The Traveler´s Guide to FESTIVITIES, MUSIC AND FOLKThe Traveler´s ART IN Guide PERU to FESTIVITIES, MUSIC AND FOLK ART IN PERU

CONTENTS CONTENTS

THE POWER OF DIVERSITY FESTIVITIES IN PERU

Festivities Calendar JANUARY Entrega de Varas (scepter of power) Chiaraje (war game) Marinera Dance Festival FEBRUARY Virgen de la Candelaria Tinca de Vacas (cattle-branding) FEBRUARY AND/OR MARCH Carnivals MARCH Lunahuaná Adventure-Sports Festival Wine Festival Cruces de Porcón March and/or April Easter Week Lord of the Earthquakes APRIL Peruvian Paso Horse Festival MAY Virgen de Chapi Señor de Muruhuay Festival of the Crosses Qoyllur Rit’i JUNE Inti Raymi San Juan San Pedro & San Pablo Corpus Christi JULY Virgen del Carmen de Paucartambo Independence Day Yawar Fiesta AUGUST Santa Rosa de Lima SEPTEMBER Virgen de Cocharcas International Spring Festival OCTOBER Virgen del Rosario Señor Cautivo de Ayabaca (The Captive Christ of Ayabaca) Señor de los Milagros (Lord of Miracles) Señor de Luren NOVEMBER All Saints Day & Day of the Dead DECEMBER Andean Christmas

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Santuranticuy fair Virgen del Carmen de Chincha Coca leaf and Offerings to the Earth Goddess

DANCES AND INSTRUMENTS

The Marinera and the Cajón The Huayno and the Quena The Huaylarsh and the Harp The Festejo and the Quijada Carnival and the Mandolin The Santiago and the Tinya The Creole Waltz and the Guitar The Sikuri and the Zampoña The Harawi and the Charango Danzantes de Tijeras (Scissors Dancers) Chicha or Peruvian Cumbia Whistling Gourds

ARTS & CRAFTS & FOLK ART

Fleeting Art Fireworks Carpets of Flower Petals T’anta Wawas Candles and Giant Wax Candles Funeral Art Pottery Ayacucho Pottery Puno Pottery Cuzco Pottery Shipibo Pottery Baskets and Straw Articles Images Masks Retablos Huamanga Stone Carvings Wooden Carvings Carved Gourds Jewelry Silversmithy Gold Filigree Semi-precious Stones Leather Goods Sarhua Boards Textiles Hessian Weave Embroidery Cotton Thread Inlays Tapestries Needlepoint Decorative Utensils

Artisanry Fairs, Crafts Centers and Museums

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The Power of Diversity

The spirit of Peruvian Man, sculpted by art and reveals an essential commitment to fertility, religion, has given rise to a creative vein which abundance and life itself. crops up in an endless variety of shapes, rhythms Tand rituals. Year after year, more than 3.000 folk FESTIVITIES IN PERU festivals, 1.500 musical styles and countless arts and crafts confirm that Peru is home to one of Peru holds around 3.000 folk festivals every year. the most varied folk legacies on Earth. This guide takes a look at a selection of 34 festivals chosen for their tourist popularity, With this outpouring of artistic expression, geographic reach, cultural importance and Peruvians feed on their deep-lying roots to project unique character. a timeless alliance with nature and through rhythms and colors, strengthen their Most of them are dedicated to a patron saint, fall- commitment to life and extend to visitors the ing within the Christian calendar imposed dur- hospitality and reciprocity that are so typical of ing the Vice-regency, after having been carefully Peruvian culture. The many festivals, even those adapted to the magical and religious beliefs of a of a religious nature, reveal the joyous nature of particular region. Peruvians, both men and women, their inclination to be sociable and share their hopes. Apart from these religious festivals, Peru hosts other celebrations that are exclusively pagan, Although they were not always separated from such as those linked to time-honored myths in day-to-day life and work, these festivals are jungle native communities and the countless rooted at the present, marked by an overflowing festivals created over the past few centuries or sensuality, the overwhelming outpouring of reli- decades. More over, on the same day of the gious faith, and the need to interpret in a cre- celebration, migrants from 4.000 regional clubs ative way the temporary reversal of order that hold urban versions of the same festivals that breathes new life into the cohesion of Peruvian they celebrate in their home towns. communities. Today, the festivals echo to the strains of wind and percussion instruments, some A traditional Peruvian festival is, by nature, a of which date from pre-Inca times and some space where all things both sacred and profane which have been created more recently. There come together in a single manifestation of pride, are also dances ranging from the traditional – vitality and sheer joy. like the marinera and the huayno– to more mod- ern rhythms –such as creole waltz and chicha. The Christian rite that is manifestly visible – above all in the highlands– is superimposed on This capacity for musical fusion is the most the pre-Hispanic tradition of taki (singing and striking affirmation of a culture that does not dancing in the Quechua language) dedicated to admit excluding purisms, one which forges a pagan gods that are reborn every year in the guise common identity out of a multi-cultural reality of Occidental saints. filled with differences. The celebrations go hand-in-hand with a busy In Peru these differences, and the living history program of activities that include Mass, in which all of them converge, open up a processions, pilgrimages, dancing, banquets, arts multitude of creative possibilities that take shape and crafts shows and agricultural fairs, folk dan- in the form of objects made for daily use or ces and other shows that blend sensuality and destined for sacred rituals. Artisans threw all spirituality, the circular order and temporary their expressive force into an ample repertoire chaos as well as the past and the future. of pottery, textiles, images, carvings, jewelry and all sorts of arts and crafts that are typical of Peru, Peru’s festivals form a richly colored tapestry such as the Sarhua boards or the San Marcos aimed at reinventing history and producing a retablos. Like most Peruvian folk art, their work celebratory synthesis of Man and Mother Earth.

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FESTIVITIES CALENDAR kerchief in their right hand, while keeping the beat during what is fairly complex choreography. JANUARY Dance steps, characteristic of the marinera in- 1 clude the coqueteo (with the couple dancing very Cuzco closely together) and the skillful cepillado foot- Entrega de Varas work (literally “brushing”). The daring marinera, The power of a scepter danced in the department of La Libertad, fea- tures the man wearing a wide-brimmed hat and At the start of every year, the elders of each com- poncho and the lady dressed in an intricate munity in the area (the yayas) come together to Moche lace dress. From January 20-30, the Gran designate the candidates who are to become the Chimú stadium in the city of Trujillo holds the highest authorities of their villages: the Varayocs. country’s most important marinera festival. This In a festival that features gallons of chicha (maize competition, that draws couples from all over the beer) and llonque (sugarcane alcohol), the mayor country, is organized by the Club Libertad. Dur- or Varayoc receives the scepter or vara that sym- ing the festival, the city also hosts processions bolizes his power. This pre-Hispanic custom has involving floats, and the whole town takes on a been glossed over with Occidental formalities. The festive air. The people of Trujillo gather at the varas are crafted from local wood varieties such main square to dance and celebrate. as chonta palm, black hualtaco, huallacán or membrillo, measure around a meter in length and FEBRUARY are inlaid with gold and silver (Cuzco’s Town Hall 1-14 features a small museum that exhibits some su- Puno perb examples). When a Varayoc steps down from Virgen de la Candelaria his post, he ceases to hold any post in his com- Faith in the folk capital of the Americas munity ever again, and becomes one of the ven- erable elders. For 18 days, the highland town of Puno, nestled on the shores of Lake Titicaca at an altitude of 20 3.870 meters above sea level, is becomes the Folk Canas (Cuzco) Capital of the Americas. The festival gathers Chiaraje more than 200 groups of musicians and dancers Ritual battle to celebrate the Mamacha Candelaria. For the first nine days, the mayordomos (those in charge The tradition of staging ritual battles to ensure of organizing the festivities), decorate the church the fertility of the land lives on in a remote part and pay for Mass, banquets and fireworks dis- of the department of Cuzco. The Pampa del plays. On the main day, February 2, the virgin Chiaraje, at an altitude of 4.700 meters above sea is led through the city in a colorful procession level, in the province of Canas, can be reached by comprising priests, altar boys, the faithful, Chris- a paved road from the old Inca capital and then tians and pagans carefully maintaining the hi- via a dirt road. Here, every year the peaceful vil- erarchy. This is the moment when the troupes lagers of Checcas, Langui and Layo stage an im- of musicians and dancers take the scene, per- pressive battle. Armed with hardened lambswool slings, leather whips and waistcoats decorated with flowers, young warriors taunt each other in the mist or amidst pelting hailstorms. This is pucllay, or war games, where the name of the game is to control as much territory as possible and force the enemy to retreat.

