Inka Bodies and the Body of Christ: Corpus Christi in Colonial Cuzco, Peru

Book Description

In Inka Bodies and the Body of Christ Carolyn Dean investigates the multiple meanings of the Roman Catholic feast of Corpus Christi as it was performed in the Andean city of Cuzco after the Spanish conquest. By concentrating on the era’s paintings and its historical archives, Dean explores how the festival celebrated the victory of the Christian God over sin and death, the triumph of Christian orthodoxy over the imperial Inka patron (the Sun), and Spain’s conquest of Peruvian society.
As Dean clearly illustrates, the central rite of the festivalâthe taking of the Eucharistâsymbolized both the acceptance of Christ and the power of the colonizers over the colonized. The most remarkable of Andean celebrants were those who appeared costumed as the vanquished Inka kings of Peru’s pagan past. Despite the subjugation of the indigenous population, Dean shows how these and other Andean nobles used the occasion of Corpus Christi as an opportunity to construct new identities through tinkuy, a native term used to describe the conjoining of opposites. By mediating the chasms between the Andean region and Europe, pagans and Christians, and the past and the present, these Andean elites negotiated a new sense of themselves. Dean moves beyond the colonial period to examine how these hybrid forms of Inka identity are still evident in the festive life of modern Cuzco.
Inka Bodies and the Body of Christ offers the first in-depth analysis of the culture and paintings of colonial Cuzco. This volume will be welcomed by historians of Peruvian culture, art, and politics. It will also interest those engaged in performance studies, religion, and postcolonial and Latin American studies.

Customer Reviews:

Not the book I thought it was going to be..........2002-08-08

Dean's book examines the ambiguity of symbols inherent in the colonial experience. I often wondered-as with most historical reconstructions of "culture" and interpretations of practices long lost from memory-if there was enough "evidence" to make the claims she makes about the representation of sub-alterity. On the one hand, the Indian appears to constructing a colonial self through his/her dress, decoration, mannerisms, artistic expressive forms (such as dance or architecture), etc. But on the other hand, s/he is engaged in the hegemonic forces of "being Indian" within the dominant colonialist ideology. The question is, to what extent did the Indian have the freedom to make choices about dress, dance, decoration, etc. and to what extent was the image of the Indian under the control and creation of the colonialist/church?

I think the pressing need for an academic to take a "politically correct" stance in this day and age must sadly override the ability to present the honest truth in the case of colonial subjectivity. Allowing the indigenous people to speak for themselves is questionable in the case of iconic representation. For instance, where are the depictions of the Indians who carried the massive saints--where are these dark bodies in the paintings Dean examines. And if they are missing, why doesn't the author seem troubled by this?

Customer Reviews:

Photos are great but photographer leaves much to be desired.......2007-08-10

I bought this book for the photos and was not disappointed! As a native american artist with limited resources it has been often difficult to find photos of authentic dress. I was thrilled to see such great documentation in this book. That aside, when I contacted the photographer Ben Marra to see if I could use parts of his photos in my paintings his answer was absolutely not. Wow! But the photos are great none the less.

Great photography.......2003-07-31

The photos in this book are absolutely marvelous. If you are interested in making your own regalia, this will help you get ideas for the finer details. Most of the colorful "outfits" use contemporary as opposed to traditional materials, and with great ingenuity.

I believe that the photographers (a husband and wife team) had a terrific eye for what makes beautiful regalia. The photos are expert and visually enjoyable. Contrary to a previous reviewer, I think the plain backdrop works well. Yes, the book is limited in scope to static (non-dancing) poses, i.e. still portraits.

And nearly every photo is accompanied by an inspirational paragraph transcribed from the words of the Native American pictured. Good reading!

My only objection to this book is that since it was photographed at powwows in the northwestern U.S., it is mainly limited to representatives of tribes in that area. Otherwise, an excellent book!

