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The Incas

1438 AD - 1533 AD

The Inca first appeared in the Andes region during the 12th century CE and gradually built a massive kingdom through the military strength of their emperors. Known as Tawantinsuyu, the Inca state spanned the distance of northern Ecuador to central Chile and consisted of 12 million inhabitants from more than 100 different ethnic groups at its peak. 

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The Inca civilization flourished in ancient Peru between 1400 and 1533 CE, and their empire eventually extended across western South America from Quito in the north to Santiago in the south, making it the largest empire ever seen in the Americas and the largest in the world at that time. Undaunted by the often harsh Andean environment, the Incas conquered people and exploited landscapes in such diverse settings as plains, mountains, deserts, and tropical jungle. Famed for their unique art and architecture, they constructed finely-built and imposing buildings wherever they conquered, and their spectacular adaptation of natural landscapes with terracing, highways, and mountaintop settlements continues to impress modern visitors at such world famous sites as Machu Picchu.

THE CIVILIZATION OF STONE

 

The English term "Inca Empire" is derived from the word "Inca", which was the title of the emperor. Today the word "Inca" still refers to the emperor, but can also refer to the people or the civilization, and is used as an adjective when referring to the beliefs of the people or the artifacts they left behind. The Inca Civilization was wealthy and well-organized, with generally humane treatment of its people, including the vanquished. The empire was really a federal system. It took the Spanish just eight years to all but destroy the richest culture in the Americas, replacing it with a much less just system. Indeed, it has been argued that the Inca's government allowed neither misery nor unemployment, as production, consumption, and demographic distribution reached almost mathematical equilibrium. The main legacy of the civilization lies in its power to inspire, including that of later resistance groups in the area against Spanish rule.

 

As with other ancient Americas cultures, the historical origins of the Incas are difficult to disentangle from the founding myths they themselves created. According to legend, in the beginning, the creator god Viracocha came out of the Pacific Ocean, and when he arrived at Lake Titicaca, he created the sun and all ethnic groups. These first people were buried by the god and only later did they emerge from springs and rocks (sacred pacarinas) back into the world. The Incas, specifically, were brought into existence at Tiwanaku (Tiahuanaco) from the sun god Inti, hence, they regarded themselves as the chosen few, the 'Children of the Sun', and the Inca ruler was Inti's representative and embodiment on earth.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In another version of the creation myth, the first Incas came from a sacred cave known as Tampu T'oqoor, 'The House of Windows', which was located at Pacariqtambo, the 'Inn of Dawn', south of Cuzco. The first pair of humans were Manco Capac (or Manqo Qhapaq) and his sister (also his wife) Mama Oqllu (or Ocllo). Three more brother-sister siblings were born, and the group set off together to found their civilization. Defeating the Chanca people with the help of stone warriors (pururaucas), the first Incas finally settled in the Valley of Cuzco and Manco Capac, throwing a golden rod into the ground, established what would become the Inca capital, Cuzco.

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More concrete archaeological evidence has revealed that the first settlements in the Cuzco Valley actually date to 4500 BC when hunter-gatherer communities occupied the area. However, Cuzco only became a significant centre sometime at the beginning of the Late Intermediate Period (1000-1400 CE). A process of regional unification began from the late 14th century CE, and from the early 15th century CE, with the arrival of the first great Inca leader Pachacuti Inca Yupanqui ('Reverser of the World') and the defeat of the Chanca in 1438 CE, the Incas began to expand in search of plunder and production resources, first to the south and then in all directions. They eventually built an empire which stretched across the Andes, conquering such peoples as the Lupaka, Colla, Chimor, and Wanka civilizations along the way. Once established, a nationwide system of tax and administration was instigated which consolidated the power of Cuzco.

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The Inca people began as a tribe in the Cuzco area around the twelfth century CE. Under the leadership of Manco Capac, they formed the small city-state of Qosqo, or Cuzco in Spanish. In 1438 CE, under the command of Sapa Inca ("paramount leader") Pachacuti (or Pachacutec) (1438–1471), they began their conquest of the Andean regions of South America and adjacent lands. 

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The rise of the Inca Empire was spectacularly quick. First, all speakers of the Inca language Quechua (or Runasimi) were given privileged status, and this noble class then dominated all the important roles within the empire. Thupa Inca Yupanqui (Topa Inca), Pachacuti's successor from 1471 CE, is credited with having expanded the empire by a massive 4,000 km (2,500 miles). The Incas themselves called their empire Tawantinsuyo (or Tahuantinsuyu) meaning 'Land of the Four Quarters' or 'The Four Parts Together'. Cuzco was considered the navel of the world, and radiating out were highways and sacred sighting lines (ceques) to each quarter: Chinchaysuyu (north), Antisuyu (east), Collasuyu (south), and Cuntisuyu (west). Spreading across ancient Ecuador, Peru, northern Chile, Bolivia, upland Argentina, and southern Colombia and stretching 5,500 km (3,400 miles) north to south, 40,000 Incas governed a huge territory with some 10 million subjects speaking over 30 different languages.

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The Inca began expanding their land holdings by the reign of their fourth emperor, Mayta Capac. However, they did not truly become an expansive power until the eighth emperor, Viracocha Inca, took control in the early 15th century. Bolstered by the military capabilities of two uncles, Viracocha Inca defeated the Ayarmaca kingdom to the south and took over the Urubamba Valley. He also established the Inca practice of leaving military garrisons to maintain peace in conquered lands.

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Pachacuti would send spies to regions he wanted in his empire who would report back on their political organization, military might, and wealth. He would then send messages to the leaders of these lands extolling the benefits of joining his empire, offering them presents of luxury goods such as high quality textiles, and promising that they would be materially richer as subject rulers of the Inca. Most accepted the rule of the Inca as a fait accompli and acquiesced peacefully. The ruler's children would then be brought to Cuzco to be taught about Inca administration systems, then return to rule their native lands. This allowed the Inca to indoctrinate the former ruler's children into the Inca nobility, and, with luck, marry their daughters into families at various corners of the empire.

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Pachacuti Inca Yupanqui also focused his efforts on strengthening Cuzco, the center of the empire. He expanded Sacsahuaman, the massive fortress that guarded the city, and embarked on an expansive irrigation project by channeling rivers and creating intricate agricultural terraces.