20 Trujillo (La Libertad) Marinera Dance Festival Courting with a handkerchief

The marinera is one of the most elegant dances in Peru. The dance involves a great deal of flirt- Festival of the Virgin of the Candlestick, Puno ing between a couple, who each twitch a hand- PromPerú

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forming and dancing throughout the city. The val, so onlookers would be wise to take precau- festival is linked to the pre-Hispanic agricultural tions. Cities where carnivals reach a high point cycles of sowing and harvesting, as well as min- include Cajamarca and Puno. ing activities in the region. It is the result of a blend of respectful Aymara gaiety and ancestral MARCH Quechua seriousness. The dance of the demons, 1st week or diablada, the main dance of the festival, was Cañete (Lima) allegedly dreamed up by a group of miners Lunahuaná Adventure Sports Festival trapped down a mine who, in their desperation, A week of adventure resigned their souls to the Virgen de la Candelaria. The dancers, blowing zampoña pan- The pleasant valley of Lunahuaná, a paradise for pipes and clad in spectacular costumes and out- adventure sports lovers, is just half an hour from landish masks, make their offerings to the earth San Vicente de Cañete, a town 150 km south of goddess Pachamama. The most impressive Lima. The main attraction is the fast-running masks, for their terrifying aspect, are those of Cañete River, which features rapids up to Class the deer fitted with long twisted horns similar to IV. Each year, the valley hosts a festival involv- the Devil, and Jacancho, the god of minerals. ing rafting, parasailing, trekking, gliding, moun- During the farewell, or cacharpari, the dancers tain biking and fishing competitions. A visit to who fill the streets finally head to the cemetery Lunahuaná is a first-rate excuse to take in the to render homage to the dead. nearby archaeological site of Incahuasi and the hanging bridge of Catapalla. Other attractions 27-30 include wine-tasting at local vineyards and the Quico (Cusco) exotic regional cuisine, such as conejos a la Tinca de Vacas carapulcra (spicy jugged hare) and cuy al vino Branding the property of one and all (guinea pig braised in wine).

This festival, which is linked to the Apostle 2nd week Santiago (St. James), culminates in cattle-brand- Ica ing. This ceremony, celebrated only by families Wine Festival who own livestock, invite visitors to eat beef or A miracle in the desert llama meat and drink chicha. The festival is hosted in the community of Quico, located at This festival is a celebration of the abundance of 4.800 meters above sea level. Access, via the grapes and wine in the region of Ica (a four-hour Urcos-Quince Mil track (on muleback), is tough drive south of Lima), where persevering efforts but worth the effort. in local vineyards have spread greenery across vast tracts of once bone-dry desert. The Wine FEBRUARY-MARCH Festival (Festival de la Vendimia) involves fairs, 2nd half of February-1st week of March competitions, processions of floats, musical fes- Pan-Peruvian tivals and parties where guests dance the Afro- Carnivals Peruvian festejo. One of the major attractions of The festival of joy the event is the Queen of the Wine Festival beauty pageant. Accompanied by her hand-maid- Peruvian carnivals are marked by the festive ens, the beauty queen treads grapes in a vat in character of Andean areas, which regularly break the time-honored tradition to extract the juice with their solemn traditions. Beyond regional that will eventually be fermented. Apart from the variations, a common characteristic of nearly the delicious local sweets known as tejas, made from entire highland chain is the ritual of the yunza, pecans or candied fruits, filled with caramel and called umisha in the jungle and cortamonte on covered with sugar icing, those attending the the coast. It involves artificially planting a tree event can try pisco, the aromatic and tasty grape trunk laden with gifts, around which the guests brandy that originated in this part of southern dance until it is chopped with a machete or an Peru four centuries ago. ax. The couple who make the final hack that brings down the tree will then both be in charge 2nd half of March-1st week of April of organizing the yunza next year. Peruvians Porcón (Cajamarca) across the country are extremely fond of tossing Cruces de Porcón buckets of water at each other during this festi- The symmetry of faith

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features thousands of white candles, is simply Weaving through the early mists that still shroud magnificent. The litter is then accompanied with the highlands just before dawn, an impressive prayers and songs throughout the night until the procession of huge, colorful wooden crosses three-hour sermon is delivered on Saturday. Af- progresses down the valley of Porcón to celebrate ter days of grieving, Resurrection Sunday takes the triumphal entry of Christ into Jerusalem. on a festive air, Christ is resurrected and appears Unlike other Easter Week celebrations, the one once more on his litter and is carried through in this fun-loving village located half an hour by the streets. road from the city of Cajamarca does not dwell on the death of Christ. On the main day of the 2nd half of March-1st week of April festival, Palm Sunday, four different ceremonies Cuzco are held: the crowning of the crosses, the greet- Lord of the Earthquakes ing of the Lord at the home of the mayordomo The Black Christ and the Carmesí flower (the person in charge of organizing the festivi- ties), the various responses sung in Quechua and Ever since 1.650, when the faithful claim that an Latin, and finally the procession to the planta- oil painting of Christ on the Cross held off a dev- tion chapel. The crosses are decorated with round astating earthquake that was rattling the city of and oval-shaped mirrors symbolizing the souls Cuzco, the locals have been rendering homage to of the dead, as well as figures representing the the image of Taitacha Temblores, the Lord of the Virgin Mary, the Heart of Jesus and a wealth of Earthquakes. The celebration is held on Easter symmetrically placed patron saints forming a Monday against the backdrop of Easter Week in huge rhomboid. The locals hang metal bells from the city of Cuzco. This celebration is of particu- the corners to announce the arrival of the crosses lar interest because it allows onlookers to get a to the community. During the imposing proces- glimpse of the fusion of Andean religions and sion of the crosses, angels dressed out in tur- Christianity. The Cuzco Cathedral, where the quoise, yellow and pink, stride ahead, hanging image is kept, is built on the foundations of the onto the señorca, the donkey carrying the Lord ancient temple dedicated to the pagan god Apulla of the Palms. Tikse Wiracocha. The image of the Lord of Earth- quakes is borne aloft in a procession through the MARCH-APRIL streets of the city just as the Incas used to pa- 2nd half of March-1st week of April rade the mummies of their chieftains, high priests Ayacucho and supreme rulers. In the end, the dominating Easter Week part of the celebration involves the ñucchu flower The fervor of Ayacucho (salvia esplendes), used as an offering to the an- cient gods Kon and Wiracocha. The same flower Easter week represents the peak of religious sen- today is used to weave a crown for the Lord of timent for the people of the Andes. The depart- the Earthquakes. This crimson colored flower, mental capital of Ayacucho, San Cristóbal de whose petals are scattered by the faithful over Huamanga, located in the central Andes at an the venerated image, symbolizes the blood of altitude of 2.761 meters above sea level, cel- Christ. The image used today was donated by ebrates one of the most intense portrayals of the King Charles V, and despite centuries of smoke passion, death and resurrection of Christ. The from the candles and incense, no one has dared week starts out with the entry of Jesus into the to restore the blackened painting, that has given city riding on a donkey. On Wednesday, the im- the Christ a somber aspect and a dark counte- ages of the Virgin Mary and Saint John are pa- nance. raded in fervent processions through streets car- peted with flower petals until they meet up with APRIL the litter bearing the image of Christ, whom they 15-20 “greet” in the main square. On the evening of Pachacámac (Lima) Holy Friday, the lights of the city wink out to Peruvian Paso Horse Festival give way to the Christ of Calvary. The image sets The dance of the stallions out from the Monastery of Santa Clara in a pro- cession through the streets on a litter strewn with The Spanish horse, bred with the Arab stallion white roses, followed by the grieving Virgin Mary and reared in a desert environment, which and lines of men and women strictly dressed in formed its gait, gave rise to the Peruvian Paso mourning bearing lit candles. The litter, which horse. For 300 years, the blood of this new breed

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was improved upon until the Paso horse devel- oped the characteristics that have made it one of the world’s most beautiful and elegant breeds. Breeders, chalán riders and artisans, over the years, have worked on the art of ambladura –the synchronized gait of the fore and hindlegs– which in turn gave rise to the elegant steps and dress of the marinera. The entire costume comprises the saddle and trimmings and the splendid out- fit of the chalán himself (white shirt and trou- sers, wide-brimmed straw hat, vicuña wool pon- cho, handkerchief, boots and spurs). This tradi- tion, which has been exported all over the world, Chonguinada Dance, Junin has been spurred on by a number of competitions Aníbal Solimano / PromPerú both along the Peruvian coast as well as in the highlands. The most important competition, how- Left to their fate by officials of the vice-regency, ever, is the National El Paso Horse Competition those sick with smallpox (muru: smallpox, huay: held every year at the Mamacona stables near house) were allegedly healed by an image of Pachacámac, located 30 km south of Lima. Christ that took shape on a stone slab at the foot of Mount Shalacoto (2.959 meters above sea MAY level), and has remained there ever since. This 1 spot, located in the district of Acobamba, 12 km Chapi (Arequipa) from the town of Tarma in the department of Virgen de Chapi Junín, is Peru’s foremost pilgrimage center. The The stationary Virgin celebration of this image abounds in pre-Hispanic rites dominated by elements such as water, earth Every year, thousands of pilgrims cross the desert and stone. Today, the worship rituals begin the from the city of Arequipa to the sanctuary of night before with a fireworks display. On the Chapi to worship the image of the Virgin of Puri- main day, after a Mass held in Quechua, the de- fication, today known as the Virgen de Chapi. In vout deposit a “letter to God”. Then everyone re- 1790, the parish priest of Pocsi, Juan de Dios José turns to Tarma in a procession headed by the Tamayo, tried to move the small image to an- mayordomo (the organizer of the festivities), his other community and failed, reportedly because wife and troupes of dancers including the the statue suddenly became too heavy to move. caracolillos and negritos, who compete in dances News of the miracle spread like wildfire, and to- such as the abrecalle and the chutos. After the day the faithful take around 15 hours to walk 45 dancing, everyone settles down to lunch featur- km through the night, leaning on rustic walking ing typical Andean dishes such as fried guinea staffs to reach the deserted spot located at 2.420 pig served with peanuts and beans. Over the fol- meters above sea level. Before the first stop, the lowing days, the locals dance the famous pilgrims gather stones of varying sizes which they chonguinada in the streets of Acobamba, that will leave at Tres Cruces next to the road, form- have been carpeted in flower petals. ing the so-called apachetas which symbolize the weariness and sins that the faithful leave behind 3 them. The same thing occurs at Alto de Hornilla Lima, Apurímac, Ayacucho, and then at Siete Toldos, 15 km from the spot, Junín, Ica, Cuzco with countless candles flickering in the night. The Festival of the Crosses following day, in Chapi, the virgin is borne aloft Catholic crosses, Andean spirits in a procession over carpets of flower petals. At night, next to the sanctuary, pilgrims set off fire- This festival, which is widespread in the high- works and sell foodstuffs. lands, is organized by the members of each com- munity who decorate their respective crosses and 3 prepare then for the procession to neighboring Acobamba (Junín) churches. The celebration is linked to giving Señor de Muruhuay thanks for bountiful harvests, a custom main- The stone face of Christ tained by peasant farmers since the pre-Hispanic era. The festival often features folk music shows