Very nice bit.......2003-06-28

This book falls shy of a couple stars for me for one reason:
Although the photographs are all very well done, clear,
and pletiful, they are all inside studio settings only.
Compared to outdoors settings and natural light, these pics
loose something crucial in the translation.
There are NO outdoor shots and, most importantly, NO PICTURES
OF NATIVE DANCING!! Can't believe it!! I can't
believe that a book of ceremonial dress woulb have no
pictures including dancing ceremonies, for the costumes truely come alive when in motion. Tsk-tsk for not even giving us even a few - such pictures are the main reason I bought the book. Two or three would have helped immensely. Otherwise, I agree with the other reviewers, who don't seem to mind the omission I mention.

Pow Wow: Images Along the Red Road.......1999-12-01

I highly recommend this visually stunning book for anyone with any interest at all in Native American pow wow culture. The color photographic portraits are riveting and the commentary from the dancers themselves is compelling.

Beautiful, unique portraits and statements, wonderful book.......1997-06-07

A review should on some occasions cut to the chase. Buy this unique and beautiful book for your school library (any age), yourself, gifts. You can see some photos and some of what the dancers said on http:www.halcyon.com/benmarra/ Ben Marra's powwow web page. With his permission, I chose a few pix of young people and what they said for my Fancy Powwow Outfits page at http://www.fdl.cc.mn.us/~isk/art/beads/powwow.html, part of my beads and beadwork section .

These give a good idea of the wonderful contents, so here I'll say a few other things. First, a book of portraits of people in full powwow regalia: close up, clear, relaxed, and talking (or a grandma speaks for a little one) about the meanings of it and their personal involvements in their own culture is unusual, unique. We've all probably got little collections of photos we took ourselves of Uncle leading the Grand entry, Sister in her jingledress, etc. Nobody has any like this, though. There's no comparison to books of "taken at powwows photos" put out by other publishers. These are the work of a lifelong pro photographer, who -- together with his wife -- was able to put people at ease and capture character and meanings that work with what the people say to create an integrated work of art -- this book -- that is accessible to anyone from little children to busy city folk, who don't really know what a powwow is.

Linda Marra told me almost all the portraits were taken within a 5- minute set-up period, in improvised 'studios,' set up somewhere close enough to the dance arenas for the dancers to move on, but a little out of the way. The portraits are all against a plain brown backdrop/floor. All attention is on the people. Linda interviewed the people for the moving, interesting, and culturally informative statments by each (or parents or grandparents of the littlest ones). Help -- introductions to the people, encouragement, philosophy -- was provided by Bernie Whitebear (Colville), Executive Director of Indians of All Tribes; and by the staff of Iw'asil Youth Program in Seattle (who put on a number of the powwows over the years), and Bob Eaglestaff (Lakota), principal of the American Indian Heritage High School.

Tuscarora Richard W. Hill, Sr. (Native American Studies, State University of New York, Buffalo, and National Museum of the American Indian) contributes an interesting preface, which is a good context for most of this review. He explains "I almost came to resent the powwow as a sort of tourist fabrication, a 'minstrel show' put on mostly for white culture-consumers. But the power of the drum is just too much for me to resist....The powwow has now spread from coast to coast, and while some see it as a pan-Indian fabrication, I now see it serves as a vital catalyst for cultural renewal."

"Magic happens when individuals take the time to make the beadwork and bustles, learn the songs and steps, and personally step forward to express themselves through their dances....The powwow has become our light in a very dark world."

"These photographs are a testimony to those individuals who make the powwow magic. They are the human element behind the tradition, the real people who keep it all going. They may be construction workers, computer operators, students, or blackjack dealers during the week. On weekends, the ageless drum calls again, not to help them relive their cultural past, but to celebrate their real existence in the world. It is the dancers' faces in these photographs that speak to me the loudest, despite their quiet demeanor. They tell me of themselves, determined and honor-bound to keep the dancing traditions alive."

