CHASQUI PERUVIAN MAIL
Year 12, number 22 Cultural Bulletin of the Ministry of Foreign Affairs May, 2014 Sombrero con cintas, by Luis [Hat with ribbons] Sombrero Solorio. Oil 2011. 95 × 125 cm. on canvass. CARLOS GERMÁN-BELLI: A CYBER FAIRY POET / JUAN PÉREZ DE BOCANEGRA: A CONFESSIONAL FROM THE ANDES / THE ART OF WRITING ESSAYS: CARLOS ARANIBAR & LUIS LOAYZA / CARLOS BACA-FLOR, THE LAST EXPONENT OF THE ACADEMIA ERA / LUIS SOLORIO’S HEIGHTS / FOOD FROM LAMBAYEQUE / ARGUEDAS, THE ANTHROPOLOGIST / THE Q’ESWACHAKA HANGING BRIDGE so sumptuously adorned that Pérez-Bocanegra was probably fertility, and brocade weaver, JUAN PÉREZ BOCANEGR A it is popularly known as "the the author- is the first issue of and systematically identifying Sistine Chapel of Peru." The il- vocal polyphony published in her with celestial objects with lustrations painted on the upper the Americas.4 The melody is female devotion in the pre-Co- level of the nave of the church based on a Spanish folk song, lumbian Andes: the moon, the A CONFESSIONAL FROM THE ANDES illustrate the life of the patron ¿Con que la lavaré? [What shall I Pleiades, and the constellation saint of the parish, Saint Peter wash it with?] It keeps an ambig- of dark cloud of a llama and her (MacCormack 1998). uous pattern between the poetic calf. The ambiguity, at the level Bruce Mannheim* Pérez-Bocanegra approached form identified as a "Sapphic of poetic structure, is replicated the issue of indigenous pastoral verse" written within the verse in the hymn’s images. Hanaq Published in Cusco, printed in facsimile edition, the 1631 Ritual Form, in an extremely different way principles of the Age of Gold in pachap kusikuynin is both a from the one usually sponsored Spain used by Perez-Bocanegra hymn to Mary and a hymn to a confessional manual of famous priest from Andahuaylillas. by the Third Council. The Third (a form also used by Ore) and the Pleiades and other celestial Council approached the evan- the Quechua traditional binary objects worshiped by the natives he author of Ritual Form, to the halves [moieties] used gelical persons by explaining parallelism. Also the imagery of the Andes. Again, there is Juan Perez-Bocanegra, or in the Andahuaylillas village, the Christian doctrine through of the hymn leads to multiple no single interpretation of the TJuan Pérez de Bocanegra, p. 619), we know that the text a controlled collection of ser- interpretations. On one hand, hymn, while a Catholic priest (d. 1645), was the parish priest was written in Quechua from mons, while Pérez-Bocanegra he uses the European classic im- could see it as an acceptable of Andahuaylillas doctrine, also Cusco-Collao; all linguistic — made an effort to understand ages used for the Virgin: City of vehicle for devotion to Mary, of syncretism and cultural pol- known in the 17th century as grammar, lexical and spelling— the pagan practices and where God, which carries mankind in its a Quechua farmer could find a icy of the colonial church in as "the small Antahuaylla creed." evidence is consistent with the possible to formulate the Chris- arms, supporting the weak. Even comfortable continuation of his broad a sense as possible. Photo: Raúl Montero Quispe Pérez-Bocanegra was a secular origin of this dialect. However, tian doctrine through native celestial images, with which the old religious practices, without Excerpt from the Article "Reading John priest, i.e., he did not belong Pérez-Bocanegra did not mark religious images, the result of hymn is saturated, have their either interpretation prevailing. Pérez-Bocanegra, his Ritual Form and to any specific religious order, the glottalized and aspirated which is a syncretic integration roots in European poetic imag- In conclusion, the work of Hanaq pachap kusikuynin Ritual" by Bruce Mannheim, in the book Ritual although he followed the Third consonants of the colonial Quec- of Andean and European im- ery and iconography. The asso- Pérez-Bocanegra is of the utmost Form and institutions for priests to manage the Order of St. Francis; this means hua from Cuzco. We know what ages; syncretic not in the sense ciation of Mary with the moon importance for understanding natives of this kingdom ...by Juan Perez-Bo- that he fully supported the variety of Quechua he was using canegra, 1631; reprinted by the Publish- that the European forms would appears in a painting by Diego the Christianization of the An- ing Fund of the National University of creeds of the Franciscans but in his writing because of his use 'disguise' indigenous practices Velázquez; the distance between dean region and Andeanization San Antonio Abad of Cusco, 2012. was not bound to its discipline. of the epenthetic h at the begin- but in the sense that religious Mary maris stella ('Mary Star of of Christianity from the per- * Professor, Department of Anthropol- The Ritual Form reveals deep fa- ning of words which-based in practices recommended by Pérez the Sea') and (13) Chipchykachaq spective of a provincial priest, ogy, University of Michigan at Ann miliarity with the Andean rural comparative evidence- have glot- Bocanegra could themselves be qatachillay ('Shining Pleiades') is offering a detailed view of the Arbor. life, including information on talized sounds. Pérez-Bocanegra interpreted simultaneously from short. But the specific configu- religious syncretism processes 1 V. Stastney 1982. 2 For more information on the linguistic dream interpretation and other is consistent in distinguishing different cultural and religious ration of images and epithets in that actually occurred in the nature of the Ritual Form, cf to César forms of divination, marriage between two phonemes of colo- perspectives. the hymn have a clear strange- rural boundaries of the 17th Itier’s chapter in this volume and to rituals, and so on. nial Cuzco Quechua, the s
CHASQUI 2 CHASQUI 3 CARLOS GERMÁN BELLI THE REPUBLIC OF POETRY
A CYBER FAIRY POET The Inca Garcilaso Cultural Center of the Ministry of Foreign Affairs opens "The Republic of Poetry. An Anthology of Peruvian Poetry 2014-2021" series with a recital by Carlos Germán Belli and an exhibition showing his work. Mario Vargas Llosa* A closer look at the writing of one of the key figures of the Contemporary Latin American poetry. CAVILACIÓN DEL CAMINANTE A THOUGHTFUL WALKER Diariamente camino siempre Every day I walk ubiquitously Por la faz del sublunar mundo On the face of the sublunary world arlos Germán Belli is a imprints in his poems, as have the lent, ruinous, old, toothless entity Belli's poetry: as the reader learns Para preservar la salud, To stay healthy, unique case in the poetry great poets of the Golden Age, and wrapped in ermine and luxury how to decrypt its key elements and Y de preferencia en un parque And preferably in a park written in Spanish. He the classics such as Petrarch. But jewelry. enters its labyrinths, reveals the Donde plantas y animalillos Where plants and creatures C Viven codo con codo en paz; live side by side in peace; had no predecessor or disciples. no less important in giving Belli’s The formidable grotesque treasures hidden beneath those Y por allí feliz discurro And around here I stroll happily He discovered poetry while still poems a unique twitch have been contrasts of which Carlos Germán hopeless weeping masks: immense Sin reparar que a unos seres, without noticing that I involuntarily in school and by reading Rubén the Lima lingo and the sayings and Belli’s poetry is made are human- tenderness, piety unblemished by Justo como yo en plena vida, Step on some creatures that, Darío, by his own admission. As proverbs of the slums, perfectly ized by humor -another constant the moral and material misery of Involuntariamente piso. Like me, are fully alive. a poet, he has followed a personal interwoven with cultism and the trait of his poetic world. At times those who suffer and are unable path, creating, as Borges says, his most elaborate archaism expressed his humor is biting, while at others to withstand the onslaught of a Y a la verdad qué bien estoy, And, honestly, I feel so good, Aunque rápido asesinándolos Although quickly murdering own precursors and building inso- through images, metaphors and it is belligerent and fierce. This life they do not understand that A quienes acá abajo yacen Those who lie here below lent and amazing poems that, over allegories as unexpected as trucu- is a kind of humor that makes shakes and knocks them down as the years, have been recognized as lent. you laugh and startle at the same a cyclonic wind or a sudden surge. A rastras entre suelo y cielo Crawling between ground and sky the most profound and original All this seems to indicate that time, and which entices you to Piety, humanity, solidarity with Sin poder esquivar la muerte Unable to dodge death poetic pieces of our time. Belli's poetry is formal and exper- ref lect on all those things that those who suffer from suffering Que les llega así de improviso Which catches them by surprise Cuando alguien viene en dos zancadas When someone comes