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"El yawar punchau verdadero: The time I discovered Jose Maria Arguedas",,"I hadn’t noticed until now how little I remember about the time I first read Yawar Fiesta. I know I had already received my bachelor’s degree and was working as an engineer. Was it 12, 15 years ago? I don’t know the exact time, nor the reason I decided to pick it up. Also, no matter how hard I try to remember, I can’t picture myself in the process of actually reading the book. I just remember a feeling. The feeling of knowing that my life was not going to be the same. The feeling that things will never go back to what they were before. With a feeling like that, I guess the details are not that important.
Yawar Fiesta is Jose Maria Arguedas’s first novel. Arguedas was a Peruvian anthropologist and writer. Yawar Fiesta narrates the intended and unintended consequences of the prohibition of a traditional Indigenous way of bullfighting by the Peruvian government, under the excuse that the practice needed to be banned to protect the “savage Indians” of an Andean town from themselves. In the story, the Native inhabitants defy the prohibition, which leads to a series of events that force all citizens of the town to challenge and question their identities, and to reconsider their connection with their Indigenous heritage.
Yawar Fiesta illuminates all the complexities and contradictions of the Peruvian national identity, one that at the same time incorporates sanitized notions of “Indigenous culture” and rejects Indigenous peoples’ full membership in the Peruvian society.
Before reading Yawar Fiesta, my only previous interaction with Jose Maria Arguedas’s work had been a really bad one. While in high school, I was assigned Agua, a collection of short stories. I couldn’t even finish it. I found it slow, and its blend of Quechua grammar and Spanish words impenetrable. I also lacked the relevant sociohistorical background to connect, as a coastal Peruvian citizen attending a private school, with these stories set in the rural Andes. Sadly, my school didn’t provide any of that background. So at the time, my conclusion was that Arguedas’s work wasn’t for me.
When I read Yawar Fiesta, I realized that not only Arguedas’s work was indeed for me, but that it was exactly what I needed to rethink and reshape my identity as a Peruvian, and my ideas and attitudes about the country, and its past, present and future. It’s been more than a decade since I first read Yawar Fiesta, and it still feels as relevant as ever. When I decided to pursue a doctoral degree in Native American Studies, Arguedas’s work and life informed and inspired my decision. I aspire to become a scholar that shows a level of care and love for the people I work for and with as the one Arguedas’s had for his interlocutors. And I hope that my scholarship, like Arguedas’s, aids in the fight of Indigenous peoples in Peru and all over the world to dismantle the sociopolitical structures that sustain the racism that directly affects them.","Jose Maria Arguedas","Yawar Fiesta",,2003-2006,"Carlos A. Tello Barreda, 36, Ph.D. candidate in Native American Studies",,,,,,yawar-punchau-verdadero-discovered-Jose-Maria-Arguedas,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"NHC Graduate Student Summer Residency 2021","Anthropology,Arguedas, Jose Maria,Identity,Indigenous Authors,Literature,Native American Studies,Peru",https://humanitiesmoments.org/files/original/18/444/D_NQ_NP_660616-MPE28661714629_112018-O.jpg,Text,"Graduate Student Residents 2021",1,0
"Broccoli, Anthropology, and the Humanities",,"Caitlin Patton discusses how the work of Ted Fischer, an anthropologist focused on food culture, specifically the cultivation of broccoli in Guatemala, inspired her choice to study at Vanderbilt University.
Fischer’s book, Broccoli and Desire, spotlights an anthropological case study of food culture: the surprising webs of connection between American consumer culture and the traditions of the indigenous Maya people of Guatemala. At first blush, broccoli may not have seemed like an intriguing reading topic, but the book’s methods and message ultimately shaped the course of Patton’s own scholarship.",,"Broccoli and Desire by Ted Fischer",,," Caitlin Patton, North Carolina Humanities Council",,,,,,broccoli-anthropology-humanities,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"",,,"Anthropology,Books & Reading,Broccoli and Desire,Fischer, Ted,Food Cultures,Nashville, Tennessee,Teachers & Teaching,Vanderbilt University",https://humanitiesmoments.org/files/original/4/40/broccoli.jpg,"Moving Image",Educators,1,0
"Chronicling a Summer in Cinéma Vérité",,"For Peter Galison, an influential moment was seeing a film made in 1961 by an anthropologist and a sociologist, featuring a series of estival interviews with people on the sidewalks of France. With its innovations in sound technology, Chronicle of a Summer opened Galison’s eyes to the possibilities of documentary film. The film illuminated the interplay between image and text, revealing how the humanities can “open up a world.”",,"Chronicle of a Summer (Chronique d'un été)",,,"Peter Galison, Joseph Pellegrino University Professor in History of Science and Physics at Harvard University",,,,,,peter-galison-chronicling-a-summer-in-cinema-verite,,,,,,"Hi, I’m Peter Galison, I’m a professor at Harvard University and a Fellow at the National Humanities Center this semester. I’m interested in a combination—odd as it sounds—of filmmaking, physics, and the history of science.
A moment that really was hugely affecting for me in the humanities was seeing an old film, that was filmed in the summer of 1960, called Chronicle of a Summer. It was a French film made by a collaboration between a sociologist/philosopher, Edgar Morin, and a great filmmaker, might be called an anthropological filmmaker, Jean Rouch.
They combined to make this film in a moment just when it was possible to have portable sound-taking. They went onto the street and they asked people everything from, “Are you happy?” or “What are you doing?” In the course of what people say, you see a France that goes back even before the war, of horse-drawn carriages, but also cars. You meet a woman who had survived Auschwitz-Birkenau, lost her father there, and was now trying to navigate this post-war world. But 1960 is also the cusp of this opening up to another world of France. In a sense you see the beginnings of the unrest, the uneasiness with the received order of things, that culminates in May ’68 and the explosion of the student and worker revolt of that period.
For me, this film had a huge effect because it seemed to me to capture, in a moment in specificity, some really deep understanding of this transition point between the old order and the new order. It showed me that film could do something, a documentary film of a certain type—a certain exploratory, innovative type—could push beyond what text alone could do. I think, for me, the idea which I keep trying to figure out, is how do visual sources—especially the filmmaking that I’m doing and writing—combine to produce something whole that each part can’t quite do on its own.
With each bit of understanding, as people push what can be done with text, or text plus still images, or with film in innovative ways, I find it enriching and exciting and it opens up new possibilities for how I think about the kinds of problems that I want to work on. For me, the humanities at its best can do that, can take something specific and open up a world from it.
",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"",,,"Anthropology,Chronicle of a Summer (Chronique d'un été),Cinema Vérité,Cultural History,Documentary Films,Film,History,Morin, Edgar,Professors,Rouch, Jean,Sociology",https://humanitiesmoments.org/files/original/8/182/paris-2971589_340.jpg,Sound,"National Humanities Center Fellows",1,0