, 1773, Pumacahua would aqueducts, work at the expense of established Audiencia de Cusco, or manors, and we must recall that We must, however, recognize that been suggested, Pumaca- part of the 'Capac' elite, i.e. they be appointed captain of the Noble the indigenous community7. is unparalleled within the Spanish- the Caciques were 'natural lords'. while in 1780 Tupac Amaru was hua would have rejected did not belong to the Inca nobility Indian Company of Chinchero. He continued advancing in American colonial history: this is Therefore, the framework in which the absolute leader of the great re- it because he consid- of Downtown Cusco, which traced Later he was promoted to the his career. In August 1784, he was the first and only case in which a Pumacahua acted was undergoing bellion, in 1814 Pumacahua shared ered it damaging. its ancestors to Manco Capac. rank of colonel of the regiment, awarded a gold medal in recogni- mestizo9 held such a high position substantial changes. He must have such stardom with the Angulo Thus, Mateo Puma- However, in 1677, Francisco Puma- following the outbreak of the great tion of his loyalty and faithfulness colonial times. felt that fighting for the return of brothers. Moreover, in the latter cahua gives the im- cahua, Cacique of Chinchero and rebellion. It seems that if he had during the great rebellion. In 1802, However, as noted, Pumacahua Fernando VII was a guarantee that scenario, there was little presence pression of being a father of Mateo, married Agus- not been successful in his military the Cacique of Chinchero did not was interim president of the Au- things would go back to the time of Caciques holding political and/ conservative per- tina Chihuantito, a descendant of action against the Tupac Amaru hesitate to offer a generous dona- diencia of Cusco for a very short before the Cadiz Courtes and Con- or military positions, as had been son, closer to that Huayna Capac; this allowed Mateo rebellion, he probably would not tion of 200 pesos to the Crown, time. Continuing with his acts of stitution. This is probably why he the case in 1780. For the Criollos, Fernando VII, Pumacahua to add the suffix 'inga' have been given the honors and to support Spain in its war against generosity, as soon as he took of- accept to join the Angulo brothers’ it was clear that in the struggle for who repealed at the end of its name4. But the privileges he earned, thus becom- England. In 1808, as a result of fice, Mateo relinquished his salary revolution in 1814 in Cusco. The independence, they would play a Pumacahua were not so devoid ing a key member of the royal army Napoleon's invasion of Spain, Pu- in favor of the fight against rebels, Angulo brothers intentionally con- leading role, with the support and of titles and aristocratic lineage. that defeated the rebel Cacique. macahua requested 500 pesos for and, in December 1812, he sent a vinced the Cacique that Fernando collaboration of the Caciques, not Mateo Pumacahua, Cacique of Chinchero and his wife as donors. Detail. Hence, Mateo Pumacahua claim of Wasting no time, in May 1782, the ceremony to lift the royal ban- donation for the king. But, on the VII had died, "for this reason the other way around. Pumacahua Anonymous, late 18th century.

CHASQUI 12 CHASQUI 13 LA PICANTERÍA OF AREQUIPA Miguel Barreda* The Ministry of Culture declared the Cuisine of Arequipa (flagship of ) Peruvian Cultural Heritage.