in two strides This recognition has been imental, a search for innovation make the poet laugh and mock: itself under tinsel and wailing, a Y con la suela del zapato And with the shoe sole slow because Belli's poetry is not and daring streaks in mastering human condition, transcendence, heart that bleeds, drop by drop, Sin más ni más así deshace Without further ado destroys easy and makes no concessions to words, rhythm, stanza, and verse. freedom, destiny or fate, time, old and endorses the pain that perme- Cada mínimo hijo de Dios. Every minute child of God. readers. His poetry challenges and And, indeed, it is; but only in a age, death, and loneliness. I know ates the world: that is what Belli’s encourages readers to discover second stance, because, in truth, of no poet in the Spanish language poetry depicts. He aquí la multitud de hormigas Here is the multitude of ants and enjoy it, to review the most this unique and crafted poetry, so embodying better than Carlos I say "depicts" in a theatrical Que dan el suspiro postrero Which give the last sigh A causa de las mil pisadas Because of the thousands of steps C. G. Belli, 1933. elementary notions of what -in the exquisitely mannerist, is imbued Germán Belli what André Breton sense of the word because Belli’s Del caminante cotidiano of the everyday walker, broadest sense of such words- the with experiences, passion, and described as "black humor" in his poetry is also performing arts. En homicida convertido, Turned into a murderer, expression poetry and beauty ac- suffering. It is a dramatic testimo- famous anthology. We have already seen some of the No queriéndolo, no, sin duda; Not willingly, certainly not; tually mean. ny of everyday life, frustrations, In Belli's poems a zebra licks bizarre, grotesque, and pathetic Mas tales son las circunstancias But such are the circumstances Everything is disconcerting miseries, disappointments, chime- the mutilated thigh of a girl; two characters who star in this maca- En que un gigante humano mata In which a giant human kills Al animalillo invisible The invisible and defenseless ¡OH HADA CIBERNÉTICA…! in this work, starting with his ras, and petite occurrences which boluses converse in the poet’s "lay bre comedy: they are just a sample E inerme ante el andar ajeno. creature smashed by the strange walk. very diverse sources. Surreal- the poet exhibits so blatantly and stomach" and wonder where they of the motley crowd of scarecrows, ¡Oh Hada Cibernética!, ya líbranos ism, Lettrism, and the so-called anxiously, concealing them with are going; the poet himself, a poor human and nonhuman, parading Es el más inexplicable hecho, This is the most inexplicable, con tu eléctrico seso y casto antídoto, avant-guard trends have left their luxurious clothing, like a puru- clerk of Peru, dissevered "even the through this caricature and fantas- Y por añadidura absurdo, And absurd, event de los oficios hórridos humanos, Que alguien por preservarse a fondo Where somebody, deeply conceited que son como tizones infernales strong are worn-out," and there tic universe. —¡Tal como yo cada mañana!— —Like me every morning!— encendidos de tiempo inmemorial is a place called "Bofedal" where Yet, like pessimism, the woe- De un tajo la vida le siegue with a single strike takes the life of por el crudo secuaz de las hogueras; sorrows and pains are deposited ful and farcical features in this A aquel que nunca daña a nadie a creature who never hurt anyone, amortigua, ¡oh señora!, la presteza by all human beings who, like the nightmare with black humor in Ni a los imperceptibles seres; not even the invisible beings; con que el cierzo sañudo y tan frío poet, feel this is a world of desola- the poetic world of Belli are hu- Que el firmamento entonces caiga, The sky shall thus fall, bate las nuevas aras, en el humo enhiestas, Igual que un castillo de naipes, Like a house of cards, de nuestro cuerpo ayer, cenizas hoy, tion and ruin. No wonder a fetus manized by the pure feeling this Sobre mí un mal día. Así sea. upon me on a rainy day. So be it. que ni siquiera pizca gozó alguna, about to come into this awful quirky comedy awakens as a result de los amos no ingas privativo world puckers his forehead and of its authenticity, its suggestive En El alternado paso de los hados (2006) Excerpt El alternado paso de los hados el ocio del amor y la sapiencia. [The alternate step of fate] (2006) raises his eyebrows scared at such strength, and truthfulness. It is a En ¡Oh Hada Cibernética! (1962) outlook. When this child grows playful, circus world, but the poet Photo: Herman Schwarz up and takes over his despicable does not play with it, or, in any human fate, he will definitely end case, plays with the seriousness A MI HERMANO ALFONSO TO MY BROTHER ALFONSO OH, CYBER FAIRY...! up worshiping the Cyber Fairy, the with which someone bets his life, Pues tanto el leño cuanto el crudo hierro Both wood and raw iron Oh, Cyber Fairy! deliver us grotesque fetish alien that, from risking everything he has and is in Del cepo que severo te avasalla, on the snare that harshly traps you, with your brain power and chaste antidote an early age, officiates in Belli's that game of life and death. Unidos cual un órgano hasta las plantas, joined like an organ to the plants, from the horrid human trades, poetry as a matron and goddess, I started reading Belli when he No solo a f lor de cuero, not just on your bare skin, which are like infernal embers so artificial and baroque, so ma- published his first poems, back in Mas sí en el lecho de tu propio tuétano, But, actually, through to your own marrow, lit since time immemorial cabre and absurd, as this reckless the 50’s, in the magazine "Mercurio Que te dejan cual ostra leaving you exposed by a bold henchman of fires; A la faz del orbe así arraigado; to the face of the world; oh lady! safeguard the alacrity humanity, lost, and suffering that Peruano" and after reading only Y el leve vuelo en fin And finally the mild f light from the rage and cold north wind has turned it into his divinity. half a dozen of his texts I realized Que en el cerúleo claustro siempre ejerce that in the cerulean cloister, the bird blowing against the new altar, the smoke in The gloom that trickles Carlos he was a new voice, with powerful El ave más que el austro desalada, always takes more so than the south wind, the air, Germán Belli’s poetry is both lyrical solvency, and great imagina- ¿Cuánto a ti llegará?, How much will you get? our former body, ashes today, historic and metaphysical. It is tive boldness, capable-as only great Mientras abajo tú en un aprisco solo While you are down in a single fold that did not even enjoy at all, No mueves hueso alguno You do not move any bone of the common lords related to the social conditions, poets know how-of producing Ni agitas ya la lengua Nor do you move your tongue of love and wisdom. which multiply injustice, inequal- these transformations consisting Para llamar al aire; To call air; ity, abuse, and frustration, and in turning beautiful ugly things, Pues en el orbe todo viene y va For the orb comes and goes with all of this Excerpt from ¡Oh Hada Cibernética! [Oh, existence itself, a condition which in making inspiring forlorn pitiful Al soplo de la vida, With a breath of life, Cyber Fairy!] (1962) guides humans to a fate of pain issues, and turning into gold-i.e. Que pródigo se torna you become prodigal Para muchos y a no más otros pocos, For many and few others, and failure. Now, if this voice that poetry- whatever he touches. Ev- Áspero, vano o nada para siempre. Rough, vain or anything forever. sympathizes with herself so abject- erything Carlos Germán Belli has ly, and which bemoans, complains, written since has only confirmed En El pie sobre el cuello (1964) Excerpt from El pie sobre el cuello [A Foot on the neck] (1964) and protests, and at times seems to and enriched his extraordinary enjoy it as a masochist, were just gift of poetry. that, sheer desperation, perpetual Carlos Germán Belli (Lima, 1927) is recognized as one of the most important poets of Spanish America. Among his major books are: ¡Oh Hada Cibernética! [Oh Cyber tear, it would hardly wake the spell Foreword to Los Versos juntos. Poesía Fairy!] (1961); El pie sobre el cuello [A foot on the neck] (1967); Sextinas y otros poemas [Sestina and Other Poems] (1970); En alabanza al bolo alimenticio [Praise to the bolus] (1979); and adhesion always required by completa [Collections of Verses. Complete Los talleres del tiempo [Workshops on Time] (1992); Sextinas, villanelas5 y baladas [Sestinas, Villanelas, and Ballads] (2007); Los Versos juntos 1946-2008. Poesía completa [1946-2008 good poetry. And that is the case Poems.] (Sevilla 2008). Collections of Verses. Complete Poems.] (2008). He earned the National Prize for Poetry (1962), the Pablo Neruda Ibero-American Poetry Prize (2006), Casa de las Américas José Lezama Prize for Poetry (2009), and has been nominated to the Cervantes Prize and the Queen Sofia Prize for Iberia-American Poetry.
