Alison Krogel
Alison Krögel es profesora en la Universidad de Denver, EEUU en donde dicta cursos sobre literatura y cultura quechua-andina y Introducción a la lengua quechua. Su investigación incluye estudios literarios y etnográficos sobre la poesía y la tradición oral en runasimi, el papel de la comida y las cocineras en la literatura andina y los desafíos enfrentados por los ovejeros peruanos que laboran en los Estados Unidos como trabajadores temporales del programa de visa H-2A. Recipiente de una beca Fulbright de Investigación para realizar estudios sobre la poesía contemporánea kichwa en el Ecuador, ha publicado el libro Food, Power and Resistance in the Andes: Exploring Quechua Verbal and Visual Narratives (Lexington Books, 2010) y Musuq Illa: Poética del harawi en runasimi (2000-2020) (Pakarina ediciones, 2021). Es editora del proyecto de humanidades digitales <MusuqIlla.info> y actualmente trabaja en un proyecto sobre los arboglifos grabados por ovejeros runamasikuna en los álamos temblones de las montañas de Colorado —crónicas visuales y verbales de su estancia como michiqkuna en las punas del hawansuyu.
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Alison Krögel is a Professor of Spanish at the University of Denver where she teaches courses on Andean literature and culture, and an Introduction to Quechua language. Her research includes ethnographic and literary studies of Quechua poetry and oral traditions, the roles played by food in colonial and contemporary Spanish-American literature and culture, as well as the struggles faced by Peruvian sheepherders working in the Western US as temporary H-2A laborers. The recipient of a Fulbright Research Grant to Ecuador (2013-14), she has published the book Food, Power and Resistance in Quechua Verbal and Visual Narratives (2010), Musuq Illa: Poética del harawi en runasimi (2000-2020) (Pakarina ediciones, 2021), as well as articles in journals such as: Revista de crítica literaria latinoamericana; Journal of Latin American and Caribbean Anthropology; Food and Foodways; Revista de estudios bolivianos; and Kipus: Revista andina de letras. Professor Krögel is also the editor of Musuq Illa, a collective digital humanities project focused on Quechua language poetry, https://MusuqIlla.info (forthcoming June 2021)
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Alison Krögel. Estados Unidos suyupin Denver Uniwirsidadpi payqa llank’an. Literatura y Cultura Quechua – Andina sutiyuq kursutan yachachin. Hinallataq Introducción a la lengua quechuatapas yachachillantaq. Runasimipi ñawpa willakuynata, takikunatawanmi payqa k’uskiran. Kichwa runaq kasqamantapuni hamut’an. Anti litiraturapi mikhunaq, warmi wayk’uqkuna kasqanmantapas k’uskinmi. Hinallataq, Estados Unidospi pirumanta uwikha michiqkunaq Visa H – 2B programapi llank’asqankumantapas k’uskillantaq. Fulbright de Investigación bikatan chaskiran kunan pacha Ecuadorpi kichwapi harawikunamanta k’uskinanpaq. Lluqsichiranmi kay liwrukunata: Food, Power and Resistance in the Andes: Exploring Quechua Verbal and Visual Narratives (Lexington Books, 2010) y Musuq Illa: Poética del harawi en runasimi (2000-2020) (Pakarina ediciones, 2021). <MusuqIlla.info> digital runakunaq pruyiktuq idituranmi. Kunan pachan, uwikha michiqkunaq Coloradoq q’asankunapi alamu sach’aq k’ullunkupi runasimipi qillqasqankuta k’uskichkan. Chayqa hawansuyupi uwikha michiqkunaq tiyasqanku rikukuq uyarikuqpiwan krunikakunata ruwan.
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Alison Krögel is a Professor of Spanish at the University of Denver where she teaches courses on Andean literature and culture, and an Introduction to Quechua language. Her research includes ethnographic and literary studies of Quechua poetry and oral traditions, the roles played by food in colonial and contemporary Spanish-American literature and culture, as well as the struggles faced by Peruvian sheepherders working in the Western US as temporary H-2A laborers. The recipient of a Fulbright Research Grant to Ecuador (2013-14), she has published the book Food, Power and Resistance in Quechua Verbal and Visual Narratives (2010), Musuq Illa: Poética del harawi en runasimi (2000-2020) (Pakarina ediciones, 2021), as well as articles in journals such as: Revista de crítica literaria latinoamericana; Journal of Latin American and Caribbean Anthropology; Food and Foodways; Revista de estudios bolivianos; and Kipus: Revista andina de letras. Professor Krögel is also the editor of Musuq Illa, a collective digital humanities project focused on Quechua language poetry, https://MusuqIlla.info (forthcoming June 2021)
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Alison Krögel. Estados Unidos suyupin Denver Uniwirsidadpi payqa llank’an. Literatura y Cultura Quechua – Andina sutiyuq kursutan yachachin. Hinallataq Introducción a la lengua quechuatapas yachachillantaq. Runasimipi ñawpa willakuynata, takikunatawanmi payqa k’uskiran. Kichwa runaq kasqamantapuni hamut’an. Anti litiraturapi mikhunaq, warmi wayk’uqkuna kasqanmantapas k’uskinmi. Hinallataq, Estados Unidospi pirumanta uwikha michiqkunaq Visa H – 2B programapi llank’asqankumantapas k’uskillantaq. Fulbright de Investigación bikatan chaskiran kunan pacha Ecuadorpi kichwapi harawikunamanta k’uskinanpaq. Lluqsichiranmi kay liwrukunata: Food, Power and Resistance in the Andes: Exploring Quechua Verbal and Visual Narratives (Lexington Books, 2010) y Musuq Illa: Poética del harawi en runasimi (2000-2020) (Pakarina ediciones, 2021). <MusuqIlla.info> digital runakunaq pruyiktuq idituranmi. Kunan pachan, uwikha michiqkunaq Coloradoq q’asankunapi alamu sach’aq k’ullunkupi runasimipi qillqasqankuta k’uskichkan. Chayqa hawansuyupi uwikha michiqkunaq tiyasqanku rikukuq uyarikuqpiwan krunikakunata ruwan.
