Draft:Chawpi Ñamka

Chawpi Ñamka (also as: Chaupìñamca) is a goddess named within the Huarochirí manuscript. Chawpi Ñamka is considered a mother goddess and the female counterpart of the god Parya Qaqa.^[1]

Likewise, the goddess Chawpi Ñamka is associated with sexuality, dances and fertility.

Etymology

The name of the goddess is composed of a Quechua term, which is Chawpi or Chaupi (middle or center; he or she of the middle / he or she in the middle).^[2]

Regarding the term Ñamka, there is no specific translation. However, in the Huarochirí manuscript, a possible origin of the term is explained.^[1]

Concepto

Within Huarochirí, the goddess Chawpi Ñamka is usually associated with events related to fertility.

In the same source, she is described as the creator and/or animator goddess of women; while her brother Parya Qaqa is the creator and/or animator of men.^[3] As a result of the above, all human beings refer to the goddess as mother.

Being the female counterpart of Parya Qaqa, like the latter, the goddess Chawpi Ñamka had four sisters (five sisters in total if one counts Chawpi Ñamka herself). Within this group, the goddess Chawpi Ñamka was the eldest among them all.

Regarding their names, two versions are exhibited; however, the most generalized version is the following: Chawpi Ñamka (the major), Llacsa Watu, Mira Watu, Urpi Wachaq and Lluncu Wachaq (possibly the minor).

In spite of the aforementioned descriptions, the truth is that the figure of Chawpi Ñamka turns out to be quite complex. The reason for this lies in the fact that there are different versions about her and her sisters. These versions are the fruit of the own perception of each ayllu and/or community, which varies one from the other. In this respect, the same source of Huarochirí makes reference to the above mentioned:^[4] ^[5]

«People tell completely different versions (about Chawpi Ñamka and her sisters) varied from ayllu to ayllu, in each community. And even in their names, the Mama call them one way, the Chekas another. Some said that Chawpi Ñamka was the sister of Parya Qaqa. Others said that she was the daughter of Tamta Ñamka[...] Others said that she was the daughter of the Sun. Thus, it is not possible to reach a definitive conclusion.»
— Manuscrito de Huarochirí, Capítulo 13

Representation

According to Huarochirí, Chawpi Ñamka, who walked in the form of a woman, was sinning (having sexual relations) with countless wak'as; however, the goddess did not find the longed-for carnal pleasure with any of them.

When Chawpi Ñamka found the wak'a that succeeded in satisfying her libidinous desires, she was personified in a lying stone with five wings or arms (this possibly evokes the goddess with her sisters).^[4]

Chawpi Ñamka had five sisters; she was the eldest. Obeying a command of Parya Qaqa, she went down to live to Mama. And so, this so-called Mama Ñamka went about saying, "I am the one who created (to create) men."
Some say now, of Chawpi Ñamka, that she was the sister of Parya Qaqa; and she herself, when she spoke, would say: "Parya Qaqa is my brother."

Chawpi Ñamka was a lying stone with five wings. To worship her they did the same as Parya Qaqa: they ran in competition towards the mountain, herding their llamas or any other animal; if any llama went towards Parya Qaqa by itself, she led (everyone). When the five-winged stone that was Chawpi Ñamka appeared before the sight of the viracochas (Spaniards), they had it buried, over there, in the horse corral of the priest of Mama. They say that until now she is still in that place, under the earth. They believe that this Chawpi Ñamka was the mother of all men everywhere; now they assure that she is the mother of the people of San Pedro.
— Manuscrito de Huarochirí, Capítulo 10

Family

In addition to her relationship with Parya Qaqa and the aforementioned sisters, the goddess Chawpi Ñamka also shares a relationship with the following personages and/or deities named in Huarochirí.

Tamta Ñamca

In one of the texts, mention is made of Tamta Ñamka, who was a lord of great prestige. In spite of this, Tamta Ñamka lived pretending to possess various attributes that he, in fact, lacked; in this way, he managed to deceive many.

The texts establish the said lord as the father of Chawpi Ñamka. To be exact, the texts establish Chawpi Ñamka as the youngest daughter, since she had a sister (whose name is unknown) evidently older.

The text continues with Watyakuri (one of Parya Qaqa's sons), who, through the conversation of two little foxes, learned of Tamta Ñamka's serious situation (the man had contracted a severe illness). Watyakuri also learned that the sick man was the father of two daughters: one older and one younger.