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Pachacuti's son, Túpac Inca, conquered even more land, most importantly the Kingdom of Chimor, the Inca's only serious rival for the coast of Peru. Túpac Inca's empire stretched north into modern day Ecuador and Colombia. Upon ascending to the throne in 1471, Topa Inca Yupanqui pushed the southern border of the empire to the Maule River in modern-day Chile, and instituted a tribute system in which each province provided women to serve as temple maidens or brides for celebrated soldiers. His successor, Huayna Cápac, embarked on successful northern campaigns that carried to the Ancasmayo River, the current boundary between Ecuador and Colombia. Huayna Cápac added some land area though less than his father and grandfather.

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Tahuantinsuyu was a patchwork of languages, cultures, and peoples. The components of the empire were not all uniformly loyal, nor were the local cultures all fully integrated. For instance, the Chimú used money in their commerce, while the Inca empire as a whole had an economy based on exchange and taxation of luxury goods and labor (it is said that Inca tax collectors would take the head lice of the lame and old as a symbolic tribute). The portions of the Chachapoya that had been conquered were almost openly hostile to the Inca, and the Inca nobles rejected an offer of refuge in their kingdom after their troubles with the Spanish.

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Although Tawantinsuyu was comprised of more than 100 distinct ethnic groups among its 12 million inhabitants, a well-developed societal structure kept the empire running smoothly. There was no written language, but a form of Quechua became the primary dialect, and knotted cords known as quipu were used to keep track of historical and accounting records. Most subjects were self-sufficient farmers who tended to corn, potatoes, squash, llamas, alpacas and dogs, and paid taxes through public labor. A system of roadways adding up to approximately 15,000 miles crisscrossed the kingdom, with relay runners capable of advancing messages at the rate of 150 miles per day.

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The Inca Empire was founded on, and maintained by, force, and the ruling Incas were very often unpopular with their subjects (especially in the northern territories), a situation that the Spanish conquistadores, led by Francisco Pizarro, would take full advantage of in the middle decades of the 16th century CE. The Inca Empire, in fact, had still not reached a stage of consolidated maturity when it faced its greatest challenge. Rebellions were rife, and the Incas were engaged in a war in Ecuador where a second Inca capital had been established at Quito. Even more serious, the Incas were hit by an epidemic of European diseases, such as smallpox, which had spread from central America even faster than the European invaders themselves, and the wave killed a staggering 65-90% of the population. Such a disease killed Wayna Qhapaq in 1528 CE and two of his sons, Waskar and Atahualpa, battled in a damaging civil war for control of the empire just when the European treasure-hunters arrived. It was this combination of factors - a perfect storm of rebellion, disease, and invasion - which brought the downfall of the mighty Inca Empire, the largest and richest ever seen in the Americas. 

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After the fall of Tahuantinsuyu, the new Spanish rulers brutally repressed the people and their traditions. Many aspects of Inca culture were systematically destroyed, including their sophisticated farming system. The Spanish used the Inca Mita (mandatory public service) system to literally work the people to death. One member of each family was forced to work in the gold and silver mines, the foremost of which was the titanic silver mine at Potosí. When one family member died, which would usually happen within a year or two, the family would be required to send a replacement. As elsewhere in the Americas, many died from the diseases brought by the Spanish.

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The legend of the Inca has served as inspiration for resistance movements in the region. These include the 1780 rebellion led by Tupac Amaru II against the Spanish, as well as the contemporary guerrilla movements Tupac Amaru Revolutionary Movement and Sendero Luminoso in Peru and Tupamaros in Uruguay.

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The Inca language Quechua lives on today and is still spoken by some eight million people. There are also a good number of buildings, artifacts, and written accounts which have survived the ravages of conquerors, looters, and time. These remains are proportionally few to the vast riches which have been lost, but they remain indisputable witnesses to the wealth, ingenuity, and high cultural achievements of this great, but short-lived civilization.

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As the only written accounts of the Inca were composed by outsiders, its mythology and culture passed to successive generations by trained storytellers. Traces of its existence were mainly found in the ruins of cities and temples, but in 1911 archaeologist Hiram Bingham discovered the intact 15th century mountaintop citadel of Machu Picchu, its magnificent stone structures reflecting the power and capabilities of this massive Pre-Colombian state.

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RELIGION

The Inca had great reverence for two earlier civilizations who had occupied much the same territory - the Wari and Tiwanaku. The sites of Tiwanaku and Lake Titicaca played an important part in Inca creation myths and so were especially revered. Inca rulers made regular pilgrimages to Tiwanaku and the islands of the lake, where two shrines were built to Inti the Sun god and supreme Inca deity, and the moon goddess Mama Kilya. Also in the Coricancha complex at Cuzco, these deities were represented by large precious metal artworks which were attended and worshipped by priests and priestesses led by the second most important person after the king: the High Priest of the Sun (Willaq Umu). Thus, the religion of the Inca was preoccupied with controlling the natural world and avoiding such disasters as earthquake, floods, and drought, which inevitably brought about the natural cycle of change, the turning over of time involving death and renewal which the Inca called pachakuti.

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Sacred sites were also established, often taking advantage of prominent natural features such as mountain tops, caves, and springs. These huacas could be used to take astronomical observations at specific times of the year. Religious ceremonies took place according to the astronomical calendar, especially the movements of the sun, moon, and Milky Way (Mayu). Processions and ceremonies could also be connected to agriculture, especially the planting and harvesting seasons. Along with Titicaca's Island of the Sun, the most sacred Inca site was Pachacamac, a temple city built in honour of the god with the same name, who created humans, plants, and was responsible for earthquakes. A large wooden statue of the god, considered an oracle, brought pilgrims from across the Andes to worship at Pachacamac. Shamans were another important part of Inca religion and were active in every settlement. Cuzco had 475, the most important being the yacarca, the personal adviser to the ruler.

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Inca religious rituals also involved ancestor worship as seen through the practice of mummification and making offerings to the gods of food, drink, and precious materials. Sacrifices - both animals and humans, including children - were also made to pacify and honour the gods and ensure the good health of the king. The pouring of libations, either water or chicha beer, was also an important part of Inca religious ceremonies.