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Poesía y Tradición Oral Quechua-Kichwa by Alison Krogel
***(Beginning in 2011 a growing number of female indigenous poets began to publish their Kichwa-language poems in Ecuador. Through an analysis of the concepts of amawta warmi ('wise woman'), chakana ('Andean cross' or 'staircase'), and quishpi ('liberty'), this article explores several of the key aesthetic, political, and sociolinguistic approaches present within the work of several of these contemporary Kichwa poets, including: Mariana del Rocío Anchatuña Rojas, María Mercedes Muenala Tituaña, and Lourdes Llasag Fernández.)***
community. In this way, the narratives serve as a vehicle for the continuous (re)construction of ayllu members’ identities in opposition to the perceived dangers emanating from beyond the community’s borders. Performances of these narratives exert a didactic function while also entertaining audiences with frightening descriptions of dangerous beings with deadly powers. In order to capture the attention of audiences and increase the dramatic tension of their plots, Quechua narrators from the district of Chinchero (in the southern Peruvian department of Cuzco) use physical gestures, sound effects and the creation of parallel structures and repetition to emphasize key concepts and criticisms.
Comida, Poder y Literatura | Etnografía by Alison Krogel
Este artículo analiza las maneras en que la sátira mexicana Ordenanzas del Baratillo de Mexico, de Pedro Anselmo Creslos Jache (1734) reprueba la práctica de los criollos de emplear nodrizas. Con múltiples referencias a la retórica anti-nodriza que abunda en La perfecta casada de Fray Luis de León, la crítica satírica que ofrece las Ordenanzas en contra de las nodrizas —y de los padres criollos que las contratan— revela la desconfianza que los peninsulares sentían frente a las relaciones cada vez más íntimas entre los criollos y las castas inferiores en el México colonial. A la vez, el texto de Creslos Jache también ofrece una defensa del Imperio y una celebración de la superioridad española.
This article examines practical and aesthetic considerations which influence the construction of the ñak’aq-slaughterer and suq’a characters within contemporary Quechua oral narratives performed throughout the southern Andes. The machinations of these characters reveal the negative consequences suffered by those who distance themselves from the physical and cultural boundaries of the ayllu community. In this way, the narratives serve as a vehicle for the continuous (re)construction of ayllu members’ identities in opposition to the perceived dangers emanating from beyond the community’s borders. Performances of these narratives exert a didactic function while also entertaining audiences with frightening descriptions of dangerous beings with deadly powers. In order to capture the attention of audiences and increase the dramatic tension of their plots, Quechua narrators from the district of Chinchero (in the southern Peruvian department of Cuzco) use physical gestures, sound effects and the creation of parallel structures and repetition to emphasize key concepts and criticisms.
***(Beginning in 2011 a growing number of female indigenous poets began to publish their Kichwa-language poems in Ecuador. Through an analysis of the concepts of amawta warmi ('wise woman'), chakana ('Andean cross' or 'staircase'), and quishpi ('liberty'), this article explores several of the key aesthetic, political, and sociolinguistic approaches present within the work of several of these contemporary Kichwa poets, including: Mariana del Rocío Anchatuña Rojas, María Mercedes Muenala Tituaña, and Lourdes Llasag Fernández.)***
community. In this way, the narratives serve as a vehicle for the continuous (re)construction of ayllu members’ identities in opposition to the perceived dangers emanating from beyond the community’s borders. Performances of these narratives exert a didactic function while also entertaining audiences with frightening descriptions of dangerous beings with deadly powers. In order to capture the attention of audiences and increase the dramatic tension of their plots, Quechua narrators from the district of Chinchero (in the southern Peruvian department of Cuzco) use physical gestures, sound effects and the creation of parallel structures and repetition to emphasize key concepts and criticisms.
Este artículo analiza las maneras en que la sátira mexicana Ordenanzas del Baratillo de Mexico, de Pedro Anselmo Creslos Jache (1734) reprueba la práctica de los criollos de emplear nodrizas. Con múltiples referencias a la retórica anti-nodriza que abunda en La perfecta casada de Fray Luis de León, la crítica satírica que ofrece las Ordenanzas en contra de las nodrizas —y de los padres criollos que las contratan— revela la desconfianza que los peninsulares sentían frente a las relaciones cada vez más íntimas entre los criollos y las castas inferiores en el México colonial. A la vez, el texto de Creslos Jache también ofrece una defensa del Imperio y una celebración de la superioridad española.
This article examines practical and aesthetic considerations which influence the construction of the ñak’aq-slaughterer and suq’a characters within contemporary Quechua oral narratives performed throughout the southern Andes. The machinations of these characters reveal the negative consequences suffered by those who distance themselves from the physical and cultural boundaries of the ayllu community. In this way, the narratives serve as a vehicle for the continuous (re)construction of ayllu members’ identities in opposition to the perceived dangers emanating from beyond the community’s borders. Performances of these narratives exert a didactic function while also entertaining audiences with frightening descriptions of dangerous beings with deadly powers. In order to capture the attention of audiences and increase the dramatic tension of their plots, Quechua narrators from the district of Chinchero (in the southern Peruvian department of Cuzco) use physical gestures, sound effects and the creation of parallel structures and repetition to emphasize key concepts and criticisms.