The Inti Raymi

IT IS A FESTIVITY THAT ORIGINATED IN THE TIME OF THE INCAS, IN WHICH THEY PAY HOMAGE TO THE SUN, THE HIGHEST INCAN DIVINITY. BANNED DURING THE COLONY, THIS CELEBRATION WAS RESTORED IN 1944 WITH VARIATIONS COMPARED TO THE ORIGINAL RITUAL. NOWADAYS, THE EVENT HAS BECOME A WIDELY ATTENDED EVENT.

Data:
- It’s celebrated every 24TH of June in the city of Cuzco.
- In Quechua, Inti means “sun” and Raymi, “celebration”.
- In the celebration more than five hundred actors are involved and it is attended by more than fifty thousand people.
- In the year 2001, the Peruvian Congress, made a special recognition of the Inti Raymi celebration as part of the nation’s cultural heritage

  by means of the law 27431.

HISTORY
Incan tradition indicates that Manco Capac was the first Inca, who created the Celebration of the Sun. The main celebration day coincided with the winter’s solstice and it was the first in the Inca’s solar calendar. The Inti Raymi was banned by the Spaniards/Spanish during the first year of the Conquest, and then, officially abolished in 1572 by the viceroy Francisco de Toledo. In 1944, the celebration was renewed after the Instituto Americano de Arte del Cuzco (American Art Institute of Cuzco) approved Humberto Vidal Unda`s petition to celebrate the birth of the city. It was chosen the date of the June 24th – at that time Día Del Indio (Indian Day); nowadays, Día Del Campesino (farmers day)-, because it nearly coincided with the date in which the ceremony took place in the time of the Incas.

THE INCA’S CELEBRATION
The testimonies gathered and transmitted by Garcilazo de la Vega give us an idea of the magnitude that the Inti Raymi celebration had at the time of its heyday at the Tahuantinsuyo. The celebration lasted nine days and it took place in Cuzco`s main square, know at that time as Haukaypata, which was situated in the same place as the Plaza de Armas (main square) of the city, but it occupied a larger area. Three days before the beginning of the celebration, in a form of purification, sexual contact had to be avoided and could only be eaten white raw corn with a so called chucam herb.
In the celebration, the Inca, the royal nobility and the army participated. In the main day, the Inca would go up on the ceremonial platform (usnu) accompanied by his retinue and would toast with chicha de jora (maize liquor) in honour of the Sun. Inside the Templo del Sol (Temple of the Sun), a high priest would light up a cotton flake. The entire ritual was accompanied by dances and the sound of the pututos. Sea shells that were used as wind music instruments. Men and women would paint their faces yellow and would exhibit a stuffed deer’s head, whose horns were also used as musical instruments. According to the chronicler Juan de Betanzos, during the celebration there were also sacrifices made to ten year old children that were brought from the four suyos or regions of the empire, and of animals, especially black llamas. The assistants would drink chicha de jora (maize liquor) and would eat the sanku, a bread made by Vírgenes Del Sol (Virgins of the Sun), that was sprayed with the sacrificed animal’s blood. At sunset, the population would worship the Sun by inclining their bodies and raising their arms. It was the end of the celebration. The Inca would go back to his palace, while the women threw red flowers and multicolour feathers at the passing of the Inca.

THE THEATRICAL SCRIPT
The actual Inti Raymi is a staging that summons more than five hundred actors, as well as dancers and musicians. As such, an established script is followed, based on the narrations of Gracilazo de la Vega. Throughout the years, this script has been modified several times. The actual script dates from 1984. It is based on the work of the committee chaired by the writer José Maria Arguedas in 1956 and also gathers the suggestions made by Cuzco`s Municipality in a forum called "El Guión del Inti Raymi"(The script of the Inti Raymi), celebrated in 1981.

BEGINNING OF THE FEAST
The modern celebration of the Inti Raymi takes place in several sceneries: the first and second part take place in the Qorikancha (Temple of the Sun) and the Plaza de Armas (main square) of Cuzco. The act is then moved to the Sacsayhuaman fortress esplanade, five kilometres away from the city. Big bleachers are installed there for the spectators, which is attended by the thousands. The celebration begins the June 24th at eight o’clock in the morning. At that time, the flag in the Plaza de Armas is raised and a mass is celebrated at the Cathedral. The performance starts two hours after in the Qorikancha. The first character to appear is the sinchi, army general, accompanied by his guard. The imperial army follows and then the aqllas, chosen women, the tika t'akaqkunas, women that throw flowers where the Inca walks, and the pichaqkunas, that clean the place. All this is done with the music of the pututos, quepas (kind of a trumpet made out of hollow cane) and tinyas (small native drum, almost like a bongo). The Inca and his wife, the qoya, are the last to appear after the royal retinue and the nobility. Accompanied by the high priest (willaq umu), the Inca, offering chicha de jora (maize liquor) to the Sun. Then, it goes to the Plaza de Armas, where at eleven o’clock in the morning, approximately, the second act takes place.