Another preface, by Nez Perce elder Horace Axtell, leader of the Seven Drum Religion on the reservation, is more philosophical -- and practical, too:

"We try to follow in the footsteps of our elders, who cleared the way for us with clean minds, hearts, and bodies....They prayed for our welfare, but their foresight could not cover such problems of today as drugs and alcohol. So, in order to keep the Red Road clean and good, we must be strong followers of our Indian ways. We must help all concerned in the war against drug and alcohol problems, which threaten to destroy our youth today. That is why our powwows are kept free of drugs and alcohol....We can enjoy the Red Road with dignity as it was intended."

Marra attended his first powwow 8 years ago by chance -- seeing some dancers while biking, and later arranging to improvise portrait photos at a school powwow. "When we looked at the results of that night's work, we discovered I had recorded more than just colorful images or fabulous outfits. I had recorded a sense of a people's spirituality, dignity, and proud identity...a glimpse of history and heritage. We had been allowed to make art in response to it."

And so he was, and so this is. There is little for the reviewer to say, here, beyond declaring that this book is a must-have for anyone of any age who has any kind of interest in Native American people. (Marra has some pretty nice photo calendars too.)

Customer Reviews:

A unique work of impressive and detailed scholarship........2000-09-08

In The Iroquois Ceremonial Of Midwinter, Elisabeth Tooker reviews and presents a synthesis of materials related to the redemptive/absolution ceremony as practiced by Iroquois in the 17th to 19th centuries. Material from the Code of Handsome Lake is included as well as observations by Beauchamp, Hewitt, Morganspeck, Parker, Blau, and Fenton. The author's own vast observation, experience and adoption into the Beaver clan are integral parts underlying the structural analysis of the rituals. This is a valuable work for both Native American and comparative religious studies. Though it is clear the speaker is nonNative, she challenges damaging assumptions such as the projection of aspiration to the dominant culture's values. I believe this book is also touching and memorable in its mourning of the passing of Seneca figures such as the author's friend, Elsina. She asks the painful question, can the religion of the Longhouse survive? Also of concern is the survival of the Seneca language. Though answers are not given, The Iroquois Ceremonial Of Midwinter presents as a unique, intriguing work with much painstaking detail and rich associations. The tone is pure and passionate, a gift in such a fine work of scholarship, sure to appeal to students and lovers of Iroqouis culture and history.

Customer Reviews:

Interesting. I'm over 18 and I learned from this book........1998-10-02

This Festival book is a very good book for children of all ages. It teaches them about different tribes and culture.

LA Fiesta De Los Tastoanes: Critical Encounters in Mexican Festival Performance

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LA Fiesta De Los Tastoanes: Critical Encounters in Mexican Festival Performance
Olga Najera-Ramirez
Manufacturer: University of New Mexico Press
ProductGroup: Book
Binding: Hardcover

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Religion Against the Self: An Ethnography of Tamil Rituals

ASIN: 0826317952

Book Description

Each year, for three days in September, the citizens of Jocotán, an ancient indigenous community near Guadalajara, Mexico, symbolically reenact the Spanish conquest of Mexico in mock battles between Santiago, the patron saint of Spain, and the Tastoanes, the leaders of the indigenous resistance. Paradoxically, the Jocoteños honor Santiago, their special protector, and incorporate both Christian and indigenous practices and beliefs in their fiesta. Employing the concept of hegemony, the author explores what the festival means culturally to the community and shows how it enables Jocoteños to adapt to Christianity and to resist the social order it symbolizes. Through the festival, Jocoteños address their collective identity, the preservation of their folk culture, and their relationship to the social-political power structure of Jocotán. Students of Mexican culture and of syncretic religions worldwide will find this study stimulating and informative.

An intimate study of a religious festival in contemporary Mexico that skillfully weaves together ethnography, history, and folklore.