CHASQUI 4 CHASQUI 5 THE ART OF WRITING ESSAYS ACADEMIA STATE PATRONAGE Guillermo Niño de Guzmán* Collection of Essays by Luis Loayza and Carlos Aranibar, essential prose writers for Peruvian literature. CARLOS BACA-FLOR n the so-called 50’s Generation, tardes [Other afternoons], 1985), be- one of the most brilliant Peru- sides translating some of his favorite Ivian artists and intellectuals writers (Thomas de Quincey, Arthur generations of the twentieth century, Machen, Robert Louis Stevenson). literature plays a key role, particularly But perhaps his most consistent work Luis Eduardo Wuffarden* poetry and narrative. The years fol- are his essays, whose beautiful and lowing World War II were decisive subtle texts have been polished with for the development of our modern the care of a goldsmith. literature, with the advent of poets Unlike Araníbar, Loayza remained A retrospective exhibition at the Lima Art Museum and the publication of a rigorous catalog shed new like Eielson, Sologuren, and Blanca out of the academic circles upon grad- Varela; storytellers like Ribeyro, uating as a lawyer. He probably stud- light on the biography and painting of this remarkable artist, who appeared in the late 19th century. Congrains, and Vargas Vicuña; and ied law for practical reasons. After novelist like Vargas Llosa (who could all, in the Peru of the 50’s, thinking of be considered the youngest of that embracing a writing career was little generation, if we agree that its mem- more than a chimera. However, his bers were born between the early passion for literature remained intact, 20’s to mid-30’s), just to mention a outside the public eye, as a precious few names from a much longer and commodity that one prefers to con- varied roster. In this context, we wish template alone and refuses to show to highlight the work of two forebears it to others. Moreover, we believe of a less explored stream – a school he afforded the luxury of writing for that in their hands reached very high himself, for his own enjoyment, with- peaks: we are specifically referring to out any intention of claiming fame or Carlos Araníbar and Luis Loayza, and recognition, something unusual in the art of writing essays. the world of literature. As is known, essays is a rather free National University; he has been between story and History, or when It is possible that due to these and forceful genre of prose, capable director of the National Museum of elaborates on the Inca Garcilaso y circumstances, Loayza’s essay writings of assimilating various expressive History; and represents one of the last Guaman Poma de Ayala. His essays were free of the obstacles writers are modalities, as it combines narrative links in a humanistic tradition, which on Raúl Porras and Jorge Basadre are often subjected to when they thrive in and critical analysis; testimony and re- seems to be coming to an end in Peru, notable for reaching balance between an academic environment, where the membrance; and scholarly comments at least regarding to the group of men the assessment of their contributions methods of analysis and interpreta- and speculative thought. Surely, they of letters capable of giving themselves as historians and the testimony of his tion change and point to trends with call for ref lection, but their ultimate to knowledge as if it were a ministry rapports with them. Picky and per- such frequency that they remind us of grace lies not only in the sharpness of and of radiating to new generations fectionist, he does not hesitate to take the vagaries of fashion. Among other the author’s observations but in tone his love for knowledge. out from under the sleeve a rare term, things, this is what makes Loayza and depth of language used to craft his Araníbar developed his intellectu- excluded from the current lexicon, yet unique and above all a consummate speech. Since the Frenchman Michel al work with modesty and discretion, essential for what he wants to convey. reader. His literary essays serve no de Montaigne shaped the genre in the preventing his work from being better Clearly, Araníbar is addressing his critical model or make no use of any 16th century, it has become a very known. Owner of a vast culture, his peers, or, eventually, readers willing jargon. They are simple pieces and attractive form of creative freedom for attentions were not limited to his first to accept the challenges of knowledge. yet, as perceptive as any sharp aca- literary expression and unsystematic vocational calling, as evidenced by the However, we must acknowledge that demic work. Its charm comes from character. book he recently published, Ensayos sometimes he overdoes it and runs the neatness of his prose, the ease Carlos Araníbar and Luis Loayza [Essays] (Lima: National Library of the risk of overplaying and falling into with which he threads his sentences are not the only members of the 50’s Peru, 2013), whose subtitle (Historia/ excessive intellectual baroques and and weaves his judgments. He has Generation who have stood out as es- Literatura/Música [History/ Literature/ delight, especially when he cannot refined a style that aims to light and sayists. Sebastián Salazar Bondy made Music]) showcases the range his inter- contain his impetuous ideas and is transparency. With his approaches a key performance with his piece ests. Clearly the author is a historian, too tempted to use such alien words. to Inca Garcilaso, his assessment of Lima, la horrible [Lima, a horrible place] but he does not hide his enthusiasm Araníbar’s refinement and del- Riva-Agüero, Valdelomar and authors (1964), in which he shattered the myth for literature, so much so that two icacy are also present in the work of 20th century writers, and his explo- of the capital being a colonial Arcadia. pieces in this volume are devoted to Luis Loayza, although he has a differ- rations of Joyce's Ulysses, Loayza has For his part, José Durand concocted, his colleagues from his generation ent pitch. His book Ensayos [Essays] managed to turn any reading of his while in Mexico, an unclassifiable, full Francisco Bendezú and Washington (Lima: Editorial Universitaria, 2010), essays into an experience as creative of short story inspiration, a book like Delgado. In these texts, Araníbar, in which includes three other pieces of and rewarding as reading a poem or as Ocaso de sirenas [Mermaids’ downfall] addition to valuing the legacy of these that genre (El sol de Lima, [The sun of short story. (1950), a jewel amalgamating in the poets, mentions episodes of their Lima], Sobre el Novecientos [About the In sum, Carlos Araníbar and narrative prose and History, based friendship, a common past, that f lour- Nine hundreds], and Libros extraños Luis Loayza have made this genre on documents from the chroniclers of ished both in the patio of the school [Odd Books]), focuses on the world of an admirable intellectual exercise in the Conquest. Meanwhile, Ribeyro of Liberal Arts in the La Casona of prose. Born in 1934, Loayza studied which the taste for words, erudition, engaged in one of his most original San Marcos National University and law at the Catholic University, but lucidity of thought, and critical imagi- projects with his so-called Prosas in the legendary bar Palermo located end up engaging in professional nation converge. Their approaches to apátridas [Stateless Prose] (1975), in the opposite of the university premises. translation. With his classmates essay writing are different. Araníbar wake of Montaigne and other French One of the strengths of the Abelardo Oquendo and Mario Vargas usually prefers more arduous initia- thinkers. Also, Vargas Llosa has re- collection (the essays, most of which Llosa, he began editing small publica- tives, matching his multidisciplinary leased several short story books, in were published by the wonderful tion ventures such as the Cuadernos de interests, which may explain the exu- which he reviews other writers (Flau- magazine Libros & Artes [Books & Composición [Composition Bulletin] and berance of his prose; Loayza, however, bert, Victor Hugo, Arguedas, Onetti, Arts] of the National Library, edited the magazine Literatura [Literature]. feels at ease resorting to the literary etc.) or addresses issues related to by Luis Valera) resides in the fact that In 1955, he published El avaro [The domain and using as fine and incisive political ideas (Entre Sartre y Camus it reveals a true music lover. And Miser], a collection of fantastic prose language as stiletto. (If we apply the
[Between Sartre and Camus], 1981), Carlos Araníbar is in fact one and at revealing his esteem for Borges and famous distinction of Isaiah Berlin, Oil 1886. 65,5 × 79 cm. Central on canvass. Calling], by Carlos Baca-Flor. [A Natural natural La vocación Reserve of Peru. Bank and contemporary art (La civilización superlative degree, as evidenced by his his willingness to depart from the there would be no doubt as to who del espectáculo [Civilizing Entertain- disquisitions on Bach and Mozart, as neo-realism that prevailed at the time. would be the hedgehog and who the ment], 2012). well as an enlightened and insightful At the end of that decade, he went to fox). ince 1955, six years before at MALI, an institution called to the first time in a comprehensive, cultural advancement of the young Born in 1928, Carlos Araníbar approach to the musicality of the Europe; then he returned and, after a Finally, we must say they are both its official opening, the Lima showcase representative pictures of the artist's work while casting a Latin American republics and to is an intellectual very closely tied to prose of Cervantes and Don Quixote, couple of years, he left Peru again -this examples of zeal and discretion, mod- SArt Museum (MALI) holds Peruvian art of all times. Hence the new look at it: free from those prej- insert them into the community History, an expert on Inca Garcilaso "the world's most beautiful novel." time forever. When he was abroad, esty and elegance. Maybe, if they had the most complete collection of vast retrospective dedicated to Ba- udices, which for or against, have of "civilized" nations. Thus, Ba- y Guaman Poma de Ayala. A disciple Araníbar knows what he is speaking in 1964, his only novel, Una piel de more vanity, they would write and works by Carlos Baca-Flor (1869- ca-Flor and complementary book, prevailed the appreciation of his ca-Flor’s training at the Academy of Raúl Porras Barrenechea, Carlos about, but beyond such scholarship serpiente [Snakeskin], was launched in publish more, which would fill our 1941), the last great exponent of published in April 2013, also con- legacy. From that perspective, one of Fine Arts in Santiago, during Araníbar was his personal secretary analysis (certainly, the analogy be- Lima. delight. the Peruvian academia in exile. The stitute an acknowledgment of the of the first thoughts that Baca-Flor’s the years of the Pacific War, and his and was careful in following the path tween music and literature requires a Loayza opted to make a living as acquisition of this comprehensive symbolic value of such a figure for path inspires is the importance failed trip for advanced studies to that would later outdo his mentor. thorough knowledge of the art), what a translator in international organiza- * He has published storybooks Caballos de me- collection of paintings, drawings, the history of the museum, about to of the fine arts for the nationalist Europe, made the artist's return to This is the source of his interest in encourages the reader is that the au- tions, although he continued with his sketches, and sculptures —after commemorate the 60th anniversary discourses of the 19th century and his native country surrounded by a the chroniclers, regarding whom he is thor constantly spreads his curiosity, literary activity almost secretly, away dianoche [Midnight Horses] (1984) Una mujer lengthy negotiations with his heirs of foundation of the Patronato de las the strong patronage by the gov- unique aura of patriotic exaltation. preparing a comprehensive study. Dil- sharing his small or big findings and from intellectual circles. Reluctant no hace un verano [One Woman Does Not Make 1 igent and tenacious researcher, he has his aesthetic joys. to publish-it is not hard to imagine in the artist’s home-workshop in Artes [Fine Arts Board] . ernments of the continent to this At that time, the Peruvian devoted many years to the academia. Araníbar dazzles when he deals how self-critical he was-, he devised a Summer (1995) and Algo que nunca serás Neuilly-sur-Seine— would be the Carlos Baca-Flor. The Last Expo- field of arts. Painting was certainly diplomatic corps in Chile played a Professor emeritus at the San Marcos with themes such as the relationship a handful of excellent stories (Otras [Something That You Will Never Be] (2007). founding stone of the collections nent of The Academia Era shows, for a discipline intended to embody the crucial role in the outcome of this
CHASQUI 6 Academia femenina. [Women’s Academy] Charcoal on canvas. ca.1893. 62,5 48 cm. Lima Art Museum.
