Category Archives: Quechua-Related Info

ROC From the Inside

Workshops and dancing space at Queens Museum Quechua/Kichwa night

Workshops and dancing space at Queens Museum Quechua/Kichwa night

I’m a proud first-year student in the Masters in Latin American and Caribbean Studies program, and I’ve been a part of ROC (Runasimi Outreach Committee) since I began the program. Every month, we host an event called a Quechua Night. Sometimes they are 20-people events in an NYU venue, and sometimes, as in the Queens Museum on the 30th of March, they are gigantic events. It was a grey and rainy Sunday, yet around two hundred people of all ages and origins showed up, ready to celebrate Quechua, Kichwa, indigeneity, and learning new things in a myriad of ways.

After Michael Abbott, our current president, began to address the crowd warmly and confidently in Quechua, much of the event became a blur to me, since I became intensely focused on teaching people how to embroider pre-Columbian iconographies onto wired ribbon bracelets. You see, textiles and handicrafts are one of my passions, and in ROC I’m able to share and impart this part of my life with others. There were many workshops that attendants could participate in: recording a podcast in Quechua with Christie Mladic-Janney, painting with Elva Navarro from New York Quechua Initiative, learning some Andean dance-moves, and more. Even after the workshops were officially over, people kept coming, eager to learn how to make a bracelet. A woman named Rosa simply wanted to embroider her name on a bracelet. At the end, she asked me if she could take some materials home to teach her sisters-in-law how to do it too. “Llévate no má,” I said, happy that the workshop was going to spread even beyond the borders of the event! And that’s really what it all felt like, the breaking of barriers and borders, and a raucous dance party to end it all.

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Quechua Mugs and Tshirts for sale!

Quechua mugs tshirts for sale CLACS NYUAllinllachu! We are excited to announce the arrival of Runa Simi Outreach Committee’s (ROC) promotional mugs and t-shirts. They will be available at all of our events for a limited time! Mugs are $15 each and t-shirts are $30. All of the proceeds from the sales of our new mugs and t-shirts go towards our future events and Quechua Nights. Help us spread the word! Each item features the phrase “Musphashanichu icha Runasimita Uyarishanichu?” (“Am I dreaming or am I hearing Runa Simi (Quechua)?”)
Interested? Contact CLACS!

Allinllachu! Estamos muy emocionados de anunciar la llegada de nuestras tazas y camisetas promocionales por Runa Simi Outreach Committee (ROC). Estarán de venta en nuestros eventos por un tiempo limitado! Las tazas son a $15 y las camisetas a $30. La recaudación de las ventas nos ayudará con nuestros eventos del futuro y las Noches de Quechua. ¡Ayúdenos difundir la palabra! Cada artículo cuenta con la frase “Musphashanichu icha Runasimita Uyarishanichu?” (“¿Estoy soñando o estoy escuchando Runa Simi [Quechua]?)
Interesados? Contacte al CLACS!

Quechua Celebration

The Runasimi Outreach Committee (ROC),  the Native American and Indigenous Students’ Group (NAISG) and the Movimiento Indígena organized Quechua Night and Celebration of Native Cultures. During the semester ROC hosted Quechua Conversation Nights and Quechua literature workshops with visiting scholar Gladys Camacho Rios.  They also publish a podcast series with interviews and conversation ins Quechua and Kichwa languages.

The event  brought together indigenous student and community groups for a night of Native dance and music performances. The atrium of the King Juan Carlos Center became the performance space for Silvercloud an inter-tribal Native American singing and dance group opened the event, Kalpulli Atlachinoll, an Aztec dance group and Steve Cotaquispe and Luis Aguilar performing the Danza de las Tijeras. Silvercloud opened the event with a drumming ceremony. Next, Kalpulli Atlachinoll officiated a blessing of the four corners. Steve Cotaquispe and Luis Aguilar performed a shortened version of the Danza de las tijeras, which can last for hours. The dance in performed in teams, with each dancer challenging the other.

Silvercloud.

Kalpulli Atlachinoll.

Steve Cotaquispe and Luis Aguilar.

Quechua Bingo in Queens

quechua night bingo NYC clacs runasimi A few days ago, we hosted our first BINGO night! We welcomed guests with any relationship to the Quechua languages at our event, which we held in Jackson Heights, Queens. We partnered with Pachamama Peruvian Arts, a non-profit that offers free traditional Peruvian dance and music instruction for youth in Queens. While they held their classes, we hosted BINGO!