he Ministry of Culture of Peru recently decided to declare Tthe picantería of Arequipa Peruvian Cultural Heritage of the Nation; this has been very welcomed by the so-called "White City," while encouraging and entailing new responsibility among all those en- gaged. This declaration means on the one hand, a recognition of all those imaginative, hardworking, and generous women who are picanteras of Arequipa –both current and past generations, who since the mid-16th century began a process of symbiosis between traditional Andean cuisine, with chicha de guiñapo a la cabeza, and the Hispanic tradition, resulting in a varied and tasty Arequipa cuisine, whose flagship are the picanterías where such meals are prepared and eaten. This declaration pays tribute to these women and their workers, who knew and know how to show their talent and willingness to offer La chicha, Victor Martinez Malaga. Oil, 1927. the people of Arequipa and its visi- tors pleasant and healthy meals. Also, this declaration engages all sectors involved to ensure the protection and development of this DINERS’ REVIEWSW heritage, taking care of both products used and their recipes y presenta- ictor Andres Belaunde, think- the expression of popular sociability maize is stored in these for several only a few minutes earlier, begin to tions. The Picantería of Arequipa er and diplomat originally in Arequipa. It decisively influenced hours, until we get the flavor and sway and shake until nervous hands is a unique in the Peruvian culinary from Arequipa, provides the love affairs and politics matters alike. aroma of chicha [...]. Meanwhile, in bring them down from the wall. A Picanteria owned by Teodoro Núñez Ureta. Drawing, circa 1960. V culture, since it combines Andean following review of his experience We hope that some vernacular art the kitchen, cooks have been prepar- voice is heard, at first it is calm, but and Hispanic roots and uses ancient in picanterias between the late 19th historian can provide us a detailed ing different and tasty plates. Typical then it bursts into a lament. Another knowledge and products from the emblematic dishes. The Picantería tion survives. Since 2013, this and early 20th centuries: "There were reconstruction of this institution of dishes, which seem to include every voice replies, and then, in the silence coast, the valleys, the highlands, and of Arequipa are, par excellence, a tradition is enhanced with chicherías and picanterías in every Arequipa'. products available at home, seasoned of the bystanders, the words of la- the Altiplano, to produce original horizontal and democratic space, an annual event held in the neighborhood of the city, mainly in with all spices and decorated with ment, complaint, love, and passion and unique food. Protecting the where all social classes, both rural Main Square (Plaza de Armas) the villages of the countryside. Here urelio Miró Quesada, a writer bright, green, red or gold 'ajis’ or chil- begin to surface —this is a yaraví. One particularly rich coastal region, field and urban, intermingle sharing long the first Friday in August, people discussed and ate good food; originally from Lima, travelled ies or ‘hot pepper', impressive and would say that amidst the spell of the crops, olive groves, rivers supplying tables and passing each other tasty renewing the picantero fervor used as venue for teas and bingeing all along Arequipa in early tempting. You cannot think of chicha strings, the spirit of Melgar seems bread while socializing performing a of the city in the so-called A the wonderful shrimp, high Andean serving Criollo dishes prepared with 1930 and left us this testimonial in La without also thinking of the ‘pican- to appear. Almost nobody calls his valleys, and highland lakes and land, number of specially significant cul- Chicha Festival, a celebration chili or decorated with the most ceremonia de las chicherías (Ceremonies tes’ or 'spicy hot dishes' nor can you name, but everybody feels the pres- from which such cuisine gets all its tural practices. of the ancient drink and its exultant element of chili aka aji -the in Chicherías): "Accompanied by some think of 'picantes’ without thinking ence of such romantic and graceful supplies is now an unavoidable task. In these picantería, along with flagship meals as a way of af- Cardinal of all types of chilies [...]. friends, I have visited some chicherías of the old drink, so much so that es- poet, who loves his country and his Certainly, the Picantería of the chupes and picantes, there is live firming the values of regional The sociability nature of these meals in various districts of Arequipa and tablishments of this kind are known lady, and whom we seem to see arise Arequipa is not just a space for prepa- music and folk poetry, some people cultural dishes. was evidenced by all diners —friends in the always appealing Yanahuara. interchangeably with the names in these murky night, with its bow tie, discussing and conspiring while other ration and consumption of such * Filmmaker and general coordinator of and comrades— at a table exchanging In all of them, of chichería his broad forehead, and enlightened vigorous kitchen, with considerable courting, falling in love and forging the Picantera Society of Arequipa. For bites of their own dishes