UGO THE TAKI OF CHEEK AND POETRY CURRENT QUECHUA
By Armando Arteaga
When faced with a reconstructive study of Quechua literature we find that it expresses a clear distinction between attributes and attributes written oral. While Quechua oral literature that emerged from the popular expressions have nothing to emulate other popular literature of any other people, literature written Quechua was in serious trouble that made it get pushed to the written literature of other peoples.
written literature comes together with the need for a revaluation linguistics, historical restoration, cultural survival, and the dissertation as opposed to the very essence of Quechua oral literature, which is building itself open, anonymous and collective. Social status in the culture of the Quechua people leads to a common denominator of our past agraphic Andean peoples: reluctant to literature written in colonial culture. There still reads in the popular imagination: the rod and spoil. And, "rationale", the Andean culture is popular music enthusiast, the oral tradition. Although the songs and poetry of the Andean people dumb not ever lost-in fact-in the trance of orality to writing, but his spirit has been renewed recently.
This is not only inherent in the Andean peoples, is a literary stepping on indigenous peoples of the world: the poetry of the Batak, of Mangaia, the Maori, the Polynesians, the ewe, of the Ashanti, the abaluyia, the Winnebago, the ojiwa; on Yugoslav folk poetry, folk poetry in Iceland, and the popular poetry of Estonia, and even the English ballads of oral tradition of Asturias or Morocco, to name some universal cultural spaces, where poetry is once again singing. Oral tradition is an essential condition to the literature of the people, the basic livelihood for communication and the "raison d'être" of human society.
Myth "oral" is already an unfailing experience in ancient and modern societies. The magic and religion, says Malinowski, arising from emotional needs: it is the attitude that man has to cope with situations beyond their control. Supplementing the technical magic, modern man continues to invoke when it rises and travels by plane. True, Durkheim totally exclude the magic of the realm of the sacred, while Malinowski has a social relationship that has more in common with religion than with the everyday world we live determined by empirical knowledge of the properties of the objects we use, the religious man is still living in this world to face uncontrollable.
is the poetry, the literary genre that has struggled for autonomy in the Quechua oral. The syncretism between the profane and the sacred in Andean culture has a current space the upright. It is likely that in times of removal of idolatry, when the Indian chronicler wrote, the sacred hymns of the Incas were already disappearing these creations. His record in English is saved (in part), but betrayed one's own original version. Any text "published" means oral literatures, discreetly, a betrayal of the essential message of this unprecedented same collective creation.
In preliterate peoples, poetry-usually-is sung or recited, has withstood well over time: the destructive and the exogenous. Oral tradition holds the "needs inclusive" to the "collective representations." What saves the fidelity of the original poem is its recognition memory in transient memory, over time unscrupulously dumping, and put in print later. The writing loses or gains in fidelity is always hard to know. The translation into another language, foreign-is also something that transcends the fidelity of things. Literalness in some cases is unfair. We do not believe that this situation does not cease to be frustrating for the writer-narrator-Quechua-speaking, not so the poet is in favor of orality.
It fell to Jose Maria Arguedas (Taita churiyaque) have been the pioneer and have noticed this situation explicit literalness. Every translation is somehow a betrayal. Arguedas published "kechua Canto" (Lima, 1938), where poetry is in one's own voice from "Wayne" or songs that sung in indigenous communities and the haciendas of Abancay and Puquio. Arguedas here develops the thesis that in the Andean farmer: singing, music and dance is an inclusive gesture of his own life. Poetry lives in his voice, is a speaker, without limitations. Arguedas showed, always-be a great translator, a profound knowledge of the "Runa Simi" as language and the Andean world. Only a literary creator and an anthropologist at high level as it was him, attentive and knowledgeable observer delas diverse cultural manifestations of the peoples of the southern Andes, could do such a feat of translating the oral tradition.