Abel muerto. [Death of Abel] Oil on canvass. towards 1886. 61,5 116 cm. Lima Art Museum.
Carlos M. Elías. Oil on canvass. 136,5 91 cm. 1887. Ministry of Foreign Affairs of Peru.
situation. When learning that the President Andrés A. Cáceres and young Baca-Flor —valedictorian of intricate network of connections he the Academy in Santiago for several made with key intellectual circles consecutive years— had declined a of the city opened the way to the scholarship to study in Rome be- talented young man and gave him cause he would have had to renounce an unprecedented public visibility his Peruvian nationality, Carlos M. in an environment devoid of artistic Elias, the Peruvian Plenipotentiary institutions and lacking vanguard Minister2 in Santiago, who took the painters. initiative to convene him to Lima At first, the Peruvian Govern- and get the Peruvian government ment felt that the best way to sup- to offer him, as a reward, an alter- port this young talented man was native similar to the grant he had by appointing him as attaché to the rejected. In 1887, Elias traveled Peruvian embassy in Italy. Later, to the capital with the young Ba- Baca-Flor was designated consul ca-Flor, who brought a replica of La in Genoa, a position he resigned vocación natural [A natural calling], a to shortly after in order to qualify Autorretrato. [Self-portrait] Oil on canvass. 1893. 46 35,5 cm. Lima Art Perfil de niño. [A child’s silhouette] Oil on canvass. ca. 1890/1895. 30 25 Mujer del velo. [Woman wearing a veil] Oil on wood. ca. 1896. 39 27,5 complex autobiographical painting for the grant that, in 1889, the Museum. cm. Central Reserve Bank of Peru. cm. Lima Art Museum. that had been his most celebrated Congress finally passed. The Con- work in Santiago. gress resolution did not specify his the economic hardships he was circles would begin to deteriorate Nevertheless, at least until for Baca-Flor to decide to turn to It was quite telling that the re- destination and only referred to facing in Rome since he had used gradually. This was due, in princi- 1905, Baca-Flor would try to rees- private sponsorship, and ultimately cipient of that replica was precisely his “further training in Europe"; up the initial installment. This ple, to the artist failure to deliver tablish on more than one occasion drove him to the final turn of his Minister Elias, his first Peruvian however, the fact that the grant relationship was reinforced four three large historical compositions his links with the government. career —becoming the most sought patron, of whom Baca-Flor then was deposited in Italy suggests years later, when the Spanish mas- —among them, El rescate de Atahual- That year he was participating from portraitist of the upper echelons of made a portrait, now owned by the that, somehow, it was intended for ter Raimundo de Madrazo told the pa [Atahualpa’s ransom]— which he Europe in an international public New York and Paris during the early Ministry of Foreign Affairs of Peru. him to travel to that country, as he diplomat that he saw in the young had agreed to make for the Peruvian tender called by the José Pardo y 20th century. The formality of this effigy, a trait of indeed did. Peruvian artist the next "Velázquez". State. His refusal to exhibit them at Barreda Administration, to erect * Historian and art critic. He studied Liberal Arts his official paintings, contrasts with During his years of academic Thereafter, Canevaro would be- the Exposition Universelle of 1900 in a monument to the Liberator José and History at the Pontifical Catholic University of Peru. He received the CONCYTEC3 award for the brushstrokes of the portrait of training in Europe, Minister Jose come his main connection to the Paris, alleging they were unfinished, de San Martín. Despite the undeni- research on Peruvian painting. He has published the official’s wife, Jesús Beltrán de Canevaro, Peruvian representative essays in journals abroad and has authored and new national government after resulted in immediately suspension able quality of its sculpture project coauthored several books. Elías, which has a simpler format to the governments of Italy and the revolution that had just ousted his grant. No doubt this incident —as evidenced with the models and 1 Ricardo Kusunoki, Natalia Majluf y Luis Eduardo and shows an ease in its execution France, became his main guardian. Wuffarden, con la colaboración de Pablo Cruz. worn-out Caceres regime and had marked a turning point in the re- photographs-, the bid was finally Carlos Baca-Flor. El último académico. Lima: Museo which is a characteristic of the "inti- This is evidenced by Canevaro’s put into office a civilian leader, lationship between the painter and declared a failure due to absence of de Arte de Lima, 2013. mate" pieces he devoted his friends 2 Translator’s Note: The term ‘Minister’ in this text repeated requests to the Caceres Nicolás de Piérola. the Peruvian State, which would any bid proposal. Some say this was refers to the rank right before becoming ambassa- and Limenian characters during the Administration, since September After obtaining a final grant be exacerbated shortly after with due to the animosity aroused by the dor in the Peruvian diplomatic service. 3 Translator’s Note: stands for Consejo Nacional de nearly three years he spent in the 1891, for Baca-Flor to be paid the from the State in 1896, Baca-Flor’s the tragic and unexpected death of rumored winner among the civilian Ciencia y Tecnologia, Peru’s Science and Technolo- Anciano. [Old man] Oil on canvass. 1892. 75 40,5 cm. Lima Art Museum. city. Its proximity to the family of second portion of his grant, given relationship with Peruvian official Minister Canevaro. leadership. This event was decisive gy Agency.
CHASQUI 8 CHASQUI 9 SECOND LIMA PHOTOGR APHY LUIS SOLORIO’S HEIGHTS BIENNIAL Oswaldo Chanove* Establishment of the photographic rendezvous on the capital of Peru organized by the Retrospective exhibition of the painter and engraver from Cusco, whose themes focus on the Centro de la Imagen and the City of Lima. Altiplano1 and its traditions. he advent of digital techno- For this reason, one of the manifestations of photography, logies and the subsequent key objectives of the Lima Photo- we recognize in video the most ubiquity of photography in graphy Biennial is to contribute prominent and ubiquitous form of 1 2 T contemporary life are but the culmi- to the understanding of photo- personal creation today, although, nation of a long process commemo- graphic production in Peru. The paradoxically, in our country this rating 175 years in 2014, if we cou- search for a storyline affording practice has diminished in recent nt from the official announcement unity, continuity, and consistency years. of the invention of the invention to photographic practices in diffe- The Second Lima Photography of daguerreotype, in Paris, back in rent times and places, however, Biennial intends to highlight some August 19, 1839. The huge number stumbles once and again with of the possible histories of photo of pictures that are produced today, the same obstacle: the realization intends to highlight some of the whether by professional such as that there is not one but several, possible histories of photography those engaged in fields of art, the different, and scattered stories that stand out in our own cultural press or advertising, or by anyone about photography in Peru. These horizon at the onset of the 21st holding a mobile device with a are stories arise from the uses and century. Therefore, the curatorial camera, tends to distort, however, roles of photography in different proposal seeks to organize this Detalle de Queñual. [Details of Queñual] the appreciation of photography as moments. These are stories knot- glance into local photographic Xylography. 2005. 50 × 60 cm. a cultural expression. In that sense, ted by photographers in their daily production and some of its para- the Lima Photography Biennial work, marked by constant tension gons in other latitudes, based on seeks to establish a space where we between tradition and innovation. dynamic changes, transitions, and perience in the highlands, and the can stop to glare and ponder about They are stories stemming from expressions. presence of massive shapes that how photography ref lects and dialogue between local visual Excerpt from the article “La fotografía en flujo: represent mountains or geograph- shapes culture. More so in a cou- forms and those, coming from dinámicas contemporáneas” ["Photography Flow: ical features where small faceless ntry like Peru whose rich tradition abroad, responding to changes in Contemporary Dynamics"] by Jorge Villacorta, Andrés Garay, and Carlo Trivelli, published human figures dwell, giving his makes photography a unique way of the global cultural horizon. That in the catalog of the II Lima Photography Bien- work a sense of mystery sometimes nial. http://www.bienalfotolima.com/ 1. Sikuri mayor. [Senior Sikuri] Oil on canvass. 2010. 140 × 150 cm. understanding who we are. is why, along with contemporary 2. El aparecido. [Appreciation] Oil on canvass. 2011. 80 × 100 cm. in the vicinity of apprehension, 3. De cerro a cerro. [From cero to cero] Oil on canvass. 2011. 84 × 100 cm. with a reverent attitude toward the apus2. 3 Could we say Solorio marks the he first thing that catches beginning of a new indigenism free the eye in the work of Luis from ideological commitments Solorio is the neatness and the anecdotal concessions that
T Photo: Roberto Fantozzi and structure of his proposal. He eroded it? Solorio says he prefers depicts farmers in the highlands, not to embroil in such classifica- but his gazes back to a time before tions. His gaze of the indigenous contemporary fanfare. His work universe has no immediate quality lingers in a mythical personal but covers the vast territory of time. This introspective attitude plains and mountains and amidst has tensed his formal work from all of this, as an intrinsic element, evidently figurative to the very is the human being, wearing his boundaries of abstraction. Solor- poncho and ojotas3. Playing the io’s work shows high concern for drum used in ritual feasts. synthesis —a search for the precise combination of lines or shapes at * Poet. His works collected under the title Poetry and Prose [Poesía y prosa] appea- the heart of everything. red in Arequipa in 2013. His years of training on en- Luis Solorio was born in Sichuan, Cus- graving in Europe and Japan have co, in 1955, and lived in Juliaca, Puno, certainly been instrumental in the from an early age. Between 1975 and 1981, he studied at the School of Fine composition of the oils paintings Arts of the Pontifical Catholic Univer- included in this collection. Solor- sity of Peru. Between 1982 and 1984, io’s assertion on his belief that the he specialized in engraving at the Ecole Superieure d'Arts Visuels Geneva, Swit- concept of Japanese art was very zerland. He completed this specializa- different from that of traditional tion in 1984 with the Bigako workshop European art was quite revealing in Tokyo, Japan. In 1989, the artist was awarded first prize in the "XI Internatio- in his formative years. Freed from nal Painting Competition" in Mallorca, the conventions of traditional Spain. Solorio's works have been exhi- beauty, Solorio started making his bited in Switzerland, Germany, Nether- lands, France, and Italy. In Peru, his main pieces of work on a composi- works have been exhibited in various tional latticework of straight lines galleries. The Inca Garcilaso Cultural where curves are only secondary Center of the Ministry of Foreign held a retrospective of his work between vectors -elements to illustrate the March and April 2014. internal motion in a universe 1 Translator’s Note: “Altiplano” term in whose majesty is its infinite per- Spanish meaning ‘a high plateau or sistence. This gravitating immen- plain’ and in Peru referring to the High sity, this overwhelming stillness lands. 2 Translator’s Note: “Apus” term in behind all movement, resulted in Quechua meaning ‘powerful mountain Solorio’s work being tinged with spirits’ or ‘sacred mountains,’ among melancholy and serenity. others. The range of somewhat shy 3 Translator’s Note: “ojotas” term in Pe- colors could remind us of the ex- ruvian Spanish meaning ‘artisanal type of f lip-f lops or sandals.’ Barbara, Providence, Rhode Island, 1981.