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involving danzantes de tijeras (scissors dancers). In ancient times, the danzaq or scissors dancers JUNE would perform their daring feats on top of the 24 church belltowers. Even today, the dancers strive Cuzco to outdo each other, performing extraordinary Inti Raymi feats of derring-do. The Inca festival of the Sun

1st week The Winter Solstice in the southern hemisphere Quispicanchis (Cuzco) and the local harvests are the driving force be- Qoyllur Rit’i hind the greatest, most majestic pre-Hispanic The greatest indigenous pilgrimage in the ceremony to render homage to the sun. Today, Americas the Inti Raymi festival evokes the splendid Inca ritual of yore, being carefully scripted by Cuzco Each year the people of the district of Ocongate professors, archaeologists and historians. The (Quispicanchis) perform a ritual whose external central event is acted out on the esplanade be- aspect appears to be the image of Christ, but low the imposing fortress of Sacsayhuamán, 2 km whose real objective is to bring Man closer to outside the city of Cuzco, easily reached by car Nature. The ritual, associated with the fertility or on foot. There, step by step, thousands of ac- of the land and the worship of Apus, the spirits tors enact a long ceremony giving thanks to the of the mountains, forms part of the greatest fes- sun god, Inti. The Inca ruler is borne on a royal tival of native Indian nations in the hemisphere: litter from the Koricancha, or Temple of the Sun Qoyllur Rit’i. The main ceremony is held at the to the Huacaypata, the city’s main square, where foot of Mount Ausangate, at 4.700 meters, where he commands the local authorities to govern temperatures often plunge below freezing. The fairly. Then all the participants set out for ritual brings thousands of pilgrims, including Sacsayhuamán, where the ceremony calls for the shepherds, traders and the merely curious who sacrifice of two llamas, one black and one white. gather at the shrine at Sinakara. Popular belief The llamas’ entrails and fat are handed to a pair has it that the infant Christ, dressed as a shep- of high priests: the first, the Callpa Ricuy, exam- herd, appeared to a young highland Indian boy, ines the intestines to predict what sort of year Marianito Mayta, and they quickly became lies ahead; while the second priest, the friends. When Mayta’s parents found them Wupariruj, makes his predictions based on the dressed in rich tunics, they informed the local smoke that wafts up from the burning fat. The parish priest, Pedro de Landa, who attempted in high priests’ predictions are then interpreted by vain to capture the infant Christ who had disap- the Willac Umo, the lord high priest, who bears peared and left behind only a stone. Marianito the news to the Inca. Finally, at sunset, the Inca died immediately, and the image of the Lord of orders all to withdraw from the site, and the en- Qoyllur Rit’i appeared on the stone. Today, the tire city breaks out into a festivities that will rage festival starts off with the day of the Holy Trin- for several days. ity, when more than 10.000 pilgrims climb to the snowline, accompanied by all sorts of dancers in 24 full costume (chauchos, qollas, pabluchas or Cuzco, Loreto, San Martín, Ucayali ukukus) portray various mythical characters. The San Juan ukukus, or bears, are the guardians of the Lord Fertility and sensuality and the Apu mountain spirits and apachetas, stone cairns built along the way by pilgrims to In the jungle, Saint John the Baptist has taken atone for their sins. The ukukus maintain order on a major symbolic significance because of the during religious ceremonies. A group of hefty importance of water as a vital element in the queros, members of what is probably Peru’s pur- entire Amazon region. This is why June 24 (St. est Quechua community, dress up as pabluchas John’s the Baptist’s day) is the most important and set out for the mountaintop, at 6.362 meters date on the festival calendar in the entire Peru- in search of the Snow Star which is reputedly vian jungle. The northeastern city of Iquitos hosts buried within the mountain. On their way back a variety of festivals and public events: fiestas down to their communities, they haul massive with typical local bands where cooks dish up some blocks of ice on their backs for the symbolic irri- of the regional cuisine, featuring tacacho (baked gation of their lands with holy water from the banana) and juanes (rice pastries), named after Ausangate. the patron saint, San Juan Bautista. This carni-

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val atmosphere, redolent with the warmth of the their patron saint in a procession to the chimes local hospitality, has given rise to the myth of a of the María Angola, Peru’s largest church bell, special sensuality to be found in Loreto. It is forged in a copper-gold alloy in the sixteenth cen- widely held that the best aphrodisiacs are con- tury by local artisan Diego Arias de Cerda. At cocted in Iquitos, potions blended from fruits and night everyone gathers together, for an overnight herbs steeped in sugarcane alcohol, with strange vigil, where typical dishes such as chiriuchu and suggestive names. The best-known is with- (spicy guinea pig), beer, chicha and cornbread are out a doubt the chuchuhuasi, fermented from a served. At dawn the procession sets off around local root. In the highlands, the festival is also the main square, bearing the images of five vir- linked to the concept of fertility, but here the gins clad in richly embroidered tunics, plus the main theme is livestock, something that is easily images of four saints: Sebastian, Blas, Joseph and associated with the image of Saint John as the the Apostle Santiago (Saint James) mounted on pastor of souls. On this day, livestock are counted a beautiful white horse. Then the saints enter and branded, and llamas are sometimes even the the Cathedral to receive homage, time after object of prayer. In Cuzco, where peasant farm- which representatives and authorities from vari- ers used to bring their richly decorated sheep to ous communities of Cuzco meet in the main Mass, the tradition has been shifted to June 25, square to discuss local affairs. Finally, the del- yielding to Inti Raymi. egations return to the churches amidst hymns and prayers. 29 Chorrillos and Lurín (Lima), San José JULY (Lambayeque) 2nd week (15-16) Saint Peter and Saint Paul Paucartambo (Cuzco) (San Pedro & San Pablo) Virgen del Carmen Patron saints of fishermen and farmers Mamacha Carmen

Together with the communal task of dredging Four hours from Cuzco, in the town of irrigation ditches, highland communities cel- Paucartambo, thousands of devotees hold festi- ebrate a veritable water festival. On the coast, vals in honor of the Virgen del Carmen, known fishing communities have chosen Saint Peter as locally as Mamacha Carmen, patron saint of the their patron saint, and render him homage in mestizo population. The gathering, that raises Lima’s fishing districts of Chorrillos and Lurín, the curtain on these days of celebrations is held as well as in San José, located 13 km north of the in the main square, where troupes of musicians city of Chiclayo. The ceremony is held by the play their instruments while richly dressed choirs mouth of the Lambayeque River, where legend sing in Quechua. The setting gives way to a se- has it the founding god Naylamp landed on Pe- ries of ingenious choreographies that portray ruvian shores. The figure of the saint is borne events in Peruvian history. For five days, dance aloft amidst burning incense, prayers and hymns companies in various costumes (Doctorcitos, down to the sea where it boards a fishing launch Waca Waca, Sarjas) take to the streets to accom- and is taken around the bay to bless the waters pany the Mamacha throughout the entire pro- in the hope of a good fishing season. cession through the main square, the church and the city streets. On the main day, the virgin is Movable feast borne aloft in a procession to bless those present Cuzco and scare away demons. The dancers take to the Corpus Christi housetops, performing daring gymnastics, show- The procession of saints and virgins ing off their colorful Inca and colonial garb. At the end of the procession, war is waged on the The festival of Corpus Christi has been celebrated demons, from which the faithful emerge in tri- all over Peru since colonial times, but reaches a umph. Finally, the gathering ends up in the cem- high point in Cuzco. Fifteen saints and virgins etery to render homage to the souls of the dead. from various districts are borne in a procession to the Cathedral where they “greet” the body of 28-29 Christ embodied in the Sacred Host, kept in a Pan-Peruvian fabulous gold goblet weighing 26 kilos and stand- Independence Day ing 1,2 meters high. Sixty days after Easter Sun- Peru, free and independent day, the members of each nearby church bear

