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"Incas Folklore."
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Mesoamerican myths
The belief systems and myths of the early inhabitants of Mexico, Central America, and South America are explored.
Book
Incan or Not? Building Ecuador’s Musical Past in the Quest for a Nationalist Art Music, 1900–1950
When the development of Ecuadorian national art music began at the end of the nineteenth century, composers and music historians followed European models and studied folklore as a window onto the past. In this quest to discover and articulate what was truly “Ecuadorian,” Incan culture occupied a complex position, sometimes hailed as a primary component of Ecuador’s musical heritage and sometimes dismissed as irrelevant. This article explores the music histories written by composers Pedro Pablo Traversari, Segundo Luis Moreno, and Sixto María Durán, and investigates a selection of Traversari’s compositions and Moreno’s music analyses. It demonstrates how they either included Incan culture in or excluded it from a national music history, in dialogue with scholars outside Ecuador. Early twentieth-century musical discourse in Ecuador produced a series of conflicting and converging perspectives on national and continental music that contribute to our understanding of the global history of nationalistic art musics.
Journal Article
Los Incas en el Collasuyu. Notas sobre alianzas prehispánicas en el área andina argentina
Resumen: El propósito de este ensayo es retomar el tema de los Incas en el Collasuyu, sector sudeste del Tahuantinsuyu, mediante aproximaciones al estudio de la capacocha, ceremonia fundacional de una alianza validada por un oráculo que podía ser consultado desde el Cusco. Veremos a través de cuatro casos dos de sus tipos: acuerdo entre el Inca y sus aliados, y acuerdo entre jefes regionales aliados entre sí. La Arqueología mostró la forma de estos acuerdos, y la Etnohistoria aportó microsecuencias de la realización de la ceremonia, rangos de sus participantes, los marcadores de la filiación incaica, etcétera.
Journal Article
Sources of danger and prosperity in the Peruvian Andes: mobility in a powerful landscape
This article argues for the importance of understanding questions of mobility in both ritual and cosmological senses. In the rural Andes, people negotiate their spatial situatedness through reciprocal means that they see as central for the fertility of the land and animals as well as for the well-being of the community. The article discusses how this relational understanding of the powerful surroundings is reproduced or changed as people move to an urban context. It explores the extent to which the relationship to land and the animated surroundings is important for the understanding of movement and mobility as such: for example, as actualizing sources of danger as well as prosperity. Drawing on the works of Lefebvre and de Certeau, the article suggests a reformulation of the distinction between place and space in order to explore how people engage in making places out of spaces in processes of mobility. Mobility is thus presented as a process of place-making. Cet article souligne l'importance qu'il y a à comprendre les questions de mobilité au sens rituel aussi bien que cosmologique. Dans les Andes rurales, on négocie sa situation dans l'espace par des moyens réciproques, perçus comme essentiels à la fertilité de la terre et des animaux et au bien-être de la communauté. L'auteure discute la manière dont cette compréhension relationnelle d'un environnement puissant est reproduite ou modifiée lorsque les gens passent à un contexte urbain. Elle explore l'importance de la relation à la terre et à l'environnement animé pour la compréhension du mouvement et de la mobilité en tant que tels, par exemple comme sources de danger et de prospérité en constante actualisation. Sur la base des travaux de Lefebvre et de Certeau, l'article propose une reformulation de la distinction entre lieu et espace, afin d'explorer la façon dont les gens transforment des espaces en lieux dans le cadre de processus de mobilité. La mobilité est ainsi présentée comme un processus de création de lieux.
Journal Article
The messenger of gods
Long ago, Earth was dominated by supernatural beings: spirits who lived in the forest and in the ocean. To live in harmony with them, Man had to learn to respect nature and animals. Today the Masters of the Spirits are the guardians of ancient beliefs uniting men and animals: by respecting these eternal legends, Man continues to live incredible adventures with animals, hoping to receive the spirit's protection. For its 13 extraordinary and true stories, the series entitled 'The Master of the Spirits' has sought out civilizations who still believe in magic, and whose people continue to share remarkable experiences with animals, hoping to win the favor of the spirits. From the mysterious fishermen of the Himalayan rivers to the last eagle tamers of the Kirgisthan mountains, this collection recounts the most beautiful legends featuring exceptional relationships between Man and animals.