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The Incas imposed their religion on local populations by building their own temples and sacred sites, and they also commandeered sacred relics from conquered peoples and held them in Cuzco. Stored in the Coricancha, they were perhaps considered hostages which ensured compliance to the Inca view of the world.

 

The Tahuantinsuyu, or Incan religion was pantheist (a doctrine that identifies God with the universe, or regards the universe as a manifestation of God). Subjects of the empire were allowed to worship their ancestral gods as long as they accepted the supremacy of Inti, the sun god, which was the most important god worshiped by the Inca leadership. Consequently, ayllus (extended families) and city-states integrated into the empire were able to continue to worship their ancestral gods, though with reduced status. Much of the contact between the upper and lower classes was religious in nature and consisted of intricate ceremonies that sometimes lasted from sunrise to sunset.

 

The main festival was the annual sun-celebration, when thanksgiving for the crop was given and prayers for an even better harvest next year. Before the festival, the people fasted and abstained from sex. Mummies of distinguished dead were brought to observe the ceremonies. Solemn hymns were sung and ritual kisses blown towards the sun-god. The king, as son of the sun god, drank from a ceremonial goblet, then the elders also drank. A llama was also sacrificed by the Willaq Uma, or High Priest, who pulled out the lungs and other parts with which to predict the future. A sacred fire was lit by using the sun's heat. Sanqhu, a type of “holy bread” was also offered.

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Many ancient Andean peoples traced their origins to ancestral deities. Multiple ayllus could share similar ancestral origins. The Inca claimed descent from the Sun and the Moon, their Father and Mother. Many ayllus claimed descent from early proto-humans that they emerged from local sites in nature called pacarinasThe earliest ancestors of the Inca were known as Ayar, the first of which was Manco Capac or Ayar Manco. Inca mythology tells of his travels, in which he and the Ayar shaped and marked the land and introduced the cultivation of maize.

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A prominent theme in Inca mythology is the duality of the Cosmos. The realms were separated into the upper and lower realms, the Hanan Pacha and the Ukhu Pacha and Hurin Pacha. Hanan Pacha, the upper world, consisted of the deities of the sun, moon, stars, rainbow, and lightning while Ukhu Pacha and Hurin Pacha were the realms of Pachamama, the earth mother, and the ancestors and heroes of the Inca or other ayllus. Kay Pacha, the realm of the outer earth, where humans resided was viewed as an intermediary realm between Hanan Pacha and Ukhu Pacha. The realms were represented by the condor (upper world), puma (outer earth) and snake (inner earth).

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Huacas (sacred sites or things), were widespread around the Inca Empire. Huacas were deific entities that resided in natural objects such as mountains, boulders, streams, battle fields, other meeting places, and any type of place that was connected with past Incan rulers. Huacas could also be inanimate objects such as pottery that were believed to be vessels carrying deities. Spiritual leaders in a community would use prayer and offerings to communicate with a huaca for advice or assistance. Human sacrifice was a part of Incan rituals in which they usually sacrificed a child or a slave. The Incan people thought it was an honor to die for an offering.

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There is archaeological discoveries supporting the presence of sacrifice within Inca society according to Reinhard and Ceruti:

 

          "Archaeological evidence found on distant mountain summits has established that the burial of offerings was a common practice among the Incas                and that human sacrifice took place at several of the sites. The excellent preservation of the bodies and other material in the cold and dry                                environment of the high Andes provides revealing details about the rituals that were performed at these ceremonial complexes."

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The Incas also used divination. They used it to inform people in the city of social events, predict battle outcomes, and ask for metaphysical intervention.
The Inca were a deeply religious people. They feared that evil would befall at any time. Sorcerers held high positions in society as protectors from the spirits. They also believed in reincarnation, saving their nail clippings, hair cuttings and teeth in case the returning spirit needed them.

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The religious and societal center of Inca life was contained in the middle of the sprawling fortress known as Sacsahuaman. Here was located Cuzco, 'The Naval of the World' (we call it the Solar Plexus) - the home of the Inca Lord and site of the sacred Temple of the Sun. At such a place the immense wealth of the Inca was clearly evident with gold and silver decorating every edifice. The secret of Inca wealth was the mita (mandatory public service). This was a labor program imposed upon every Inca by the Inca ruler. Since it only took about 65 days a year for a family to farm for its own needs, the rest of the time was devoted to working on Temple-owned fields, building bridges, roads, temples, and terraces, or extracting gold and silver from the mines. The work was controlled through chiefs of tens, hundreds, and thousands.

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The Incas worshiped the Earth goddess Pachamama and the sun god, the Inti. The Inca sovereign, lord of the Tahuantinsuyo, the Inca empire, was held to be sacred and to be the descendant of the sun god. Thus, the legend of the origin of the Incas tells how the sun god sent his children Manco Capac and Mama Ocllo (and in another version the four Ayar brothers and their wives) to found Cuzco, the sacred city and capital of the Inca empire. Inti Raymi, the feast of the sun, the Inti Raymi or "Sun Festivity", was the biggest, most important, spectacular and magnificent festivity carried out in Inca times. It was aimed to worship the Apu Inti (Sun god). It was performed every year on June 21, that is, in the winter solstice of the Southern Hemisphere, in the great Cuzco Main Plaza.

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In Andean mythology it was considered that the Incas were descendants of the Sun, therefore, they had to worship it annually with a sumptuous celebration. More over, the festivity was carried out by the end of the potato and maize harvest in order to thank the Sun for the abundant crops or otherwise in order to ask for better crops during the next season. It is during the solstices when the Sun is located in the farthest point from the earth or vice versa, on this date the Quechuas (native people of the Andes who speak Quechua) had to perform diverse rituals in order to ask the Sun not to abandon its children.

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Preparations had to be carried out in the Koricancha (Sun Temple), in the Aqllawasi (House of Chosen Women), and in the Haukaypata or Wakaypata that was the northeastern sector of the great Main Square. Some days before the ceremony, all the population had to practice fasting and sexual abstinence. Before dawn on June 21st the Cusquenian nobility, presided over by the Inca and the Willaq Uma (High Priest), were located on the Haukaypata (the Plaza's ceremonial portion), the remaining noble population were placed on the Kusipata (southwestern portion). Prior to this the mallki (mummies of noble ancestors) were brought and they were located in privileged sectors so that they could witness the ceremony.

