i SITUATING THE ANDEAN COLONIAL EXPERIENCE MESOAMERICA, THE CARIBBEAN, AND SOUTH AMERICA, 700–1700 Editorial Board Ryan Kashanipour (chair of board) José Carlos de la Puente (Texas State University) Anne Scott (Northern Arizona University) Mark Z. Christensen (Assumption College, Mass., and Boston College) Danna Messer (acquisitions editor, Arc Humanities Press) Further Information and Publications arc-humanities.org/our-series/arc/macsa/ FOR PRIVATE AND NON-COMMERCIAL USE ONLY iii SITUATING THE ANDEAN COLONIAL EXPERIENCE AYLLU TALES OF HISTORY AND HAGIOGRAPHY IN THE TIME OF THE SPANISH by DENISE Y. ARNOLD To the memory of the title- bearer Don Franco Quispe Maraza, and other local historians from Qaqachaka Original edition in Spanish: La Paz: Plural editores and Instituto de Lengua y Cultura Copyright © Denise Y. Arnold, 2018. All rights reserved. Aymara, ILCA, 2018. (ILCA series: Etnografías No. 7). First edition in English. BritishFirst edition: Library March 2018 Cataloguing in Publication Data A catalogue record for this book is available from the British Library. © 2020, Arc Humanities Press, Leeds The author asserts their moral right to be identified as the author of this work. Permission to use brief excerpts from this work in scholarly and educational works is hereby granted provided that the source is acknowledged. Any use of material in this work that is an exception or limitation covered by Article 5 of the European Union’s Copyright Directive (2001/29/ EC) or would be determined to be “fair use” under Section 107 of the U.S. Copyright Act September 2010 Page 2 or that satisfies the conditions specified in SectionFOR 108 of PRIV the U.S.AT CopyrightE AND Act (17 USC §108, as revised by P.L.94– 553) does not requireNON-COMMERCIA the Publisher’s permission.L USE ONLY ISBN: 9781641894043 e- ISBN: 9781641894050 www.arc- humanities.com CONTENTS List of Illustrations ..............................................................vii Note About the Spelling of Toponyms and Proper Names ............................xi ............................................................. xiii Acknowledgements Introduction .....................................................................1 PART ONE: THE ORAL HISTORY OF QAQACHAKA Chapter 1. Genesis in Qaqachaka .................................................29 ....................................... Chapter 2. The First Ancestors of the Place 45 Mit’a, the Mines, and Slavery ...................................... Chapter 3. The 59 .................. Chapter 4. A Gentleman’s Agreement Between Literate Caciques 71 .....................91 Chapter 5. Settling the New Place of Qaqachaka and its Ayllus ........... Chapter 6. Some Clarifications about Juana Doña Ana and her Kinsfolk 103 PART TWO: THE COLONIAL CACIQUES IN ORAL AND WRITTEN HISTORY .................. Chapter 7. The Caciques of Qharaqhara and Quillacas- Asanaque 117 vi Contents PART THREE: QAQACHAKA MARKA ................... Chapter 8. From the History to the Hagiography of Qaqachaka 161 PART FOUR: THE SAINTS APPEAR .............................................. Chapter 9. Tata Quri, “Father Gold” 185 Chapter 10. The Construction of Qaqachaka’s Church ............................ 203 ............................................ Chapter 11. Tata Quri wants a Family 217 PART FIVE: THE RELIGIOUS PRACTICES OF QAQACHAKA MARKA Chapter 12. The Origins of the Ritual Practices Around the Church ...............249 ............................................... Chapter 13. Let’s Sing to the Gods 275 Chapter 14. Converting the Saints into Persons .................................. 295 Some Conclusions .............................................................. 323 Glossary ....................................................................... 331 ........................... Appendix A Document C of DonFOR Franco PRIV QuispeAT MarazaE AND 337 NON-COMMERCIA ...........................L USE ONLY Appendix B Document K of Don Franco Quispe Maraza 339 Bibliography ................................................................... 341 Index .......................................................................... 363 LIST OF ILLUSTRATIONS Maps Map 1. The site of Qaqachaka ....................................................xvi ............xvii Map 2. The Quillacas- Asanaque and Charkas- Qharaqhara Federations Graphics ....................... Graphic 1. Adam and Eve, drawn by Guaman Poma de Ayala 31 Graphic 2. The emergence of Qaqachaka’s minor ayllus from the Quillacas- Asanque ............................................................ Federation .....................................9997 Graphic 4.3. SummaryThe Condo of parish the immediate and its annexes Ayra Chinche lineage ...................... 