1 10 3 https://hiddenhistoriesut.org/files/original/fdfe3ac6f88106388321ba45da3934cd.jpeg 1055399a24baa1403769acb203fd2b08 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hybridity: Revolution in Latinx Performing Arts Subject The topic of the resource Theater and society Theater and state Inca art Inca mythology Adultery (Inca law) Quechua language Incas--first contact with other peoples Latin Americans Two thousands (Decade) Radio Nineteen forties Description An account of the resource From the intersection of heritage and theatre, "Ollantay" fosters revolution in 1944 Chile, 1990 New York City, and 2004 California. It is linked to Magda Portal, Ollantay Center for the Arts, and Luis Avalos, respectively. Through three different times and locations, otherness results in powerful spaces and initiatives for marginalized communities. Creator An entity primarily responsible for making the resource Americas Theatre Arts Foundation Magda Portal Damián Dovarganes Source A related resource from which the described resource is derived Nettie Lee Benson Latin American Collection, University of Texas Libraries, The University of Texas at Austin Date A point or period of time associated with an event in the lifecycle of the resource October 2004 3 August 1944 Contributor An entity responsible for making contributions to the resource Leona Mariel Hernandez Rights Information about rights held in and over the resource This electronic resource is made available by the University of Texas Libraries solely for the purposes of research, teaching and private study. This material is made available for education and research purposes only. The creator of this exhibit does not own the rights for these items; it cannot grant or deny permission to use this material. Copyright law protects unpublished as well as published materials. It is your responsibility to determine the rights status and secure whatever permission may be needed for the use of any item. Due to the nature of archival collections, rights information may be incomplete or out of date. We welcome updates or corrections. Upon request, we'll remove material from public view while we address a rights issue. Language A language of the resource English Spanish Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ollantay, Cusi Coyllur, and Yma Sumac's Reunion Subject The topic of the resource Theater and society Theater and state Inca art Inca mythology Adultery (Inca law) Quechua language Incas--first contact with other peoples Latin Americans Two thousands (Decade) Description An account of the resource In this photograph, Ollantay is reunited with his wife Cusi Coyllur and their daughter Yma Sumac. They were all separated from each other from the moment of her illegitimate birth. Creator An entity primarily responsible for making the resource Damián Dovarganes Source A related resource from which the described resource is derived Nettie Lee Benson Latin American Collection, University of Texas Libraries, The University of Texas at Austin Date A point or period of time associated with an event in the lifecycle of the resource October 2004 Type The nature or genre of the resource Photograph Rights Information about rights held in and over the resource This electronic resource is made available by the University of Texas Libraries solely for the purposes of research, teaching and private study. This material is made available for education and research purposes only. The creator of this exhibit does not own the rights for these items; it cannot grant or deny permission to use this material. Copyright law protects unpublished as well as published materials. It is your responsibility to determine the rights status and secure whatever permission may be needed for the use of any item. Due to the nature of archival collections, rights information may be incomplete or out of date. We welcome updates or corrections. Upon request, we'll remove material from public view while we address a rights issue. Contributor An entity responsible for making contributions to the resource Leona Mariel Hernandez https://hiddenhistoriesut.org/files/original/dcf300fd41b86cbd94b8a060d1f712cc.pdf d0bf30a4254379df4a08250625526b1c PDF Text Text �������� https://hiddenhistoriesut.org/files/original/cf963bdfddc3a8690aadbc7b3fd71a7a.pdf cebddc21963d2577dbef748389d46fc5 PDF Text Text Experimental Radio School General Directorate of Primary Education Pedagogy Section “Ollantay” For: Secondary students Day: Thursday, August 3, 1944 Time: 19.15 hours. Note: This work is owned by Experimental Radio School. All broadcasting and publication rights are reserved. �Ollantay Control: Feature of the Radio School. Announcer: C.B. 57 and C.E 1160 of Santiago, C.E. 90 of Valparaiso National Radio Society of Agriculture in association with C.B. 68 Radio Metro de Viña del Mar and with C.A. 124 Radio Libertad de Antofagasta, present an Experimental Radio School from the General Directorate of Primary Education by the Ministry of Education. Control: Bar Announcer: Think of yourself and the wellbeing of others; the National Savings Bank expects from your economies [savings, money, earnings?]