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At sunrise, the population had to greet the Sun god with the much'ay ("mocha" in its Spanish form) sending forth-resounding kisses offered symbolically with the fingertips. After all that, people sang in tune solemn chants in a low voice that later were transformed into their wakay taky (weepy songs), arriving like this to an emotional and religious climax.

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Subsequently, the Son of the Sun (the Inca king), used to take in his two hands two golden ceremonial tumblers called akilla containing Aqha (chicha maize beer) made inside the Aqllawasi. The beverage of the tumbler in the right hand was offered to the Sun and then poured into a golden channel communicating the Plaza with the Sun Temple. The Inca drank a sip of chicha from the other tumbler, the remaining was then drank in sips by the noblemen close to him. Later, chicha was offered to every attendant.

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Some historians suggest that this ceremony was started inside the Coricancha in presence of the Sun representation that was made of very polished gold that at the sunrise was reflected with a blinding brilliance. Later the Inca, along with his retinue, went toward the great Plaza through the Intik'iqllu or "Street of the Sun" (present-day Loreto street) in order to witness the llama sacrifice.

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During this most important religious ceremony, the High Priest had to perform the llama sacrifice offering a completely black or white llama. With a sharp ceremonial golden knife called Tumi he had to open the animal's chest and with his hands pulled out its throbbing heart, lungs and viscera, so that observing those elements he could foretell the future. Later, the animal and its parts were completely incinerated.

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After the sacrifice, the High Priest had to produce the Sacred Fire. Staying in front of the Sun he had to get its rays in a concave gold medallion that contained some soft or oily material in order to produce the fire that had to be kept during next year in the Koricancha and Aqllawasi.

Subsequently the priests offered the Sanqhu, that was something like holy bread, prepared from maize flour and blood of the sacrificed llama; its consumption was entirely religious as a Christian host is.

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Once all ritual stages of the Inti Raymi were finished, all the attendants were located in the southwestern Plaza's sector named Kusipata ("Cheer Secto" present-day Plaza del Regocijo) where after being nourished, people were entertained with music, dances and abundant chicha. 

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CULTURE

Inca society was made up of ayllus, which were clans of families who lived and worked together. Each allyu was supervised by a curaca or chief. Families lived in thatched-roof houses built of stone and mud. Furnishings were unknown with families sitting and sleeping on the floor. In Inca social structure, the ruler, Sapa Inca, or simply Inca, and his wives, the Coyas, had supreme control over the empire. The High Priest and the Army Commander in Chief were next. Then came the Four Apus, the regional army commanders. Next were temple priests, architects, administrators and army generals. Below them were artisans, musicians, army captains and the quipucamayoc, the Incan accountants. At the bottom were sorcerers, farmers, herding families and conscripts.

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The most powerful figure in the empire was the Sapa Inca. When a new ruler was chosen, his subjects would build his family a new royal dwelling. The former royal dwelling would remain the dwelling of the former Inca's family. Only descendants of the original Inca tribe ever ascended to the level of Inca. Most young members of the Inca's family attended Yachayhuasis (houses of knowledge) to obtain their education.

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The descendants of the original Inca tribe were not numerous enough to administer their empire without help. To cope with the need for leadership at all levels the Inca established a civil service system. Boys at the age of 13 and girls at the age of first menstruation had their intelligence tested by the local Inca officials. If they failed, their ayllu would teach them one of many trades, such as farming, gold working, weaving, or military skills. If they passed the test, they were sent to Cuzco to attend school to become administrators. There they learned to read the quipu (knotted cord records) and were taught Inca iconography, leadership skills, religion, and, most importantly, mathematics. The graduates of this school constituted the nobility and were expected to marry within that nobility.

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While some workers were held in great esteem, such as royal goldsmiths and weavers, they could never themselves enter the ruling classes. The best they could hope for was that their children might pass the exam as adolescents to enter the civil service. Although workers were considered the lowest social class, they were entitled to a modicum of what today we call due process, and all classes were equally subject to the rule of law. For example, if a worker was accused of stealing and the charges were proven false, the local official could be punished for not doing his job properly. Work was obligatory and there was a strong preference for collective work. One of the commandments was: "Do not be lazy" — beggars did not exist.

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Inca society continued uninterrupted in this way for hundreds of years. The appearance of light-skinned strangers during the rule of Atahuallpa, however, was to forever change things for the Inca. Deadly plague would soon sweep through the Inca empire. Those that survived had to face the swords and cannons of the invading Spanish. After leading the Spanish to more gold than they had ever before seen, Lord Atahuallpa was strangled by his Spanish captors.

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Childhood

Inca childhood was harsh by today's standards. When a child was born, the Inca would wash the baby in cold water and wrap it in a quilt. Later, the baby was put in a pit in the ground as a simple playground. By around age one, the baby could expect to receive very severe discipline.

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At age fourteen, boys earned a loincloth in a ceremony to mark their manhood. Boys from noble families were subjected to many different procedures of endurance and knowledge. After the test, they received earplugs and a weapon, the color of which represented rank in society.

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Education

Inca education during the time of the Inca Empire was divided into two principal spheres: education for the upper classes and education for the general population. The royal classes and a few specially-chosen individuals from the provinces of the Empire were formally educated by the Amawtakuna (philosopher-scholars), while the general population were passed on knowledge and skills by their immediate forbears.

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The Inca did not possess a written or recorded language as far as is known, but scholars point out that because we do not fully understand the quipu (knotted cords) we cannot rule out that they had recorded language. Like the Aztecs, they also depended largely on oral transmission as a means of maintaining the preservation of their culture. Inca education was divided into two distinct categories: vocational education for common Inca and highly formalized training for the nobility. Haravicus, or poets, enjoyed prestige.

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The Amawtakuna constituted a special class of wise men similar to the bards of Great Britain. They included illustrious philosophers, poets, and priests who kept the oral histories of the Incas alive by imparting the knowledge of their culture, history, customs and traditions throughout the kingdom. Considered the most highly educated and respected men in the Empire, the Amawtakuna were largely entrusted with educating those of royal blood, as well as other young members of conquered cultures specially chosen to administer the regions. Thus, education throughout the territories of the Incas was socially discriminatory, barring the rank and file from the formal education that royalty received. The Amawtakuna did ensure that the general population learn Quechua as the language of the Empire, much in the same way the Romans promoted Latin throughout Europe; however, this was done more for political reasons than educational ones.