Watyakuri goes to the village of the sick Tamta Ñamka. Once there, Watyakuri asks the people of that community if there was anyone who was sick.

Tamta Ñamka's youngest daughter replied that the sick man was her father. In the act, Watyakuri promises the young woman that, only for her sake, he will alleviate her father's deep ailment.

The woman did not accept it right away and went to tell her father. The wise men who were near the scene listened and did not hold back their mockery, undervaluing Watyakuri for his poor man's appearance; however, Tamta Ñamka wanted to be cured at any cost, so she let him in.

Watyakuri entered and made a deal with Tamta Ñamka: Watyakuri said that he would heal him in exchange for his daughter's hand. Hearing these words, the patient accepted the proposal.

After a series of events, Watyakuri manages to heal Tamta Ñamka and, in return, he complies with the agreement.^[1]

El Sol and Hanan Maqlla

Some texts from the same source mention that, in primordial times, there was a goddess called Hanan Maqlla (the miserable one above), whose husband was the Sun. The fruits of that relationship are her two sons: Parya Qaqa and Chawpi Ñamka.^[1]

Rites

According to Huarochirí, Chawpi Ñamka had a celebration in his honor and this was carried out together with the ceremony dedicated to his brother, Parya Qaqa.

The ceremony dedicated to Parya Qaqa was called Auquisma, while the one dedicated to Chawpi Ñamka was called Chaucosma. In the same way, both celebrations represent the duality of Andean thought; the union of the masculine and the feminine.^[5]

The Chaucosma took place between the months of May and June. As a result, some scholars link this celebration with the reappearance of the Pleiades in the firmament.^[4]

This ceremony consisted of numerous dances and songs, accompanied by prayers, chicha drinking, coca and llama offerings, meals and communal activities.^[5] The duration of this festivity lasted five days (a number of substantial significance for the Andean inhabitants).^[4]

Through the same source, we have a more precise knowledge about some dances performed in his honor. These dances are the following:

Wantay Qucha

The Wantay Qucha was a dance linked to prosperity and fertility. In this dance, llama owners danced wearing puma skins and those who did not own llamas danced without those skins. It was said that those who wore puma skins were prosperous.^[4]

Ayllihua

The Ayllihua was a dance that took place over an entire night. During the celebration, the participants danced, sang, drank and got drunk until dawn. Afterwards, they would go out to the pampas to continue drinking and getting drunk, saying that it was a celebration in honor of their Mother (referring to Chawpi Ñamka).^[4]

Casayaco

The Casayaco is arguably the most important dance within the Chaucosma ceremony. Besides being deeply associated with sexuality and the fertility of the Earth, the Casayaco was said to be particularly enjoyed by the goddess.

The Casayaco dance consisted of the following^[3] ^[4]

When they sang and danced the Casayaco, Chawpi Ñamka was especially happy, because for dancing they took off their dresses and covered themselves only with part of the costumes; the shameful part of each man (the sex) they covered with a short cotton cloth.
Singing and dancing (the Casayaco) they would say: "Chawpi Ñamka rejoices very much seeing the shameful part of each one of us."

And when they sang and danced this dance, the maturation of the world began. All those things they did in that passover (of Chawpi Ñamka).
— Dioses y hombres de Huarochirí, Capítulo 75

Mythology

Chawpi Ñamka y el wak'a Rucanacoto

The following myth takes place in the ancient times of the town of San Pedro, also known as Mama. This town was so called because the goddess Chawpi Ñamka, transformed into a five-winged statue, established her dwelling in that place.

The myth begins with the following:

In primordial times, Chawpi Ñamka, desirous of finding sexual pleasure, walked in the form of a woman and used to sin (have sexual relations) with all the wak'as.

In spite of this, the goddess could not find any man who could reach the level of delighting her.

At that time there was a wak'a called Rucanacoto, whose sanctuary was located on the hill that dominates Mama; those men who had a small virile member went to Rucanacoto and asked for the divine favor of enlarging it..

Rucanacoto was a wak'a who stood out for the exorbitant and pronounced size of his phallus. This characteristic made it possible for him to satisfy Chawpi Ñamka completely.

The goddess Chawpi Ñamka judged Rucanacoto as a true male and, of all the wak'as, she was going to stay eternally with him. To this end, the goddess transformed herself into stone and established her abode in Mama.^[1]

The humble Watyakuri

In primordial times, men did nothing but fight wars against each other. These men were called Purum Runa.

At that time, it was said that Parya Qaqa was born and that a poor-looking man named Watyakuri was the first to witness the divine birth.

