Quechua People - Material Culture and Social History

Material Culture and Social History

Despite their ethnic diversity and linguistic distinctions, the various Quechua ethnic groups have numerous cultural characteristics in common. They also share many of these with the Aymara, or other indigenous peoples of the central Andes.

Traditionally, Quechua identity is locally oriented and inseparably linked in each case with the established economic system. It is based on agriculture in the lower altitude regions, and on pastoral farming in the higher regions of the Puna. The typical Andean community extends over several altitude ranges and thus includes the cultivation of a variety of arable crops and/or livestock. The land is usually owned by the local community (ayllu) and is either cultivated jointly or redistributed annually.

Beginning with the colonial era and intensifying after the South American states had gained their independence, large landowners appropriated all or most of the land and forced the native population into bondage (known in Ecuador as Huasipungo, from Kichwa wasipunku, “front door”). Harsh conditions of exploitation repeatedly led to revolts by the indigenous farmers, which were forcibly suppressed. The largest of these revolts occurred 1780-1781 under the leadership of José Gabriel Kunturkanki.

Some indigenous farmers re-occupied their ancestors' lands and expelled the hacendados during the takeover of governments by reform-minded juntas in the middle of the 20th century, such as in 1952 in Bolivia (Víctor Paz Estenssoro) and 1968 in Peru (Juan Velasco Alvarado). The agrarian reforms included the expropriation of large landowners,. In Bolivia there was a redistribution of the land to the indigenous population as their private property. This disrupted traditional Quechua and Aymara culture based on communal ownership, but ayllus have been retained up to the present time in remote regions, such as in the Peruvian Quechua community of Q'ero.

The struggle for land rights continues up to the present time to be a political focal point of everyday Quechua life. The Kichwa ethnic groups of Ecuador which are part of the ECUARUNARI association were recently able to regain communal land titles or the return of estates—in some cases through militant activity. Especially the case of the community of Sarayaku has become well known among the Kichwa of the lowlands, who after years of struggle were able to successfully resist expropriation and exploitation of the rain forest for petroleum recovery.

A distinction is made between two primary types of joint work. In the case of Minka, people work together for projects of common interest (such as the construction of communal facilities). Ayni is, in contrast, reciprocal assistance, whereby members of an ayllu help a family to accomplish a large private project, for example house construction, and in turn can expect to be similarly helped later with a project of their own.

In almost all Quechua ethnic groups, many traditional handicrafts are an important aspect of material culture. This includes a tradition of weaving handed down from Inca times or earlier, using cotton, wool (from llamas, alpacas, guanacos, vicunas) and a multitude of natural dyes, and incorporating numerous woven patterns (pallay). Houses are usually constructed using air-dried clay bricks (tika, or in Spanish adobe), or branches and clay mortar (“wattle and daub”), with the roofs being covered with straw, reeds, or puna grass (ichu).

The disintegration of the traditional economy, for example, regionally through mining activities and accompanying proletarian social structures, has usually led to a loss of both ethnic identity and the Quechua language. This is also a result of steady migration to large cities (especially to Lima), which has resulted in acculturation by Hispanic society there.

Read more about this topic:  Quechua People

Famous quotes containing the words material, culture, social and/or history:

    This is the essential distinction—even opposition—between the painting and the film: the painting is composed subjectively, the film objectively. However highly we rate the function of the scenario writer—in actual practice it is rated very low—we must recognize that the film is not transposed directly and freely from the mind by means of a docile medium like paint, but must be cut piece-meal out of the lumbering material of the actual visible world.
    Sir Herbert Read (1893–1968)

    He was one whose glory was an inner glory, one who placed culture above prosperity, fairness above profit, generosity above possessions, hospitality above comfort, courtesy above triumph, courage above safety, kindness above personal welfare, honor above success.
    Sarah Patton Boyle, U.S. civil rights activist and author. The Desegregated Heart, part 1, ch. 1 (1962)

    I think “taste” is a social concept and not an artistic one. I’m willing to show good taste, if I can, in somebody else’s living room, but our reading life is too short for a writer to be in any way polite. Since his words enter into another’s brain in silence and intimacy, he should be as honest and explicit as we are with ourselves.
    John Updike (b. 1932)

    This is the greatest week in the history of the world since the Creation, because as a result of what happened in this week, the world is bigger, infinitely.
    Richard M. Nixon (1913–1995)