CHASQUI 10 CHASQUI 11 Lambayeque. He says that the locals Christmas, Easter, Independence called the sweet treat Ms. Vitoria Day, local celebrations or family CONFESSIONS LAMBAYEQUE CUISINE made king kong because the (large, reunions. The eating and drinking square) mold she used back then is a dichotomy, and like an old ma- OF A CHEF FROM LAMBAYEQUE resembled the gorilla in the King rried couple, does not even end with Kong film, which was playing in death since there are funeral meals," grew up on the top floor of a restaurant THE KINGDOM OF LOCHE theaters at the time. says Valderrama citing Carlos Bach- called Fiesta [Feast] in block 18 of an As for the Chinese inf luence, man about the celebrations in honor avenue in the outskirts of Chiclayo, Valderrama mentions that after of the Cross of Chalpón. I right where the old family restaurant Lima, Chiclayo is the city with the Dishes such as those 'born' in Photo: Caretas María Elena Cornejo* highest number of chifas17. After Easter, are the Easter ham, Easter still stands today, but now turned into a working in the sugarcane and rice empanadas, "sopa de cholo18" for different building. At the time, my parents An illustrated journey into northern Peruvian Cooking plantations, Chinese immigrants en- wedding, "apatadito19" for the birth- worked on the first floor of the house and gaged in trade and food businesses. day boy, and an endless list of recipes we all lived on the second, surrounded by In the beginning, Chinese food was related to the Catholic calendar and the scents of traditional Chiclayan cuisine. his book1 can well be a treatise fruit are used frequently, and corn eaten almost exclusively in family tasks of the field. The ubiquitous on culinary history or a plea- with which a variety of chichas15 are To do justice to my mother, Mrs. Bertha, I homes, but soon the Chinese food chicha gives the right framework to must say that she masters like no one else Tsant and splendid road map. made using disregarded recipes. restaurants became popular and the trilogy: food, music, and poetry, Its author, Mariano Valderrama, has The duck, rice, and goat are multiplied everywhere. well documented by authors like the secrets of what, for us, is the greatest turned to chroniclers, storytellers, featured in many dishes. The book Pedro Delgado Rosado and Jesus cuisine of Peru. prose writers, and scholars and with Photo: Heinz Plenge documents the differences, some- Restaurants Alfonso Tello Marchena, whose The Lambayeque cuisine is a great treasure kept for centuries by the cooks and the same dedication has consulted times subtle, sometimes obvious, The author follows the path of the poems and 10-line Spanish poems chefs of my land. It just a matter of exploring the humble picanterías31 in Puerto chefs, cooks, and market workers in in the preparation by area and by dishes to verify their mutations dedicated to typical food and be- Eten, Monsefú, Santa Rosa, Pimentel, Ferreñafe, Túcume, Pacora, Jallanca, Illi- order to systematically portray the family. "The seco de cabrito was not over time, but also to warn people verages are glossed in this book, as mo, Mórrope, or Lambayeque, to discover a different world where the flavors are a history, customs, and changes in green but scarlet red because it was about how festive-culinary habits well as lyrics from Peruvian dances the Lambayeque cuisine through the not possible to liquefy coriander but ticket that opens the gates of paradise. are dwindling. Behind every pre- (marineras, tonderos, waltzes, and My land is the land of rice with duck, grated butternut squash (‘loche’) stew years. only crush it by hand” says Don paration there is a story, a family, a polkas) whose source of inspiration Anecdotes, glosses, and poems Eugenio Ibáñez; “duck with rice was face that the author portrays affec- is cooking. A book, heavy on stories made with kid and that, served with our rice, give our cuisine its unique character abound in rogues and fun details, yellowish because it was made with tionately noting that the tradition and photographs, thought for each stemming from great products such as the lobster of Puerto Eten and the duck from while the guardians of the northern saffron and served with salted fish is there, that the source is in those, page to be savored by readers. Batangrande, or as humble as the life. They create such an exquisite heritage that culinary tradition (elderly fishermen, and blackberry" recalls Mrs. Rosa usually anonymous, hands to which neither the great nor the humble defy. venerable matrons, curious parishio- Mavila. young chefs must revisit constantly * Cultural and culinary researcher and journalist ners) opening up their memories to In his appetizing pilgrimage, the to keep the essence of taste alive. 1 Valderrama, Mariano; Plenge, Heinz. El reino Hector Solis Cruz. Lambayeque. La cocina de un gran señor [Lambayeque. The cuisine of a great lord]. share countless secrets that are often author also includes old cooking del loche: los singulares sabores de la comida Lima, USMP, 2011, p. 10. http://www.usmp.edu.pe/fondo_editorial/ The author must have eaten lambayecana, [The Kingdom of Butternut 31 Translator’s Note: “Picanterias” means a traditional restaurants. handed down from generation to techniques and methods. He points, several hundred dishes in many hun- Squash: the unique tastes of the Lambayeque the next, and eventually run the risk for example, to the duck cooked in food] Lima: Universidad de San Martin de Po- dreds of eateries seeking for the local rres, 2013. of getting lost in a silent night. clay in Ferreñafe by William Man- specialty and authenticity of chef. In 2 Translator’s Note: huariques Peruvian term 7 Translator’s Note: “migadito” a typical dish 14 Translator’s Note: “tumbo” an orange, banana With the curiosity of a globetrot- silla. "It is better to use one and a his journey, he specifically stopped meaning ‘hiding place,’ commonly used to refer from Lambayeque made of beef, frijol, spices shaped fruit with fruit-like cluster of black seeds ters and the appetite of a castaway, half kilos of female creole duck to family-run eateries offering delicious home- and pulp inside. From the passion fruit family. at Fiesta Gourmet [Gourmet Festival], made food. 8 Translator’s Note: “boda” a typical dish from Mariano Valderrama and photo- rather than a male duck, because the famous restaurant of the Solis fa- Lambayeque made of Monsefu-style ground rice 15 Translator’s Note: “chicha” a fermented or non- 3 Translator’s Note: “frito” in Lambayeque means with creole hen and spices fermented beverage usually derived from maize. grapher Heinz Plengue toured the female ducks are more tender meat. mily which became the "f lagship" of any fried meat (chicken, pork, beef, fish, guinea north of the country, specifically It is macerated a day in advance in pig, etc) 9 Translator’s Note: “seco de cabrito” means kid 16 Translator’s Note: “mamey” a fruit, having ye- the Lambayeque food. It opened in with rice and beans llow pulp and a red skin from the Clusiaceae the Lambayeque region, including a brew of garlic, cumin, and chicha. Chiclayo 30 years ago, and today has 4 Translator’s Note: “causa” a typical dish from its cove beaches, districts, villages, To cook, they place two rows of Lambayeque made of potatoes, fish, onions, 10 Translator’s Note: “sancochado” a typical stew family subsidiaries in Trujillo, Lima, and Peruvian chilies –different from the “causa” of from Lambayeque prepared with meats, potato, 17 Translator’s Note: “chifa” term used in Peru to and towns in the highlands. They three-story brick each and put carob other parts of Peru. yucca and other ingredients refer to restaurants where a mix of Peruvian and 2 Tacna, and coming soon to Cusco. ate in huariques , in retreats, in wood in the middle and then they 5 Translator’s Note: “espesado” a typical dish 11 Translator’s Note: “aguadito” a sort of duck Chinese foods are served. restaurants, they wandered around light it. The bird is stuffed with from Lambayeque made of beef meat, leek, ca- stew typical from Lambayeque 18 Translator’s Note: “sopa de cholo” a typical Partying rrot, tomatoes, celery, yucca, butternut squash, 12 Translator’s Note: “humita” a sort of corn pie soup from Lambayeque made of beef, yucca, the unique Moshoqueque market butternut squash and cilantro and "Over the centuries, the best food yellow Peruvian chilies, caigua, corn wrapped in banana leaves for cooking mint leaves, onion, chilies, spices following the trail of the ingredients wrapped in banana leaves. Then it of Peru has not been served in 6 Translator’s Note: “manías” a typical dish from 13 Translator’s Note: “lúcuma” is a pulpy Andean fruit 19 Translator’s Note: “apatadito” a typical duck and they researched about the is covered with a layer of clay mud restaurants but in feasts, whether Lambayeque from the Sapotaceae family and unique to Peru. stew from Lambayeque cooking habits that are part of the interspersed with straw, resulting in identity of the northern villager. a cobblestone, which, still damp, is They went to Monsefú, Callanca, placed over such bonfire, one hour and Reque; walked around Chiclayo tural land where they planted maize, that the white-feathered turkey was per side. After two hours of cooking, and Ferreñafe; roamed in Villa Eten yucca (cassava), beans, tomatoes, extinct, but it reappeared in 1977in the mud is removed, the mixture is with its straw hats stalls, and conti- squash, pumpkins, and chilies, and the San Isidro ravine in Olmos. Cur- set aside to cool and crack. The bird RECIPES nued to Pomalca and Pampa Gran- fruits such as cherimoya, lucuma13, rently, it is a protected species, but has a unique f lavor much better pacay, passion fruit, and tumbo14. de; until they got to Zaña, Olmos, was once an important part of the re- than that of a pressure cooker.” 