Another passionate translator of Andean Quechua is Adolfo Vienrich (Allin rune Mallki Hatun), in his "Lilies Quechua (Tarma, 1905) assumes the existence admiringly of" Inca Literature. " Vienrich still in the observation of this literature excelsa ours. Still is exacerbated: in the situation of annihilation of the Andean culture, it is lifeless accept this condition caused by colonialism. Yaravíes collected songs and Cachua Abancay, Cuzco, Puno, the Central Sierra: Huancayo, Concepción, Jauja, Tarma, and Chupaca. His "Fables Quechua" (or "apologists Quechua, Tarma, 1941), are the expression of the highlights from our literature. Ardent advocate of the Andean culture and Quechua. Quechua is our first writer of fiction, its "fables" are difficult to discern: if these are personal creations exact expressions raised in the field. Made a bilingual edition. He was ahead of claims of "Runa Simi" as EW Middendorf who also collected "taquis" in his "dramatischer Lyrische Dichtungender Keshu-und Sprache" (Leipzig, 1891).
Another amazing record is the work of Jose Benigno Farfán who published many "Quechua texts" of Cuzco and the Mantaro Valley in the journal of anthropology at the University of Tucumán (Vol. 2, N-12). In his "Quechua Folk Poetry" (1942), JB Farfán, a professor at San Marcos, largely compiled some of the most important texts in Quechua as the elegy in memory of the dead "Apu Inka Atawalpáman, and harawi" Waqaykúskan " and the free version of the Castilian "haraye Harawi" love that song taken from the "New Chronicle and Good Government" of Philip Waman Puma de Ayala, the Indian writer, his work written by 1613.
The case of Sergio Quijada Jara is important to have obtained important texts of the communities in Huancavelica and Huancayo in his book "Songs of livestock and herders' (Huancayo, 1957), the prologue of Paul Rivet presumed anthropological interest to the literary, though in this book are in the religious intentions poem "Wamani" which is the invocation of a deity Quechua former representing the power of the earth and which is symbolized by the mountain. The relationship between man and nature is explicit, as well as the contribution of this poetry to ecology, is primarily a rural poetry, which survive pre-Hispanic ritual matters.
Quechua Two books on poetry and an anthology called my attention since the seventies. It was something that helped me to strengthen my understanding of Quechua poetry and left me the deepest emotional boost to this poem full of great cultural relics.
First, "Poetry Quechua (Cochabamba, 1947) Jesus Lara, poet and novelist, an expert on" Runa Simi. " Jesus Lara gives a very literary and attractive force towards the problems of indigenous peoples of Peru and Bolivia, their contribution internationalized the problem of Quechua poetry publish other books like "The literature of the Quechua" (La Paz, 1969), achieving more interested readers and increasing international interest by the Quechua poetry. Jesus Lara's contribution is key because in his book includes the texts of John Wallparimachi Mayta, poet, inaugurates the modern Indian poetry in Quechua, died young fighting in the wars of independence in Upper Peru, sacrificing himself on the revolutionary epic (1814), and Melgar, his poetry is restoring the old race romantic poetry of the haravicus.
Second, the book "Song of love "(Cuzco, 1956) the father Jorge A. Lira told us of a lot about the capacity and the poetic charm of "Runa Simi." Poetry is the language of man here in these "songs" some of which were given by Carmen Taripha, a young peasant, whom he also fondly recalls how Arguedas by chanting his "lyrical poems, and also be an extraordinary storyteller.
And thirdly, the anthology "Poetry Quechua" (Buenos Aires, Eudeba, 1965), selection and presentation of José María Arguedas where poems appear Andrés Alencastre "Kilko Waraka" from "Mosoh Marka" (anonymous Bolivian poet who won an international poetry competition Quechua and he never wanted to discover his name), and the same Arguedas.
Other major collectors are Quechua literature Efraín Morote Best, Oscar Nunez del Prado C., who recorded "The Myth of Inkas and Qollari" ayllu of Q'eros Paucartambo (Cuzco) and university professor Ayacucho Teodoro San Marcos Meneses (with Porfirio Meneses and Victor Rondinel) than in the book "Huanta in Peruvian culture. Quechua literature anthology "bring new voices of poets like John Ruiz Ruiz, Chantay Pumajasapi Achalmi Harahuicuj and (some of them anthologized in "Poetry and Tradition Aboriginal People" Volume I, Alejandro Romualdo), apart from having registered other texts of popular song Ayacucho.
The Resurgence period Quechua poetry begins from 1780 AD to 1970 AD from the time of the revolution Túpak Amaru to the nationalist revolution of General Velasco, which gives very insightful a long silence.