To help those unfamiliar with the language, we passed out sheets that listed the numbers in Quechua. Our bingo caller was Gladys Camacho Rios, a Bolivian author and linguist who is visiting NYU for the semester. Although she called the entire game in Quechua, some of us held up the numbers as a visual aid. Players were awarded prizes from scholarly books on the Andes to woven coin purses—we even had a couple of bottles of pisco, thanks to the Peruvian Trade Commission!

Thanks to everyone who came and made this special Quechua Night a success. Given how much fun the night was, we definitely plan on throwing another Quechua BINGO night in the near future. Tupananchiskama!

Quechua Radio in the Peruvian Andes: Part I

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Youth Producers at Radio Huanta, Ayacucho, Peru

The focus of my thesis is on Quechua language, culture and media. During winter break last January, I went to Lima and met with Chirapaq headquarters, an NGO in Peru that supports indigenous culture.

One of their oldest projects is “Sapinchikmanta,” which means “From our roots” in Quechua. This project trains people in Ayacucho and other parts of Andes to produce radio shows in the Quechua language along with Spanish.This summer, I decided to start my field work researching this project as part of my thesis project, but before returning to Peru, I was able to start my research in New York in May, when I attended the United Nations Permanent Forum on Indigenous Issues. I followed and attended presentations on community radio from Guatemala, and met people who identify themselves as indigenous from different parts of Latin America.

In mid-June I arrived in Huamanga, the capital of Ayacucho where I began my work by meeting the staff of Chirapaq at their office in this city.

They introduced me to three stations in the region. I was surprised to learn that that these stations only broadcast one hour a week. I read that that there used to be five stations, which broadcast more frequently. During the next two weeks, I visited each station. First in Huamanga, then onto Huanta and Wilcashuaman, about two hours away in rural areas with a distinct climate and history. I did interviews (in Quechua) with the producers and listeners.

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Beginning My Research in Lima, Peru: Performance as a Memorialization

Reategui_Peru_Yuyachkani

I came to Peru to conduct research with Grupo Cultural Yuyachkani, a popular theater group based in Lima. In fusing aesthetic and theatrical activity with collective memory, Yuyachkani’s performances, such as Rosa Cuchillo, Adíos Ayacucho, and Antígona, address issues of memory and trauma after Peru’s internal armed conflict primarily between the Peruvian government and the members of the Marxist-Maoist organization, Sendero Luminoso.

During my first week in Lima I met with Juan Carlos Buezo de Manzanedo Reategui, a lawyer who worked as a volunteer on the Final Report of the Peruvian Truth and Reconciliation Commission, which was presented in 2003. As part of his work, Juan Carlos, along with other young lawyers, traveled to some of the villages most affected by the internal armed conflict and worked closely with the victims in order to collect testimonies. Meeting with Juan Carlos and discussing his work with Peru’s TRC made me think not only about the importance of remembering and memory after trauma, but the ways in which we, as a society, remember. Processes of memorialization, trabajos de memoria, and truth gathering are numerous, and I find myself wondering whether one type of memory project is more effective than another (i.e. formal documentation vs. other forms of memorialization, such as museum or art exhibitions and performances) or if they complement each other.

In Quechua, Yuyachkani means “I am thinking, I am remembering”; therefore, I hope to ask some of Yuaychkani’s actors how embodied performance serves as a memory recuperation project. For instance, how does a performance like Antígona reflect this idea of “I am remembering”—active memorialization?

Posted by Lorena Reategui – MA Candidate at CLACS

Yuyanapaq: To Remember Peru’s Violent Past

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(Photos taken with permission at Yuyanapaq; collage original)

I recently began my summer fieldwork in Lima, Peru, where I visited the photo exhibit Yuyanapaq, or “To Remember” in Quechua. Created by Peru’s Truth and Reconciliation Commission (TRC) in 2003, the exhibit is a compilation of photographs that document the impact of political violence on the Peruvian population in the 1980s and 1990s. It groups violent events geographically and categorically, portraying the aftermath of bombings, murders, and attacks by the Peruvian military, the Maoist group the Shining Path (Sendero Luminoso), and the other communist armed group the Tupac Amaru Revolutionary Movement (MRTA). Yuyanapaq is impressive not only in that it does not shy away from exposing the realities of violence, but in that attracts a wide range of Peruvian visitors who, upon being reminded of the country’s violent period, will hopefully work to prevent it from recurring.

