A unique study of an Andean community’s water rituals and the extraordinary document describing how they should be performed

In the dry season in the Andes, water from springs, lakes, reservoirs, and melting glaciers feeds irrigation canals that have sustained communities for thousands of years. Managing and maintaining these water infrastructures is essential, and in 1921, in the village of San Pedro de Casta, Peru, local authorities recorded their ritual canal-cleaning duties in a Spanish-language document called the Entablo. It is only the second book (along with the Huarochirí Manuscript) ever seen by scholars in which an Andean community explains its customs and ritual laws in its own words.

Sarah Bennison offers a critical introduction to the Entablo, a Spanish transcription of the document, and an English translation. Among its other revelations, the Entablo delves into the use of khipu boards, devices that meld the traditional knotted strings known as khipus with a written alphabet. Only in the Entablo do we learn that there were multiple khipu boards associated with a single canal-cleaning ritual, or that there were separate khipu records for men and women. The Entablo manuscript furnishes unparalleled insights into Andean rituals, religion, and community history at a historical moment when rural highland communities were changing rapidly.

Once there was a Quechua folktale. It begins with a trickster fox's penis with a will of its own and ends with a daughter returning to parents who cannot recognize her until she recounts the uncanny adventures that have befallen her since she ran away from home. Following the strange twists and turnings of this tale, Catherine J. Allen weaves a narrative of Quechua storytelling and story listening that links these arts to others—fabric weaving, in particular—and thereby illuminates enduring Andean strategies for communicating deeply felt cultural values.

In this masterful work of literary nonfiction, Allen draws out the connections between two prominent markers of ethnic identity in Andean nations—indigenous language and woven cloth—and makes a convincing case that the connection between language and cloth affects virtually all aspects of expressive culture, including the performing arts. As she explores how a skilled storyteller interweaves traditional tales and stock characters into new stories, just as a skilled weaver combines traditional motifs and colors into new patterns, she demonstrates how Andean storytelling and weaving both embody the same kinds of relationships, the same ideas about how opposites should meet up with each other. By identifying these pervasive patterns, Allen opens up the Quechua cultural world that unites story tellers and listeners, as listeners hear echoes and traces of other stories, layering over each other in a kind of aural palimpsest.

One of the great repositories of a people's world view and religious beliefs, the Huarochirí Manuscript may bear comparison with such civilization-defining works as Gilgamesh, the Popul Vuh, and the Sagas. This translation by Frank Salomon and George L. Urioste marks the first time the Huarochirí Manuscript has been translated into English, making it available to English-speaking students of Andean culture and world mythology and religions.

The Huarochirí Manuscript holds a summation of native Andean religious tradition and an image of the superhuman and human world as imagined around A.D. 1600. The tellers were provincial Indians dwelling on the west Andean slopes near Lima, Peru, aware of the Incas but rooted in peasant, rather than imperial, culture. The manuscript is thought to have been compiled at the behest of Father Francisco de Avila, the notorious "extirpator of idolatries." Yet it expresses Andean religious ideas largely from within Andean categories of thought, making it an unparalleled source for the prehispanic and early colonial myths, ritual practices, and historic self-image of the native Andeans.

Prepared especially for the general reader, this edition of the Huarochirí Manuscript contains an introduction, index, and notes designed to help the novice understand the culture and history of the Huarochirí-area society. For the benefit of specialist readers, the Quechua text is also supplied.

Kawsay Vida is a course book and interactive multimedia program for the teaching and learning of the Quechua language from beginner to advanced levels. The course book is based on contemporary Bolivian Quechua, while the multimedia program contains a section on Bolivian Quechua (beginner to intermediate levels) and a section on southern Peruvian Quechua (advanced level). The book provides a practical introduction to spoken Quechua through the medium of English, while the multimedia program offers a choice of English or Spanish as the medium of instruction. The video clips introduce us to Quechua speakers in the valleys of Northern Potosí (Bolivia) and Cuzco (Peru), giving a sense of immediacy that the printed page cannot achieve, and highlighting the social and cultural settings in which the language is spoken. The multimedia program is available for both PC and Macintosh platforms.

The book contains twenty-two units of study. As students work through these, cross-references take them to relevant sections of the multimedia program. The Bolivian and Peruvian Quechua sections of the multimedia program are divided into thematically and grammatically ordered modules, which introduce users to different aspects of Andean life, while progressing language learning in a structured way. Users engage with the audio, video, and visual material contained in the program through a range of interactive exercises, which reinforce listening and comprehension skills. Once familiarity with the language is acquired, the multimedia program may be used independently from the book.
 

The Inka empire, Tawantinsuyu, fell to Spanish invaders within a year's time (1532-1533), but Quechua, the language of the Inka, is still the primary or only language of millions of Inka descendants throughout the southern Andes. In this innovative study, Bruce Mannheim synthesizes all that is currently known about the history of Southern Peruvian Quechua since the Spanish invasion, providing new insights into the nature of language change in general, into the social and historical contexts of language change, and into the cultural conditioning of linguistic change.

Mannheim first discusses changes in the social setting of language use in the Andes from the time of the first European contact in the sixteenth century until today. He reveals that the modern linguistic homogeneity of Spanish and Quechua is a product of the Spanish conquest, since multilingualism was the rule in the Inka empire. He identifies the social and political forces that have influenced the kinds of changes the language has undergone. And he provides the first synthetic history of Southern Peruvian Quechua, making it possible at last to place any literary document or written text in a chronological and social context.

Mannheim also studies changes in the formal structure of Quechua. He finds that changes in the sound system were motivated primarily by phonological factors and also that the changes were constrained by a set of morphological and syntactic conditions. This last conclusion is surprising, since most historical linguists assume that sound change is completely independent of other aspects of language. Thus, The Language of the Inka since the European Invasion makes an empirical contribution to a general theory of linguistic change.

Written in an engaging style that is accessible to the nonlinguist, this book will have a special appeal to readers interested in the history and anthropology of native South America.

Writing and recording are key cultural activities that allow humans to communicate across time and space. Whereas Old World writing evolved into the alphabetic system that is now employed around the world, the indigenous peoples in the Americas autonomously developed alternative systems that conveyed knowledge in a tangible medium. New World systems range from the hieroglyphic script of the Maya, to the figural and iconic pictographies of the Aztecs, Mixtecs, and Zapotecs in Mexico and the Moche in Peru, to the abstract knotted khipus of the Andes. Like Old World writing, these systems represented a cultural category that was fundamental to the workings of their societies, one that was heavily impregnated with cultural value.

The fifteen contributors to Their Way of Writing: Scripts, Signs, and Pictographies in Pre-Columbian America consider substantive and theoretical issues concerning writing and signing systems in the ancient Americas. They present the latest thinking about these graphic and tactile systems of communication. Their variety of perspectives and their advances in decipherment and understanding constitute a major contribution not only to our understanding of Pre-Columbian and indigenous American cultures but also to our comparative and global understanding of writing and literacy.