The initiator of this revival is Wallparrimachi (Alto Peru ,1793-1814). It is the first Indian poet, creator organic, supremely expressed his own voice, breaking the "English way" of poetic language. Although Jesus has made translations of his texts Lara are still concessions to the English heritage, their texts in Quechua Andean roots are undeniable, his lyricism in "Arawi" natural.
"Modernity" in the current Quechua poetry comes from the twentieth century, begins with the poet Andrés Alencastre "Kilko Waraka" passes for "Kusi Pauker" (Cesar Guardia Mayorga) and this expression of "modernity" has an extraordinary level in José María Arguedas.
Andrew Arguedas considered Alencar (Canas, Cusco, 1909-1984): "The biggest Quechua poet of the twentieth century", in reality, it is, by the attributes of his poetry and for his courage in carrying out their work as a poet Quechua, although it was bilingual. In his poem "Illimani" win in Bolivia in 1951 - the first prize for poetry. Start this opening, with his book "Taki Parwa" (thirty poems published in full in Quechua), here the poet has surpassed the granting survivor of oral folk literature to modern poetry written in "Runa Simi", such is the essential contribution of Alencastre. Arguedas realizes "ipso facto" Alencastre genius of this device was the first time a poet quechua reclamaba su propia voz en lengua propia, era un gesto subversivo que avizoraba la nueva poesía quechua. Años después Arguedas publicaría también su “Jetman, haylli”. Alencastre y Arguedas, hicieron también sus propias versiones y traducciones al castellano de sus poemas escritos en “runa simi”. Allí nació la modernidad de la poesía quechua actual.
Alencaste publicó en “Taki Parwa” su poema “Puma”, extraordinario poema del cual han hecho versiones en castellano tanto Alencastre como Arguedas. “Taki Parwa” se planteaba también el manejo gramatical del “runa simi”, la interacción semantics between "Runa Simi" and Castilian, and continued in his second book "Taki Ruru" (1964), tenacious disagreements to coexist in the modern Quechua poetry. Later the tough dilemma of coexistence of the two language language will be reflected in his latest book "Yawar for" (Blood Rain, 1972), where it still moves the idiomatic Ripper. To understand Alencastre, read his beautiful poem "Macupikcu" ("Machu Picchu"), of great poetic level.
Arguedas help consolidate this poetry with modernity "Jetman, Haylli" ("Ode to Jet") and his great "Tupac Amaru Kamaq Taytanchisman Haylli-Taki" ("In Our Father Creator Tupac Amaru" / Hymn-Song), which has also made two excellent versions in Castilian. Like, this last "To Our Father Creator Tupac Amaru", Leo House has done an excellent translation that enriches the opening to go about doing creative and authentic version of the current Quechua poetry. Arguedas also published his book of poems "Katatay" (1969).
Another modern poet is "Kusi Pauker" (Cesar Guardia Mayorga), his books "Sonqup Jarawiinin", "Umapa" Jamutaynin "and" Runaq Kutipakuynin "express and return to the modernity of the current Quechua poetry developed from the twentieth century. His poems are expressions of current existing views, protests indubitable, as in the case of his poem "Auqay" ("War"), admirably anti-war. Cesar Mayorga Guard also published a great "Dictionary Kechwa" important tool for better understanding of the current Quechua poetry.
I think the currency in continuous current Quechua poetry, is a grievance process to overcome aspects "unavoidable" in Andean culture. Modernity not opposed to the "tradition" as opposed to reaffirm their confidence. Modernity means for poetry to move the language as a communication tool, using it more direct, in creative freedom. I think you are making other poets, as in the case of Lily Flowers, enough to read in his book "Phawaq Titi" his poem "Imap Tukuy Tukukushanñan" ("Everything is finished"), to understand your claim against the dehumanization current this stage of liberalism brutal in the world. Meeting these contributions also poets like Eduardo Ninamango, William Hurtado de Mendoza S., Alida Castillo, Dida Aguirre, and Gloria Caceres, whose contributions within the Quechua poetry are needed, too, keep in mind.
