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GOING BACK TO THE BASICS

Dear Readers,
Having studied on many of our past editions different aspects of the culture, traditions and even tales from many parts of Peru, on this issue we want to go back to the basics and focus on Sacsayhuaman, the big mystery standing next to Cusco.
Also, coming back to Cusco and its many features, we get into the Jesuit church at the main square of the city and take a profound look to the painting called "The marriage of Martin Garcia Oñas de Loyola and Clara Beatriz Qoya", a spanish captain and a incan princess.
Get inside our newsletter and discover three great pre-hispanic cultures and the complex of the biodiversity of Choquequirao, the new trail found near Cusco. Delight yourself in a gastronomic tour, get informed with our latest news of Peru or dive into the ocean of information about Peru waiting at our last editions section. Go beyond an ordinary newsletter!
Regards,
José and Cynthia

SACSAYHUAMAN: THE GREAT WAKA OF CUSCO

Waka is a quechua word used to express astonished and reverence; colloquially, Spanish speakers use the words to describe monumental ruins or remains.
Sacsayhuaman is a perfect example a complex of buildings a mile or two from modern Cusco's main square. The Spaniards called it a "fortress" because its walls reminded them of the medieval castles in their own country. Thus Juan Pizarro when he attempted to dislodge the defenders of Sacsayhuaman during the rebellion on Manco II. His jaw, broken in combat, prevented him from putting on his helmet and he was killed in the action. His brother, Francisco Pizarro de conqueror of Peru, was also an early victim of the ferocious fighting that ended the lives of so many of the Spanish leaders. We had to waist almost forty years before the viceroyalty was founded and Cusco and Sacsayhuaman were free from war, revolt, repression and vengeance.
We know that the Incas worshiped Huanacaure hill as the protector of Cusco, but although it remain important over time it has been somewhat overshadowed by the multifaceted nature of Sacsayhuaman complex. It has quiet distinct area: on the summit of a hill facing the walls of the "fortress", is the so-called "Inca Throne" consisting of a series of steps leading to a stone edifice in the shape of a chair. Within the walled space is the "rodadero" or set of tunnels and inclined walls, the purpose of which is unknown. In the upper part of the complex is the "intihuatana" or place where the sun rests. It is usually interpreted as an astronomical observatory enabling imaginary lines leading from the intihuatana to neighboring high points.
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THE CAPTAIN AND THE INCAN PRINCESS

Tuesday 10th of October 1741, feast day of San Francisco de Borja. In the Jesuit church in Cusco an odd performance took place, which divided the population into those who approved of it and those who did not. It was, as described by chronicler Diego de Esquivel y Navia in his meticulously written "Noticias cronológicas de la gran ciudad del Cusco", a "representation of the marriage of Don Martín Garcia de Loyola and Beatriz Clara Coya as shown in the painting hung at the entrance of the church". This representation appeared puerile to the chronicler and perhaps for that reason he restricted it to his "Noticias." the role of Garcia de Loyola was taken by a son of Don Gabriel Argüelles, one of the most important inhabitants of the city, while that of Beatriz was played by Narcisa, the young daughter of an indian noble.
Let us now close the work of Esquivel y Navia and let the painting at the entrance to the church tell us a little more about this episode. Beatriz Clara Coya and Martín García de Loyola are in the foreground on the left. On the right is their daughter, Ana Maria, together with her husband Juan de Borja. Between the two couples is San Ignacio de Loyola, uncle of Martin Garcia and Juan de Borja. A colorful group of people completes the composition in the background to the left. This group includes such luminaries as Sayri Túpac, Túpac Amaru and Cusi Huarcay, the three children of Manco Inca, the rebel who sought refuge in Vilcabamba to fight against the Spaniards.
Beatriz, as the medallion shown in the painting says, was the daughter of Sayri Túpac and Cusi Huarcay and, therefore, an Inca princess. That is why she appears in the painting dressed in an elegant white gown bearing a strip of colored tocapus, geometric designs that in this case represent royal blood. What were circumstances that led to her marriage with the nephew of the founder of the Jesuit order? Why did the Jesuits commission not one but several oil paintings to commemorate this match between Inca royalty and Spanish nobility?
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SALINAR, VIRU & VICUS CULTURES

Even when we know for sure that the northern coast of Peru was, since the beginnings of our history, a cultural development center, is just at the end of the Early Horizon when high specialized societies in the coastal ecologic systems exploitation. These societies reached high complexity levels in politics as well as in socioeconomic. The cultures Salinar, Viru and Vicus contributed to this organizational development of the northern coast, but undoubtedly were the Mochica the ones that capitalized all this cultural baggage. In this same period, we find other important cultural development in the southern coast; among them we find Nasca culture. Nasca and Mochica are the societies from the Early Intermediate that could be considered as the first organized States of the central Andes. Societies as Nasca and Mochica not only expand their domain over a specific region, they also articulated entire communities around its central organization, achieving the proper manpower for the edification of ceremonial centers and hydraulic works. In both cases, the chief element was the gods' imposition and cult control.
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NATURE AT CHOQUEQUIRAO

For nature lovers Choquequirao is much more than a set of stone and adobe buildings on the side of a mountain overlooking the Apurimac valley. This magical place, which appears to be almost suspended from the sleep western slopes of Vilcabamba range, is really an excellent example of what Peru has to offer in terms of natural and cultural diversity. A variety of species and scenery together with the imposing archaeological remains left by the ancient inhabitants of this area.
Its strategic location means that this singular sanctuary encompasses what could be considered one of the most extraordinary variations of ecosystems anywhere in Peru; in only a few miles it includes mountains permanently covered with snow almost 19 700 feet high and steamy tropical valleys little more than 5 900 feet above sea level.
Ecosystems, Flora and Fauna
The few scientific studies that have been carried out in this area reveal the existence of numerous well-defined life zones, the most relevant from ecological point of view being the Andean grassland, highland dwarf forest and the jungle or "yunga" on the mountain sides.
The great variety of ecological floors or habitats is home to an astonishing diversity of species of flora and fauna, perfectly adapted to the specific conditions of each habitat.
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