Streaming Video
Inca music, travels and rituals
Two Peruvian musicians, Ebert and Jabier, have dedicated their lives to researching the ancient musical traditions of Peru. Ebert reproduces the old instruments, using natural materials. He also collects the music for the Peruvian Institute for Culture and teaches it to children so it will survive.
Streaming Video
The Devil and the Dolorosa: History and Legend in Quito's Capilla de Cantuña
One of the most popular and enduring legends in the Andean city of Quito recounts the vivid tale of a young Indian named Francisco Cantuña, the son of a powerful Inca captain, who lived and died in the sixteenth century. Maimed and horribly disfigured when the Inca general Rumiñahui burned the city of Quito, Cantuña was present when the general hid the treasure of Atahualpa before the arrival of the conquering Spaniards. In the aftermath of occupation, the young Cantuña was adopted by a benevolent Spaniard who taught him to read, write, and live a good Christian life. In return, Cantuña rewarded the Spaniard, as well as several local churches and chapels, with large sums of gold, which he secretly melted down from Atahualpa's hidden treasure. News of Cantuna's beneficence prompted all manner of speculation and suspicion among the local populace, to the extent that he was called before a tribunal to account for his mysterious wealth. In order to preserve the secret of the Inca treasure, Cantuña testified that he had acquired his riches by signing a pact with the devil. On this point, the earliest published version of the legend affirms that his testimony was a deliberate lie intended to quiet the gullible authorities, because Cantuna “was in reality a good Christian” who was very devoted to a local image of the Dolorosa (Virgin of Sorrows).
Journal Article
The Poetics of Khipu Historiography: Felipe Guaman Poma de Ayala's \Nueva corónica\ and the \Relación de los quipucamayos\
The Andean khipu was a medium of colored knotted cords used to record different types of information in the pre-Columbian and colonial periods. Although currently there is no way to read the khipu that have survived, numerous texts written in the colonial period claim to have relied on khipu as sources of information. A comparison between two khipu transcriptions of Inca biographies on the one hand and the European biographical genre on the other reveal a distinctly Andean poetics--in the sense of a structural format--with very suggestive links to semiotic conventions of the khipu.
Journal Article
La Flûte Indienne: The Early History of Andean Folkloric-Popular Music in France and Its Impact on Nueva Canción
This article chronicles the early history of Andean folkloric-popular music in France and discusses its impact on the Nueva Canción movement's emergence in 1960s Chile and reception in post-1973 Europe. I explain that Argentine artists from Buenos Aires introduced highland Andean instruments and genres into Paris's artistic milieu, where Andean music became associated with leftism well before the arrival of exiled Nueva Canción artists. This article not only documents yet another instance of nonindigenous (mis)representations of Amerindian musical traditions, but also reveals an early moment in the politicization of non-Western music for European mass markets that has been overlooked in World Beat scholarship. I argue that this case study lends credence to Thomas Turino's general observation (2003) that transnational musical processes usually viewed by scholars as cross-cultural interactions between the local and the global can be often conceptualized more accurately as phenomena occurring within the same cosmopolitan cultural formation. Rounding out this essay are some closing thoughts and a brief postlude. /// Este articulo presenta una crónica de la historia temprana de la musica andina folklórica-popular en Francia, analizando su influencia en la aparición de Nueva Canción durante la decada de los años 1960 en Chile y la recepción de este movimiento artístico después de 1973 en Europa. Explico que músicos argentinos de Buenos Aires introdujeron géneros e instrumentos andinos al ambiente artístico de París, donde la musica andina llegó a ser asociada con el izquierdismo bien antes de la llegada de artistas exiliados del movimiento Nueva Canción. Este artículo no sólo documenta como las tradiciones indígenas han sido representadas erróneamente sino también revela un momento temprano en la politización de la música no-occidental para el mercado europeo que ha sido ignorado en la literatura sobre World Beat. Sostengo que este estudio presta crédito a la observación de Thomas Turino (2003) que procesos musicales transnacionales generalmente entendidos por analistas como interacciones interculturales entre lo local y lo global pueden ser conceptualizados con más precisión en muchos casos como fenómenos que ocurren dentro de la misma cultura cosmopolita. Concluyo este ensayo con algunas reflexiones.
Journal Article