or drinking one can appreci- or picanterías heart". variety and distinctive features such friendships and fraternities. In the more information, visit: www.sociedadpicanteradearequipa.pe pals sipping from the same giant cup ate the same [...] Gradually, as fundamental presence of chicha 19th century Arequipa, there were which was continually filled up, nev- warm ambiance, the ambiance riel Garcia, an essayist de guiñapo a la cabeza (type of black about two thousand establishments er-ending. It is true that the venues a deep appre- becomes more originally from Cusco, noted: corn sprouted and fermented), the of picanterías and chicherías. Today, were sometimes narrow, dark, and ciation, the same joyful. More "With more effectiveness set schedule of daily lunch meals there are at least one hundred estab- U stuffy; simple white tables and rustic pagan joy usually diners arrive, than any university scholar, the lishments, some still decorated with that rarely change (Monday: chaque; benches —chairs were very rare. There found within while drinking picantería encourages people and Tuesday: chairo; Wednesday: chochoca; mottled figures and picturesque fea- Gallery of distinguished Picanteras. On the tures, depicting rural life, while oth- were some picanterías, with colorful enclosed low continues, the infuses national identity. This is the Thursday: chuño; Friday: Friday chupe; right, Juana Palomino and daughters, La plants and gazebos in picturesque walls and rustic plates with tasty stage for his poetry and for express- Saturday: rachi or white broth; Sun- ers are more comfortable, offer more Palomino. Below, left to right, Lucila Rooms service, and can accommodate hun- Ballon, La Lucila; Elisa Barbachán Chávez, small gardens or orchards, where floor of such food continue ing his thought; it is even right for the day: puchero), with their variations, La Capitana; Laura Salas Rojas, La Cau-cau; Criollo and indigenous dances were narrow rooms to come nonstop practical science of healers, farmers, their evening spiciness, and other dreds of guests. What’s important is Josefa Cano, La Josefa. that in both of these scenarios, tradi- performed, alternating huainitos with [...]. One after- like a ceremonial artisans, and master builders. This yaravíes. Many commoners went to noon, with her Rocotos, Ricardo Córdova, 1990, Watercolour. parade. There was the cradle of the protest of the the chicherías, as did small owners, joyful wisdom, a are the shrimp people. Those who, in 1780, rose employees, professionals, and local 'comadre’ or ‘hacedora’ explained to 'ahogado’ or soup, ‘chactados’ or against the ‘corregidor’ or mayor, leaders, in order to enjoy a folksy me the difficult process of preparing deep-fried guinea pigs, ‘torrejas de shortly before Tupac Amaru. One atmosphere, taste Criollo dishes, chicha. First she talks to me about lacayote’ or pumpkin cakes, fresh where Pumacahua and Melgar, in and express their love of chicha, and the 'huiñapo' or sprouted corn in the fish with spicyA sauce ('llatan'), the 1814 plotted their rebellions; this then —at the right time— have a shot 'poyos’ or shallow ponds, dug beside a 'matasca', the 'ocopa,' yellow rice place was loyal to all warlords [...]. of pisco , which we saw as a splendid creak so as to easily pour water. Then steak, liver lamb, 'timpu', ‘liga liga’ Also, this was the place of birth of brandy brought from Majes or Vítor the corn is taken out and put to dry cheese [...]. The repertoire is so vast carriers or globetrotters of Arequipa, or even distilled in Arequipa. under the sun. Once dried, it is taken and the ‘picantes’ so spicy that it is who were familiar with all roads of On field trips, whether on foot or to the mill to turn it into flour (actu- necessary to drink a 'pisco’ or 'spirit’, America [...]. Its yaraví moved village horseback, the picanterías were the ally, they are not really put into a mill anise liqueur, of which only one shot people and those encountered along only spots available to stop for a snack but a grinder, grinding). This flour is drunk, then one drinks liquors for the roads and its unique mestiza talk or as rendezvous points. There were is then distributed to the chicherías, a little bit, and then returns trium- butted in the vernacular languages of very famous ones in the Upper areas where the flour undergoes different phantly to chicha. all the parishes. Like a nomadic man, of the Paucarpata River and some processes. Here, it is placed on wide Suddenly, in the already warm he had the freest and most docile along the Tiabaya. These chicherías pans and boils for eight to ten hours. ambiance, one begins to feel a strange spirit to assimilate other customs. were quite democratic spaces as they Once this time has lapsed, the mix is rumor. Night has fallen, and the flick- New customs that the carrier would catered to humble villagers, visitors put into buckets, and is sifted in the ering lights in the halls come together routinely bring back to the endearing coming from Arequipa, fashionable 'seisuna' (rustic thick canvas), and is as shaping stylized figures. In the picantería of his native district thus horse riders. The chicherías were then placed on jars [...]. The liquid white walls, guitars, which were still renewing its social ambiance".

