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Felipe Guaman Poma de Ayala

Felipe Guamán Poma de Ayala, also known as Huamán Poma or Waman Poma, was a Quechua nobleman known for chronicling and denouncing the ill treatment of the natives of the Andes by the Spanish Empire after their conquest of Peru. Today, Guaman Poma is noted for his illustrated chronicle, El primer nueva corónica y buen gobierno.

Biography
The son of a noble family of the Indigenous (but non-Inca) Yarowilca dynasty of Guánuco in the north Peruvian cordillera, he was a direct descendant of the eminent Indigenous conqueror and ruler Huaman-Chava-Ayauca Yarovilca-Huanuco. Guaman Poma was a fluent speaker of several Quechua and Aru dialects, and probably learned the Spanish language as a child or adolescent. He went on to become literate in the language, although he did not achieve a perfect grasp of Spanish grammar. leading many to deduce that he was born in the year 1535, after the 1533 Spanish conquest of Peru. The figure eighty may have been a metaphor for old age, and many other references in his text indicate a possible birth date of 1550 or shortly thereafter. The information known about Guaman Poma's life comes from a variety of written sources. Most likely, he was born in the Lucanas province or and spent most of his life in or near Huamanga, a central Peruvian district. It is believed that the first time he left his hometown was when he served as an interpreter on the church inspection tour of a Spanish priest named Cristóbal de Albornoz, who was attempting to eliminate idolatry in the small Quechua towns. In the late 1580s to early 1590s, he was an assistant to Friar Martín de Murúa, another Spanish cleric. In 1594 he was employed by the Spanish judge of Huamanga who was in charge of land titles. In late 1600, however, all of his property was confiscated and he was banished from Huamanga, an event that led to his travels throughout the country and most likely to the composition of his masterpiece. The Huamán family was wealthy within the Inca Empire, both before and after the conquest. As used to be common, marriages among the ruling families took place in order for them to maintain political control. At the time, the Huamán ( in Quechua, or in Spanish) were a family of warriors and landowners in several regions of the Inca Empire. They venerated the wild bird (similar to a falcon) that only lives in the highland regions of Peru, above 4,000 meters above sea level. Guaman Poma was related to Inca royalty through three family lines: Tarco Huaman Inca, son of Inca Mayta Capac, cousin of Cápac Yupanqui, and grandson of Lloque Yupanqui; Huaman Achachi, brother of Tupac Inca Yupanqui; and Inca Huaman Taysi, son of Inca Roca. In 1570, landowner Don Antonio Huaman Cucho, in the city of Huamanga, declared ownership of several cities for the descendants of the Huamán family as an Inca descendant. During the occupation by the conquerors, the Huamán family, being very extensive, were fiercely prosecuted, as the Spaniards feared the overthrow of the colonial government, the impeachment of the Hispanic occupation, and Indigenous land ownership claims. For this reason, most of their wealth in gold and ornaments was hidden and redistributed among their descendants. Most family members moved to different areas in Peru and Ecuador. The most prominent landowners were located in Pariamarca, Santiago de Huamán, Quito, and Huamanga. There is a tradition that says that direct descendants from the line of the ruling Inca Huaman are protected and secretly maintained to be ready to take over the Peruvian Empire and re-impose the supremacy of order over chaos. There are tales among the Andeans that one day the "... Hawk will fly high, where the Sun surrenders ...". See the Name section for more information. == Chronicle ==
Chronicle
A handful of sixteenth-century documents attest that Guaman Poma served in the 1560s to 1570s as a Quechua translator for Friar Cristóbal de Albornoz The king never received the document. The is remarkable in many ways. First, it combines writing and fine line drawings (398 pages of the book consist of Guaman Poma's full-page drawings). Second, the manuscript expresses the view of a provincial noble on the conquest, whereas most other existing expressions of Indigenous views from the colonial era come from the nobility of Cusco. Third, the author frequently uses Quechua words and phrases in this primarily Spanish work, which provided material for scholars to learn more about Quechua. == Relationship with Martín de Murúa ==
Relationship with Martín de Murúa
Twentieth-century scholars had often speculated that there was some relationship between Guaman Poma's and Fray Martín de Murúa's Historia general del Piru (General History of Peru, 1616), assuming that Guaman Poma served as an informant or coauthor to Murúa. In 1967, Condarco Morales compared the texts and concluded that he followed Murúa's work. A direct relationship between him and Murúa was confirmed in 2007–2008 by a project at the Getty Research Institute. The project's principal scholars included Juan de Ossio, Thomas Cummins, and Barbara Anderson, with collaboration by Rolena Adorno and Ivan Boserup. == Name ==
Name
Guaman means 'falcon' in Quechua, and represented a "supreme existence" in the Inca society of his time. Someone with the "designation" of a falcon had the highest esteem among the Inca and preceding cultures. meant 'puma' in the Quechua dialect. In modern Quechuan orthography, it would be spelled . Other variants include Waman Poma, Huamán Poma, and Guamán Poma (the latter two with a Spanish accent; the stress in Quechua is on the first syllable). In his own writing, he signed with his Quechua name between his Spanish baptismal name, Felipe (or Phelipe as he spelled it) and the family name of a Spanish conquistador connected to his family history, Luis Ávalos de Ayala. Guaman Poma writes about the symbolism of all his names in his book. He seemed to consider the form of his name to be a statement that his Quechua identity remained at his core, despite being surrounded by Spanish names. == Posterity ==
Posterity
Several pages of Guamán Poma's work were appropriated in the four large drawings on canvas with polychrome frames (¡Traga!, ¡Corre!, ¡Sopla!, ¡Muere!) made in 1992 by the painter Herman Braun-Vega for his Madrid retrospective on the occasion of the fifth centenary of the discovery of America by Christopher Columbus. With the transfers of press clippings combined with drawings by Guamán Poma and engravings by Goya, Herman Braun-Vega highlights the suffering of civilians, eternal victims of wars. Braun-Vega again references Guamán Poma's drawings in his painting El poder se nutre de dogmas (Velázquez, Guaman Poma de Ayala, El Greco, Goya), this time to highlight the Church's role in the Spanish conquest through the evangelization of Peru's indigenous people. == See also ==
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