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According to Fray Martin de Murua, a chronicler of the time, the education of the young novices (yachakuq runa, in Quechua) received from the Amawtakuna began at age 13 in the houses of knowledge Yachayhuasis located in Cuzco. The Amawtakuna used their intellect to teach the young novices of the empire about Inca religion, history and government, and moral norms. They also ensured a thorough understanding of the quipu, the Incas' unique logical-numerical system which used knotted strings to keep accurate records of troops, supplies, population data, and agricultural inventories. In addition, the young men were given careful training in physical education and military techniques.

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Most Inca novices finished their education at around age 19. After passing their examinations, the young men would receive their wara (a special type of underwear) as proof of their maturity and virility. Their education ended with a special ceremony, attended by the Empire's oldest and most illustrious Incas and Amawtakuna, at which the new young nobles, as future rulers, demonstrated their physical prowess and warrior skills and proved their masculinity. The candidates were also presented to the Inca sovereign, who pierced their ears with large pendants and congratulated the young aspirants on the proficiency they had shown, reminding them of the responsibilities attached to their station (and birth, in the case of members of the royalty) and calling them the new "Children of the Sun."

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Some historians and authors have pointed to feminine schools, or Aqlla wasi, for Inca princesses and other women. It is believed the education given at the Acllahuasi in Cuzco was much different from that given at the other Acllahuasis in the provinces of the empire. The women learned Inca lore and the art of womanhood as well as skills related to governance, but on a limited scale in comparison to the men. Other skills included spinning, weaving, and chicha brewing.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

When the Spanish chroniclers and conquistadors arrived they viewed these institutions as the Inca version of the European nunnery. Like the men, women were brought in to the Acllahuasis from faraway villages throughout the empire after being specifically chosen by Inca agents. After finishing their training, some women would stay to train newly-arrived girls, while lower-ranking women might be chosen to be secondary wives of the Sapa Inca, if he wished it, or be sent as rewards to other men who had done something to please the sovereign.

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The general population of the Inca Empire did not go to formal schools like the Inca did, and they did not have access to the scientific or theoretical knowledge of the Amautas. The education of the common person was largely based on the knowledge transmitted by their elders, such as practical education in the aspects of agriculture, hunting, fishing, and stonework, as well as religion, arts and morality. This type of knowledge was passed on by the fathers and eldest family members through the generations. Even without the benefit of Amawtakuna knowledge, it was the general population that was responsible for building most of the Inca road system, rope bridges, water fountains, agricultural development, irrigation systems, massive stone buildings, fortress temples and the rest of the impressive architectural and engineering marvels for which the Incas are still renowned still today.

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Government and Administration

The Incas kept lists of their kings (Sapa Inca) so that we know of such names as Pachacuti Inca Yupanqui (reign 1438-63 CE), Thupa Inca Yupanqui (reign 1471-93 CE), and Wayna Qhapaq (the last pre-Hispanic ruler, reign 1493-1525 CE). It is possible that two kings ruled at the same time and that queens may have had some significant powers, but the Spanish records are not clear on both points. The Sapa Inca was an absolute ruler, and he lived a life of great opulence. Drinking from gold and silver cups, wearing silver shoes, and living in a palace furnished with the finest textiles, he was pampered to the extreme. He was even looked after following his death, as the Inca mummified their rulers. Stored in the Coricancha temple in Cuzco, the mummies (mallquis) were, in elaborate ceremonies, regularly brought outside wearing their finest regalia, given offerings of food and drink, and 'consulted' for their opinion on pressing state affairs.

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Local administrators reported to over 80 regional-level administrators who, in turn, reported to a governor responsible for each quarter of the empire. The four governors reported to the supreme Inca ruler in Cuzco. To ensure loyalty, the heirs of local rulers were also kept as well-kept prisoners at the Inca capital. The most important political, religious, and military roles within the empire were, then, kept in the hands of the Inca elite, called by the Spanish the orejones or 'big ears' because they wore large ear spools to indicate their status. To better ensure the control of this elite over their subjects, garrisons dotted the empire, and entirely new administrative centers were built, notably at Tambo Colorado, Huánuco Pampa and Hatun Xauxa.

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For tax purposes censuses were taken and populations divided up into groups based on multiples of ten (Inca mathematics was almost identical to the system we use today). As there was no currency in the Inca world, taxes were paid in kind - usually foodstuffs, precious metals, textiles, exotic feathers, dyes, and spondylus shell - but also in labourers who could be shifted about the empire to be used where they were most needed, known as mit'a service. Agricultural land and herds were divided into three parts: production for the state religion and the gods, for the Inca ruler, and for the farmers own use. Local communities were also expected to help build and maintain such imperial projects as the road system which stretched across the empire. To keep track of all these statistics, the Inca used the quipu, which could record decimals up to 10,000.

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Because everyone had everything they needed, people rarely stole things. As a result, there were no prisons. The worst crimes in the Inca empire were murder, insulting the Sapa Inca and saying bad things about gods. The punishment, being thrown off of a cliff, was enough to keep most people from committing these crimes. Adultery with a Sun Virgin wasn't worth it. The couple was tied up by their hands and feet to a wall and left to starve to death. If one made love to one of the Inca's wives, they would be hung on a wall naked and left to starve. Smaller crimes were punished by the chopping off of the hands and feet or the gouging of the eyes.

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Marriage

Incan women were typically married at the age of sixteen. In Inca society, due to economic regulations, men of lower rank could only have one wife. The aristocracy, starting with the curaca, were allowed to engage in polygamy (the practice or custom of having more than one wife or husband at the same time).

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Trial marriages were typical within Inca culture. In this type of marriage, the man and woman would agree to try out being married to one another for a few years. At the end of this time, the woman could go home to her parents if she wished, and her husband could also send her home if he did not think it would work out. However, once the marriage was made final, they could only divorce if the woman was childless.

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Women would almost always marry men in the same social class as them. However, while it was very rare for them to marry a man with a higher social ranking, it was still possible for some young women. The only way for a young woman to alter her social ranking would be if a man of higher ranking took notice of her.