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Across the country, Peruvians throw parties and Saint Rose of Lima (Santa Rosa de Lima) was hold patriotic celebrations to remember the Dec- the name given to a seventeenth-century inhab- laration of Peru’s Independence (July 28, 1821) itant of Lima. Isabel Flores de Oliva felt a great by the Libertador José de San Martín. In Lima religious vocation and dedicated herself to being and cities across Peru, even in remote communi- a laywoman, without belonging to any religious ties, homes fly the Peruvian flag from the start order in particular. She was to spend her life car- of July. On the night of July 27, Peruvians often ing for the sick and her penitence undertaken to stage serenatas to the strains of folk and Creole resist sin, as well as her good nature earned her music in plazas and public parks. Dawn on July fame even while she was alive. Veneration of her 28 is greeted with a salvo of 21 cannons, to her- figure spread not only in Peru but also to the ald the ceremony of raising the flag. On the fol- Philippines. Her shrine, located in downtown lowing day, before the famous military parade is Lima, is constantly visited by pilgrims in search held in downtown Lima, the Te Deum ceremony, of a miracle, especially those seeking to cure an attended by the president, is celebrated in the illness. On August 30, pilgrims often cast letters Lima Cathedral. In various parts of the country, detailing their needs into the wishing well where Peruvians also hold agricultural and livestock Saint Rose dropped the key from her cilice. Oth- fairs (Cajamarca, Piura, Monsefú) together with ers visit the hermitage that the saint herself built. three festivals that are the soul of Creole culture: Saint Rose is the patron saint of Peru. Although cockfighting, bullfighting and Peruvian paso her festival is celebrated across the country, it horse exhibitions. has a special Quechua emphasis in the town of Santa Rosa de Quives, in the highlands of the 26-30 department of Lima. Cotabambas (Apurímac) Yawar Fiesta SEPTEMBER The struggle between the bull 6-10 and the condor Andahuaylas (Apurímac) Virgen de Cocharcas In the village of Ccollurqui, in the province of The traveling Virgin Cotabambas, Apurímac, an eight-hour drive from the city of Abancay up a dirt road, the locals cel- The Virgen de Cocharcas is a carved replica com- ebrate Independence Day with a bullfight whose missioned in 1598 by Sebastián Quimichi, one of symbolic characteristics have turned it into a the local faithful. Born in San Pedro de ritual. Taking part are a bull and a condor, por- Cocharcas, Quimichi had the figure made to show traying the Spanish and Andean worlds, respec- gratitude for miracles granted by the Virgin of tively. Once the condor has been trapped, it is Copacabana, in Bolivia. The festival is organized lashed to the bull’s back, which the bird pecks at by the virgin’s local followers, known as savagely in a bid to free itself. At the same time, quimichos (from Quimichi), who bear the figure the bull is released in the ring and surrounded aloft on a procession through the streets of the by spontaneous bullfighterswho fend off the ani- district of Cocharcas, in Andahuaylas. Other rep- mal with their ponchos. The bull, maddened with licas of the same image are led in pilgrimage to pain, leaps into the air trying to rid itself of the other cities outside of the department of condor. Finally, when the bull has been overcome Apurímac. These pilgrimages, toward the cities –and it usually is– the condor is set free amidst of Cusco and Huamanga (Ayacucho), are carried music and general rejoicing. If the condor is badly out amid songs, music and prayers, after the wounded, or dies, it is taken as an omen for the crops. She is known as the Traveling Virgin and village. At night, dancers take to the streets, fire- is associated with the rains and the fertility of works are set off and the villagers stage a torchlit the earth. procession. Final week AUGUST Trujillo (La Libertad) 30 International Spring Festival City of Lima and Quives (Lima), Ocopa Evergreen (Junín) and Arequipa Santa Rosa de Lima The festival of spring is celebrated all over Peru, Patron Saint of the Americas with especially colorful variants in the jungle. and the Philippines However Trujillo, capital of the department of

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La Libertad, has forged a particular reputation the virgin’s procession sets off back to church, for holding the festival of greatest splendor. The accompanied by bands of musicians. festival is intimately linked to the marinera norteña, which is always danced by a couple, wav- Second week ing a handkerchief in the air to keep time. The Ayabaca (Piura) festival features various tournaments demon- Señor Cautivo de Ayabaca strating the regional variations of this dance. The sweet countenance of the Lord During the week-long festival, streets and homes fill with decorations, floats are paraded through Every year, thousands of the faithful from vari- the city, and troupes of schoolchildren dance ous parts of northern Peru and even Ecuador set through the streets, led by the beauty queen of out on a pilgrimage to Ayabaca, a town 211 km the spring pageant. The beauty queen is always northeast of the northern coastal city of Piura. flanked by drum majorettes who travel here from On the main day of the festival, a procession of all over the world to show off their skills. the image of the Captive Christ (Señor Cautivo de Ayabaca) through the town streets, which have OCTOBER been previously decorated with carpets of flower 4 petals. Before the Spanish Conquest, peasants Lima, Ancash, Apurímac, in the same spot placed offerings at the temples Arequipa and Cuzco of Aypate and La Huaca. The devout have a firm Virgen del Rosario belief in the miracles that the image is said to Moors vs. Christians have performed in healing the sick. Its origin dates back to 1751, when a Spanish priest had The Virgen del Rosario is the patron saint of the the image carved, featuring a disconcerting ex- Dominican Order, who were in charge of the slave pression, a blend of sweetness and mystery. brotherhoods in colonial times. This is why the image of the saint is often accompanied by an 18-28 icon featuring the letter “S” pinned on by a nail, Lima symbolizing the black slaves. Worship of the saint The Lord of Miracles dates back to 1536, and the festival is celebrated The largest procession in South America all over Peru. On the first Sunday of October, in Cajatambo, in the highlands of the department This procession, which gathers together the larg- of Lima, the locals hold an agricultural fair, bull- est number of believers in South America, dates fights, marinera competitions and a procession back to colonial times, when a slave, brought over featuring Los Diablos (demons) as the main dance from Angola, drew the image of a black Christ act. In the district of Urcos, in the province of on the walls of a wretched hut in the plantation Quispicanchis, as well as in Combate and of Pachacamilla, near Lima. The image stayed Checaupe, in the province of Canchis, department on the wall despite several attempts to erase it. of Cuzco, locals celebrate the date with proces- This was to spark widespread devotion for the sions, bullfights and pachamancas, a dish pre- image, which survived intact on the wall despite pared in underground pits and cooked over hot an earthquake in 1746 which leveled all sur- stones. The center of all Virgen del Rosario cel- rounding buildings. As a result of this event, ebrations however is the northern Andean de- worship of the image rose to new heights, until it partment of Ancash. The celebrations are high- became what is today the most widely venerated lighted by the presence of pallas, ladies dressed image in the city of Lima. The heart of the cel- in costumes with wide sleeves and tall crowns of ebration is one of the largest processions to take flowers, and the famous negritos, dancers dressed place every year in the Americas, where tens of in black wool masks who liven up the celebra- thousands of the faithful dress in purple tunics, tion. This festival features a symbolic confronta- singing hymns and praying as they accompany tion between the Moors, locals dressed in Andean the image. The litter which bears the painting costume, and the Christians, who are dressed in weighs two tons and is borne on the shoulders of Spanish outfits harking back to colonial times. believers who set out on the traditional 24-hour The battle ends when the Moorish kings, having procession from the church of Las Nazarenas, been vanquished and taken prisoner, repent and crossing downtown Lima until it reaches the beg to be converted to Christianity. As dusk falls, church of La Merced in Barrios Altos. Around

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mayor, had a small church built in this spot as well as a hospital for highland Indians. Today, the modern church, built in a Romanticist style, houses the carved wooden image of the dying Christ, as well as those of the Virgin Mary and Mary Magdalene. On the main day of the festi- val, Sunday, the image is borne aloft in a proces- sion through the city from nightfall until dawn the following day.

NOVEMBER 1-2 All Saints Day and Day of the Dead Pan-Peruvian Speaking to the souls of the departed

On these days, which are dedicated to the memory of the dead, Peruvians tend to attend Mass and then in coastal communities, head to the cemetery, bringing flowers and in the high- lands, food to share symbolically with the souls of the dead. The worship of the dead was a com- mon and respected custom during pre-Hispanic times in Peru, and part of that tradition, com- bined with Christian elements, still lives on to- day. In the village of La Arena, in Piura, the lo- cals head for the main square in the morning bringing their children dressed in their Sunday best. Also attending are relatives who have lost a very young child or niece or nephew. When Lord of Miracles procession, Lima these people meet a child who looks like the de- PromPerú ceased, they give him or her small breadrolls, this time of year, the streets fill with vendors of candied sweet potato or coconut and other sweets a wide variety of typical dishes and sweets, such wrapped in finely-decorated bags, which are as the famous Turrón de Doña Pepa. In October called “angels”. At night, the relatives hold a to commemorate the Lord of Miracles (Señor de candlelight vigil in the cemetery until dawn on los Milagros), Lima hosts the well-known bull- November 2. In Arequipa and Junín the bags of fight season which carries the same name and is “angels” are replaced by breadrolls in the shape held in the centuries-old Plaza de Acho bullring. of babies, called t’anta wawas. The season features some major bullfighters (toreros) from Spain and Latin America. DECEMBER 24 y 25 3rd week Pan-Peruvian Ica Andean Christmas Señor de Luren A time of integration and artistic splendor The Christ of the desert The rural context of the arrival of the infant The origin of the devotion for the crucified Christ Christ allowed early Peruvians to identify im- of Luren (Señor de Luren), patron of the city of mediately with the festivity, highlighted by arti- Ica (300 km south of Lima), dates back to 1570, san creativity, a sense of aesthetics and the reli- when the image was mysteriously lost in the gious devotion of Andean settlers. Andean Christ- desert during a trip from Lima to Ica, before re- mas began taking on characteristics of its own appearing in a desolate outpost called Luren. by adding elements from each region. These ele- Later, Nicolás de Ribera the Elder, Lima’s first ments stand out for the extreme care with which

