Andean Truths: Transitional Justice, Ethnicity, and Cultural Production in Post-Shining Path Peru

224 Pages·2016·3.209 MB·English

by  Anne Lambright

ANDEAN TRUTHS
Transitional Justice, Ethnicity,
and Cultural Production
in Post-Shining Path Peru
Liverpool Latin American Studies
Series Editors: Professor Catherine Davies, University of Nottingham,
and Professor Allan J. Kuethe, Texas Tech. University
Emeritus Series Editor: Professor John Fisher
1 Business History in Latin America: The Experience of Seven Countries
Carlos Dávila and Rory Miller (eds)
2 Habsburg Peru: Images, Imagination and Memory
Peter T. Bradley and David Cahill
3 Knowledge and Learning in the Andes: Ethnographic Perspectives
Henry Stobart and Rosaleen Howard (eds)
4 Bourbon Peru, 1750‒1824
John Fisher
5 Between Resistance and Adaptation: Indigenous Peoples and the
Colonisation of the Chocó, 1510‒1753
Caroline A. Williams
6 Shining Path: Guerilla War in Peru’s Northern Highlands, 1980‒1997
Lewis Taylor
7 South American Independence: Gender, Politics, Text
Catherine Davies, Claire Brewster and Hilary Owen
8 Adventuring Through Spanish Colonies: Simón Bolívar, Foreign
Mercenaries and the Birth of New Nations
Matthew Brown
9 British Trade with Spanish America, 1763‒1808
Adrian J. Pearce
10 Colonial Tropes and Postcolonial Tricks: Rewriting the Tropics in the
novela de la selva
Lesley Wylie
11 Argentina’s Partisan Past: Nationalism and the Politics of History
Michael Goebel
12 The Reinvention of Mexico: National Ideology in a Neoliberal Era
Gavin O’Toole
13 Armies, Politics and Revolution: Chile, 1808–1826
Juan Luis Ossa Santa Cruz
Liverpool Latin American Studies, New Series 14
Andean Truths
Transitional Justice, Ethnicity,
and Cultural Production
in Post-Shining Path Peru
Anne Lambright
LIVERPOOL UNIVERSITY PRESS
Andean Truths
First published 2015 by
Liverpool University Press
4 Cambridge Street
Liverpool
L69 7ZU
Copyright © 2015 Anne Lambright
The right of Anne Lambright to be identified as the author of this book has
been asserted by her in accordance with the Copyright, Design and Patents
Act 1988.
All rights reserved. No part of this book may be reproduced, stored in a
retrieval system, or transmitted, in any form or by any means, electronic,
mechanical, photocopying, recording, or otherwise, without the prior written
permission of the publisher.
British Library Cataloguing-in-Publication data
A British Library CIP record is available
print ISBN 978-1-78138-251-6
epdf ISBN 978-1-78138-437-4
Typeset by Carnegie Book Production, Lancaster
Printed and bound in Poland by BooksFactory.co.uk
Contents
contents
List of Figures vii
Acknowledgements ix
Introduction 1
1 Sustaining Dominant Narratives: La hora azul, Abril rojo,
and Un lugar llamado Oreja de Perro 30
2 Transitional Justice and Reconciliation through Identification:
Paloma de papel and La teta asustada 60
3 Dead Body Politics: Grupo Cultural Yuyachkani at the
CVR Hearings 88
4 Towards a Narrative Pachacutic: Rosa Cuchillo 107
5 Collaborative Truth-Telling: The Art of Edilberto Jiménez
and the Chungui Testimonies 134
6 Reconciling through other Knowledges: The Yuyarisun
Contests in Ayacucho 163
Conclusion: Some Thoughts on Memory Museums 185
Works Cited 191
Index 206