1 and Illimo. In all these places, they According to the founding legend gular diet. What it is consumed, and CHICLAYO-STYLE DUCK WITH RICE CAUSA CHICLAYANA found a dish to try, a story to tell, a of Llampayec (now Lambayeque) in great quantity, is the duck, a bird Influences INGREDIENTS INGREDIENTS face to remember. compiled by Fray Miguel Cabello de which uninformed persons thought The Spanish, African, and Chinese 1 kilo creole duck, 1 cup oil, 1 red onion, diced small, 2 tablespoons minced garlic, 800 grams of salt-cured fish, 2 green plantains or green bananas, ½ cup of white sugar, The Lambayeque kitchen is quite Balboa in 1532, Naylamp God came had been brought by the Spaniards immigrations eventually delineated 100 grams grated butternut squash (‘loche’), 2 liters of water, 3 cups of rice, 200 grams ½ kilo red onion, ½ cup vinegar, 2 yellow chilies cut in julienne strips, 2 tablespoons spacious and roomy, with a pantry by sea to San José cove to found the in their caravels but which archeo- a cuisine that derived from both 2 th creole green peas, 1 batch of ground cilantro or parsley (approximately 200 grams), 2 of achiote , 1 kilo of baked white potato, salt and black pepper to taste, ½ kilo of boiled that is only now revealing itself to kingdom of Sicán in the 19 century logy retorts through the Mochica immigrants and settlers who came tablespoons salt, ½ cup chicha de jora, 1 browned red pepper. yucca (cassava) root, ½ kilo of boiled sweet potato, 2 baked corn, 1 cup of vegetable oil, the world. The old Chiclayanos had AD. C. Among his entourage was pottery decorated with images of from the coast, the Andes, and the 1 teaspoon of grinded garlic, 8 black olives, oregano to taste, 4 boiled eggs, 1 lettuce. meals for each day of the week, a Ochócalo, the royal chef, and Ñina- sturdy ducks. Such artifacts are now Amazon. In the 16th century, the PREPAR ATION custom that still prevails in some ginture, the barman responsible for on display at the Museum of the first black slaves came from Africa Chop duck into four pieces and season with salt. In a 5-liter iron cast pan (made in PREPAR ATION rural areas. Valderrama collected providing the lord his beverages. We Royal Tombs of Sipan. to work the sugarcane plantations Chiclayo), heat oil and brown the onion with garlic and butternut squash. Cook for a Salt-cure fish. Peal bananas, cut into one inch slices and cook over low heat with a little dozens of testimonials on culinary could say it was a hedonistic civiliza- The “loche” (butternut squash), of the north. Their imprint remains few minutes before adding the duck, reduce heat, and brown for 10 minutes. Pour water water for ten minutes. When tender add sugar, cook for five minutes and set aside. habits: Sunday is a day to eat “frito3” tion concerned about good food and an emblematic product of the nor- in Zaña, where the author stops out and cook over medium heat for 30 to 45 minutes. When the duck is tender, strain and Clean and cut the onions into thick strips, pickling salt and pepper and leave with half and “causa4”; Monday is the day good drinking. thern cuisine which gives its name of curiosity to tell about a broad set aside. Measure three cups of duck broth. Add rice, peas, and cilantro or parsley. Use a cup of vinegar for half an hour. Press the warm potatoes and season with salt and for “espesado5”, “manias6,” and Since then, the Moche develo- to the book, is a unique product confectionery tradition, featured a wooden spoon to stir, check salt and cook at low heat for 25 minutes. A few minutes pepper. Cut into thick slices of yucca root, sweet potatoes, and corn. Set aside. Heat the “migadito7”; Tuesday is for “boda8” ped a privileged relationship with closely associated with Muchik (from by preserved sour orange, candied before rice is cooked, add duck pieces and chicha de jora. Wait a few minutes for f lavors vegetable oil and brown the garlic, add the achiote, pickled onions, yellow peppers, and and “seco de cabrito9”; Wednesday a generous sea offering a variety of the Mochica civilization) identity. Its dates, Compacted candied quince to blend. Decorate with red pepper cut in strips and with diced butternut squash by olives pressing lightly to release their juice. Season with oregano and rectify the f lavor. is for rice with duck; Thursday is for fish and seafood, one of the pillars cultivation, storage, and propagation fruit, crispy coconut candies, sweet vapor cooking. Serve on a plate, put a serving of potato, fish, and cover with onions. Add garnish and “sancochado10”; Friday is for “agua- of the northern cuisine to this very are surrounded by closely guarded potatoes with sugar, and sweetened decorate with eggs and lettuce. dito11”, rice with beans, and “humi- day. The landscape of the coast of secrets, altered, exaggerated, and cakes. Juana Zunini remembers tas12”; Saturday is for rice with pork. Lambayeque includes caballitos de dosed by the ‘loche —butternut long-forgotten customs. "The most totora or reed horses that artisanal squash— families’. 'Loche' (buttern- common were preserved caigua, Products fishermen still use for their tasks ut squash) means 'tears of the moon' green mango, figs, mamey16, plums, CEBICHE OF “CHINGUIRITO” Certainly such a varied cuisine has at sea. "Mochica Pictography shows and, according to one of the secrets quince, and green papaya jelly. At to be based on a privileged pantry. far-reaching reed horses made of confided to the author, to ensure the entrance of every house there INGREDIENTS The author asserts that the Moche- pressed reeds which could measure the abundance of the harvest, the always was a table with canned fruit Photo: Heinz Plenge ½ kilo of dry and dehydrated ‘guitarra’, 8 large lemons, 1 head red onion cut into julien- Lambayeque civilization was one up to four meters long. They have ‘loche’ spouses should make love in ready to eat" she recalls. ne, 2 chopped chillies, ½ kilo of zarandaja (a type of bean), ½ kilo of sweet potatoes, 1 of the great hydraulic civilizations a raised bow and are operated by the field in the light of a full moon. A parenthesis to discuss king head of lettuce, salt. that developed a complex system a paddle type oar made with cane Certainly this search for products kong, sweet f lagship of Lambayeque of networks using hot groundwater from Guayaquil” according to the transcends the realm of loche (but- colonial heritage "savored by mar- PREPAR ATION to connect the valleys of La Leche, author. ternut squash), to give way to herbs, quises, counts, and military." The Clean the ‘guitarra’ and wash with plenty of water, let drain, and place in a bowl with Lambayeque, Reque, Zana, and Besides the products of the sea, chilies, and small fish growing in author refers to Victoria Garcia lemon juice, onions, and peppers. Stir the ingredients and marinate for a few minutes. Jequetepeque. With such sophistica- the people of Lambayeque raised paddy fields (many of which are now Mejia as a pioneer in the sale and Serve by placing on the bottom of the dish a lettuce leaf and on top of it the ceviche of ted engineering, they were capable of poultry such as ducks and white- extinct or endangered); unsuspected marketing of sweets and king kongs chinguirito accompanied by zarandaja (beans) and sweet potato. taking up to the highlands the Pacific feathered turkeys, species typical of varieties of fruit, seafood, fish, and at her home on San Roque Street, Ocean waters. Agriculture f louris- the dry forests of the north coast of barn poultry, some of Hispanic ori- as part of the charitable activities of hed to the point that it accounted which no known subspecies exist. gin. Valderrama also mentions the Sisterhood of La Dolorosa, a group 1 Translator’s Note: sometimes translated as “Seasoned mashed potatoes with fish and vegetables”. for 30 percent of the coastal agricul- For a hundred years, it was thought carob tree, whose wood, leaves, and for Easter consisting of women from 2 Translator’s Note: “achiote” refers to a colored dye produced from the seeds of the achiote plant.