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highlanders put together Nativity scenes in Its worship dates back to colonial times when churches and homes, perform dances and plays, friars from the Carmeline Order arrived. In vari- cook typical dishes and produce a wide range of ous communities in Ica (300 km south of Lima) handicrafts such as Nativity scenes in Huamanga as well as the areas of El Carmen and El Guayabo stone, retablos featuring images related to Christ- in Chincha (200 km south of Lima), home to most mas and pottery or carved gourds called mates of Peru’s Afro-Peruvian population, the locals burilados decorated with Yuletide scenes. In most render a special homage to the virgin at the end Andean communities, the festival continues un- of every year. What is unique about this festival til la Bajada de los Reyes (the arrival of the three is that here it is called La Peoncita (the little peon) wise men), January 6, when traditionally people for its link with teenagers who perform the exchange gifts. dances called los negritos and las pallitas, in honor of the Virgin. 24 Cuzco COCA LEAF AND OFFERINGS TO THE Santuranticuy Fair EARTH GODDESS Saints for sale The mystique of fertility

The origin of this fair dates back to the Vice-re- Pre-Columbian religions have lived on as part of gency, and today has become one of the largest ancestral rites that link Man with Nature, par- arts and crafts fairs in Peru. It is held in the main ticularly in the Andean world, rites that take on square of Cuzco, where artisans lay out blankets major symbolic importance. The Pachamama or on the sidewalks, as is the custom in traditional Mother Earth, goddess of fertility, lives in Andean fairs. Santuranticuy, which means Urkhupacha, or the inner world, whose fruits she “saints for sale”, is a provisional market where offers up to feed mankind. This is why, within image carvers and artisans sell a wide variety of the reciprocal logic of the Andes, during August figurines to liven up Christmas and fit out the the villagers make offerings (known as pagos or Nativity scenes that are set up in homes and pagapus). The offering consists of coca leaves, parish churches. The fair also sells a variety of unworked silver, chicha, wine and jungle seeds ceramic objects brought from Pucará and Quinua. attributed with symbolic and magic powers called Here one can find all sorts of arts and crafts, such huayruros. The same offering is made to the as wooden carvings, pottery and the boxed scenes Apus, the spirits of their ancestors who are said called retablos. At night, street vendors sell a to live within the mountains. Coca, a sacred plant traditional hot and sweet rum punch called which served to mediate between the inner world ponche, to warm up chilly visitors. (the Apus and the Pachamama) and the exterior world (Man) can be found in countless mestizo 27 religious ceremonies in communities in the prov- El Guayabo and El Carmen inces and even in the cities. The leaves, when (Chincha, Ica) chewed and mixed with saliva to form a wad in Virgen del Carmen the mouth (a process called chakchar), help the The little peon user forget his weariness while working. Spread over a blanket on the ground, coca leaves are also The Virgen del Carmen is the most widely ven- read to predict the future. erated image in Peru after the Lord of Miracles.

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Dances and Instruments

great distances in the jungle. Thanks to archaeological discoveries of musical instruments, we now know that in Peru, music Today, Peru is still assimilating new instruments dates back at least 10.000 years. T –synthesizers, electric guitars, drums and har- monicas– while continuing to create new musi- This ancient tradition produced the quena flute, cal styles like chicha. This has allowed Peruvian zampoña pan-pipe and pututo trumpet made music to open up to fresh influences, spread from a sea conch, in addition to a host of wind across the country and abroad, beyond that space instruments crafted from cane, mud, bone, ani- usually reserved for local music. mal horns and precious metals, as well as a vari- ety of percussion instruments. This capacity for fusion and musical innovation clearly expresses the integrating force and dy- As a result of the New World’s contact with the namic nature of Peruvian culture. West, vast numbers of new instruments were incorporated into Peru’s music, although many The Marinera and the Cajón were creatively adapted to the rhythmic and melodic necessities of each region. A clear ex- The Marinera ample of this can be seen in the many transfor- The marinera is a spin-off from the zamacueca mations that have changed the shape of the harp, and the mozamala. In 1893, Abelardo Gamarra the violin and the guitar in the Peruvian high- “El Tunante” dubbed the dance the “marinera” lands. in honor of naval hero Miguel Grau during a pi- ano concert performed by a little girl, who later The coming together of the Andean and Western in life was to work hard to spread the popularity worlds gave birth to more than 1.300 types of of the dance, Doña Rosa Mercedes Ayarza de Mo- music. But two of these types reached beyond rales. This encounter gave birth to the best- their regional boundaries and have become veri- known marinera, “la Decana”, later rebaptized table symbols of Peru’s identity: the huayno and as “La Concheperla”. Since then, the marinera the marinera. A blend of joyous nature and nos- has gradually conquered the hearts and minds talgia, the huayno has carved out a position as of Peruvians everywhere. In 1938, the marinera the basis for the creation of contemporary was performed for the first time at Lima’s Teatro rhythms on the strength of its simple and flex- Municipal in the Independence Day concert. To- ible musical structure. day, marinera festivals are held all over Peru, the best-known of which is the festival staged in The marinera, which unlike the huayno is not Trujillo in January. The dance has several dif- such a universal rhythm, features variations that ferent styles, differentiated by their region: are clearly differentiated along the coast and in marinera costeña (coast), serrana (highlands) and the highlands, and thanks to its musical beauty norteña (north). It is danced forcefully by a and stirring choreography, it is widely danced couple, featuring a series of elegant movements across the country. and a highly complex choreography involving co- ordinated and synchronized movements. Both The festive nature of the African migrant has also dancers hold a handkerchief in their hand helped to enrich Peru’s musical panorama: Peru’s throughout the entire dance, which highligths the black population invented the cajón and discov- courting couple, despite the fact that here is never ered the uses of the quijada, the donkey’s jaw- any physical contact between the two. bone, as a percussion instrument. The Cajón The jungle region is also home to a variety of This instrument, of Afro-Peruvian origin, is rhythms, dances and instruments linked to fes- played in most coastal variations of the marinera, tivals and rituals, such as the use of the as well as in Creole music (música criolla) and manguaré (a hollow trunk), called a “semiotic Afro music in general. Crafted from a wooden drum” as it can be used to send messages over box, the cajón relies on a sound-hole carved in

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the back. The cajón player sits on top and raps dancers break up into pairs to show their skill in out a rhythm directly with his palms. Albeit a a light-hearted competition. Instruments used in simple-looking instrument, the cajón has begun the bands include harps, violins, saxophones, to make waves abroad, even being incorporated clarinets, trumpets and bombo drums. into flamenco. The Harp The Huayno and the Quena This stringed instrument is shaped like a cone with a large soundhole. The arpa (harp) is of The Huayno Western origins and has become highly popular Unquestionably Peru’s premier Andean dance. in Peru, especially in the Andes, where it is widely The huayno’s pre-Columbian origins have been played for its versatile ability to come up with modified by the assimilation of Western influ- high-pitched sounds. The harp has been modi- ences, which is why today there are many re- fied and adapted in several regions, both in shape gional variations. Its musical structure derives and tuning. from a pentatonic base with a binary rhythm, a structural characteristic that enabled this musi- The Festejo and the Quijada cal style to become the basis of hybrid rhythms, from chicha to Andean rock. Huayno is danced The Festejo in pairs, who swerve and turn, making short hops This Afro-Peruvian dance is wildly popular along and performing thunderous footwork in the the central coast. Danced in pairs, it features in- zapateo. Instruments pressed into the band to sinuating movements, yet avoids physical con- play the huayno include the quena flute, tact. The joyful and suggestive movements, joy- charango (Andean guitar), harp and violin. Some ful and pretty steamy, irradiate body language variations of the huayno are performed to the that is redolent with sensuality. Backing instru- strains of the equivalent of a marching band, ments include the guitar, cajón and quijada, and which have added instruments such as trumpets, are accompanied by a lead singer and backing saxophone and accordion. At the same time, al- vocalists. though they are different musical styles, the earthy sensitivity of the huayno is linked more The Quijada to the marinera than is apparent. One only has The creative nature of Afro-Peruvian musician to listen to the refrain from a highland marinera: has turned the lower jawbone of a donkey, mule “there is no marinera without huayno/nor huayno or horse into a surprisingly effective percussion without marinera / little highland girl in the instrument. It is held with one hand and banged green skirt/this third part’s for you”. with the fist of the other in time to the beat. The unique sound of the quijada, which is produced The Quena by the jawbone’s rattling molars, is amplified in Peru’s most widely-played wind instrument, the the bone structure itself. quena dates back to the pre-Hispanic era. Made from a hollow tube of cane, wood, bone or plastic, Carnival and the Mandolin the quena features a chiseled mouthpiece. The instrument is pierced with five or six soundholes Carnival which produce the notes depending on the com- This is a dance that, with regional variations, is bination of fingers and how the musician blows performed all over Peru, particularly in the ru- into the instrument. Each region has come up ral areas of Puno, Cajamarca and the Amazon. with its own size quena. The dance involves troupes or comparsas who take to the streets together with the musicians. The Huaylarsh and the Harp The lyrics, which usually follow a rhyming pat- tern, are often bawdy, satirical and irrepressibly The Huaylarsh joyful. Instruments include guitars, accordions, This rhythm and its dance is linked to the joyful mandolins, Andean percussion (tinyas and tam- fiestas that are held at harvest time in the cen- bourines) and charangos. tral highlands. The energy and vivacious nature of the huaylarsh are highlighted by the leaps and The Mandolin demonstrations of agility by the male dancers, Of European origin, and similar to the lute, the while the women perform nimble footwork or mandolin has undergone a series of changes in zapateo. During the choreography, the group of Peru, both in material and its soundhole, as well

