Dimensions of Time in a Ritual Drama

Holding on precariously to their small steeds, the Spanish conquerors attempt to break through the ranks of Atahualpa’s army, whose men defend on foot the fate of the Inca Empire. The scene is messy, at once tense and playful owing to the performers’ advanced state of inebriation. This choreography, which plays out the tragic events of 1532, has been reenacted on various patronal festivals throughout the central Peruvian Sierra since the first half of the seventeenth century. Although nowadays these reenactments may vary in configuration from one place to the next, all are financed by lay volunteers and include masses, processions, drinking, banquets, collective dances, fights, musical entertainment, and occasionally a bullfight. These festive performances are part of a connected history of the circulation and reconfiguration of representations of moros y cristianos (Moors and Christians) in the Iberian world. This article attempts to grasp the institutional dynamics, at the intersection between politics and religion, that have ensured the success and longevity of these performances in the Andes. It also questions the texture of this long time-span and its articulation with other temporalities. Based on ethnographic fieldwork carried out in Chiquián (Áncash), the analysis focuses on the temporalities of the ritual: What past, present, and future horizons are woven into these performances’ frameworks of interaction

Aesthetics · Archaeology · Art · Choreography · Dance · Drama · Entertainment · Ethnography · Musical · Political science · Politics · Sociology · Temporalities · Visual arts · Anthropological Studies and Insights · History · Latin American history and culture · Law