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Q’eros, Perú. La regeneración de relaciones cosmológicas e identidades específicas a través de la música
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2010-03-24) Wissler, Holly
One of the principal purposes of Q’eros music is to actively regenerate and re-create good relationships with the cosmos and the spirit world they believe in. In this paper, I explore how both the Q’eros’ indigenous songs as well as their newly-adopted music and dance for Peru’s largest pilgrimage, Qoyllurit’i, achieve efficacy of purpose through similar techniques of sound production and aesthetics. Even though the specific musical traits (structure, scale, and instrumentation) of both musical styles are significantly different, I address how Q’eros’ musical production of both types share the same focus and serve the same end-goals, whether the ritual is an intimate one within the community or shared with thousands of other people from the greater region. In addition, the performance of both styles of music serve as specific identity markers for the Q’eros depending on their contextual use and the identity desired at the time. In other words, the Q’eros’ musical choices allow them to shift identities between traditional Q’eros in their home community and misti (mestizo) in Qoyllurit’i.
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Alejarse como proceso social: niños y ancianos «abandonados» en Ayacucho
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2010-03-24) Leinaweaver, Jessaca
In previous research on fostering and adoption in Ayacucho, I explored how amid the creative negotiation of discourses and spaces constructed by institutions, communities, and social structures, Ayacuchanos take up and produce new social relations. This article discusses the opposite process: undoing kinship, and the social process of abandonment or distancing. When a person is withdrawn from his or her family or community, those who remain come to understand themselves as certain kinds of persons. The case studies considered here, collected through careful participant observation and ethnographic interviews recorded between 2001 and 2007, reveal how, after social distancing or abandonment, the individuals who do the distancing reinterpret themselves as subjects who are improving themselves and becoming modern.
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Llorens, José Antonio y Rodrigo Chocano. Celajes, florestas y secretos. Una historia del vals popular limeño
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2010-03-24) Rohner, Fred
The article does not present a summary.
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La fuerza de los caminos sonoros: caminata y música en Qoyllurit’i
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2010-03-24) Mendoza, Zoila
Here I explore the intrinsic relationship that for the people of the district of Pomacanchi (Cusco) exists between walking to the sanctuary of the Lord of Qoyllurit’i and the music that accompanies them. My attention focuses on the relationship with the chakiri wayri melody and to a lesser extent with that called alawaru. In this intrinsic relationship between music and the walk, on the one hand, the primacy of the unity of the visual and the auditory in the Andean cognitive processes reveals itself. On the other hand, in exploring this relationship in the context of the walk a third sensorial dimension key to such cognitive processes appears clearly. It is the sense of kinesthesia or sensation of movement. In other words. The unity of the visual, the auditory and the kinesthetic is what makes the participation in the fiesta of the Lord of Qoyllurit’i a unique and unforgettable experience. The obvious primacy of the unity of these three senses in the experience of pilgrimage of the people of Pomacanchi to the sanctuary of the Lord of Qoyllurit’i is not unique or exclusive of this festive context or of Pomacanchi. Simply, this experience allows us to analyze more closely a phenomenon that I believe to be spread in the Andes.
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Los peregrinos urbanos en Qoyllurit’i y el juego mimético de miniaturas
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2010-03-24) Stensrud, Astrid B.
This article is about the pilgrims from Cusco city who participate in the miniature game in the sanctuary of Qoyllurit’i. Starting with a description of the urban socioeconomic context and the Andean ontology, this text intends to explore how we may understand the game, the meaning of the miniatures, and the importance of the pilgrimage in the contemporary urban context. A strong motivation for going to Qoyllurit’i is to empower the desires of life and ensure economic prosperity for the future through reciprocal relations with places and objects. In these relations, values like respect and faith are important. Using the analytical concepts «virtuality» and «mimesis», the article analyzes the game as a form of communication based in an ontology in which there are no distinctions between nature-culture, signifier-signified, and matter-spirit. Furthermore, it shows that indigenous religious practices are cultural and material processes which are constantly recreated in continuous and reciprocal relations between the rural and the urban. The article is based on two years and two months of ethnographic fieldwork (2001-2002, 200-2007, 2008) in a neighborhood in Cusco city and in three pilgrimages to Qoyllurit’i (2002, 2007, 2008).
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«Videos Etnográficos»
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2010-03-24) Quinteros, Alonso
The article does not present a summary.
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Revista Chilena de Antropología Visual. 15, 2010
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2010-03-24) Tineo Sanguinetti, Sandra
El artículo no presenta resumen
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Acerca de la antigua importancia de las comparsas de wayri chu’nchu y su contemporánea marginalidad en la peregrinación de Quyllurit’i
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2010-03-24) Salas Carreño, Guillermo
This paper proposes some ideas regarding the history of the Quyllurit’i pilgrimage by paying close attention to the particularities of the wayri ch’unchu ritual dance. After reviewing the available historic evidence about it, the text proposes that the location of the shrine at the bottom of the Qulqipunku glacier (Ocongate, Cusco) is explained by its liminal position between the Andean highlands and the Amazon. The location of the Qulqipunku, and its difference with the Ausangate, is very evident for the communities living in the surroundings of Qulqipunku. The text proposes that these communities were the main protagonists of the pilgrimage at least until the end of the 19th century. The paper explains why the wayri ch’unchudancers of these communities —highlanders who represent indigenous peoples of the Amazon— were so important and numerous in the past. Finally, the text shows how the continuous grow of the pilgrimage along the 20th century has meant a progressive marginalization of these communities within the pilgrimage as well as a clear decrease in the preponderance of wayri ch’unchu dancers. The decrease is directly related to attempts to subvert ideologies of social differentiation present in the region that are framed in a broader and ongoing process of de-indianization.
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Guevara Gil, Armando. Diversidad y complejidad legal: aproximaciones a la antropología e historia del derecho
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2010-03-24) Ansion, Juan
The article does not present a summary.
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3-cerro y 4-mundo: los números del banquete en las ofrendas quechuas
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2010-03-24) Lorente Fernández, David
The Quechua offerings in the South of Peru are banquets dedicated to the Pachamama and the Apus, and at the same time, are elaborated mathematical systems controlled by sophisticated operations. Using two principal numbers, 3 and 4, the religious specialist is capable of transmitting polysemic messages. Through the number 3, the religious specialist refers to the people, landscapes and mountains, in sum, to «persons» able to interact among themselves. The number 3 appears in the k’intus, composed of coca leaves, also in the prayers said during the process of the offering ritual. On the contrary, the number 4 does not indicate relationships but spatial forms: it is a geometrical operator that is constructed of the ceremonial square napkin (unk’uña) and paper in which the offering is completely wrapped to make the offering a miniature world, containing the «four directions of the world.» Using these numbers, the religious specialist can recreate the cosmos, establish covenants with the gods and define new situations favorable to the life of Quechuas.

Vol. 28 Núm. 28 (2010)

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