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In the Inca society, a wedding was not a joyous celebration. Instead, it was looked at more as a business-like agreement. Therefore, for the Inca, marriage was an economic agreement between two families. Once a woman was married, she was expected to collect food and cook, watch over the animals and the children. A woman's household obligations would not change after she became pregnant. When she did find out she was pregnant she prayed and made offerings to the Inca god Kanopa (god of pregnancy).

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Architecture

Master stone masons, the Incas constructed large buildings, walls and fortifications using finely-worked blocks - either regular or polygonal - which fitted together so precisely no mortar was needed. With an emphasis on clean lines, trapezoid shapes, and incorporating natural features into these buildings, they have easily withstood the powerful earthquakes which frequently hit the region. The distinctive sloping trapezoid form and fine masonry of Inca buildings were, besides their obvious aesthetic value, also used as a recognizable symbol of Inca domination throughout the empire.

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The Inca imported the stone workers of the Tiwanaku region to Cuzco when they conquered the lands south of Lake Titicaca. The rocks used in construction were sculpted to fit together exactly by repeatedly lowering a rock onto another and carving away any sections on the lower rock where the dust was compressed. The tight fit and the concavity on the lower rocks made them extraordinarily stable in the frequent earthquakes that strike the area. The Inca used straight walls except on important religious sites and constructed whole towns at once.

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One of the most common Inca buildings was the ever present one-room storage warehouse, the qollqa. Built in stone and well ventilated, they were either round and stored maize or square for potatoes and tubers. The kallanka was a very large hall used for community gatherings. More modest buildings include the kancha - a group of small single-room and rectangular buildings (wasi and masma) with thatched roofs built around a courtyard enclosed by a high wall. The kancha was a typical architectural feature of Inca towns, and the idea was exported to conquered regions. Terracing to maximize land area for agriculture (especially for maize) was another Inca practice, which they exported wherever they went. These terraces often included canals, as the Incas were expert at diverting water, carrying it across great distances, channeling it underground, and creating spectacular outlets and fountains.

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Goods were transported across the empire along purpose-built roads using llamas and porters (there were no wheeled vehicles). The Inca road network covered over 40,000 km and as well as allowing for the easy movement of armies, administrators, and trade goods, it was also a very powerful visual symbol of Inca authority over their empire. The roads had rest stations along their way, and there was also a relay system of runners (chasquis) who carried messages up to 240 km in a single day from one settlement to another.

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Art

Although influenced by the art and techniques of the Chimu civilization, the Incas did create their own distinctive style which was an instantly recognizable symbol of imperial dominance across the empire. Inca art is best seen in highly polished metalwork (in gold - considered the sweat of the sun, silver - considered the tears of the moon, and copper), ceramics, and textiles, with the last being considered the most prestigious by the Incas themselves. Designs often use geometrical shapes, are technically accomplished, and standardized. The checkerboard stands out as a very popular design. One of the reasons for repeated designs was that pottery and textiles were often produced for the state as a tax, and so artworks were representative of specific communities and their cultural heritage. Just as today coins and stamps reflect a nation's history, so, too, Andean artwork offered recognizable motifs which either represented the specific communities making them or the imposed designs of the ruling Inca class ordering them.

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Works using precious metals such as discs, jewelry, figures, and everyday objects were made exclusively for Inca nobles, and even some textiles were restricted for their use alone. Goods made using the super-soft vicuña wool were similarly restricted, and only the Inca ruler could own vicuña herds. Ceramics were for wider use, and the most common shape was the urpu, a bulbous vessel with a long neck and two small handles low on the pot which was used for storing maize. It is notable that the pottery decoration, textiles, and architectural sculpture of the Incas did not usually include representations of themselves, their rituals, or such common Andean images as monsters and half-human, half-animal figures. 

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The Inca produced textiles, ceramics, and metal sculpture technically superior to any previous Andean culture, and despite stiff competition from such masters of metal work as the expert craftsmen of the Moche civilization. Just as the Inca imposed a political dominance over their conquered subjects, so, too, with art they imposed standard Inca forms and designs, but they did allow local traditions to maintain their preferred colours and proportions. Gifted artists such as those from Chan Chan or the Titicaca area and women particularly skilled at weaving were brought to Cuzco so that they could produce beautiful things for the Inca rulers.

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To read about music from this civilization, scroll to the bottom.

Image of the god Viracocha. To the right is the Tiwanaku Gateway of the Sun. Carved into the top stone is Viracocha

Pachacuti Inca Yupanqui

Cuzco

Temple of Chan Chan, ruins from the Kingdom of Chimor

Quipu cords

Tupac Amaru II

Coricancha ruins

The rustic corn beer known as chicha de jora was once a sacred drink of the Incas, and it's still widely consumed in the Andean highlands, home brewed by locals

Re-enactment of the sun celebration in Cuzco 

In the Inca Civilization the Capacocha was a ritual in which children were sacrificed. The chosen ones for the sacrifices were boys and girls, who were considered pure. The historian Carmen Martín, indicates that they were carefully chosen children of great beauty from all over the empire; they were between 6 and 8 years old. He reports that “death came to them without pain”, they felt nothing probably because they were drugged with coca leaves or chicha, and when they were deeply asleep, they were exposed to very low temperatures in the summits of the glacial mountains and died frozen

Earth goddess Pachamama

Ollantaytambo Sun Temple in Ollantaytambo, Cusco

Inca sun masks

MUSIC

Andean communities have a powerful musical tradition inherited from the Inca Empire. The Inca society was based on collective effort and their success outweighed the individual’s. This is the case of music in the Inca civilization, musicians joined to create music through cooperation and support. The purpose of music in this society was primarily spiritual and associated to religious rituals and wars, usually accompanied by singing that was high pitched and nasal. The arrival of the Spanish in South America started a process of political and cultural assimilation, a cultural transformation of a pagan society into Catholicism. To facilitate the transition, music was transferred to the new Catholic rituals.