IN THE PLAZA DE ARMAS (MAIN SQUARE)
A huaca (archaeological site) of great dimensions, built in the Plaza de Armas, is the setting for the second act. Once again, it is the sinchi and his guard who arrive first. After checking the place, he orders the entry of the army and the musicians. The qoya enters on top of a berth, accompanied by the aqllas and the nustas. The nobility arrives after and, finally, the Inca. From the higher part of the huaca, he addresses the god Sun and starts the coca ritual. He throws the coca leaves and asks the high priest to foretell the Sun’s will. With the help of another priest, the kuraq akul, does the reading and informs the Inca that the Sun will be kind if a llama is sacrificed. The performance continues in Sacsayhuaman, but before that, the Inca addresses the mayor and asks him to direct the city with honesty.

IN SACSAYHUAMAN
The most important part of the ceremony takes place at the esplanade of this important fortress. It starts approximately at half past one in the afternoon with the sounds of the pututos and the quepas. The sinchi, accompanied by four officials of his guard, approach the usnu, ceremonial platform, and checks that everything is in order. After his indication, the army and the retinues from the four points of the empire enter the stage. A chasqui announces that the Inca is about to arrive by playing his pututo. When he does, he is welcomed by the sinchi and his guard. The ruler addresses the usnu, from where he watches his village and the army. Then, he listens to the reports of each of the suyoy chiefs; the willaq umu initiates the ritual of the chicha de jora. The Inca toasts to the Sun; then, pours another glass in the duct that takes the drink to the Temple of the Sun. Finally, he repeats the toast. The ritual of the sacred fire starts when the willaq umu lights up the fire, while the willka nina kamayoq, is in charge of keeping the sacred fire burning, he starts the fire in the main bonfire of the esplanade and the chasquis do the same thing with the ones of the suyos. It is the turn of the llamas sacrifice. The tarpuntay, priest in charge of the oracle, asks for a tender black llama from the usnu to be brought up. Before the sacrifice, the high priest addresses the Sun. With a tumi, knife of sacrifices, the left side of the animal is cut open to pull out the entrails. Then, he offers them to the Sun and asks the kallparikuq to do the same, who reads the strength of the sacrificed animal; the wirapirikuq, who predicts with the animals fat, and the yawarpirikuq, who foretells the future with the blood of it. After the obvious satisfaction, the wirapirikuq throws the entrails to the main bonfire. When he sees the smoke, the willaq umu is satisfied by the good omens. The Inca shows he is satisfied and the celebration ends with the racket display.

The Herranza or Santiago

IN THIS CELEBRATION, WHICH IS VERY EXTENDED THROUGH THE CENTRAL MOUNTAIN RANGE OF THE COUNTRY, THE FARMERS PAY TRIBUTE TO THEIR ANCESTRAL GODS THAT LIVE IN THE HILLS, TO ASK THEM TO BLESS THEIR CATTLE. THE WORSHIP TO THE CHRISTIAN SAINTS, EVEN THOUGH IT IS PRESENT, STEPS ASIDE, AND IS RELEGATED BY RELIGIOUS EXPRESSIONS THAT HAVE ORIGINATED FROM PRE-HISPANIC TIMES.
 

Data:
- In most places, the Herranza or Santiago is celebrated on July

  25th. In some, however, it takes place on August 1st or during this

  month
- In Huancavelica, Ayacucho and Junín, this celebration is also

  known as Tayta Shanti.
- The cattle branding is called senalacuyo cintachiy in Junín,

  anccosay in Huancavelica and vaca querray in Ayacucho.

THE WAMANIS AND THE LIVESTOCK
In pre-Hispanic times, it was custom to entrust the livestock, basically camelids, like the llama and the guanaco, to the gods that, they believed, lived in the hills and were known as wamanis. It was also a custom to brand the animals with ownership symbols, for which coloured bands were used, named achalas that were hanged from the ears. Both elements are maintained and are a fundamental part of the celebration up to present time. The Spaniards introduced new animals and, also, a new religion that was imposed over previous cults. The Indians adopted the catholic cult, but not without adapting their ancestral customs. This way, the figure of the apostle Santiago was adopted, but the wamani did not lose his role of protector of the cattle and the crops. That way, disguised as Christian religiousness, the consecration of cattle kept on taking place.

HERBS AND WILD FLOWERS
As an important part of the preparations for the celebration, the families must supply themselves with flowers and herbs that usually grow in high altitudes (puna). In some farmer communities, mainly the ones that are far away from urban centres, the dwellers still get organized to look for them. Before doing it, they pay a tribute to the mountains, which consist on burying a gourd (mate) with candies, coca and alcohol. In the cities and its surrounding areas, the supply is paid by the merchants.
These herbs and flowers have a ritual meaning. The flowers like the llima-llima, that are yellow, and the sumay sunchu, that are red, are related/linked to fertility and conservation of the animals. It is believed that each flower favours the reproduction of a type of livestock: llima-Ilima for the cows, sumay sunchu for the donkeys, wila-wila for the muttons and kuchip-chupan for the pigs. Also, the kuya-kuya is used, which is believed makes animals like their owner, and the red carnation (urqunwayta), as some say, is used so that the cattle doesn’t get lost in the field.

