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(Top, left) f l a m b o y a n t head-dress t o p s o f f the c o l o u r f u l t r a d i t i o n a l c l o t h i n g w o r n by t h e f u l l - b l o o d e d Indian inhabitants of Taquile at t h e i r Fiesta o f San Juan. They c o n d u c t their o w n religious ceremonies ( b o t t o m , left). The w o m e n dance separately (near, top) f r o m the men w h o play s t r i n g e d i n s t r u m e n t s and panpipes. Taquile men k n i t their o w n caps (near, b o t t o m ) , their fine belts are w o v e n by t h e w o m e n
appear from sight around the end of April and return in mid-June to 'announce' the solstsice. So this was probably a key point on the Inca calendar - the birth of the New Year. The fiesta of Qoyllor Rit'i is noteworthy for its splendid setting in a valley overlooked by three shining glaciers. Lying due east of Cuzco, it was on one of the lines which divided the four quarters, or suyos, of the Empire. This line marked the border between Antisuyo and Collasuyo. The valley is situated on the eastern side of the Andes near their steep descent into the jungle. Here the Incas believed their ancestors, the Chunchos, or jungle Indians, to have evolved. Few fiestas are as atavistic and as easily interpreted as Qoyllor Rit'i. South of Cuzco on the Peruvian altiplano, by the shores of Lake Titicaca, there survives a practice which goes back to pre-Inca times. This is the custom of playing panpipes which is associated with nearly all the fiestas of the region. The panpipes date at least as far back as the Moche culture of the north coast of Peru (500 BC - 800 A D ) . This civilization developed a sophisticated technology of making ceramic panpipes. Other materials such as feathers, bones, wood and cane were also used. It is clear from ceramic illustrations in museums, that the Mochica had already developed the technique, used to this day, of playing the panpipes in pairs. That is, the notes of the scale alternate between two sets of pipes played by two different musicians. Necessarily, the music takes on the form of a dialogue as it still does today. ANPIPES were obviously sacred instruments to the Moche people, just as the lute is to Arabs. The duality symbolized by the dialogue between the two halves of the instrument was probably an important aspect of its significance. The next development in panpipe playing was achieved by the Nazca civilization. This was the evolution of orchestras made up of dozens of musicians and involving the use of registers, like a church organ. The pitches of the different registers differ by an octave. Therefore, going down the registers, each pipe is twice the length of the previous one in the series. One of the best places in which to see panpipe dances today is the Island of Taquile. This lies in the legendary Lake Titicaca, a three hour journey by motor launch from the mainland town of Puno. Taquile measures approximately 7 km by
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is indescribable. The fiestas on Taquile differ from most of those in the rest of Peru in that there are no spectators - although there may be a tourist or a foreign photographer now that the island's reputation is spreading. At most fiestas there are spectators, vendors and other non-participating elements. These reflect the wide variety of social class and race which exists today in the Andes. The unusual degree of community consciousness which persists on Taquile has maintained an exceptional level of equality amongst the community.