CHASQUI 14 CHASQUI 15 IQUITOS, BETWEEN REALITY AND FANTASY Jorge Nájar*

Founded in 1864, the main city in the Peruvian Amazon commemorates 150 years of increasing activity. Memoires and stories of a regular visitor.

Port of Iquitos by Michael Otto. 1898. Watercolor on paper. Collection of the Museum of the Peruvian Navy.

alking down the streets of On November 9, 1897, by order of However, in those same years, Garcia, the man who has perhaps done Iquitos, one realizes that the Nicholas of Piérola, Iquitos became the when Aurelio Miró Quesada visited more for the recovery of the Amazon Whistoric centers of cities are capital of the . Of the city, he could not stop watching the memory. He erected in downtown Iqui- prompted by geography and history. course this change of status was a part canoes sailing towards the pier full of tos one of the largest specialized librar- And of course, for those who first of a much larger movement. The archi- products that were to be offered for sale ies in Latin America, with about 30,000 conceived them and those who inhabit tectural landmarks currently standing, on long tables. Sellers would walk up volumes, which collect the legacy of them. The historic center of Iquitos is the utilities, and other basic services the ravine towards the town carrying multiple and infinite ancestral unique within the architecture of Peru; were actually built in times of bonanza, their colorful shipments. Sometimes knowledge. Many of the documents in it is very different from, for example, including power supply. In 1905, the they brought farm produce, tasty fruit this library are donations of priests, Lima, Cusco, Arequipa, Trujillo, and urban railway was built. In 1907, the trees; other times they carried river fish, historians, ethnologists, both national Ayacucho. In Iquitos, the historic Superior Court was established. In caught between their nets then dried in and foreigners, journalists, and colum- buildings portray an interesting design, 1919, the Main Church was erected, the ravine on stilts. Inside the market, nists. Joaquín García is both editor combining shapes from far away with among others. The transformation, the same observer watched sellers lay of Monumenta Amazónica, an edito- local materials that evoke long-gone through public and private investment, out all that cargo. On some tables, they rial project comprising the testimonial times. A great example is the Cohen resulted in an unprecedented boom. placed pieces of "meat from the moun- series of: conquistadors, missionaries, Manor, located on the corner of the Major export houses such as Julio C. tains" still bleeding. In other tables, government officials, scientists, travel- fourth block of Jiron Prospero and the Arana, Luis Felipe Morey, and Cecilio there was fresh paiche with gamitanas ers, extractors, and indigenous —the first block of Morona street… the Mo- Hernandez opened and commercial and turtles. One of the typical dishes entire Amazon history from the 16th to rey Manor on the boardwalk Tarapacá. networks other equally important rub- highlighted is a "vibrant and enticing the 20th centuries. The anthropologist These mansions, like other old build- ber exporters developed. peanut chicken soup". Miró Quesada Alberto Chirif, whose work is deserv- ings, are lined with sumptuous tiles. The rubber boom lasted about 40 provides an overview and does not only edly recognized, also lives there. Although the city was not exactly years in total. In that short period, speak about a sector of the population The city can be reached only by founded during the colonial period, some merchant families of European, precisely because Iquitos is more than airplane or boat. The Iquitos- the Jesuit missionaries settled nearby to Asians, Arab, and Jewish descent also just two opposing groups: the rubber Interprovincial connects Iqui- establish their religious sites. In 1831, arrived. Many of these families settled entrepreneurs and their workers. Iqui- tos to Nauta, a town established in when the German scientist Eduard down in the town and were still here tos is much more than a few fortunes 1830 by order of the deputy mayor of Poeppig navigated down the Amazon during the revival of the rubber boom. that have faded over the years. , Damian Nájar. This city river, via the Huallaga and the