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Pigott, Charles Maurice (2013) Voices of the Mountains: Language and Identity in Andeansongs

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Pigott, Charles Maurice (2013) Voices of the Mountains: Language and Identity in Andeansongs Pigott, Charles Maurice (2013) Voices of the mountains: language and identity in Andeansongs. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/17358 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Voices of the Mountains Language and Identity in Andean Songs Charles Maurice Pigott Thesis submitted for the degree of PhD in Linguistics 2013 Department of Languages and Cultures of Africa School of Oriental and African Studies, University of London 1 Declaration I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own worK and has not been written for me, in whole or in part, by any other person. I also undertaKe that any quotation or paraphrase from the published or unpublished worK of another person has been duly acKnowledged in the worK which I present for examination. Signed: Date: 15/08/13 2 Dedication Llapan Bolognesiwan Pumapampa kaq runakunapaq, shunqunkunaman chaskimaqta, paykunapis shunquuman yayKurKaqta. Para toda la gente de Bolognesi y de Pomabamba, que me recibieron en sus corazones, y que también llegaron a ser parte de mí. Dedicated to the people of Bolognesi and Pomabamba, who welcomed me into their hearts, and who have, in turn, become part of me. 3 Abstract This thesis is a conceptual exegesis of ‘identity’ through the lens of Andean song-texts. I collected the songs during a year’s fieldwork in Ancash department, Peru. The texts are in the two local languages, Ancash Quechua and Spanish. By exploring various discourses of Self and Other in the texts, I engage with two differing accounts of ‘identity’ in academia: 1) ‘identity’ as fluid, fragmentary and unstable; 2) ‘identity’ as an abiding, transcendental essence. My aim is not to advocate one over the other, but to question why these two interpretations have evolved, and how they can be reconciled in a global interpretation. The structure of the thesis reflects these two main orientations of ‘identity’: Chapters Two (Part One) and Three explore more ‘processual’ accounts, while Chapters Two (Part Two) and Four discuss more ‘essentialist’ discourses. Chapter Two as a whole explores interview-excerpts concerning the social role of waynus, an Andean song-genre. Chapter Three examines the building of community through reciprocity, as portrayed in four song- genres. Chapter Four discusses two genres which reinvent the Incan past and posit a clear divide between ‘in-group’ and ‘out-group’. My main finding in all of the texts is the predication of identification on survival, whereby we define the social world in such a way that our sense of security is maximized. This, in turn, results from the mutual constitution of Self and Environment. In the Conclusion, I draw on Heidegger (1927), Merleau-Ponty (1964) and Derrida (1967) to engage in depth with the issues of Self and Other, ‘identity’ and ‘alterity’ that reveal themselves in the texts. My final exegesis of the texts, informed by such congruent philosophical theorizations, offers a way out of the apparent contradictions in the diverse usages of ‘identity’, but only if we reconceptualize the notions of ‘entity’ and ‘process’. 4 Acknowledgements This thesis was funded by the Arts and Humanities Research Council, and my participation in the Quechua language-course was facilitated by a grant from the School of Oriental and African Studies. I am most grateful to both institutions. I also extend my warmest thanKs to my supervisors at various stages, Prof. Graham Furniss, Prof. Trevor Marchand, Prof. Peter Sells and Prof. Itesh Sachdev, for their interest and support during my project. A big ‘thanK you’ to Dr Nicole Bourque, who gave me free range over her extensive collection of articles. Drs. Dan and Diane Hintz, and Oscar and Janet Huárac gave invaluable help and guidance in terms of suggesting research-sites and putting me in touch with Quechua-speaKers, and I wish to express my deepest gratitude to them. Emil Mejía, a musician, folKlorist and Quechua-teacher, was a wealth of information and remains a good friend, as well as helping me considerably with making contacts in Chiquián. I also give heartfelt thanks to Don Fidel Convercio and Doña Dora Ibarra, for opening their home to me during my stay in Chiquián, and for receiving me into their family. Also to their sons, Edison Convercio and Arelí Convercio, who