Yoselina Guevara
A part of the beauty, culture and talent of the South American Andes is exhibited with the nativity scene of Chopcca, Peru in the traditional nativity of St. Peter’s Square at the Vatican. Since December 10, millions of tourists visiting the heart of Catholicism will be able to appreciate the set of 35 pieces, from the workshop of the Peruvian artist Manuel Said Breña Martínez. It was the Vatican State itself that chose to exhibit the nativity scene of the Chopcca community in the mythical Plaza, as a symbol of Christianity for Christmas 2021, in addition to paying tribute to the celebration of the Bicentennial of the Independence of Peru. This initiative is carried out thanks to the coordinated work between the Regional Government of Huancavelica, the Peruvian Embassy in Italy, the Diplomatic Representation of Peru to the Holy See, the Ministry of Culture, the Ministry of Foreign Affairs, the Ministry of Foreign Trade and Tourism and Promperu.
Nativity with an Andean face
The site of origin of this unique nativity scene is the Chopcca peasant community, composed of 16 settlements, with more than 10 thousand inhabitants; which is located in the region of Huancavelica, northwest of Lima, capital of Peru, at an altitude between 3,680 and 4,500 meters above sea level. The Chopcca are identified by a set of rural cultural customs and an intense sense of belonging. Their traditions include agricultural and livestock work, textile crafts, music and oral storytelling. In 2014, the community was declared Cultural Heritage of Peru for its uniqueness, representation and importance in Andean culture.
The novelty introduced by this Nativity Scene Chopcca is that all the characters including the Virgin Mary, St. Joseph, Baby Jesus, the Three Wise Men, shepherds and shepherdesses have all the features typical of the inhabitants of the Peruvian Andes, plus they are dressed in typical Huancavelican costumes. Five sculptors worked arduously in the elaboration of the figures whose sizes vary between 1.50 to 1.80 meters, they were made entirely by hand in maguey (agave) wood and modeled in plaster.
The natural background landscape in which the figures are inserted shows a large number of details that recreate the area of Huancalino in the Peruvian Andes, with the presence of typical animals of the region of Huancavelica, such as llamas, alpacas, vicuñas, sheep, vizcachas, flamingos and Andean geese. It is worth mentioning the use of materials such as cancanlla stone and ichu, characteristic elements of the area. The Andean condor, Peruvian national symbol, is depicted in one of the corners of the crib, showing all its splendor. The presence and sample of the Andean biodiversity, present in this nativity scene, wants to bring to the public a call to reflection on the need for the preservation of life on the planet, and how these Andean communities live in harmony with nature in the XXI century.
Textile Art, Chopcca Symbology
The artists who participated in the realization of this nativity took care of all the details, especially the clothing, all of which are Chopcca textile creations. The main character Jesus, a baby “Hilipuska”, is wrapped in a typical blanket and tied with a “chumpi” or braided belt; in the composition he is in the arms of Mary who in turn is seated. The little Andean child is the center of the crib whose light of sweetness is reflected in his mother’s face. The filmmakers do not renounce to include a tradition of Chopcca which is the “fajar” of the babies. In these Andean communities the children are bundled so that they are well upright; some villagers say that they bundle them so that they are not frightened, others say that it is so that their little bodies are well formed, in the first months of life.
The mother of Jesus, Maria is also dressed in the Chopcca style, she has a hat with embroidery and wears a blanket on her back with the national coat of arms with the vicuña, the cornucopia and the quina tree. Her costume is complemented by a jacket and a bodice, as well as a skirt and overskirt.
José is standing inside the scene, contemplating the child full of joy, wearing a black hat with all its details, he also has a Chopcca poncho (sleeveless wool cloak), his chumpi or sash, his jacket and his huaraca (wave). In his case, the traditional cane, an iconographic symbol of Catholicism, becomes a rod of command; an insignia that represents the varayoc, who are the authorities in the communities.
Apart from this symbolism of power, the Chopcca symbolism, the rod is an amulet of protection for the family. Unlike other nativity scenes, the angel in this case is earthly, he is not represented on high, but is at the level of the other characters, he is part of those who admire the birth of Jesus. His angelic condition is given by the presence of large white wings, he has a costume similar to Joseph’s and carries a musical instrument which is the pincullo (wind instrument) and a tinya (small drum). The Three Wise Men do not arrive on camels but are accompanied by llamas with Peruvian flags, they carry in their sacks food from the region, such as potatoes, quinoa, kiwicha or cañihua instead of gold, incense and myrrh.
Andean message of hope
Beyond the excellence and masterful mastery of the elaboration technique, Chopcca’s nativity scene makes an impact on the viewer through the great harmony that emerges between the characters, which seem to be connected to each other through the softness of gestures, a silent language from which emanates the sense of collectivity. On the black or white background of the characters’ clothing, which includes the animals, there is an explosion of red, fuchsia, purple, sky blue, navy blue, light yellow, golden yellow, maroon and various shades of green; above all, there is a predominance of primary colors and their variants. This makes the composition as a whole permeated with an unusual joy that generates a message of hope to the world, filling it with colors for a new beginning after having faced hard periods of loneliness and isolation due to the pandemic. There is no doubt that this year the Vatican has welcomed the optimism and strength of a continent that is increasingly full of possibilities.
Yoselina Guevara Correo del Alba Venezuelan correspondent in Italy
INTERNATIONALIST 360° 