Mara- In 1942, when Hank Kelly, US consul On one of my trips to Iquitos I is located near the confluence of the ñón rivers, he wrote: "On the evening in Iquitos, began preparing his journey met and Carmen Marañón and Ucayali rivers. One ride of August 13, we arrived to Iquitos, the to settle in the city. According to his Balcells. If memory serves me right, down this road to Nauta and from smallest town in this region. A narrow testimony, many "experts in jungle is- this was back in 1970. Poet Javier Da- there travel by canoe to the confluence opening in the dense jungles of the sues that would come together at tea vila Durand introduced us in the Iron of the rivers that form the Amazon. At river banks barely allows to distinguish time at Bolivar Hall" in Lima, recom- House on the Main Square, savoring night, on the way back, one can seal this its location". Thirty years later, Antonio mended he bring "canned food for a some aguaje ice cream. Vargas Llosa rich experience with motelo inchicapi. Raimondi said the people of Iquitos year "; clearly illustrating the opinion and Carmen Balcells had come from There are many communities along had 400 souls, most of them were that many "experts" in the capital city Barcelona with a young couple eager this route that are currently engaged indigenous belonging to the Iquito eth- had about the food of the Amazon. to experience . We hired the in sustainable development projects. nic group. In fact, "the city was never However, the experience of this US services of a peke-peke and went to the These towns are creating tourist des- officially founded, but 1864 is consid- official in Iquitos is quite enlighten- abode of a coastal healer. Although de- tinations based on natural products ered its founding year, when the four ing about everyday life. He stayed at cades have passed, I am still marked by and respecting the landscape, another ships that President Castilla had built the Grand Hotel Malecón Palace, this adventure, especially from return- way of understanding and practicing in England arrived." . owned by a Maltese Jew who was, in ing to the abode of the healer who gave rurality, another way to recognize the The city’s development began with turn, Consul of China. "The Grand the traveler her first aid. contribution of ancient tullpas amid the construction of the naval factory Hotel Malecón Palace once had a din- There are still many paintings of the complexity of modern times. For and camp, and the organization of ex- ing room. When I arrived, it was still César Calvo de Araujo in Iquitos. At many Peruvian Amazonians born in plorations to sail through inland water- there but abandoned... Fortunately, the offices of the Ministry of Culture, the mid-20th century, Iquitos was our ways. At the time, the youth of the an- Mr. Martin, owner of Union restaurant on the Tarapaca boardwalk, hangs the administrative, cultural, and financial cient peoples of the high forest moved and considered a public benefactor, stunning canvas of indigenous people capital. It was and still is, with all its to Iquitos in search of quick fortune, was there. Had it not been not for him, practically naked next to a missionary. charms and its dreams made along the which apparently could be made from many single homeless men, including Calvo de Araujo (, 1914- boardwalk or in the lively and colorful the rubber industry. They came from me, would have died of hunger... Mr. Lima, 1979) was the first Amazonian district of Belén, opposite the legend- Moyobamba, Rioja, , Lamas, Martin did not fix much food and once painter who came with a clear proposal ary . and other Amazon villages. It is then it was over there was no more... But to capture the tropical and exotic as- that my grandparents moved to this city. although everything was sold out, one pects of the area and to combine them * Poet, novelist, and translator. He was born in and lives in Paris. He spent part of his childhood in Iquitos, Moreover, the interest of the rulers in could get a serving of pork with fried with the painting itself. In Iquitos, he which he visits regularly. In 2013, he published his Poesía the capital city focused on Iquitos. yucca (jungle ), rice and beans. " worked with the Augustinian Joaquin reunida (Collection of Poetry).

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