Presented in a unique trilingual format, this anthology of poetry by contemporary Peruvian writers Dida Aguirre, Lily Flores, William Hurtado, Eduardo Ninamango, and Porfirio Meneses provides the original Quechua poems along with their Spanish and English translations. Collected in collaboration with the Americas Society, the book celebrates the rich indigenous heritage of Peru and provides rare insight into a culture that remains largely unknown outside of South America.

Physical Description: 1 sound disc : digital ; 4 3/4 in.
Event: Recorded in Ayacucho, Chuschi, and Paucartambo, southern Peru, in June-July 1968 by David Lewiston.
Language Note: The vocal works sung in Quechua.
Performer: Native performers.
Notes: Traditional music from Peruvian festivals.
Originally released in 1972 on LP as Fiestas of Peru (Nonesuch H-72045).
Compact disc.
Program notes by Josafat Roel P. and David Lewiston and selected texts in Quechua and English (16 p. : ill.) inserted in container.
Digitally remastered.

Main Author: Bolivia Manta (Musical group)
Physical Description: 1 sound disc (58 min.) : digital, stereo. ; 4 3/4 in.
Event: Recorded at Studio am Dom, Cologne.
Performer: Bolivia Manta ; Ñanda Mañachi.
Notes: Quechua Indian folk-songs and folk music.
Vocal works sung in Quechua.
Subtitle from container.
Analog recording.
Program notes in French and English and texts with French and English translations (15 p. : ill., ports.) inserted in container.
Compact disc.
Additional title on container: Churay! Churay!
Other Names: Ñanda Mañachi (Musical group)

This book compiles texts based on Spanish chronicles. It intends to approach social history in the Andes from the standpoint of indigenous communities, by using their folk songs as references. The book includes an anthology with representative examples of representative songs from pre-Hispanic to contemporary times. Most songs were translated from Quechua to Spanish by the author.

This is a book of tales that the author remembers as part of his childhood in Peru, coming from and indigenous background. Tales in this book are written in Quechua and Spanish

This book is a study on Quechua linguistics and its evolution, which also develops an analysis of the relationships and distribution of Quechua-speaking communities in the Andes region. This publication presents an assessment of the number and state of Quechua languages spoken across South America, covering Peru, Ecuador, Bolivia, Southern Colombia, and northern Chile and Argentina. It also discusses social and historical factors that affected these languages distribution, expansion and contraction, as well as its significance as an element of shared social identity for Andean communities.

Food, Power, and Resistance in the Andes is a dynamic, interdisciplinary study of how food's symbolic and pragmatic meanings influence access to power and the possibility of resistance in the Andes. In the Andes, cooking often provides Quechua women with a discursive space for achieving economic self-reliance, creative expression, and for maintaining socio-cultural identities and practices. This book explores the ways in which artistic representations of food and cooks often convey subversive meanings that resist attempts to locate indigenous Andeans-and Quechua women in particular-at the margins of power. In addition to providing an introduction to the meanings and symbolisms associated with various Andean foods, this book also includes the literary analysis of Andean poetry and prose, as well as several Quechua oral narratives collected and translated by the author during fieldwork carried out over a period of several years in the southern Peruvian Andes. By following the thematic thread of artistic representations of food, this book allows readers to explore a variety of Andean art forms created in both colonial and contemporary contexts. In genres such as the novel, Quechua oral narrative, historical chronicle, testimonies, photography, painting, and film, artists represent Quechua cooks who utilize their access to food preparation and distribution as a tactic for evading the attempts of a patriarchal hegemony to silence their voices, desires, values, and cultural expressions. Whether presented orally, visually, or in a print medium, each of these narratives represents food and cooking as a site where conflict ensues, symbolic meanings are negotiated, and identities are (re)constructed. Food, Power, and Resistance will be of interest to Andean Studies and Food Studies scholars, and to students of Anthropology and Latin American Studies.

The Quechua people of southern Peru are both agriculturalists and herders who maintain large herds of alpacas and llamas. But they are also weavers, and it is through weaving that their cultural traditions are passed down over the generations. Owing to the region's isolation, the textile symbols, forms of clothing, and technical processes remain strongly linked to the people's environment and their ancestors. Heckman's photographs convey the warmth and vitality of the Quechua people and illustrate how the land is intricately woven into their lives and their beliefs. Quechua weavers in the mountainous regions near Cuzco, Peru, produce certain textile forms and designs not found elsewhere in the Andes. Their textiles are a legacy of their Andean ancestors. Andrea Heckman has devoted more than twenty years to documenting and analyzing the ways Andean beliefs persist over time in visual symbols embedded in textiles and portrayed in rituals. Her primary focus is the area around the sacred peak of Ausangate, in southern Peru, some eighty-five miles southeast of the former Inca capital of Cuzco. The core of this book is an ethnographic account of the textiles and their place in daily life that considers how the form and content of Quechua patterns and designs pass stories down and preserve traditions as well as how the ritual use of textiles sustain a sense of community and a connection to the past. Heckman concludes by assessing the influences of the global economy on indigenous Quechua, who maintain their own worldview within the larger fabric of twentieth-century cultural values and hence have survived everything from Latin American militarism to a tidal wave of post-modern change.

In the highland region of Sullk'ata, located in the rural Bolivian Andes, habitual activities such as sharing food, work, and stories create a sense of relatedness among people. Through these day-to-day interactions--as well as more unusual events--individuals negotiate the affective bonds and hierarchies of their relationships. In Performing Kinship, Krista E. Van Vleet reveals the ways in which relatedness is evoked, performed, and recast among the women of Sullk'ata. Portraying relationships of camaraderie and conflict, Van Vleet argues that narrative illuminates power relationships, which structure differences among women as well as between women and men. She also contends that in the Andes gender cannot be understood without attention to kinship. Stories such as that of the young woman who migrates to the city to do domestic work and later returns to the highlands voicing a deep ambivalence about the traditional authority of her in-laws provide enlightening examples of the ways in which storytelling enables residents of Sullk'ata to make sense of events and link themselves to one another in a variety of relationships. A vibrant ethnography, Performing Kinship offers a rare glimpse into an compelling world.

Includes tales and traditions recounted by women from the Huarochirí region

Using the intriguing stories and words of a Quechua-speaking woman named Luisa Cadena from the Pastaza Province of Ecuador, Janis B. Nuckolls reveals a complex language system in which ideophony, dialogue, and perspective are all at the core of cultural and grammatical communications among Amazonian Quechua speakers. This book is a fascinating look at ideophones—words that communicate succinctly through imitative sound qualities. They are at the core of Quechua speakers’ discourse—both linguistic and cultural—because they allow agency and reaction to substances and entities as well as beings. Nuckolls shows that Luisa Cadena’s utterances give every individual, major or minor, a voice in her narrative. Sometimes as subtle as a barely felt movement or unintelligible sound, the language supports an amazingly wide variety of voices. Cadena’s narratives and commentaries on everyday events reveal that sound imitation through ideophones, representations of dialogues between humans and nonhumans, and grammatical distinctions between a speaking self and an other are all part of a language system that allows for the possibility of shared affects, intentions, moral values, and meaningful, communicative interactions between humans and nonhumans.