﻿392 
  SOUTH 
  AMERICAN 
  INDIANS 
  [B. 
  A. 
  E. 
  Bull. 
  143 
  

  

  ESTHETIC 
  AND 
  RECKEATIONAL 
  ACTIVITIES 
  

  

  Music. 
  — 
  Harcourt's 
  incontrovertible 
  observation 
  that 
  Andean 
  

   musical 
  folklore 
  is 
  the 
  richest 
  and 
  most 
  original 
  in 
  America 
  (Harcourt, 
  

   1925, 
  p. 
  207) 
  postulates 
  an 
  intricate 
  Colonial 
  development 
  from 
  

   indigenous 
  sources. 
  Its 
  character 
  derives 
  from 
  the 
  blending 
  of 
  

   16th-century 
  European 
  polyphony 
  with 
  a 
  presumptive 
  native 
  penta- 
  

   tonic 
  scale 
  (Harcourt, 
  1925, 
  pp. 
  132-53). 
  

  

  Stringed 
  instruments, 
  unknown 
  in 
  antiquity, 
  were 
  introduced 
  in 
  

   the 
  16th 
  century; 
  the 
  harp, 
  with 
  a 
  diatonic 
  scale 
  through 
  five 
  octaves, 
  

   and 
  the 
  charango, 
  a 
  mandolin, 
  are 
  used 
  by 
  the 
  Quechua 
  (Harcourt, 
  

   1925, 
  pp. 
  79, 
  85). 
  Among 
  percussion 
  instruments, 
  Indian 
  use 
  of 
  the 
  

   small 
  drum 
  called 
  tinya 
  as 
  a 
  tambourine 
  is 
  perhaps 
  the 
  result 
  of 
  

   Catalan 
  influence 
  (Harcourt, 
  1925, 
  p. 
  18). 
  

  

  The 
  rich 
  repertory 
  of 
  Quechua 
  songs 
  contains 
  religious 
  chants, 
  

   funeral 
  lamentations, 
  love 
  songs, 
  vocal 
  accompaniments 
  for 
  choreo- 
  

   graphic 
  and 
  instrumental 
  performance, 
  farewell 
  songs, 
  and 
  pastoral 
  

   songs. 
  Noteworthy 
  is 
  the 
  absence 
  of 
  cradle 
  and 
  nursing 
  songs 
  (Har- 
  

   court, 
  1925, 
  p. 
  168). 
  

  

  Dances. 
  — 
  An 
  intimate 
  union 
  between 
  Christian 
  liturgy 
  and 
  Quechua 
  

   dancing 
  may 
  be 
  noted 
  in 
  a 
  drawing 
  by 
  Guaman 
  Poma, 
  executed 
  

   early 
  in 
  the 
  17th 
  century, 
  showing 
  masked 
  Indian 
  boys 
  performing 
  

   a 
  duelling 
  dance 
  before 
  the 
  church 
  altar 
  (Poma 
  de 
  Ayala, 
  1936, 
  p. 
  

   783). 
  About 
  1650, 
  Church 
  festivals 
  were 
  the 
  occasion 
  for 
  native 
  

   dances 
  (Cobo, 
  1890-95, 
  vol. 
  4). 
  According 
  to 
  Frezier 
  (1716, 
  p. 
  249), 
  

   the 
  death 
  of 
  Atahuallpa 
  was 
  enacted 
  in 
  dancing 
  on 
  the 
  day 
  of 
  the 
  

   Nativity 
  of 
  the 
  Virgin 
  (September 
  8) 
  by 
  Indians 
  in 
  bird 
  costumes, 
  

   bearing 
  figures 
  of 
  the 
  Sun 
  and 
  Moon. 
  In 
  1905 
  an 
  "Inca" 
  dance 
  was 
  

   still 
  performed 
  in 
  Tarma, 
  with 
  Indians 
  impersonating 
  Huascar 
  and 
  

   Juan 
  Pizarro, 
  as 
  well 
  as 
  princesses 
  and 
  a 
  sorcerer 
  (Harcourt, 
  1925, 
  

   pp. 
  105-07). 
  An 
  important 
  Colonial 
  development 
  was 
  the 
  perform- 
  

   ance 
  of 
  dances 
  choreographically 
  related 
  to 
  industrial 
  activities; 
  

   Harcourt 
  reports 
  a 
  wool-cutter's 
  dance 
  at 
  Ayacucho 
  in 
  which 
  the 
  

   workmen 
  brandished 
  the 
  shears 
  of 
  their 
  trade 
  (Harcourt, 
  1925, 
  p. 
  

   120). 
  Many 
  other 
  dances 
  of 
  this 
  class 
  have 
  been 
  noted 
  in 
  the 
  Are- 
  

   quipa 
  region 
  (Mejia 
  Xesspe, 
  1923). 
  

  

  Leisure. 
  — 
  The 
  inability 
  and 
  the 
  reluctance 
  of 
  the 
  Indians 
  to 
  

   perform 
  the 
  required 
  amounts 
  of 
  work 
  incited 
  the 
  colonists 
  to 
  puni- 
  

   tive 
  measures, 
  which 
  further 
  increased 
  Indian 
  unwillingness, 
  bringing 
  

   in 
  turn 
  even 
  sterner 
  punishments. 
  The 
  Spaniards 
  do 
  not 
  seem 
  to 
  

   have 
  comprehended 
  that, 
  for 
  the 
  Indian, 
  no 
  work 
  was 
  worth 
  doing 
  

   which 
  was 
  not 
  infused 
  by 
  ceremonial 
  symbolism. 
  Under 
  the 
  Inca, 
  

   the 
  tributary 
  gave 
  labor 
  for 
  the 
  fields 
  of 
  the 
  Sun 
  and 
  to 
  the 
  public 
  

   works 
  of 
  the 
  Emperor, 
  and 
  in 
  working 
  for 
  his 
  own 
  sustenance, 
  he 
  

   worked 
  for 
  his 
  community 
  (Polo 
  de 
  Ondegardo, 
  1873, 
  p. 
  161). 
  All 
  

  

  