THE EVE
Even though the name suggests that it is about a Christian celebration, in reality, in Santiago ancestral rituals from the Andes predominate. In the celebration, priests do not participate and there are neither prayers nor processions. The saints, while present, have a secondary role. The family and communitarian activities are linked to the wamani tribute, which is, without a doubt, the main character.
The preparations start July 24th during the morning. That night the match is made, ritual previous to the main celebration. The families get alcohol, cigarettes and coca leaves supplies. Chicha de jora and different breads are made. During the evening, the women put all these things into a tablecloth that is on the ground. Wallcas, a kind of collars made of fruits and breads are also done. All this, together with the needles, bands or ribbons, saints effigies and other elements that are used in the herranza, are placed on the table. Two candles are then lit, which keep burning until dawn.
The different stages of the celebration are separated by breaks, called chaupimesas, which are used to eat, drink, play the music and dance. What follows are several rites guided to bless the livestock and foretell the future. At midnight (chaupi tuta), the head of the family mixes the chicha de jora (maize liquor) with the llampu (soft white soil) and the challaswa kuri and the chawa kuri (small pieces of metal brought from the puna / highlands) to spread them around in the pens. Then, he throws the container. If it lands on its base, a good year awaits. Otherwise, death and the loss of the herd are feared. Another ritual destined to foretell the future of the animals is the kokakintu, which consists of the selection, by the assistants, of a handful of coca leaves. The green and intact (healthy) represent a number of determined animals and are placed in two little gourds (matecitos) on the table. Almost at dawn, the participants gather up the livestock in the pens to await the luci luti (dawn).

THE BANDS
The cattle branding is done with coloured bands that are inserted in the ears using a needle (sauri). The bands can be of different kinds. They can be of silk or wool. There are also the so called "peruanas" (Peruvians), which are white and red. What they usually use are bands that combine (three or four colours), but here there is also a local variation. In some towns, like Masmachicche, near Jauja, Junín, the colours are used to distinguish the animals’ condition. Therefore, males get the yellow bands; orange, for the females; blue, for the mothers; green for the native studs and red, for the acquired studs. The ones in charge of putting the bands are always men or communities governors (varayoq).

THE BRANDING
The Herranza begins exactly on July 25th at noon. In this activity, the entire population is involved. First, the young ones hold the animals that haven’t been branded yet, while the women sing ironic songs about the lousy strength of the boys. In Huancavelica, where the celebration is more extensive, they usually start branding the female cattle. During the time this takes place, the participants wear the wallcas over their chests, dance around the animals, chew coca leaves and drink alcohol, which is sometimes mixed with the animals’ blood. They throw coca and corn flour to the cattle. Almost at the end of the celebration, the families return the cattle to their pens, where a special meal with flour awaits, candy and cookies with animal forms. The celebration ends with the repay or tribute to the Tayta Wamani. The head of the family buries a clay container in the pen, the hill or in a spring nearby. It contains coca leaves, aguardiente (liquor), cigars, used bands and pieces of animals’ ears. The nature of the payment changes in each town. In some places of Junín, like Huayucachi, the payment ritual is done in the afternoon of July 23rd, with fruits, candies, coca and alcohol. In Tayacaja, Huancavelica, only coca leaves are buried.

DANCE
In Huancayo, men and women partner up and dance about the fields with typical regional dresses, accompanied by a typical orchestra or simply by the tinya and the violin. Then, they gather at the house of who owns the cattle, where they dance in their place or meddle about with agile and small tapping of their feet, raising their arms to the music’s rhythm. Occasionally, they let out a guapidos (Huanca scream) and ironic phrases about the strength of the dancers. They do not stop not even during the Herranza ritual.
In the cities of Huancayo, Huancavelica and Ayacucho, it is custom to organize events, or so-called "Fiestas de Santiago" (Santiago’s Feasts) in coliseums and stadiums. In these places, several typical orchestras accompanied the dance of the participants. Also, they organize contests to choose the best dancing group. Also, in these urban sceneries, the Herranza ritual is solely symbolized with some type of cattle or with the presence of the wallcas.

MUSIC
The Santiago has its own traditional music, known by the same name. The orchestra only plays inside the context of the celebration, once a year. It is a rhythmic tune of three notes, although it is a bit monotonous, a harp, clarinet, saxophone and violin take part. Each phase of the ritual has a different tune. The celebrations in the fields have more variety of instruments. The men usually play the yungor or llongor, which is a bugle made out of wood from a mountain shrub that is 2.5 to 3 metres tall. Another wind instrument is the wakrapuku, which is made out of cattle horns. The women, meanwhile, sing and play the tinya or small native drum, made out of animal skin, usually from muttons. The drumstick with which they play the instrument is known as tinyako. The traditional mystics come from the higher areas, since the ones in the valley are not always enough. Because of the fact that the celebration of Santiago is only celebrated two days a year, the farmers who are music lovers take advantage of the occasion to express their talent and, by the way, get some economic compensation. That is why, they are considered temporary mystics.

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