. Chocolates CONGO! [the country or body of water, but also black person]...nutritious and healthy. Control: Bar Announcer: Again with your Experimental Radio School, in your Thursday audience dedicated to secondary students. This time, we are going to present a synthesis of the Inca drama Ollantay. Control: Bar Announcer: The Inca Empire was not just a magnificent social organization that permitted their kids to live freely from misery, nakedness, hunger, and persecution, but also, as any other advanced civilization, proportioned a piece of the town to director classes, entertainments of cultural and artistic character. The ancient Peruvians celebrate the biggest national holidays, equinox, solstice, initiation of sowing and harvesting work, with popular and religious parties of which they shared a formality and special dedication. Those parties were famous for the Inti-Raymi Festival of the Winter Solstice, when harvest began. The theater, specifically, the dramatic representation based on real events or fantasy, appears to be one of, if not the most preferable, ways of entertainment, especially for the classes of the Inca nobility. [Written in “Bar”] When the Spaniards invaded Peru, the Jesuites discovered that the Indians would get together and perform plays. These clergymen sought to interpret through learning the language and persuading the Indigenous elements [people?]. The drama Ollantay is one that could be picked up/passed on in best condition. Since the Peruvian Indians neglected/refused to uncover their secrets of the arts or religion to the invaders, �Ollantay fluctuates between realism and fantasy. Like the Roman Empire, its characters are both real and symbolic. It is realized between men and gods. The Inca Pachacutec, is at the same time as Inca, a son of Sky. Cusi Coyllur, the imperial princess of whom Ollantay falls in love with, is the daughter of Sun. The tragedy speaks of the Son of the Earth and the Daughter of the Sky. Since the law of the Lord of the Sky is irrefutable, the Son of the Earth must be defeated. At the same time, the fruit of the symbolic lovers must remain, [debe quedar, still remain but its a STRONG MUST STAY IN like its mandatory, prominent, the backbone of the phrase] like the bond of friendship that heaven and earth extend to each other. [The following is scribbled out] Ricardo Rojas, an Argentinian writer/author, conceived the original elements, his Ollantay tragedy, which was represented more than a hundred times in one of the greatest theaters of Buenos Aires. Although a bit deviated from the authentic documents, nevertheless, it is a work of strong texture and beautiful execution. All in verse, as depicted in the verse of the Inca original, there are times when the prophetic tone fits well with the greatness of symbolism, and gives birth to a new America, a liberator of their own continent, the union of the Titan of the Andes and of the Daughter of the Sun. Control: Incan music – solemn. Narrator: The scene takes place in one of the rooms of the palace of the Incas. The Koya/Coya, wife of the Inca, is close to her husband and lord. Farther away, spinning flakes of vicuña [llama wool], she finds herself the princess, Cusi Coyllur, whose name means Radiant Star. The Inca Pachacutec, one of the most well known in the Incan Empire, is found thoughtful [in deep thought] and communicates his concerns to his wife. Control: Bar of Incan music. Inca: I do not know what desire represents the dream I have had tonight… Coya: Could it be, my dear husband, what part of our dream and origin brings restlessness? Inca: (appears to relive the dream) I dreamed that the Urubamba River was filled with blood…and above it flew/soared a condor [large vulture] whose large wings blocked the rays of the Sun…Then I kept dreaming and saw that in the sky the condor ripped a star. Coyllur: (with a timid voice) Ripped a star!...[Remember, her name means radiant star] Coya: (tries to disguise her fear with pride/confidence) Dreams they are, my love. There is no need to give them so much validity[/validation/recognition etc.]... �Inca: The Incas always have had augural [prophetic] dreams… Coya: But this time everything makes you believe the contrary of those omens…you have won against the Chancas in one of the greatest battles of history...The Empire is growing, our subjects increase and the limits of Tawantinsuyo, they lose more over there in the wild, sea and deserts… Inca: All of this is true…and is true this victory, without a doubt the greatest of the Empire, we owe it to first and foremost to Ollantay, the Lord of the Andes… Coyllur: (with emotional voice) Ollantay!... Coya: To Ollantay, the Lord of the Andes, and what do you offer in return/gift/reward to the great captain? Inca: Whatever he desires…What will there be that an Inca cannot give him? Coya: His merits are high, my lord. I fear there may not be anything in the vast Inca Empire, containing reward worthy enough. Inca: What makes you think that, Anahuarqui? Coya: Oh my lord…He is so haughty, that Lord of the Andes!...They say that during the battles, he always abstained from losing/messing around with the others…he remained sad/depressed and thoughtful [in deep thought/distracted] like a great pain blanketed his soul… Inca: Ollantay is ambitious...but, it must not be enough to possess, The Most Grand of the Principalities? [may be referring to Ollantay being one of the highest authorities]...what more could he intend? Studio: voices appear to come closer Coya: It is the Hamurpa, the Sacred Diviner…He comes with Amauta, our wise priest Studio: Voices start to sound distant. Inca: Let them pass…I wish to hear what the Hamurpa says Hamurpa: Son of the Sun…sacrifice your llama and from its bloody intestines, take out the unborn child that has not yet birthed but is still alive… �Inca: And what does the prophecy say?... Hamurpa: Follow my tongue and you will speak no more words….if that is if I do not speak of the omen…Lord…the palpitating intestines of the sacred llama declare new evils for the Empire Amauta: (Low voice, solemn) The stars hide behind dark clouds…of which a condor…of which paled the stars. Coyllur: A condor!