The photos evoke Peru’s violent past, even showing physical harm done to the war’s victims. Multiple images show dead and mutilated bodies. They capture inadvertent looks of shock and awe from survivors and first responders, and the utter anguish of family members as they look over the corpses of their loved ones. The only thing that I can think to compare the exhibit to in the United States is a miniature version of the Holocaust Museum. Yet whereas in the Holocaust it was easy to place the blame on the Nazis, and even on one clear, specific perpetrator, in Peru political violence and human rights abuses were committed by both the state military and leftist armed groups such as the Shining Path. How might the moral ambiguity that this type of conflict generates help us better understand the nature of violence? Were all those who committed violent acts in the context of Peru’s war “bad people” at heart, no matter what side they were on? If not, then what pushes otherwise decent people to commit such horrific acts?

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Manuelcha Prado Delights NYU & New York

Manuelcha Prado

Manuelcha Prado

During the week of October 21-26 the students and faculty of the Center for Latin American and Caribbean Studies (CLACS) at NYU, as well as the broader NYU community had the privilege to meet renowned Andean musician, Manuelcha Prado.

Born in Puquio in the department of Ayacucho, Peru, Manuelcha Prado is widely heralded as one of the foremost singers, songwriters, and composers of Andean music. His repertoire comes from a vast Andean cultural heritage preserved by a traditional of oral memory, Quechua agricultural rituals, dances, celebratory ceremonies, funeral songs, carnivals and amusement waynos that express the feeling of a living culture that resists. It was an honor to have him with us.

Manuelcha made a special effort to spend time with NYU students currently studying Quechua. He visited both the Basic and Intermediate Quechua classes taught by CLACS Professor Odi Gonzales. Continue reading

Angel Tibán Guala Riman Llank’anan TVpi


Rimasun - MICC TV - EcuadorAngel Tibán Guala Ecuador Mamallaktapi – Cotopaxi marcamanta Tv MICC canal 47 jayllita pushan. Kay rikuna willanaka “Movimiento Indígena y Campesino de Cotopaxi – MICC” tantanakuypakmi kan. Ñami kinsa yalli watakuna kari warmikunapak yuyaykunata kausaykunatapash ishkayshimipi rimashpa rikuchishpapash llankankuna.Cay rikuna jayllika chusku markakunapak wasikunamanmi yaykun.

Angel Tibán Guala dirige la televisora comunitaria Tv MICC canal 47. El Movimiento Indígena y Campesino de Cotopaxi – MICC es el propietario del medio de comunicación. El canal viene funcionando más de tres años, mostrando las voces y la identidad propia de los Pueblos y Nacionalidades Indígenas del Ecuador. El canal de televisión ingresa a los hogares de cuatro provincias de zona central del Ecuador.

Angel Tibán Guala is the Director of the community television channel MICC 47, which is owned by El Movimiento Indígena y Campesino de Cotopaxi (MICC). For more than three years, the channel has facilitated the Indigenous Nations and Peoples of Ecuador to transmit their own voices and identity into the homes of residents in four provinces in central Ecuador.

Christine Mladic interviewed Angel during his visit to the United Nations in NYC.


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Amawta Justina Nuñez Nuñez Niwanku Educación Intercultural Bilingüemanta Cuscopi

Rimasun - educación intercultural bilingüe - 1Kay audiopi, iskay estudiantekunaq sutin Emily Thompson, Charlie Uruchima, ima, rimanku amawta Justina Nuñez Nuñezwan Cuscopi. Pay llank’an escuela Pukllasunchispi. Kaypi kinsantin rimanku educación intercultural bilingüemanta Perupi.

Rimasun - educación intercultural bilingüe En este audio, la Profesora Justina Nuñez Nuñez de la escuela Pukllasunchis en Cusco habla con los estudiantes Emily Thompson y Charlie Uruchima sobre la educación intercultural bilingüe en el Perú.

In this podcast, Justina Nuñez Nuñez, a professor from the Pukllasunchis school in Cusco, talks to students Emily Thompson and Charlie Uruchima about intercultural bilingual education in Peru.


Subscribe to Rimasun via iTunes or via another podcast service
Suscríbete a Rimasun a través de iTunes o a través de otro servicio de podcast
Download this episode (right click, save link as…) / Guarda este episodio