The remainder of the Peruvian altiplano is divided into Aymara and Quechuaspeaking zones. The city of Puno is Quechua-speaking but, at fiestas such as Manco Ccapac's day and Candelaria, both Aymara and Quechua-speaking Indians participate, bringing their distinct dances and music. The Indian culture of this region began long before the Tiahuanaco and Pucara civilizations which have left impressive ruins in Silustani, Pucara and in sites beside the lake itself. Indeed, the Lake Titicaca basin played host to the earliest migrants from the
| indigenous ceremonies to be conducted by the Indians themselves; in their sermons at ! subsequent masses, they may try to inject a [ Christian interpretation into the events of the day. I once heard a sermon in which the priest suggested to his congregation that they ought to invest some of the immense effort and cost of the day's festivities in more permanent and beneficial work. As in the case of Qoyllor Rit'i, it is hard to tell what the Indians really believe. While continuing to worship the sun, the moon and the mountains, they have been forced into adopting Catholic ritual practices. HEN Indians kneel in church before the altar, and kiss the ground, who can say whether they are worshipping Christ or Pachamama, the Goddess of the Earth? Similarly, while the dances appear to be honouring the Virgin and the Saints, who can say what the dancers are really thinking? Many 'pagan' rituals, such as payment to the Pachamama, are openly practised today. Gone are the days of the Inquisition which severely punished such activities. In recent years the clergy have stopped pretending that these rituals do not take place, provided that the Indians also take part in official Church ceremonies. The Pope's planned visit to Peru in February this year has been anticipated with great enthusiasm. It will be celebrated by innumerable fiestas. The people of Paucartambo are preparing to bring their Virgin of Carmen to Cuzco so that the Pope may bless her. Paucartambo is about four hours by lorry from Cuzco. The much venerated Virgin of Carmen plays a central role in a myth which is enacted every year by the inhabitants of Paucartambo. The drama, which involves local history, takes the form of a ritual battle between Collas, Indians from the high Puna, and the Chunchos. The Chunchos invariably defeat the Collas and succeed in abducting their beautiful Virgin. Despite the humiliation that Indian people have suffered over the centuries, they have managed to retain their dignity. The living traditions which can be observed at fiesta time represent an important aspect of the self respect of these serene and gentle people. They have managed to avoid the worst excesses of Western life which are so often evident in other parts of the continent. Many factors contribute to the gradual break-up of traditional Andean society, but it is certain that the rich folklore which exists today, plays a vital role in the equilibrium of their society. Peter Cloudsley is carrying out research for the Museum of Mankind on Andean musical traditions in southern Peru and the expedition on which this article is based was funded in part by the Emslie Horniman Anthroplogical Scholarship Fund and the Rivendell Trust
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(Top left) music ensemble in t h e village of Checacupe t a k e part in a carnival. Traditional musicians are an essential element in Peruvian Indian fiestas and carnivals. ( B o t t o m left) Manco Ccapac's legendary landing at t h e c i t y of Puno o n t h e shores of Lake Titicaca is re-enacted every year. M a n c o Ccapac w a s t h e f i r s t Inca and is greeted by Indians f r o m miles around. (Above) Indian f a m i l y rests d u r i n g a fiesta
Amazon River Basin who hunted wild cameloids. The descendants of these people have preserved their culture in their music and dance, and in their magnificent costumes, which are worn at fiesta time. Despite a continual process of evolution, which has destroyed and created many new dances, more than 100 dances are still performed today. Some have variants which take different names according to where they are performed. For example, the sikuris mentioned above is elsewhere called morenada or diablada. Other dances, such as carnaval, extend across the barrier of the Quechua and Aymara languages. It is possible to distinguish between indigenous dances and dances which have evolved from colonial times. It is not, however, thought that the Spanish brought folk dances to the New World. They only brought popular dances, such as the waltz, mazurca and the minuet, for their own pleasure. Nearly all the dances of the altiplano are Indian in that they are danced by campesino Indians. Only the 'pandilld' is a Mestizo dance, and therefore more often found in
towns and villages. Such distinctions can become blurred at fiestas in Puno itself as many Indians come in from outlying areas. As on the Island of Taquile, life in the Indian communities of the altiplano is highly collectivized. Peasants organize themselves into groups, and work on one another's land, common land, or in public works. The community assures the future of each individual. Similarly, when it comes to the organization of festivities, the whole community takes responsibility and provides the food and drink. The same spirit also operates in the choreography of the dances. Unlike the dances of the West, which can be performed by a couple or even an individual, fiesta dances require the participation of everyone present. The significance of most dances is rooted in the myths and legends of the preColumbian religion. Cintak'ana is a dance in homage to the sacred bird Lulli, a symbol of peace. According to Aymara legend, Lulli would come to announce good news but, since it has no longer been seen, man has constantly suffered from terrible disasters.
HE puli is a dance which celebrates quinua, the most important and ancient crop of the altiplano. Fiestas take place on Church holidays dedicated to the Virgin Mary or the patron saint of the village. Processions dance to the village church where mass is heard. The clergy, of whom more than half are foreigners, adopt a tolerant and amused attitude. They leave the more