 

Spanish chroniclers of the sixteenth century emphasize the importance of music and dance in Inca celebrations and festivals. They describe musical instruments such as flutes and panpipes made of bone, reed, and fired clay, shell trumpets called pututos, ceramic whistles, ocarinas, trumpets, and drums, as well as rattles made with a variety of materials. These objects are sometimes portrayed as delicate instruments played with solemnity and virtuosity, sometimes as instruments generating meaningless sounds during pagan or diabolic rituals. The Incas and their predecessors used music to communicate with the ancestors, heal the sick, and bury the dead. Music followed them in war and pilgrimages, perhaps providing them with supernatural power.

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In Pre-Colombian South America, music was a sacred art, a powerful source of communication with the divine world. Religious ceremonies paid homage to the pantheon of deities closely associated with the landscape and weather. The agricultural calendar, such an integral part of daily life, was marked with different celebrations and musical traditions. Prior to the arrival of Europeans there were no string instruments in the Americas. The Andes were dominated by the sound of wind and percussion. The tuning was pentatonic and the melodies were of another world. Many of these traditions survive today in the form of Tarkeadas (Tarka flutes), Mohoceñadas (Mohoceño flutes), Sikuriadas (Siku flutes) and the dance of the Kena–Kena (Kena flutes). “Traditional” Andean music was not soft, melodious or soothing. Rather, it was raucous and loud, bordering on discordant. It almost always included the playing of large bass drums (italaques and wangaras), snare drums, and at least a dozen flute players employing pipes of different sizes and tunings. 

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When Europeans first heard this music, they were horrified, believing it to be diabolically inspired. They decided to destroy this pagan worship. The conquerors did their utmost to eradicate these traditions. Members of the religious clergy felt spiritually obligated to “civilize” the native. This included prohibiting the playing of Andean flutes. It was the landscape itself, the magnificent and imposing Andes, that saved these traditions from disappearing entirely. The inaccessibility of the land was its salvation. In countries less remote, like Mexico, the conquerors were more successful, and today, there is little left of Pre-Colombian music.

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The Incas used one word, “taqui”, to describe dance, music and singing, though this word in Quechua means “song”. They did not differentiate among the three, they were strictly interconnected. Their music was pentatonic, based in the combination of five notes: re, fa, sol, la and do. Their use of music can be grouped in three categories according to its purpose: religious, warrior and agricultural.

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Music reached through all the corners of the empire, social classes and activities. There were countless songs, tunes and dances which were related to most human activities and were represented by gestures, moves and costumes. Most dances were related to rituals and agriculture. There were specific dances to affect the weather such as to attract rain, repel frost and hail. Dances represented the life of domestic and wild animals as well a birds. Dance and songs were also used to report historic facts, myths and legends of the origin of the Incas.

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The objective of agricultural, livestock and warrior dances was to maintain a good relationship with the divinities who they believed helped in bringing successful crops, healthy livestock and win battles.

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Instruments

The Incas and early Andean civilizations had two types of musical instruments, wind and percussion. String musical instruments were introduced later by the Spanish and adapted in their musical repertoire.

 

Inca musicians drew their knowledge from a millenary tradition. During the third millennium BC, well before the adoption of ceramic technology in the Andean area, groups of musicians used wind instruments made of bone at the ceremonial center of Caral on the central coast of Peru. Caral was the seat of various ritual activities, as evidenced by the discovery of sunken circular plazas suitable for mass public assemblies, shrines with ceremonial fire pits, and caches of offerings. Thirty-two tubular horizontal flutes were discovered in Caral. These instruments, made with pelican and condor bones, could produce seven different sounds. Most flutes were decorated with engravings representing stylized monkeys, snakes, birds, and anthropomorphic figures. The discoveries at Caral proved that music was an integral part of the ritual life of Andean people 5,000 years ago.

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Evidence of music in rituals is abundant in sites dating between 1000 and 200 BC and later. At the ceremonial center of Chavín de Huántar, 

engraved stone slabs surrounding a sunken circular court show elaborately dressed figures walking in procession and carrying ritual objects such as spondylus shells, hallucinogenic cactus stalks, and shell trumpets. The recent discovery of twenty shell trumpets (pututos) proved that these instruments were actually used in the monumental core of Chavín de Huántar. The trumpets are made with strombus shells obtained through long-distance trade. The shells are highly polished, occasionally engraved with complex designs, and cut at the extremity in order to form the mouthpiece. The trumpets discovered at Chavín de Huántar are worn and their engravings are polished away by repetitive use.

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Shell trumpets were not the only musical instruments associated with processions in Andean cultures. On the south coast, the Nazca people used ceramic drums, whistles, trumpets, and panpipes in ritual contexts. Nazca panpipes were made of a single row of vertical, tubular pipes made with reeds or fired clay. According to scholars, they were produced with a precise tuning in mind. Trumpets were composed of a straight ceramic tube flaring outward at the end. As panpipes, they are often decorated with supernatural zoomorphic (animal forms or gods of animal form) creatures executed with the polychrome slip technique.

 

Nazca ceramic drums often represented anthropomorphic figures (creatures having human characteristics) with a bulbous body forming the sounding chamber of the instrument. The mouth of the drum, which was once covered by a stretched skin, is located under the figure that had to be placed upside down or sideways in order to play. A few centuries earlier, Paracas people used similar instruments. Archaeological investigations suggest that Nazca musical instruments were important ritual objects used during group performances at the ceremonial center of Cahuachi. They were also likely played during processions along the great Nazca geoglyphs (large designs produced on the ground), which were suitable to be used as ritual pathways.

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Musical instruments were also an integral part of ritual processions in the Moche culture. Moche ceramic imagery shows human priests and warriors as well as skeletal individuals walking in line or dancing while playing panpipes, flutes, rattlepoles, trumpets, drums, and pututos. There is a strong connection between music and death in Moche iconography. Diverse instruments appear in a great variety of scenes related to death and the afterlife such as macabre dances, funerary processions, and erotic scenes involving skeletons. Moche whistles do not appear in ceramic imagery; however, these instruments were discovered in funerary contexts related to human sacrifice and the offering of children. Many categories of familiar objects were equipped with rattles in order to produce sound when used. Vessels able to produce sounds were also made by Paracas, Sicán, and Chimú people. These vessels are equipped with a mechanism that whistles when the liquid inside the bottle is poured out.