…A star! (sounds like she's talking to herself) Coya: Viracocha is the Lord of the Heavens and if his law is a new test, submit, my lord… Inca: And there wouldn't happen to be an error in the omen? Isn't the recent victory a sign of greatness and bliss for the Empire? Amauta: Our dream…the stars…the llama’s blood….Great trials close in for the Inca Empire. The Inca Pachacutec, the Lord of the Earth, must be worthy of facing them Inca: Retreat...(All this with the majesty of the sovereign who, even when waiting for new pains, is ready to endure them.) Studio: the paces walk away into the distance Control: Inca music Narrator: The setting comes undone in the throne room. The Inca is seated over the tiana [throne of the Inca] of stone, covered in gold. At his side is the wife [Coya], standing below, the princess or the imperial princess. Men of the guard, armored with their shields, spears, slings and macanas [weapons of war]. The Inca and his people await the presence of the great captain Ollantay, victor of the rebellious tribe of the Chancas, which he has subjected to the power of the Empire, after bloody battles. Studio: Very distanced voices. Control: Music plays as the guest appears. Voice 1: Here comes Ollantay, the Lord of the Andes!... Voice 2: Such haughty and noble appeal!... �Voice 3: His gigantic figure is superior to that of the other captains in the Empire… Voice 1: Did you see how the Inca…is proud Studio: Noise of approaching footsteps and clash of weapons. - Voices calling for silence. First soldier: Inca Pachacútec, Ollantay asks your permission to appear before you… Inca: Let him pass… Studio: Brief silence. Ollantay: (with solemn voice) Son of the Sun, Lord of the Tawantinsuyo!…I come to deposit [surrender/decline] at the feet of your Empire. My sharp champi/chumpi [sharp ax used in war], with which I won the toughest battle in history... Inca: Come to my arms, Ollantay, you are one of my own… Studio: Brief silence. Inca: (with a proud voice) There are no more dire omens….the presence of Ollantay is of the most pride/joy. The subdued Chancas, are the greatest proof that the great Viracocha, watches over the greatness of the Empire…and you, brother Ollantaty, tell me, what is it that you wish for the greatest favors? Coya: (speaks to herself) Now is the time that the victor requests…Oh Viracocha, soften the heart of the Inca!... Ollantay: Lord, when we started the battle and went out with the men and those of mine to surrender the Chancas, you offered… Inca: (interrupting) What the Inca offers, is law... Only it's you who chose you had to... Ollantay: (pauses, emotional and somewhat timid) You offered to reward us if we succeeded. Everyone else has their rewards…but mine…is so great, Lord, that I must not!…The emotion prevents me!... Inca: Is it by chance, the idea of your prize that made you in battles, quiet and taciturn? �Ollantay: It's possible, My Lord…and multiple times, I thought of what the best reward would be death…a man sometimes dreams unfeasible dreams…But that dream is the teaching of life. Inca: Will there not be in the Empire of the Inca, reward as great as the one for you dreamed? Ollantay: There is, My Lord… Inca: Well then, speak…for I am fidgeting with impatience Ollantay: (raises his voice, still with emotion) I believe I have served as the best of all the captains…I prove my loyalty, without the slightest hint of ambition…I have a town/village of which I am Lord…and my vast region, of which would make the haughtiest proud…But something is missing, and that thing is on your hand to give/offer/gift to me. Ollantay: (with passion) I want the imperial princess…. Studio: Dramatic gasps and murmurs. Coya: Our princess, he said!... Inca: (shocked) Did I hear wrong, Ollantay, or do you dare lay your eyes on the Daughter of the Sun? Ollantay: (trembling voice) You promised… Inca: Anything, but not the imperial princess!… Ollantay: You reject me…I knew it!….My merits/achievements are not enough to gain the princess… Coyllur: Father!...Listen to the victor of the Chancas…I beg of you… Inca: Retreat from me…Ollantay, all I would have given you from the Empire…But do you ignore the laws of Tawantinsuyo cannot be violated? A Daughter of the Sun cannot unite [be together] with a warrior…with a runa [Son of the Earth]… Ollantay: (haughty) Although this is the Lord of the Andes and the one who has given you more glory than all your captains... Inca: Even if this is the victor of the rebellious Chancas…Retreat… �Ollantay: Everything breaks between us, Inca…Now, we will be enemies. The Son of the Earth will confront the laws of the Son of the Sun. Coya: The omen is being fulfilled!