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as in the number of strings. It is frequently played tundra region called the Altiplano. It is danced together with the guitar, forming duos to play in several groups forming troupes or comparsas huaynos and other musical styles popular in the which are organized in large circles around mu- highlands. sicians playing zampoñas of varying sizes. The choreography displays the complementary and The Santiago and the Tinya harmonic nature that should be present in all human integration, as one group can only play The Santiago half the notes, making the other group indispens- This musical style stems from shepherd customs. able for the full melody. The Santiago is played in Andean ceremonies such as cattle branding and fertility rituals held The Zampoña for the herd. On these occasions, the musicians, A member of the pan-pipe family, this instrument especially women, perform a series of propitia- is made of a cluster of different sized cane tubes tory songs featuring a simple rhythm yet of great bound together, forming one or two rows. The sensivity. Instruments often include the tinya size of the tube determines the musical note it and the wakrapuko, or trumpet made from a emits. The instrument comes in different regional cow’s horn. variations, featuring canes of different size, num- ber and shape. The zampoña is commonly played The Tinya in festivities in southern Peru, especially in the This percussion instrument is a small hand-held department of Puno. One of the variations is the drum made from leather. It is widely played in antara, which is crafted from the finest cane the Andes, mainly by women. It is used in ban- available. quets, for dancers and ceremonies dealing with farm life, especially during the harvest season The Harawi and the Charango and cattle-branding. The Harawi Creole Waltz and the Guitar Also known as the yaraví, this is a musical style whose melodies are redolent with sadness and Creole Waltz or Vals Criollo longing. The harawi is believed to be the oldest This Creole version of the Viennese waltz is musical style in Peru’s repertoire, and dates from danced in pairs who hold each other’s hands in the form of poetry recited in the Inca era. The an unfinished embrace, and features tightly in- somewhat drowsy music is interrupted by fre- tertwined movements in a style created by Lima quent periods of silence that lend a dramatic air residents in the nineteenth century. The dance to the piece. This rhythm is generally not danced, spread through the urban middle class as a sign unless it is tacked onto a huayno or marinera, of their romantic yearning for their Lima that which often occurs in some of its mestizo varia- was rapidly changing. Instruments include the tions. Backing instruments include the charango, guitar and cajón. mandolin and quena.

The Guitar The Charango This is probably the most widely-played instru- This instrument is a hybrid of the classical gui- ment in Peru. The most common shape is the tar, although smaller than the original. The Spanish classical guitar, but there are at least charango has 10 strings in five double courses 10 different types found in Peru, all varying in and features a body made from an armadillo shape, material and number of strings. Tuning shell, or kirkincho, although charangos are also also varies according to region. The guitar is of- made out of wood. It is widely played in the south- ten accompanied by several other instruments ern Andes. depending on the musical style and is played to accompany vals criollo, marinera, festejo, huayno, Danzantes de Tijeras zamacueca, tondero and even chicha. Physical agility and ritual challenge

The Sikuri and the Zampoña From the Western point of view, the danza de tijeras, or scissors dance, is basically an impres- El Sikuri sive display of art and physical dexterity. But This is the somewhat martial dance of the for the Andean inhabitants or mestizos who live Sikuris, a people who originated in the Andean in highland communities, it is above all a com-

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plex ritual. An air of mystery surrounds the of an enormous variety of instruments, largely danzaq, the dancers, who in a show of strength electric. and flexibility, put their skill to the test with gymnastic leaps to the strains of the harp and Whistling Gourds the violin. Priests in colonial times claimed the Sounds and voices from the Past dancers’ magical halo was the result of an alleged Many sounds and instruments that are currently pact with the Devil, due to the surprising feats found in melodies and rhythms played in Peru they performed during the dance. These feats, today date back to the country’s pre-Hispanic called atipanakuy, include sword-swallowing, past. Apart from percussion, the most commonly sticking pins into their faces, eating insects, frogs played instruments were winds, that included and even snakes amongst other Fakir-like acts. whistles, quenas, antaras and trumpets, used The central instrument of the dance is the pair even today, and huacos silbadores, whistling of scissors, made from two separate sheets of gourds that can be seen in museums such as metal around 25 cm long which together take the Lima’s Museo de Arqueología, Antropología e shape of round-bladed scissors. The dance is most Historia. These odd-looking instruments, which commonly performed in Ayacucho, Apurímac, were recovered from temples, chieftains’ palaces, Arequipa, the Ica highlands, Huancavelica and the funeral shrouds of warriors and children’s Lima. tombs, also had decorative and symbolic functions and were linked to ritual ceremonies: gourds with Chicha or Peruvian Cumbia sounds that ranged from 33-50 hundredths of a A new musical style dominates semitone represented human beings, those that South America ranged from 80-100 portrayed sacrificial victims, Chicha is a new musical style which is fast be- and those with sounds that were spaced by 25 coming popular over much of South America. hundredths of a semitone represented supernatu- Although it has added influences of rock and ral beings. other contemporary rhythms, the two musical styles that have given rise to chicha (also known In general, whistling gourds feature two acous- as Peruvian cumbia) are the huayno and the tic chambers linked together, with a series of Colombian cumbia. The rhythm has not only soundholes in a row with different sizes that en- spread like wildfire across Peru, it has also be- abled the musician to vary the pitch like a flute come popular in neighboring countries such as depending on how he blew into the gourd. In some Argentina, Chile, Bolivia and Colombia. The gourds, the acoustic chamber not only amplifies main characteristic of this rhythm, which has when the musician blows, it also produces sounds become a hit largely in Spanish American circles, when liquids such as water or chicha are poured is that it is constantly mixing with new rhythms, from one chamber to another. both modern and traditional, as well as the use

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Arts & Crafts & Folk Art

Peruvian artisanry ranks possibly amongst the communicate principally through their art, us- most varied arts and crafts found on Earth. Proof ing a language based on the key elements of abun- of this stems from the growing network of ex- dance, fertility and faith in the future. Pporters who each year exhibit the creativity of Peruvian artists on markets in Europe, Asia and FLEETING ART North America. The diversity, color, creativity and multiple uses of Peruvian craftwork make it One of the greatest and most mysterious attrac- a fundamental activity not just to forge Peru’s tions of fleeting art is the arduous, patient effort identity, but also ensure the survival of thousands to create beauty that lasts just a few minutes and of families, and even entire communities such as even seconds. These art forms include those Sarhua and Quinua in Ayacucho. These small whose work can only be glimpsed for a short space works of folk art that have sparked the admira- of time, despite being works of art that have taken tion of all and are the legacy of centuries of his- a great deal of time and creativity to put together. tory imbued with pre-Hispanic forms and sym- bols, that blending with or surviving alongside Fireworks other art forms brought over by the Spaniards. The ancient art of fireworks is deep-rooted in This multiple and complex identity is paradoxi- communities in the highlands and along the cally one of the reasons for the marked tendency coast, where artisans have wrought local varia- of Peruvian artisanry to approach modern naïf tions such as images of giant flowers and ani- art, giving creations a touch of tenderness and mals. It is impossible to imagine a festival in innocent wisdom.The high standards of quality honor of a patron saint without a dazzling dis- of Peruvian artisanry can be appreciated in the play of fireworks. harmony of the geometric designs weaved into textiles, the painstaking detail in the scenes of Carpets of Flower Petals everyday farming life carved into the gourds Put together for big processions both in the high- called mates burilados and the cultural melting lands and along the coast, vast floral decorations pot to be found in the colorful boxed scenes called are laid out on the streets of many cities and retablos. It is also found in the bizarre cosmic towns where the procession of the patron saint vision of Shipibo jungle Indian patterns, the fine is to pass. The color of the flowers and the per- carvings done in Huamanga stone, the fleeting fection of the motifs, generally saints, shields, wonder of the carpets made from flower petals, maps, landscapes and all sorts of animals put to- fireworks and giant wax candles, the complex gether with great dedication, are aimed at pro- Baroque style in wooden carvings, the beauty in viding a fleeting splendor before being crushed gold and silverwork, and the countless forms by thousands of marching feet during the pro- taken on by the clay used in pottery. But these cessions. works of art are just one side of a people who T’anta Wawas Another technique which is practically an art form is the baking and preparation of t’anta wawas, or decorated breads. The wheatflour breads represent a wide variety of motifs such as children (wawas), families, homes, crowns of flowers and animals. Styles range from impec- cable simplicity to decoration that is quite com- plex. Every year in Lima, a t’anta wawas compe- tition is held on All Saints Day. The departments of Junín, Arequipa, Cuzco and Huancavelica (Center and South of Peru) generally prepare the best prizewinners. Artisan of Olave at work, Cuzco Jorge Sarmiento / PromPerú