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The Chimú represented musicians through vessels and miniature sculptures. Chimú artisans created detailed maquettes staging funeral processions and ritual celebrations within walled plazas. These delicate sculptures, made with joined silver sheets or wood inlaid with shell pieces, represent multiple characters carrying mummy bundles or offerings, serving or drinking corn beer, and playing music. Musicians play drums, rattles, flutes, or panpipes. Chimú sculpted vessels made of sheet silver also occasionally represent musicians.

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Wind Instruments

Wind instruments consist of panpipes and flutes. Within the panpipes there are ocarinas, antaras, zampoñas or siku, phukuna, and rondador.

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The siku (Aymara and Quechua) or zampoña (Spanish) originated in the highlands of the Andes near Lake Titicaca. The pipes were originally made of a light reed called songo that grows in the banks of Lake Titicaca. The zampoña has two separate rows of pipes, open at one end and closed at the other end. There are six pipes per row horizontally arranged with the open end at the top. They are held together by a string that goes between the pipes and around them. There are different sizes of zampoñasMalta is the smallest, ika is the small, siku is medium size, sanka is medium large size, semitoyo is large, and toyo is the largest size of zampoña.

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The oldest antaras have been found in burial graves in archeological sites in Nazca. It consists of one row of pipes arranged by size and forming a triangle. The cylindrical shaped pipes were made of clay and were held together with threats of cotton or wool. Today antaras are made of bamboo. The rondador is similar to the antara, it is made of one row of pentagonally arranged pipes. It is believed that this instrument originated in the northern territories of the Inca Empire comprising northern Peru and Ecuador.

 

The quena is the oldest known wind musical instrument in the continent. There were made out of clay, stone or bone. Today quenas are made of wood or bamboo. The quena is a flute open on both ends with six finger holes in the front and one in the back. It has a wide range of sounds which evoke different emotions.

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The ocarina is an enclosed flute with four to twelve finger holes, some have eight finger holes on the top part and two in the bottom part. They were originally made of clay or bones.

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The pututu was a trumpet made from a large seashell or a hollow cow horn. It was not used to play music but mostly used for communicating an important arrival and was also used in religious ceremonies.

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Pinkillo is found throughout the Andes. It is made of cane, bamboo, bone or tree branches. The pinkillocan measure up to 1m 20cm and can have from two to six finger holes. It is played with one hand leaving the other one free to play another instrument, usually the drum.

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Percussion instruments

There are many types of percussion instrument used in Andean music; among them are the bombo, caña de agua, wankar, chullus or chajchas,  caja or tinya.

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Bombo is a large wooden drum made from a hollow trunk tree and covered in animal skin usually that of llama or sheep on the top and cow at the bottom. They come in different sizes.

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Wancara is a large round drum covered with animal skin from end to end which produces a deep bass sound. The wancara is much larger than the bomboTynya is a smaller wancara and believed to have been played only by women in the Inca Empire.

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Chajchas are also known as Chullus. It is a rattle made of dried goat hooves which are tied into a ribbon, they are also made with seashells, seeds, hard wood, stones or beads. The sound made when the chajcha is shaken resembles that of wind and rain.

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Musical Changes During Spanish Conquest

The meeting of Francisco Pizarro and the Inca, Atahualpa, in Cajamarca, Peru, was seemingly the beginning of the end for the Pre-Colombian era in the Andes. The Spanish conquerors would forever change the Andean world. Through mass conversions and the zeal of Spanish missionaries, a new culture was super-imposed upon the indigenous population. The Spaniards brought their music, their language and their instruments, which contained a heavy dose of Moorish flavor as well as European. Natives were introduced to new, exotic instruments: lute, guitar, harp, violin, accordion, mandolin. Later they would be introduced to brass instruments: saxophones, clarinets, trumpets, tubas. Every year at the carnival of Oruro, Bolivia, the vast majority of musical bands employ brass.

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Spanish conquest introduced several major changes to the Andean musical world. First, the introduction of string instruments and, second, the western musical scales: Major and minor keys, sharps and flats. The standard key for most Andean flutes is G major. Nevertheless, the combination of Andean woodwinds and Spanish strings is a fairly recent development. Typically, most people are exposed to the classic Andean sounds of the kena and siku, accompanied by guitar, charango and the bombo. This is emblematic of what musicologists refer to as the “Pan-Andean” movement. Traced back to the late 1950's and 1960's, this followed the migration of rural indigenous people to the large urban centers in search of work, with the introduction of Andean pipes into the urban setting and the inevitable mixture with “criollo” culture.

 

The “criollo” culture refers to the mestizo, or mixed race culture, that is the product of European and indigenous ethnicities. Musically speaking, no instrument better exemplifies this than the charango. The charango is a string instrument that embodies the combination of these two cultures. It is descended from the vihuela de mano (hand-lute), brought by Spaniards from the Mediterranean. The instrument was copied by the indigenous population, and the end result was a new and unique addition to Andean folk music. Many people credit the town of Potosí, Bolivia, as the birth place of the charango. Peruvians, on the other hand, tend to disagree, arguing that the charango comes from Ayacucho, Peru.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Music was an essential part of life in ancient Andean cultures. People played music in their homes, for entertainment or as part of domestic rituals. Music was also at the center of political and religious activities such as processions, burials, feasts, festivals, and staged ceremonies involving large groups of people.

Incan education included teaching youth how to respect and venerate their ancestors with offerings

Women were taught how to cook and raise a family. Here, the students are learning how to prepare the ingredients for chicha beer

Inca qollqa (storehouses) used for storing grain and other foodstuffs. 15-16th century CE, Ollantaytambo

Inca kallanka

Inca textiles

Gold vase (left) and gold necklace with beads of semi-precious stones (above)

Shell trumpets

Tarka flutes

Mohoceño flute

Siku flute

​Incan snake dance

Ceramic drums with a bulbous sounding chamber were made in southern Peru in the centuries around the turn of the first millennium. Held under the arm when played, the drum had a drumhead stretched across the opening at the bottom

This small hollow figure whistle is made of hammered gold sheet joined along the sides

Made of many separate pre-shaped pieces of sheet silver joined by soldering, this engaging vessel is in the shape of a man playing a panpipe. Elaborate vessels such as this, which often have a short section cut out at the rim for pouring, were probably used in royal or ceremonial drinking rituals before being placed in the burial of an important person

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