…The dream, the llama’s intestines, the stars of Amauta!... Coyllur: The conder steals the star!... Studio: Many voices. Control: Sound of warrior bugles. Narrator: And so, the tragedy begins. Ollantay confronts the Inca and the Inca sends his best warriors to battle him. Meanwhile the princess is confined in the Convent of the Virgins of the Sun and consecrated to her cult, for life. But Ollantay violates the sacred enclosure and kidnaps the Princess. To rescue her, the general of the Inca, Rumi Nahui, invents a strategy that will fool Ollantay. The princess is returned to the Empire and condemned to prison. Ollantay will live a rebel, behind the walls of the fortified stones, until the day, of which Pachacutec dies, and on the imperial throne, Tupac Yupanqui, the happy apparition of the Princess Imac Sumac, daughter of Cusi Coyllur and Ollantay, makes peace with the imperial family. The drama Ollantay dates back to the year of 1470 and during the colony, it was often performed, for a completely Indigenous audience, and in the presence of the Inca Tupac Amaru, who raised the greatest rebellion against the Spaniards, in 1779. A piece of Peruvian folklore, represents the greater culture of those who came from the Incas. Control: Bar Narrator: And now let's explain the meaning of some Quechua voices: ● Viracocha – It was the designation of the gods of the Incas. ● Inca – Emperor. ● Coya – Wife of the Inca ● Ñusta – Imperial Princess ● Macana – Weapon of war ● Chumpi – Sharp ax used in war ● Tiana – Throne of the Inca ● Hamurpa – Fortune-teller. ● Amauta – Wise Priest ● Tawantinsuyo – Name of the Empire which means the "four regions" ● Runa – Son of the Earth. �Control: Bar Narrator: It has been one more Thursday audience dedicated to the students of the high schools, in which they were offered a synoptic vision/perspective of the Inca Drama “Ollantay”, by Experimental Radio School, which directs: Maria Teresa Femenias Script: Magda Portal Performers: Elements of the Academy of Radio Studies of the University of Chile directed by Ricardo Moller. Control: Bar Announcer: Do not forget that the National Savings Bank watches over your future. For chocolates, CONGO [the country or body of water, but also black person]...Ahumada [smoked, feminine singular] 99. Control: Bar Narrator: For tomorrow, Friday, August 4, Radio School announces its class entitled “Andes Mountain Range Community of Villages”. Thank you for your attention and see you soon… Control: Final Bar � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hybridity: Revolution in Latinx Performing Arts Subject The topic of the resource Theater and society Theater and state Inca art Inca mythology Adultery (Inca law) Quechua language Incas--first contact with other peoples Latin Americans Two thousands (Decade) Radio Nineteen forties Description An account of the resource From the intersection of heritage and theatre, "Ollantay" fosters revolution in 1944 Chile, 1990 New York City, and 2004 California. It is linked to Magda Portal, Ollantay Center for the Arts, and Luis Avalos, respectively. Through three different times and locations, otherness results in powerful spaces and initiatives for marginalized communities. Creator An entity primarily responsible for making the resource Americas Theatre Arts Foundation Magda Portal Damián Dovarganes Source A related resource from which the described resource is derived Nettie Lee Benson Latin American Collection, University of Texas Libraries, The University of Texas at Austin Date A point or period of time associated with an event in the lifecycle of the resource October 2004 3 August 1944 Contributor An entity responsible for making contributions to the resource Leona Mariel Hernandez Rights Information about rights held in and over the resource This electronic resource is made available by the University of Texas Libraries solely for the purposes of research, teaching and private study. This material is made available for education and research purposes only. The creator of this exhibit does not own the rights for these items; it cannot grant or deny permission to use this material. Copyright law protects unpublished as well as published materials. It is your responsibility to determine the rights status and secure whatever permission may be needed for the use of any item. Due to the nature of archival collections, rights information may be incomplete or out of date. We welcome updates or corrections. Upon request, we'll remove material from public view while we address a rights issue. Language A language of the resource English Spanish Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Radio Escuela Experimental "Ollantay" Transcript Subject The topic of the resource Theater and society Theater and state Inca art Inca mythology Adultery (Inca law) Quechua language Incas--first contact with other peoples Latin Americans Radio Nineteen forties Description An account of the resource This transcript of "Ollantay", an Inca drama, for secondary students in 1940s Chile was a work of Radio Escuela Experimental under the Ministry of Education. Creator An entity primarily responsible for making the resource Magda Portal Source A related resource from which the described resource is derived Benson Latin