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Candles and Giant Wax Candles Chulucanas –particularly in the district of La Wax art is another art form that is directly linked Encantada, where 250 artisans have been regis- to religious worship. Cuzco, Ayacucho, Huaraz, tered– is one of the finest to be found in Peru. It Arequipa and Lima produce vast numbers of has gained its fame from the fine motifs crafted candles and decorated cirios, giant wax candles by potters in the use of the black color and the with religious motifs. During the Easter Week glazing of their urns, as well as the portrayal of procession in Ayacucho, the litters used to carry typical local characters (chicha vendors, musi- the saints have their base richly decorated with cians and dancers) and animals that spring from wax figures. The most common motifs are flow- the hand-worked clay. Pottery is heavily traded ers, leaves, the faces of saints, angels and barn- in the markets of Cuzco, Juliaca (Puno), Arequipa yard animals. But the most common items in fes- and a network of arts and crafts centers and fairs tivals all over Peru are candles and cirios, which held in Lima. come in a range of sizes and decorations. During the festival of the Lord of Miracles (Señor de los Ayacucho Pottery Milagros), the variety and decoration of the In Quinua, a village located 40 km from candles is impressive: it is a moving sight to see Ayacucho, pottery is the town’s main activity. The the cirios candles lit next to the image of the black quality of the red and cream-colored clay lend Christ in the church of Las Nazarenas in down- these works a unique characteristic. Despite their town Lima. simple, almost childish forms, they are highly expressive. Quinua is best-known for ceramic FUNERAL ART pieces such as small churches, chapels, houses and bulls called the toro de Quinua. Local pot- The tradition of funeral art in Peru was first made ters have also become popular for figures such evident in gravestone paintings. In the cemetery as peasant farmers, gossiping neighbors and a of Chilca, 60 km south of Lima, one can take in a variety of religious themes. variety of styles beginning with the reproduction of classical Western religious paintings, which Puno Pottery later gave way to the portrayal of scenes of the The best-loved ceramic figure to come out of Puno daily lives of the deceased. Another place where is the torito de Pucará, the ceramic bull that is funeral picture art is already a tradition is Puno, one of Peru’s best-known pieces of pottery. The where artists paint scenes of the nether world. figurine was originally made as a ritual element Similarly, in Cajamarca, in the areas of during the cattle-branding ceremony. The bull Huambocancha and Porcón, cemeteries are filled figure, which is also a flask, was used to hold the with gravestones carved in quarried stone with chicha which was mixed with the blood of cattle images of miniature church façades in a variety and drunk by the high priest conducting the cer- of warm colors. This art form also includes the emony. Puno potters also make churches, coun- rise of a folk style of funeral architecture in cem- try chapels and homes, whose apparently unas- eteries in Lima’s outlying districts. These cem- suming design is covered with a white glaze. The eteries have recreated, in scale model form, figures are decorated with flowers and dashes of houses, churches and even entire villages. ground glass. Other common motifs include mu- sicians, dancers and various elements of flora and POTTERY fauna from the Lake Titicaca area.

Pottery is one of the most widespread art forms Cuzco Pottery to be found in Peru. Ancient pre-Hispanic tech- Cuzco’s pottery is heavily influenced by Inca tra- niques used by the Vicús, Recuay and Pashash dition. In a movement that has revitalized Cuzco cultures, as well as styles known as Colombian art, known as Inca Renaissance, potters have and negative painting (by limiting the flow of created a vast collection of pieces. These include oxygen in the furnace) are used today in the com- the Tica Curuna (a flower motif), ppucus (dishes) munity of Chulucanas (located in Piura) and in and various types of colorful crockery, such as the northern jungle by natives of the Arabelas keros, arybalos, qochas, ayanas and raquis. An- community. Another technique used in Simbilá, other trend in pottery is the so-called “grotesque” Piura, as well as in Mollepampa, Cajamarca, is tradition, originally created by artisan Erilberto that of paleteo, where the potter shapes the clay Mérida, and apparently inspired by the figures with his hands and by beating it with a spatula. in Quinua pottery. This style comprises rough, Utilitarian and decorative pottery produced in unpolished figurines such as peasants and

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Christs, with deformed and even tormented fa- southern Andes, such as during the festival of cial features with oversized hands. the Virgen de la Candelaria. Junín is another major producer of masks, while a rich variety Shipibo Pottery linked to myths and customs of jungle villages is In the jungle, in addition to the Arabela, the manufactured in the Amazon area, like for ex- Shipibo women living around the Ucayali River ample in the Bora community in Loreto. produce pottery from a highly malleable clay called neapo. The most common decorative mo- Masks are made from a range of materials that tifs include the well-known geometric lines or are as varied as their place of origin: plaster, designs, which artisans use to represent their leather, wood, wire sheeting and tin. The most vision of the world. The most elaborate objects typical masks include those of the Piro culture, include globets carved into shapes that are half- the parlampán (picaresque characters of the area human, half-beast, which take on different posi- of Huaral), the auquis of Ancash, the jija huanca tions, showing clearly-defined sexes. The potters (styled from gargoyle heads), the huacones of the also frequently craft huge jars shaped like ani- central highlands and the famous demons of the mals such as tortoise and some of the local bird seven deadly sins of Puno. species. Retablos BASKETS AND STRAW ARTICLES Tiny human figures, animals from the highlands, images of Christian saints and pre-Columbian This art form includes straw hats and baskets gods, stars, mountains and lakes are just some woven from native reed species such as carrizo, of the elements found in the colorful world por- junco and totora. Baskets and hats are produced trayed by the cajón or retablo de San Marcos. mainly in the departments of San Martín, Piura This art form, brought over from Spain, dates and Cajamarca, while totora reed is largely used back to the dawn of Western civilization and was in La Libertad and Lambayeque to make the reed preceded by Roman portable images made up of rafts called caballitos de totora, vessels used for three slabs that closed over each other. In the thousands of years by fishermen in the seaside rest of Europe, this art form was known by the community of Huanchaco, near Trujillo. name of frontpieces, giving way to the monumen- tal friezes that featured in church altars between IMAGES the thirteenth and fifteenth centuries. The clos- est resemblance to the Peruvian retablo is the This art form dates back to artisan traditions Caja de Santo, a sort of portable altar used in during the Vice-regency, and involves the cre- Spain as part of the paraphernalia of Catholic ation of objects linked to religious and even magi- rituals. The Ayacucho artisans saw the portable cal ceremonies. The departments of Ayacucho, altars as the perfect means to bring together two Cuzco and Huancavelica produce the greatest religious traditions –their own and Catholicism variety of figures. These traditional images in- imposed by Spain– without arousing suspicion clude the retablo de San Marcos or cajón, crosses, amongst colonial authorities bent on stamping saints, Nativity scenes, the Holy Family and the out pagan idols. The retablo features two levels: many different portrayals of the infant Christ. the upper level, which portrays the Heavens, with These figures are made from a variety of materi- saints and sacred Andean beasts, and the lower als, including dough made from potatoes, med- world, portraying the world down on Earth. lar seeds, plaster, glued cloth and maguey, the These retablos were originally limited to the area local fruit. The most common images produced dominated by Ayacucho shepherds and peasant by this art-form include religious images with farmers. And in fact the Ayacucho artisans are long, stylized necks created by artisan Hilario the ones to have kept alive this tradition, that is Mendívil and his wife Georgina in the artists’ such a vital part of Peruvian imagery. The best- quarter of San Blas in Cuzco. known craftsmen who make retablos include the late Joaquín López Antay, Florentino Jiménez Masks and Jesús Urbano. These three men gave rise to Many Andean dances use masks as part of the three schools or trends of the retablo: one which dancer’s costume. The most common motifs in- features a magical-religious current, another that clude demons, angels, blacks (negritos), Span- focuses on regional customs and another with iards (españoles) and all kinds of animals. The historic and realistic content. Today, styles and most important exhibition of masks is held in the themes have multiplied as Cuzco emerges as yet

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another major retablo production center. etching fine lines into the gourd with a scalpel, in a comic book style to represent scenes from Huamanga Stone Carvings farming life. Today, the area of the central There are several kinds of stone that are used Mantaro Valley and specifically the districts of for carving in Peru: granite, basalt, andesite, pie- Cochas Chico and Cochas Grande are the areas dra del lago (found in Puno), and the white ala- where most mates burilados are made. baster known as piedra de Huamanga. Huamanga stone carvings started up in colonial JEWELRY times due to the scarcity of marble and porce- lain. The early motifs dwelled on the infant Christ The abundance of minerals and semi-precious and other religious images such as saints, crosses, stones in Peru have made it possible to develop virgins and relics. Later craftsmen were to de- creative metalwork since pre-Hispanic times. The velop new religious motifs and images linked to oldest example of goldsmithy in South America the Creole culture (for example the image of the dates back to the Chavín culture (1.000 BC). vicuña standing over the Castillian lion). Today, Later, priceless pieces were found in the areas of Huamanga stone carvings portray Nativity Chancay, Paracas and Cuzco, as well as superb scenes within oval-shaped recesses, replicas of work done by the Mochica, Chimú and the monument of the Pampa de la Quinua (scene Lambayeque cultures. In the late 1980s archae- of a famous battle for independence), as well as ologists discovered the Royal Tombs of the Lord other figures; all with a rough finish and mainly of Sipán corresponding to the Moche culture (600- offered as souvenirs. 1.200 AD). The tomb of the warrior priest fea- tured ceremonial dress and ornaments worked Wooden Carvings in gold with techniques that were highly ad- Wooden carving as an art form heavily influenced vanced for the time. These techniques, used even by religious polychrome sculptures took off in today by artisans working with jewels, sculptured colonial times. Artists made retablos, statuettes pieces and utensils, include alloys, smelting with and decorated furniture in churches and convents laminated pieces, chiseling, soaking, smelting whose complex Baroque style reached its peak gold threads, filigree, and applications, incrus- in the famous San Blas pulpit in San Blas church tations and clasps. in Cuzco. One of the current wooden carving cen- ters is to be found in the town of Molinos, near Silversmithy Huancayo. There, artisans make a range of ob- The most important centers of silver artisanry jects from utensils and decorative pieces to toys, are to be found in the departments of Junín, featuring acrobats with movable arms, as well Huancavelica, Ayacucho and Cuzco. Silver- as a series of animals including roosters, ducks, smiths, who have kept alive the colonial tradi- horses, donkeys, lions and a veritable bestiary of tion, develop a wide variety of shapes and mo- mythical beats. Other finely carved pieces include tifs, crafting jewelry in the shape of barnyard the bastones de Sarhua, where the painted animals, peacocks, horses and stars, as well as boards (tablas) are made. articles for religious and domestic use. Other im- portant pieces in silverwork include wrought sil- CARVED GOURDS ver pinches in colonial Cuzco style, tupus, or brooches to pin together the llicllas, silver alloy The legenaria bulgaris, the Peruvian dried necklaces worked in black onyx and bamboo, sil- squash gourd, is the basis of the pure art of the ver necklaces inlaid with obsidian, earrings fit- mate burilado. The oldest carved gourds date ted with opals of several colors, and burnished back 3.500 years and were found at the pre-His- silver in colonial style, as well as framed in wood panic temple of Huaca Prieta in the northern for paintings and mirrors. coastal valley of Chicama. Recently, the tech- nique has taken off in the Ayacucho region of Gold Filigree Huanta, which has given rise to the mates This goldsmithy technique involves thinning the huantas. These works of art are known for the gold to minimum proportions to thread it to- vitality of their thick but sure lines, which the gether, creating jewels of extraordinary beauty. artisans employ to portray scenes from everyday The town of Catacaos in Piura, heirs to the Vicus farming life. Another variation involves minia- culture, is a major production center of the deli- ture drawings, which can often only be seen with cate art of filigree. The most commonly-produced a magnifying glass. The technique consists of pieces are dormilonas, a type of earring, and neck-