Figures
Figures
2.1 Juan and Rosita feed Tata in Paloma de papel. 65
2.2 Juan returns to villagers mourning the deceased in Paloma
de papel. 67
2.3 Fausta hears Perpetua’s sung testimony in La teta asustada. 69
2.4 Manchay’s ‘stairs of solidarity,’ with Our Lady of the Rosary
keeping watch, in La teta asustada. 77
2.5 Perpetua’s body adorned by a wedding dress in La teta asustada. 79
2.6 Aída steals Fausta’s song in La teta asustada. 81
3.1 Actress Teresa Ralli in Antígona: Tragedia de Sófocles en versión
libre by José Watanabe, directed by Miguel Rubio Zapata.
Photograph by Elsa Estremadoyro. 97
3.2 Augusto Casafranca in Adiós Ayacucho, based on the narrative of
Julio Ortega and directed by Miguel Rubio Zapata. Photograph
by Elsa Estremadoyro. 99
3.3 Ana Correa, as Rosa Cuchillo, walks the streets of Huamanga,
Ayacucho, during the public hearings held in that city.
Photograph by Fidel Melquiades. 103
3.4 Ayarachi dancer and Tambobambino: performance interventions at
the CVR public hearings by Yuyachkani members. Photograph
by Fidel Melquiades. 104
5.1 ‘Mataron a las madres y dejaron llorando a las criaturas’ (They
Killed the Mothers and Left the Children Crying). From
Edilberto Jiménez, Chungui: Violencia y trazos de memoria. 148
5.2 ‘Las cabezas estaban en distintos lugares’ (Their Heads were
Strewn About). From Edilberto Jiménez, Chungui: Violencia y
trazos de memoria. 150
viii andean truths
5.3 ‘Calladitos, sin que sepa nadie, nos llevamos su cuerpito’
(Quietly, Without Anyone Noticing, We Took his Body). From
Edilberto Jiménez, Chungui: Violencia y trazos de memoria. 151
5.4 ‘Le dieron más de 20 chicotazos’ (They Whipped Him More
than Twenty Times). From Edilberto Jiménez, Chungui: Violencia
y trazos de memoria. 153
5.5 ‘Cómo podemos perdonar a uno que ha matado a nuestros hijos’
(How are We to Forgive Someone who has Killed our Children).
From Edilberto Jiménez, Chungui: Violencia y trazos de memoria. 154
5.6 ¡Basta, no a la tortura! (Enough Torture!), retablo by Edilberto
Jiménez (image provided by artist). 159
5.7 ‘Lirio qaqa, profundo abismo’ (Lirio Qaqa, Deep Abyss), retablo
by Edilberto Jiménez (image provided by artist). 160
6.1 ‘Cuando era niño’ (When I was a Boy), by Vicente Unocc
Sedano, Huancavelica contest. 171
6.2 ‘Memorias funestas’ (Terrible Memories), by Gabriela Zamora
Castellares, Ayacucho 2005 contest. 174
6.3 ‘Recordar para no volver a vivirlo’ (Remembering so as Not to
Relive it), by Zoraya Zevallos Delgado, from the Huancavelica
contest. 175
6.4 ‘La década de los 80’ (The 1980s), by Alberto Quispe Palomino-
Socos, Ayacucho 2005 contest. 177
6.5 ‘Antes … Después’ (Before … After), by Rubén Gómez
Carrasco, Ayacucho 2003 contest. 178
6.6 ‘Dificultades y esperanzas’ (Hardships and Hopes), by Orlando
Palomino Cárdenas, Ayacucho 2003 contest. 181
Acknowledgements
Acknowledgements
Like most intellectual endeavors, this book would not be possible without the
support of many institutions and people. First, I am grateful for the time
for research and writing, as well as generous financial and other material
assistance, provided by a (US) National Endowment for the Humanities
(NEH) Fellowship, an External Residential Faculty Fellowship from the
University of Connecticut Humanities Institute, a Millicent C. McIntosh
Fellowship from the Woodrow Wilson Foundation, as well as Faculty
Development grants from my home institution, Trinity College, Hartford,
Connecticut. I am also thankful for the enthusiasm and support of the
people at Liverpool University Press, with special appreciation to Editorial
Director Alison Welsby for her patience, calm, and flexibility throughout
this process.
This project would not have been possible without the ever generous
and selfless assistance of many colleagues—writers, artists, actors, activists,
and scholars—working on the ground in Peru and abroad, for a more just
society for all. My friends in Grupo Cultural Yuyachkani, especially Ana
Correa, Débora Correa, and Augusto Casafranca, have taught me more about
compassion, solidarity, and selflessness than they will ever know. Edilberto
Jiménez was exceedingly generous with his time, his art, his knowledge,
and his reflections on his work among Andean communities. Javier Torres
Seoane, César Álvarez, and Elio Rodríguez at the Servicios Educativos
Rurales (SER) offices in Lima and Ayacucho provided essential information
on the Yuyarisun project as well as important insights on the current state of
memory projects in Peru. Jorge Miyagui, whose work is not studied here, but
definitely will be a topic of future projects, was a valuable interlocutor both in
Lima and Hartford. Cynthia Milton generously shared digital images I had
been unable to attain from the Yuyarisun project. I am particularly grateful for
the warm hospitality of friends such as Laurietz Seda (transplanted Boricua),
Melvin Ledgard, Alfredo Bushby, and Tessania Velázquez, somehow all able
to drop things at a moment’s notice to receive the traveler who shows up
unannounced in Lima. Special thanks go to Tessania for her insights on
working with indigenous women survivors of the conflict.
x andean truths
On the home front, Aníbal González Pérez, Naomi Lindstrom, Nicholas
Shumway, and Vicky Unruh kindly wrote letters of recommendation,
sometimes at the last minute, for the fellowships that supported this project.
Blanca Silvestrini and Kerry Bystrom provided feedback on initial proposals
that significantly influenced the final shape of the project. My peers at the
Humanities Institute at the University of Connecticut shared insights and
ideas that helped mold several chapters. Joseph Feldman generously shared
documents and observations from his fieldwork with memory museum initia-
tives in Peru. I am grateful to many colleagues and friends from Trinity
College, especially in the Department of Language and Culture Studies,
the International Studies program, and the Caribbean and Latin American
Studies section, for their collegial support throughout the project. Milla
Riggio, especially, has provided special intellectual, creative, and moral
support for many years, for which I am deeply grateful. My profound
appreciation goes to Priscilla Melendez, who generously commented on
several chapters, while providing desperately needed encouragement along
the way. Beyond Trinity, Sharon Foerster, co-author in other projects, was
kind, encouraging, and patient when I most needed it. And Manisha Desai
has been a wonderful and inspiring writing partner—we did it!
Of course, this book would have been absolutely impossible without the
love, support, encouragement, and, especially, patience, of my family. My
mother, Jeanie, and in-laws, José Ismael and Lottie, cheered every step. My
children Maya, Mobey, Paloma, Isis, Corazón, and son-in-law Felipe, have
helped out in so many ways, both practical and emotional, and have made my
life so joyful. And to my husband Guillermo Irizarry, for your intellectual and
emotional companionship, for the solidary acompañamiento throughout this
project, for recommended readings and stimulating conversations, for taking
the household reins when necessary, for traveling with me and learning with
me, and for your unwavering belief in this project, I owe a debt of gratitude
truly beyond words.