American Collection, LLILAS Benson Latin American Studies and Collections, The University of Texas at Austin Date A point or period of time associated with an event in the lifecycle of the resource 3 August 1944 Language A language of the resource Spanish Type The nature or genre of the resource Transcript Rights Information about rights held in and over the resource This electronic resource is made available by the University of Texas Libraries solely for the purposes of research, teaching and private study. This material is made available for education and research purposes only. The creator of this exhibit does not own the rights for these items; it cannot grant or deny permission to use this material. Copyright law protects unpublished as well as published materials. It is your responsibility to determine the rights status and secure whatever permission may be needed for the use of any item. Due to the nature of archival collections, rights information may be incomplete or out of date. We welcome updates or corrections. Upon request, we'll remove material from public view while we address a rights issue. Contributor An entity responsible for making contributions to the resource Leona Mariel Hernandez https://hiddenhistoriesut.org/files/original/70470649ebce4dc3cc11811e42a892e2.pdf 44a2cd025509bc97428b9ba8c301ba1f PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hybridity: Revolution in Latinx Performing Arts Subject The topic of the resource Theater and society Theater and state Inca art Inca mythology Adultery (Inca law) Quechua language Incas--first contact with other peoples Latin Americans Two thousands (Decade) Radio Nineteen forties Description An account of the resource From the intersection of heritage and theatre, "Ollantay" fosters revolution in 1944 Chile, 1990 New York City, and 2004 California. It is linked to Magda Portal, Ollantay Center for the Arts, and Luis Avalos, respectively. Through three different times and locations, otherness results in powerful spaces and initiatives for marginalized communities. Creator An entity primarily responsible for making the resource Americas Theatre Arts Foundation Magda Portal Damián Dovarganes Source A related resource from which the described resource is derived Nettie Lee Benson Latin American Collection, University of Texas Libraries, The University of Texas at Austin Date A point or period of time associated with an event in the lifecycle of the resource October 2004 3 August 1944 Contributor An entity responsible for making contributions to the resource Leona Mariel Hernandez Rights Information about rights held in and over the resource This electronic resource is made available by the University of Texas Libraries solely for the purposes of research, teaching and private study. This material is made available for education and research purposes only. The creator of this exhibit does not own the rights for these items; it cannot grant or deny permission to use this material. Copyright law protects unpublished as well as published materials. It is your responsibility to determine the rights status and secure whatever permission may be needed for the use of any item. Due to the nature of archival collections, rights information may be incomplete or out of date. We welcome updates or corrections. Upon request, we'll remove material from public view while we address a rights issue. Language A language of the resource English Spanish Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Program for Luis Avalos's production of "Ollantay: Warrior of the Sun" Subject The topic of the resource Theater and society Theater and state Inca art Inca mythology Adultery (Inca law) Quechua language Incas--first contact with other peoples Latin Americans Two thousands (Decade) Description An account of the resource This program is used to inform the audience about the play, highlighting the cast and crew, and showcase its sponsors. Creator An entity primarily responsible for making the resource Americas Theatre Arts Foundation Source A related resource from which the described resource is derived Nettie Lee Benson Latin American Collection, University of Texas Libraries, The University of Texas at Austin Date A point or period of time associated with an event in the lifecycle of the resource October 2004 Language A language of the resource English Type The nature or genre of the resource Program Rights Information about rights held in and over the resource This electronic resource is made available by the University of Texas Libraries solely for the purposes of research, teaching and private study. This material is made available for education and research purposes only. The creator of this exhibit does not own the rights for these items; it cannot grant or deny permission to use this material. Copyright law protects unpublished as well as published materials. It is your responsibility to determine the rights status and secure whatever permission may be needed for the use of any item. Due to the nature of archival collections, rights information may be incomplete or out of date. We welcome updates or corrections. Upon request, we'll remove material from public view while we address a rights issue. Contributor An entity responsible for making contributions to the resource Leona Mariel Hernandez