CHASQUI 12 CHASQUI 13 ARGUEDAS, THE ANTHROPOLOGIST SOUNDS OF PERU PerúJazz Sasha Ferreira 25 ANNIVERSARY WITH THE SOUND OF A (Play Music and Video, 2013, VIOLIN Carmen María Pinilla* www.playmusicvideo.com.pe) (Independiente, 2004, www.sashaferreira.com) Although recorded during a live After the publication in 1983 of the complete literary work of José María Arguedas (Andahuaylas, 1911 - Lima, 1969), concert at the Theater of the Peruvi- Taking a portion of the text of the an-Japanese Cultural Center on Sep- first section as a title of this pro- his entire anthropological work was finally collected in five volumes. tember 12, 2009, this double album duction, this album includes ten collects the pieces commemorating Peruvian themes in arrangements for the 25th anniversary of PeruJazz, first violin, guitar, bass, and Peruvian ca- Peruvian jazz group, was presented jón, plus a video of the very first track. 1 in September 2013, during activities Accompanied by Ernesto Hermoza, ortunately, this publication to depict in an excellent manner commemorating its 29th anniversary. Ricardo Otárola, and Gigio Parodi, was made possible thanks to —due to his sharpness, accuracy Such activities included an exhibi- Sasha Ferreira, a young Ukrainian the efforts of the José María and at the same time, the simplic- tion of historic materials. With the violinist living in Peru since 2007, F true celebration of sound, a record Arguedas National Centennial ity of his approaches— the major guest appearances of renowned bass- plays on her instrument melodies of planes and textures, as well as greater ists Abraham Laboriel, Jean Pierre of the joy, excitement, and catharsis selected songs, plus some slight vari- use of bass. The repertoire includes Commission, which, since be- structural problems of Peruvian experienced by their authors, which ginning its work, highlighted the society, such as domination and Magnet, Manongo Mujica, and Luis ations thereof. Ferreira’s upbringing prominent songs by Chabuca Gran- Solar, they give us eight tracks full is conveyed to listeners through the and family ties with Cuba are evident 1 need to pay off the huge debt inequality, racism and discrimina- da . The album also includes a song of energy and vibrant connection interpretive power that has char- in the ease with which she interprets by Sasha. Undoubtedly this pro- that the country had with one tion. Moreover such significance accompanied by Andrés Prado, Álex acterized PeruJazz throughout its popular music with a pronounced duction contributes to the possible of its greatest writers: publishing lies in presentation, directly or in- Acuña, Miguel Molina, Fredy Cas- long career. Mixed and mastered in lyricism, inherent to a violin. Her sounds that can be used to project in a single collection the various directly, of alternative solutions to tilla, Edgar Huaman, and Horace Barcelona, this production goes back choosing such arrangements to the Peruvian music to different areas writings of Arguedas’ work as such problems. Through the aca- Camargo. The textures are very to the plain and simple language of always deliver the same rhythmic, and is a private effort made with care an anthropologist. We say that demic language of the anthropol- clear and straightforward, the mu- music, dressed in baroque virtuosi- melodic or harmonic functions to the and neatness. (Abraham Padilla). sical ideas intertwine pre-designed ty, very well capitalized by excellent same instruments strengthens the it is the anthropological work ogist himself, Arguedas analyzes strings with improvisations that f low performances and obviously tailored sense of unity of the album; though 1 Translator’s Note: a 20th century Peruvian of Arguedas because the texts and denounces the social reality, naturally. We face the testimony of a sound. some might miss more variety of singer and composer. collected in these seven volumes emphasizing on discrimination include ethnological surveys, and domination, both of which anthropological researches, es- are considered causal factors of says on education, bilingualism, social dynamics. repeated signs of contempt or dis- quite rightly, Fermín del Pino still in the people of the Andean, folklore, folk art; collections of The peculiarity of the Ar- crimination against such culture argues that Arguedas´ anthro- at mere sense of confidence, lucid- folk literature, interpretation of José María Arguedas and scissors dancers at an education conference in Huampaní, in the guedas’ anthropological work is became Arguedas´ raison d´être pological calling, as a curious ity, and awareness of the value of such stories, newspaper articles 1960s. that, despite knowing the rules for his project: "I then promised observer and collector of culture, its tradition." on various topics from literary of scientific methodology well, he to share the world I had lived in. predates his literary vein. He even For all these reasons, the work thus fulfilling one of its main to move and convince readers of criticism and sociological analysis never left out emotions —in both I pledged to depict a true picture affirms that such grip facilitated of Arguedas is essential reading tasks. It must be noted that the the value of this civilization; and, 3 to insightful commentary on the the acquisition and transmission of that world. Doing so I would his task as a creator of fictions . for Peruvians and those interest- only works pending publication in the third one, the strong belief cultural, social, and political life of knowledge- from the academic perhaps convince others of how In the dissertation paper ed in becoming familiar with the a single collection are the letters in the importance of the Andean of Peru; and reports and testimo- world. For this reason, he cannot the Quechua peasant was a prom- Arguedas presented to earn his spirit of Peru. written by Arguedas —so far, they civilization for the future of the nies. All of this, as we know, can refrain from including emotions ise for this country and to what degree as an anthropologist, have been published in books, country. * Officer in charge of José María Argue- be encompassed in the general and literary elements in his an- extent how atrocious and sense- he reveals the extent to which magazines, and newspapers; there Martin Lienhard, Swiss, das’s Collection at the Central Library field of culture, the subject of thropological papers. Arguedas less was such social contempt and the issue of discrimination and are still a few unpublished ones. earnest researcher of Peru, noted of the Pontifical Catholic University study of anthropology, and, as the conveys basic knowledge and constraints imposed upon him. " domination is at the heart of his of Peru (PUCP) and author of several We consider correspondence pro- scholar of the work of Arguedas, reader may appreciate, major con- emotions to readers. We believe And a vicious circle begins concerns. His goal was to study publications about this writer. Also, vides important elements to fully and author of the second pro- cern of Arguedas’s thoughts. For that this feature stemmed from as Arguedas´ emotional bonds the communities along the Man- a member of the José María Arguedas understand both the author and logue included in this collection, this reason, in addition to being a his need to combat the problems with the Andean world have a taro Valley and to try to prove the National Centennial Commission his work. finds that the common denomi- (2010-2013). writer, he was an active supporter he perceived, while studying gravitating inf luence in his life- hypothesis that in communities nator of the anthropological work of culture. them. Hence, the writer´s proj- long interest in getting to know it such as those of the central high- 1 Arguedas, José María, José María Argue- Arguedas’ Anthropological of our writer is the problem of das. Obra antropológica, Lima: Editorial These writings were scattered ect, envision in his youth and en- better, the need to keep a record lands —which are far from the Work modernization and believes his Horizonte-Comisión Centenario del in countless publications inacces- couraged by Mariátegui´s ideas, of such civilization, and separate exploitation and discrimination Rodrigo Montoya, a prominent interpretations offer the lushest 4 Natalicio de José María Arguedas, sible to the public. Hence we have would not be limited to literature, factors that defined the course of publications of its cultural events. typical of the Gamonal regime anthropologist, a student of and most suggestive image of the 2013. to acknowledge the persistent as we shall see. his project: his early bond with For this reason, we believe that of the southern highlands, the Arguedas, and the author of one complexity of Peruvian socio-cul- 2 Del Pino, Fermín, «Arguedas como es- work of Ms. Sybila Arredondo, The epistemological value of the Andean civilization and the Arguedas´ increasing insights endogenous processes of mod- of the prologues in this collec- tural structure. critor y antropólogo», in: Pinilla, Car- Arguedas’ second wife, to locate, Arguedas´ direct experience is discrimination against it. He de- to Peruvian society nourishes ernization is possible where the men María (editor), Arguedas y el Perú tion, summarizes into three key We agree with the aspect high- transcribe, contextualize, and unquestionably, so much so that picted such assertions with very his need to express and change force of development centers do de hoy, Lima: SUR, 2005, p. 378. purposes the anthropological lighted by the two scholars men- write notes of this enormous a Spanish anthropologist, Fermín illustrative examples highlighting it. As a result, when he was 35, not eradicate traditional concepts, 3 Del Pino, Fermín, «Arguedas como es- writings of his mentor. The first tioned above in their prologues amount of writing, and with del Pino, a researcher of Argue- the difference between his likes he looked for new tools in an- where special traits are not lost, critor y antropólogo», ob. cit., p. 378. one is the study, defense, and dis- and believe that the reality and sound judgment, present them in das, argues that such experience and preferences compared to thropological science in order but rather turned into something 4 Translator’s Note: “Gamonal regime” semination of the Andean civili- greatness of Arguedas’ anthropo- chronological order; counting in is actually an "axiomatic item of those of his father and others in to express his claims. Science new and original, where the signs a termed coined in Peru to refer to a zation; the second one, the desire logical work also lies in his ability this task with the support of the his identity"2. This, coupled with their immediate environment; offered unbeatable support to the of the