became close friends, wonderful travelling companions, and close collaborators in this project, their daughters-in-law, Gina and Daniela, and their grandchildren, David, Kimberley, Chris, Mitzi, Brandon and Rose. I am grateful to Joel Rivas and his wife, Nancy, for welcoming me to their home during my many visits to Pacllón, and to Doña Alejandrina Sabina Loarte for her generous information on songs in Chiquián. In Pomabamba, I thank Don Antonio Vidal and Doña Enma Valverde, for their wonderful hospitality, and Moisés Zavaleta and his family for their friendship, enthusiasm and invaluable support in collecting and interpreting local songs. Deepest thanKs also to Don Eber Álvarez, Don Jorge Álvarez, Don Julio Álvarez and their families for their friendship and generous assistance in making contacts in Pomabamba, and to Don Marianito Paulino, custodian of ancient Yayno, for his friendship, Kindness and generosity in offering me a wealth of information on Pomabamba’s traditions. I express my warmest gratitude to the many people who gave me their time and invited me into their homes to share their poetry with me, and to all the people of Bolognesi and Pomabamba, who received me with such warmth. Finally, I thanK my parents, Maurice and Kathryn, for their unshaKeable support through thicK and thin, and, above all, for their encouragement always to follow where my heart and mind may lead me. 5 Contents Chapter Page Preliminaries A: Declaration 2 B: Dedication 3 C: Abstract 4 D: AcKnowledgements 5 E: Contents 6 F: Illustrative Materials 8 G: Key to Abbreviations 9 H: Note on References 9 One Introduction: The Prelude 11 A: The Nature of the Study 11 A1: The Question 11 A2: A Dialogic Methodology 12 B: Theoretical FrameworK 16 B1: Quechua Philosophical Concepts 16 B2: Selected European Philosophers 21 C: The Data 27 C1: Rationale for Studying Songs 27 C2: On Genre 31 C3: Methods of Data-Collection 32 C4: Self-Selection of Themes 35 D: Contexts 36 D1: Contribution to the Literature 37 D2: Potential Objections 38 D3: The Setting 43 E: Ancash Quechua: An Overview 48 E1: History 48 E2: Contemporary Sociolinguistic Situation 51 E3: Phonology (Sound System) 54 E4: Morpho-Syntax (Structure of Words and Sentences) 55 E5: Contact Phenomena 58 E6: Orthography (Writing System) 58 F: Presentation 60 Two Weaving Worlds with Waynu 64 A: Part One: Identity-Creation as an Intersubjective Process 65 A1: Formation of Waynus from a Subjective State 66 6 A2: The Communication of Subjective Experience 68 A3: The Intersubjective Basis of Social Unity 75 A4: Summary 82 B: Part Two: Waynus as Abiding Identity 84 B1: General Level 85 B2: Town and Provincial Level 88 B3: Andean Level 96 B4: National Level 102 B5: Summary 113 C: Conclusion 114 Three The Resonance of Reciprocity: Creating Community through Cooperation 124 A: Carnaval 126 B: Masha 133 B1: Start of the Festival 134 B2: Arrival of the Grandfather and BlacK Man 139 B3: Arrival of People from Lima 144 B4: The Bullfight 146 C: Wayta Muruy 153 D: Negritos 166 E: Conclusion 177 E1: Synthesis of Chair, Trace and Dasein 177 E2: Dialogue with the Andean Songs 182 Four The Last Inca: Poetic Perceptions of the Past 187 A: Apu Inka 190 A1: Inka Hipimuy 191 A2: Camino del Inca 195 A3: Harawi mañakuna / Adoración 202 A4: Pizarrowan Kaptinqa Kaynawmi 207 A5: Adoración Ushaskiptin 213 A6: Resentimiento del Inca 219 A7: Tambo Inkapa 224 A8: Southern Quechua in the Apu Inka 230 A9: Phonological Modification of Quechua Words 231 B: Las Pallas 232 B1: Tambo (Version from Pacllón) 232 B2: Entrada (Version from Carcas) 237 B3: Verso del Inca (Raquia) 241 C: Conclusion 244 7 Five Conclusion: Identity and Alterity – Re-Uniting the Threads 254 A: The Dynamic Substance 255 B: The Temporality of Being 262 C: The Mutual Emergence of Categories 270 D: The Meaning of ‘Identity’: Beyond ‘Entity’ and ‘Process’ towards 276 ‘Potentiality’ Bibliography 283 Illustrative Materials List of Photographs and Illustrations Page 1. Martín del Río with his harps 10 2. Faustino Emigio Aguado Alva and his family 10 3. Map of Peru 40 4. Map of Ancash 40 5. Map of Bolognesi 41 6. Map of Pomabamba 41 7. Juan Vergara with his textile depiction of waynus 63 8. The front door of César Bolo’s house 63 9. Carnaval in Huasta 123 10. The Antis 123 11. An ancient depiction of the sun at Rarapunta 186 12. Don Marianito giving thanKs to Pachamama 186 13. Waychaw bird 253 14. The church in Mangas 253 15. Brass band in Shilla 282 16. Chris, Mitzi and the author at Úsgor 282 List of Tables 1.
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