Native American Festivals and Ceremonies (Native American Life)

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Native American Festivals and Ceremonies (Native American Life)
Jenna Glatzer
Manufacturer: Mason Crest Publishers
ProductGroup: Book
Binding: Library Binding
ASIN: 1590841239

Pathways of Memory and Power: Ethnography and History among an Andean People

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Excellent read on indigenous world-views

Pathways of Memory and Power: Ethnography and History among an Andean People
Thomas A. Abercrombie
Manufacturer: University of Wisconsin Press
ProductGroup: Book
Binding: Hardcover

Historiography | Historical Study | History | Subjects | Books

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ASIN: 029915310X

Book Description

Pathways of Memory and Power crosses the disciplinary boundary where anthropology and history meet, exploring the cultural frontier of the colonial and postcolonial Andes. Thomas A. Abercrombie uses his fieldwork in the Aymara community of Santa Barbara de Culta, Bolivia, as a starting point for his ambitious examination of the relations between European forms of historical consciousness and indigenous Andean ways of understanding the past. Writing in an inviting first-person narrative style, Abercrombie confronts the ethics of fieldwork by comparing ethnographic experience to the power-laden contexts that produce historical sources.
Making clear the early and deep intermingling of practices and world views among Spaniards and Andeans, Christians and non-Christians, Abercrombie critiques both the romanticist tendency to regard Andean culture as still separate from and resistant to European influences, and the melodramatic view that all indigenous practices have been obliterated by colonial and national elites. He challenges prejudices that, from colonial days to the present, have seen Andean historical knowledge only in mythic narratives or narratives of personal experience. Bringing an ethnographer’s approach to historiography, he shows how complex Andean rituals that hybridize European and indigenous traditions—such as libation dedications and llama sacrifices held on saints’ day festivals—are in fact potent evidence of social memory in the community.

Customer Reviews:

Excellent read on indigenous world-views.......2002-08-08

Two important elements of social "habit memory" processes strike me in Pathways of Memory and Power. The first is the apparent ease with which the colonial power asserted its program for "social amnesia" through a physical restructuring of social space (rectilinear, functional living spatial constructions) and time (the marking of Church calendrical and daily time, basically obliterating indigenous conceptions of time). The second is the reinterpretation of public and private to suit a colonial "moral code" based on the ritual performances of excessive drinking and bloodletting. These systematic, institutionalized policies effectively dismantled the indians' social habit-memories-replacing them with new ones modeled on Castilian life.

The long-standing issue of religious syncretism is (thankfully) questioned, through an understanding of how the indigenous people create distinctions between the "more Christian" and "more Andean" aspects of their deities and religions. The quipu system of knotting preserves a physical remembering which was transformed, but not destroyed, by Christianity. As Abercrombie states, "the techniques may have remained the same, but the content, the memories, were changing" (p. 260). The "imagenes de bulto," which were introduced by colonial priests, replaced the indigenous idols with Catholic saints, and initiated a long process of revisionist iconography for the indians from one source to another. The llama, as an animal that closely (to the indians) resembled humans in their social interactions, acted as a replacement for the human sacrificial victim; this helped ease the sacrificial rituals into a more acceptable Christian realm of possibilities. The origin myth, with its "multiple, not unique" origins was contentious; although re-reading and appropriating the Christ-like image of Tunupa, and the "great flood" and "tower of Babel" stories, led to a deeper understanding by colonial powers in the religion of their subjugated workers.