126 Graphic 5. Señor Ayra de Ariutu’s genealogy .........................................126 Graphic 6. The Choquecallati genealogy .................136 Graphic 7. The parental interweaving among Asanaque caciques ...............144139 Graphic 8. The Taquimallco lineage showing Don Bartolomé Astete present-day Espejo family of Qaqachaka .............................. Graphic 9. The Llanquepacha genealogy showing their supposed relations to the 145 matrimonial alliances in the Llanquepacha-Guarache families ........149 Graphic 10. The Llaquepacha genealogy with the interweaving of their Graphic 11. Scheme of Tata Quri’s route on his descent from Phiriphiri Mountain to Qaqachaka pueblo ...............................................190 Graphic 12. Scheme of the journey of the danzantes’ clothes, accepted by Tata Quri .... 196 viii List of iLLustrations . .199 Graphic 13. One of the ancient routes along which the clothes of Tata Quri’s Graphic 14. Schemedanzantes of werethe route taken taken by Mamita Kanti Layra (Candelaria), from ...........................219 Choquecayara towards Qaqachaka pueblo ................224 Graphic 15. The routes taken by the Mamitas Ch’uri and Kapitana from the Jukumanis .................................................229 Graphic 16. The escape route (in red) taken after the theft of the two virgins ...............244 Graphic 17. The ties of kinshipceques and created affinity by betweeneach of the the saint- saint-gods gods going in turn to the central church of Qaqachaka marka ....................299 Graphic 18. The wheel of Charts Chart 1. Qaqachaka’s annual cycle of religious feasts ............................. 261 Figures Espejo Sepera .......................................................... Figures 1a. and b. a. Doña Lucía Quispe Choque; b. her brother- in- law Don Enrique 32 .......................... Figure 2. The storyteller, Doña Bernaldita Quispe Colque 36 family of Livichuco ..................................................... Figure 3. Don Tiburcio Maraza Mamani, descendant of the Inca Maraza title- bearer 79 ayaguayas and snare drums, play ayaguaya music at Carnival Figure 4. A troupe of musicians from Condo, ........................................... playing the flutes called in 2016 in Qaqachaka pueblo 86 marka ............................................. Figure 5. Qaqachaka in 2005 105 ..............111 FOR PRIVATE AND Figure 6. The place called QhusmiNON-COMMERCIA Uma near Tata Quri’sL “Wardrobe” USE ONLY ...........112 Figure 7. Doña María Ayca Llanque, wife of Don Franco Quispe Maraza Holy Cross, in 1989. Figure 8. Tata Quri as a wooden cross, during the Feast of the 167 ix ix List of iLLustrations . Figure 9. The rocky heights of Mount Phiriphiri where Tata Quri was found 187 during Tata Quri’s feast, accompanied by Don Gerónimo Colque Figure 10. LupintaDon Alberto (mayordomo Choque chews of Mama coca Kapitana) and directs and the the libations invited guest Juan de Dios Yapita ..................................................191 ................... Figure 11. The danzantes and the ayllu mayordomos enter the church to hear the mass during the Feast of the Holy Cross, in 1989 197 ...........................................................199 Figure 12. One of Tata Quri’s danzantes plays a flute made out of a condor’s wing-bone ..200 Figures 13a. and b. One of Tata Quri’s danzantes, with its wings “like butterflies” ....................... Figure 14. The plaza of Qaqachaka in the 1990s, with the colonial church of Santa Vera Cruz and its two towers in the background 207 Tatala turri julajula ..............................211 Figure 15. with its stone arch to the right, and a troupe during the Feast of San Francisco tatala turri .......................................212 Figure 16. Detail of the bells in Mamala turri ....................... Figure 17. , with its stone and adobe alminar. 213 Figures 18Immaculatea., b., and c. The Conception procession in December of the goddess- 1989.saints . .Mama . Candelaria,. followed by Mama Kapitana and Mama Ch’uri, at the Feast of the 227 of the Immaculate Conception ........................................ Figure 19. One of the child-saints is celebrated in the procession at the Feast 237 Figure 20. someQaqachaka’s of the saint- church, gods now behind modernized, the altar, at and the the Feast three of the Immaculate Conception ................................................. in 2017, with the niches containing Mamitas in front of it 243 San Isidoro del Campo, in Santiponce, Seville, Spain ................... Figure 21. Reliquary with relics of minerals held in the Monastery of 258 x List of iLLustrations tata kura Juan de Dios Yapita, in Qaqachaka’s church (1989) .................... Figure 22. The , Father Coca, baptizing a baby held