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laces, which often feature the moon motif. who modified the established techniques with- out losing sight of the original features, creating Semi-precious Stones paintings based on oral traditions that he him- Other materials used in arts and crafts, especially self compiled. in jewelry, are chosen from a vast variety of semi- precious stones, many of which found in Peru, TEXTILES while others are imported, like in the pre-His- panic era, from elsewhere in the Americas in Modern Peruvian weavers are heirs to a long- what is today Colombia and Ecuador. Generally running pre-Hispanic tradition that was devel- these stones, the most spectacular of which are oped across the length and breadth of Peru. Out- Peruvian turquoise, or crisocola, onyx, obsidian standing work includes the Paracas funeral and opal, are used to make necklaces, earrings, shrouds and Inca and Ayacucho Wari weavings. rings and bracelets. Nor should one forget the The oldest textiles ever found were uncovered at use of the traditional red seashell called the pre-Colombian temple of Huaca Prieta in the spondylus, once called “the sacred food of the Chicama Valley, and are believed to date back gods”, used to craft superb pieces of jewelry. 4.000 years. Preferred materials –which are still used today– include brown and white cotton; LEATHER GOODS vicuña, alpaca and llama wool. Other materials occasionally include human hair and bat fibers, The first superb works of leather were made dur- and more commonly, gold and silver thread. In ing colonial times: chests, armchairs and a tre- addition, natural dyes are still used today, com- mendous variety of saddles, harnesses and other bined with aniline and other industrial dyes, riding pieces. The decorative motifs were devel- while the vertical loom and pedal loom are still oped using painting, soaking and embossing, ever the most commonly used tool for weaving blan- inspired by the dominating Baroque art of the kets and yards of cloth. Key weaving departments era. Today, artisans continue to make the same include Ayacucho, Puno, Cuzco, Junín, Apurímac objects, especially chairs, armchairs, tables and and Lima. Cuzco decorative work often features chests, where decorations involve traditional the tika, representing the potato flower, and the themes. Puno artisans also make leather horses sojta, a geometric design symbolizing the sow- featuring a beautiful and tender naïf style. ing season. Cuzco weavers produce a wide vari- ety of chullos (woolen caps with earflaps), woolen SARHUA BOARDS cocaleaf pouches, blankets featuring geometric patterns, cummerbunds and chumpis weaved by The Ayacucho community of Sarhua is now the meter, like the ones sold at the Sicuani mar- world-famous for its painted boards (tablas), one ket, or in the Sunday market at Písac. Ayacucho of the most original examples of what is known is another major textile center, as it is a region as folk painting, a tradition that includes draw- where over the past few decades artisans have ings by Spanish chronicler Guamán Poma de gained a following for their tapestries of weft and Ayala (sixteenth century), watercolors by Bishop warp with abstract motifs. Martínez Compañón (sixteenth century), works by Creole painter Pancho Fierro (nineteenth cen- Hessian Weave tury) and paintings by other anonymous artists This form of artisanry is of contemporary origin, who painted murals in provincial churches and brought over from Chile in the 1970s. Known lo- chapels from colonial times up until recently. cally as arpilleras, this cloth often features pre- Sarhua boards are also called quellcas, for their viously elaborated figures representing themes similarity to the ancient drawings that the Incas such as testimonies and local traditions. The por- had made to note down events during their re- trayal of characters, animals and plants sewn into gime. They are colorful illustrations painted on the main fabric lend the material a three-dimen- a flat wooden board, portraying the town cus- sional effect. Women quickly incorporated Hes- toms, and accompanied by a written explanation. sian weave into artisanry, especially the high- In the beginning, the tablas were drawn on the land migrants in the outskirts of Lima in districts roof beams (where family trees were once such as Pamplona Alta, where in this technique notched), but today the art form tends to be rect- they found a way to express themselves artisti- angular or square to make the boards easier to cally. This artisanry, now common in Peru, has trade. One of the driving forces who rejuvenated produced sterling work in areas such as Cuzco, this art form was Carmelón Berrocal (1964-1998), where weavers have added traditional decora-

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tive elements such as dolls and Inca textiles. that produces superb tapestries is San Pedro de Casta, in the highlands above Lima, where towns- Embroidery people continue to use natural dyes from The embroidery work of Chiqnaya, Puno, is fa- cochineal and plants. mous for its lambswool or cotton blankets, large and small, which represent scenes linked to the Needlepoint sowing and harvesting seasons and fiestas. Other The discovery of chullos, bonnets, sashes, dolls well-known embroidery is produced in the town and other pieces from pre-Hispanic cultures along of Chivay, in the Colca Valley near Arequipa. the coast (Paracas, Nazca, Chancay and Mochica) Their work is decorated with ribbons and showed that Tejidos de Punto (needlepoint) is an backstitches. The arts and crafts fair in ancient technique. This technique basically in- Huancayo, Junín sells petticoats called “centro” volves knitting pieces –mainly clothing– by cross- which are entirely embroidered and used under- ing one loop through another. However, the tech- neath a unicolor skirt. nique allowed artisans to decorate the textile with haut- and bas-relief. Today, this knitting tech- Cotton Thread Inlays nique has become a flourishing industry in Puno, The art of hilado, cotton threading, takes advan- Cuzco, Arequipa and Lima. Puno is the country’s tage of the natural color of brown cotton and the largest producer of chullos and sweaters made suggestive, sober tones of natural dyes, although from vicuña, alpaca and lambswool. In this area, now the native cotton variety is facing major com- the men are the ones who knit socks, stockings petition from industrial cotton, especially in ar- and chullos from alpaca wool. tisan areas of Monsefú (Lambayeque) and Cajamarca. The tradition dates back to pre-His- DECORATIVE UTENSILS panic Andean civilizations and artisan produc- tion mainly lives on in some communities along The artisan market produces a wide variety of the coast and in the upper highland reaches. In decorative pieces and utensils made from painted the Amazon, craftsmen produce elaborate dresses glass, wood or clay that have drawn from the style and shawls or fine and flat threading, on which and techniques found in the decoration of the Shipibo natives make drawings of geometric Cajamarca mirrors. Utensils include trays, boxes, lines inspired by hallucinogenic visions brought jewelry cases, desktop articles, decorations in the on by the use of medicinal plants. shape of animals, pens, table centerpieces and other articles. Decoration is largely centered Tapestries around tiny flowers and leaves in a variety of Tapestries crafted in the Ayacucho quarter of colors. Many of them have been artificially aged Santa Ana continue to use pre-Hispanic geomet- with special dyes and then given a layer of var- ric designs, which have incorporated modern ef- nish. Cajamarca and Apurímac are the main ar- fects from an optical perspective. Another area eas that produce these objects.

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Fairs, Crafts Centers and Museums

Every Sunday

Arequipa Lima Fundo del Fierro Mercado Inca Plazuela de San Francisco Between blocks 7 & 8 of Avenida La Marina, Objects made of sillar stone, copper, leather and Pueblo Libre wood Open every day from 9:00-21:00

Cajamarca Feria de Petit Thouars Centro Artesanal y Forestal de Aylambo 48th block of Ave. Petit Thouars, Miraflores (Aylambo Artisanry and Forestry Center) Open every day from 9:00-21:00 On the road to Magdalena, Cajamarca Decorative and utilitarian pottery San Martín Casa artesanal de la mujer lamista Cuzco (Lama Womens’ Artisanry Center) Feria de Chinchero Lamas Bajo district, Lamas, near city of Tarapoto Cuzco Weavings, pottery and musical instruments Every Sunday

Feria de Písac Urubamba Valley Every Sunday

Junín Feria de Huancayo Plaza de Huamanmarca (Huancayo)

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