Book Description

Anthropologists--as well as the Yaquis and many of the other indigenous peoples of Mexico and of Latin America in general--have recognized the intense and penetrating symbolism which is ritualized in the Easter dramas. This book is about the role of the Easter rituals in the Yaqui way of life in both Arizona and Sonora. It contains detailed ethnographic descriptions of these ceremonies. Contents: Preface; PART I: Introduction; Lent and Semana Santa in Northwestern Mexico and Southwestern United States; Semana Santa; PART II: Variations in Holy Week Ceremonies; Holy Week in Potam; Yaqui Holy Week: Potam, Rio Yaqui, and Pascua, Arizona, Compared; Some Notes on European Liturgical Drama and the Cahitan Semanas Santas; The Chapayeka Complex: Change and Persistence of Forms; Waehma: Space, Time, Identity, and Theater at New Pascula, Arizona; Easter, Keruk, and Wigita; The Jupare Mayo Easter Ceremonial; Lenten Ceremonials in Two Villages of the Mayo Valley; An Opata Holy Week Ceremonial Complex; Semana Santa Rituals and Modernization: Cultural Continuity and Change in Meresichic (Marobavi) Sonora, Mexico, 1955-1985; Tohono O'Odham (Papago) Easter in the Baboquivari District; Raramuri Easter; Tarahumara Easter Ceremonialism and the Mesoamerican Civil Religious Hierarchy; The Holy Days Among the Coras of Jesus Maria; Bivak: Semana Santa Among the Huichol of San Andres Cohamiata; PART III: Conclusions.

Powwow Calendar 2006: Directory of Native American Gatherings in the USA & Canada

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Powwow Calendar 2006: Directory of Native American Gatherings in the USA & Canada
Jerry Lee Hutchens
Manufacturer: Native Voices
ProductGroup: Book
Binding: Paperback

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ASIN: 1570671885

Book Description

A comprehensive directory of over 1,000 Native American powwows, crafts fairs, dance shows, exhibits, and other gatherings with more than fifty First Nation events. Entries include location, phone number, websites and email. An invaluable resource for dancers, vendors, travelers, artists, and craftspeople.

Taprarmiuni Kassiyulriit: Stebbins Dance Festival

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A treasure that showcases and helps preserve

Taprarmiuni Kassiyulriit: Stebbins Dance Festival
Anatole Bogeyaktuk
Manufacturer: Alaska Native Language Center
ProductGroup: Book
Binding: Paperback
ASIN: 1555000835

Book Description

Anatole Bogeyaktuk and Charlie Steve were members of the last generation of Yup'ik men to be raised in the qasgi (communal men's house) and witness first-hand the dances and gift-giving that were so much a part of traditional life along the Bering Sea coast.

These two Stebbins elders describe the complex rituals of the dance festival in remarkable detail. Their memories were recorded in their native Yup'ik language, then transcribed and translated into English by Sophie Shield and Marie Meade and edited by Ann Fienup-Riordan. The result is a rich description of the drumming, dancing, gift-giving, and feasting that marked the winter ceremonial season. The text is presented in Yup'ik with facing-page English translations and is beautifully illustrated by James Barker and Suzi Jones, who photographed events in Stebbins in 1984.

The celebrations these Yup'ik elders narrate include the Bladder Festival, the Great Feast for the Dead, and the Messenger Festival. This complex series of rituals involves humans and animals, the living and the dead. Competitive gift-giving, feasting and feats of strength are all a part of the spiritual lives of Yup'ik communities of western Alaska—part of the living tradition of Taprarmiuni Kassiyulriit: Stebbins Dance Festival.

Customer Reviews:

A treasure that showcases and helps preserve .......2004-08-09

Told by Anatole Bogeyaktuk and Charlies Steve; with interviews by Roseanna Dan Waghiyi and Mary Alexander Wondzell; transcribed and translated by Sophie Shield with Marie Meade; and edited by Ann Fienup-Riordan, Taprarmiuni Kassiyulritt: Stebbins Dance Festival pre-sents the complex rituals of the dance festival as practiced by Yup'ik Native Americans, from the perspective of two of the last generation of Yup'ik men to be raised in the qasgi, or communal men's house. Presented in both the Yup'ik and English languages side by side, and enhanced with black-and-white photography, Taprarmiuni Kassiyulritt is a treasure that showcases and helps preserve vital elements of Yup'ik culture, daily life and spirituality, from competitive gift-giving to feasting, feats of strength, and especially dance.

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