At that time there was a man named Tamta Ñamka. He was a very powerful and privileged lord. Because of this fact, people from all the communities came before him to honor and worship him. The said Tanta Ñamka pretended to be a man of extensive knowledge and with this he deceived many people; however, the truth is that his knowledge was quite limited.

One day, Tamta Ñamka, who boasted of possessing the quality of a diviner and god, contracted a serious illness. The people, astonished, wondered how a great sage like him could become ill.

Through the conversation of two little foxes, Watyakuri learned of Tamta Ñamka's plight. Watyakuri also learned that the sick man was the father of two daughters, one older and one younger.

Watyakuri goes to the village of the sick Tamta Ñamka. Once there, Watyakuri asks the people of that community if there is anyone who is sick.

Tamta Ñamka's youngest daughter replied that the sick man was her father. In the act, Watyakuri promises the young woman that, only for her sake, he will alleviate her father's deep ailment.

The woman did not accept it at once and went to tell her father. The wise men who were near the scene listened and did not hold back their mockery, belittling Watyakuri for his poor man's appearance; however, Tamta Ñamka wished to be cured at any cost, so she let him in.

Watyakuri entered and made a deal with Tamta Ñamka: Watyakuri said he would heal him in exchange for his daughter's hand. Hearing these words, the patient accepted the proposal.

So Watyakuri proceeded to cure Tamta Ñamka, but not before mentioning one of the causes of his ailment. Watyakuri told the patient that his wife was an adulteress and, therefore, his fault has made him sick. Likewise, Watyakuri told him the following: "Above your splendid house there are two snakes that are eating you. And there is also a two-headed toad under your fuller. We have to kill them all so that you can be cured. When you have recovered, you will have to worship my father above all else. Only the day after tomorrow he will be born. As for you, you are not a true entertainer of men. If you were, you would not have become ill." Hearing these words, Tamta Ñamka was frightened.

To get rid of the pests tormenting Tamta Ñamka, Watyakuri had to destroy his house.

The patient's wife was angered by Watyakuri's statements and denied being an adulteress.

Longing to cure his ailments, the unfortunate Tamta Ñamka ordered to destroy, with deep sorrow, his splendid house. On the spot, the two serpents came out and immediately killed them.

Seeing this act, the woman acknowledged her guilt and confessed that what Watyakuri said was true.

Then, Watyakuri ordered the fuller to be lifted. A two-headed toad emerged and flew away toward the Anchi qucha ravine.

After everything was accomplished, the sick man was healed and, in return, he gave his daughter's hand to Watyakuri.^[1]

Véase también

References

^ ^a ^b ^c ^d ^e ^f Taylor, Gerald. "Ritos y tradiciones de Huarochirí" (PDF). Retrieved 14 November 2023.
^ Gonzalo Portocarrero. "Ecos de Huarochirí: tras la huella de lo indígena en el Perú" (PDF). Retrieved 14 November 2023.
^ ^a ^b "Dioses y hombres de Huarochirí" (PDF). Retrieved 11 November 2023.
^ ^a ^b ^c ^d ^e ^f ^g José Antonio Hudtwalcker Morán. "Chaupiñamca y el baile del Casayaco: alcances preliminares del estudio iconográfico del manto pintado encontrado por Max Uhle en la isla San Lorenzo". Retrieved 14 November 2023.
^ ^a ^b ^c Sergio Andrés Sandoval. "Chaupi Ñamca: takiscantari rumicunamanda huarmihuaca". Retrieved 14 November 2023.

[Taylor-1] ^ ^a ^b ^c ^d ^e ^f Taylor, Gerald. "Ritos y tradiciones de Huarochirí" (PDF). Retrieved 14 November 2023.

[2] Gonzalo Portocarrero. "Ecos de Huarochirí: tras la huella de lo indígena en el Perú" (PDF). Retrieved 14 November 2023.

[Dioses-3] "Dioses y hombres de Huarochirí" (PDF). Retrieved 11 November 2023.

[Morán-4] ^ ^a ^b ^c ^d ^e ^f ^g José Antonio Hudtwalcker Morán. "Chaupiñamca y el baile del Casayaco: alcances preliminares del estudio iconográfico del manto pintado encontrado por Max Uhle en la isla San Lorenzo". Retrieved 14 November 2023.

[Sandoval-5] Sergio Andrés Sandoval. "Chaupi Ñamca: takiscantari rumicunamanda huarmihuaca". Retrieved 14 November 2023.

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