original surface. Here there land ownership system that emerged Editorial Horizonte. We would the importance attached to mem- these encounters constituted an statements of an individual who are no signs of what Arguedas in Andes during the second half of the element that will determine his 19th century and until the implemen- also like to salute the institutions ory, recollections, and his desire wanted to spread the images he considered one of the features tation of agrarian reform in the 70s. that supported this publication to practice what he called "judging future. He added that "certain had of a social world that he seeks of modernization in contexts of for grounding their commitment «The validity and greatness of lucidly", helped greatly in captur- things [of the Andean civilization] to change. domination and servitude, where on the value placed on its content ing the complex social processes which they despised and consid- All this explains why Argue- the clash with the Western civili- CHASQUI and the urge to spread such work, the anthropological work of typical of Peruvian society, where ered awful (the way they dressed, das played to be an anthropolo- zation results in the "loss of spirit" Cultural Bulletin convinced that such experience the discrimination against things some meals, some dances and gist, acting out as such way before of traditional civilizations, i.e. its MINISTRY OF FOREIGN AFFAIRS would enhance readers’ fondness Arguedas also lies in its ability from the Central Andes was piv- songs, and many beliefs) were for formally studying this profession. constituent features. Directorate General of Cultural Affairs of Arguedas: the Public School otal. Thus, we reiterate, the fact me the most beloved and coveted This is demonstrated in his texts This thesis, still present, is Jr. Ucayali 337, Lima 1, Perú Teachers Union (Derrama Mag- to present the structural that special characteristics of Ar- and beautiful." such as Canto Quechua [Quechua now defended by those who bet Telephone: (511) 204-2638 isterial), Instituto de Estudios guedas´ biographical experiences We believe that his becoming Song] (1938) or a number of arti- on multiculturalism; a goal inevi- E-mail: [email protected] Peruanos (Institute of Peruvian problems of Peruvian society and strong feelings attached to aware that his tastes gradually cles he published in the late 30's tably coupled with egalitarianism. Web: www.rree.gob.pe/politicaexterior Studies), the National Bank Cul- them supported such achieve- differed from those of his father and early 40 in La Prensa in Bue- Finally, let’s recall what Argue- The views expressed in the articles are those of tural Center, and the Culture ments. was critical in his questioning nos Aires, before his admission to das considered his most import- the authors. Department of Cusco. Half the in a perfectly accomplished Arguedas´ vision of the writer how irrational the stereotypes in- the Department of Anthropology ant contribution to the Peru: This bulletin is distributed free of charge by the print run of this edition —one he wanted to become from a very ternalized by the dominant world at the University of San Marcos. "... arouse curiosity or interest diplomatic missions of Peru abroad. thousand collections- have been way–through the sharpness, early age included some overall —the world of mistis —the world of In these texts, following the rules in the Andean world, then incite Translated by: delivered free of charge by the goals which indistinctly harness his father, trial judge Víctor Man- of academic discourse, he high- a more intense approach to it; Business Communications Consulting José María Arguedas National accuracy, and, at the same time, his literary and anthropological uel Arellano Arguedas- were. This lighted the rich folklore and folk while, at the same time, and with Printing: Centennial Commission to the production. In 1966, three years tug-of-war between genuine admi- art of the peoples in the southern the pieces of work and attitudes, Gráfica Esbelia Quijano S. R. L. top public schools nationwide, simplicity of its approaches». before his death, he described the ration for Andean culture and the highlands at the time. Therefore, I believe I have contributed to in-
CHASQUI 14 CHASQUI 15 TR ADITION AND COHESION Q’ESWACHAKA HANGING BRIDGE Miguel Hernández* Every year the Quehue community in Cusco renews the Q'eswachaka hanging bridge, which is part of the old Qhapaq Ñan, the Inca Trail. The bridge ref lects the wisdom to overcome a rugged terrain and is a symbol of cultural identity and social cohesion, which was inscribed in 2013 on the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO. Photo: Paz Carlos Sánchez
'eswachaka is a hanging bridge On the Thursday before the tion between the two sides and is used within and among Quehue communi- located in the district of second Sunday in June, the heads of to carry over the large ropes made the ties. At least one thousand people are QQuehue, province of Canas in family of the Chaupibanda, previous day as well as other necessary involved, either in making the strings, Cuzco and spanning the Apurimac Choccayhua, Ccollana Quehue, and supplies. When communication is ropes, collecting q'oya, preparing food river. It stands out for being completely Huinchiri communities, after established, the old bridge is cut off or just dancing in the festival held a renewed every year thanks to the work receiving permission from the apus and falls into the river. Throughout day after renewal is completed. It is an of four rural communities tradition- and Pachamama, they begin to make the day, several villagers fasten firmly example of the complex cultural ally linked to the bridge. This bridge the large ropes to hold the bridge. the duros and makis on the stone universe of the people of Peru, where is part of Qhapaq Ñan and is the only They had handmade in advance small foundations that date back to the Incas. the ritual combined with engineering hanging bridge whose natural fiber ropes called q'eswa 60 or 70 meters This is hard work, but full of bliss. and joy intertwines with solidarity processing techniques have been long, made from a particular type of With the basic structure already in work. Annually, the characters associ- passed down from generation to hay called q'oya. The manufacturing place, the community members who ated with this expression revive their generation without interruption. process of large ropes takes a whole have participated in this work go home commitment to their ancestors and The renewal takes place the day. At first, the q'eswas are separated to rest until the next day; other villagers their own history, enriching our diver- second week of June for three days into groups, stretched and then engage in creating a carpet for the f loor sity as a country and filling us with and, in addition to highlighting the twisted, forming a thick rope that is of the bridge with branches, leaves, pride as Peruvians. knowledge and engineering practices stretched as much as possible by and ropes. However, it is premature to say of Inca origin, such practice involves a villagers pulling from each end. In a On Saturday, Victoriano Arizapana that the renewal of Q'eswachaka is a set of rituals and traditional customs second stage, three medium-thick and Eleuterio Callo assist the offici- vehicle for local development. To inherent to the Andean world. Like ropes are braided creating a thick ating priest in the ritual of requesting achieve this, we need to continue any other significant work, renewal of rope known as duro. Four duros are permission from the apus and implementing the protection policies the hanging bridge only begins after required for the bridge deck; hence all Pachamama. Their job is perhaps one already undertaken by the Ministry of the villagers have sought permission communities must share the work. of the most difficult and risky of all Culture and to link them to higher from the Pachamama and local apus. They also make two large ropes that those in the renewal process. Known management and training plans. In For these villagers such sacred icons serve as handrails or banisters called as chakaruwaq or bridge builders, they addition to paying tribute to the main are considered living beings with makis. Villagers work in a nice and focus on completing the Q'eswachaka characters, the plans for dissemination which human being establish recip- easy environment, including contests by weaving the ropes on the unions and promotion and ethnographic rocal relationships and are both of strength, jokes, and cries of encour- and railings. Victoriano says he research, we can promote, for example, respected and feared by Man, since agement. The joy of working together learned this trade from his father, tourism projects which respectful of they are responsible for the prosperity is an essential characteristic of the who used to weave the bridge alone tradition can be implemented by the of the community. The bridge itself is process and can be seen throughout for a whole day. He also says that the communities themselves. considered sacred and they call upon the day. Once ropes are ready, the knowledge of this trade can only be The growing visibility of this remark- its spirit to protection them. duros and makis are taken to the edge transmitted within the family. able cultural expression, following its At present, only one person is of the bridge and left there until the Towards the end of the afternoon, declaration as Cultural Heritage of the authorized to perform the rituals next day. both constructors meet in the middle Nation and its inscription on the Repre- associated with the renewal of Q'eswa- From dawn Friday, priest Cayetano of the bridge and in the middle of sentative List of the Intangible Heritage chaka, Mr. Cayetano Ccanahuire lays the table with the offerings and applauses and cheers finish their of UNESCO, is a unique setting to show Puma. The offerings made by this continues his work. The bridge made refined task. After placing the carpet that intangible heritage is a valuable paqo or Andean priest have high the previous year is still available and of branches, the Q'eswachaka is ready resource to promote the well-being of the symbolic contents and are gradually can be crossed, so a brave villager is to be crossed. population. burned, for it is through smoke that responsible for carrying a long string Every year, the renovation of this * Anthropologist and researcher with the the Earth and the mountains receive from one side to the other. This long sacred bridge is an opportunity to Intangible Heritage Directorate of the Min- and devour them. string serves as a means of communica- reinforce and recreate the bonds istry of Culture.
CHASQUI 16