This literary fervor Quechua poetry is to find these books of poetry written in Quechua, "Yaku-Unupa Yuyaynin" ("Memory of Water" (Lima, 2009) and "Puyupa-wayrapa-ninapawam musqukusqanmanta (Huancayo, 2010), as well as" Ballad of a dog without mincing words "(Lima, 2009) and the latter" Suck Lyrics "(Lima, 2011), which form part of the poetry of Ugo Carrillo, Kuchuqmasi, Wauque, Qellqaq, musician, surprising anthropologist and poet of the Generation of 70.
In short, this part of oral legacy of the Andean Quechua Southern, broadcast songs, is the work misucal, where you can find a unique contribution Ugo Carrillo, in "Song of Cholo Foxes Up ", the result of a fruitful research and collection of music and lyrics. Carrillo also continues the tradition of Quechua texts collectors buried in the depths of our highlands and rural communities of Apurimac, Huancavelica and the Mantaro Valley. For many years, his work has been shown that these songs are kept alive the Andean culture. It's not just nostalgia for a glorious past, is committed to a future of new openings and glare current Andean culture.
Carrillo's poetry stands on the slope of apurimeña literature. His work alternates with personal voices, ancient to modern styles converge in the proper use of the Quechua language in poetry, as the contributions of other poets and writers in the Apurimac region: Abel Gutierrez Ocampo, Edmundo Delgado Vivanco, Hugo Tello Prado Juan José Flores, Jorge Flores Ramos, Julio Cesar Sanabria Hermoza, Erasmo Montoya Obregon, Feliciano Padilla, Lily Flowers, Renee Montoya Alarcon, Alarcón Blequer Silvera, Montoya Milciades Obregon, Luis Rivas Loayza, Isaac Vivanco Tarco Samanez Luz Paz, James Oscco, Alejandro Medina Bustinza, Feliciano Mejía, Hernán Hurtado, Fredy Roncalla and Tomaylla Nile.
Carrillo's poetry expresses a substantial change in the management of language in the current landscape of Quechua poetry, a break with the tradition of lyricism as a discourse that began to break up the direct message. Talk about the problems of the modern man and ancient past. The poems of "Yaku-Unupa Yuyaynin" ("Memory of Water") are dedicated to the pope, no one before had dedicated poems or poetic speeches of praise and gratitude for consideration with this native tuber that has saved humanity from hunger. There are many anonymous voices that celebrate the merger of the potato (as heroic creation of the Quechua) all sincere expressions of our culture and even a "lliwqa" sings the fertility of the land against the destructive process which is currently subject to adverse economic and political interests.
's poems "Puyupa-wayrapa-ninapawam musqukusqanmanta" assume in part the anti-official discourse against marginalization and lack of historical perspective touting certain anti-democratic sectors face the problem of the Andean people, and our multicultural and multilingual country, does not agree to exclude poetry in "Runa Simi" as the "other" poetry , set aside. No, Quechua poetry is as important as poetry in Castilian, the poetry in "Runa Simi" has its own cultural context, substantive, comprising almost the entire national territory, has mitimaes everywhere. Have tenderness, has historical legacy, not in vain Ugo Carrillo cited in his poem "Wichay Nanpi Isaakpa yuyaynin" heroes of popular exploits Juan Santos Atahualpa, Tupac Amaru, a Willka Rendón, nothing less. In "Way, haykapkamaraq simpayki" in which the merger between the two cultures and two languages \u200b\u200bis synchronized between their own verses to bring out the poetic meaning of admiration for untranslatable by a red flower, symbol of the tenderness of the mother, Women of the earth. O, the horror in "Aya wayra" man's body into the wind.
Finally, I would say, the excitement that I wake up these two books Ugo Carrillo: "Ballad of a dog without mincing words" (see "quipukamayoq" of Uranmarca) and "Suck letter" (it is because his poetry remains an important area of \u200b\u200bour poetry, line of Efraín Miranda, Cesario Martinez, and Gamaliel Churata, poets of the current Andean consonant. Though, in truth Ugo Carrillo, "Jamauta, thoughtful man, has been added to this overwhelming" Sanampay ", signaling poetry has always be-too-one of the most vital poets of the Generation of 70. rejoice. Kusikuy, Chamay.
Conference and Presentation of the book-wayrapa-ninapawam Puyupa musqukusqanmanta "
Ugo Carrillo in the Association of Quechua-speaking and Quechua-Ica lovers.
Ica, Thursday March 10, 2011.
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