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Los Pendoneros (The Bannermen):
Understanding Ancient Symbols
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By Giovanna Valdivieso
IMBABURA. OCTOBER, 2004. Ever wonder what is meant by the word "Communication?" At face value, "communication" is defined as the transfer of information between individuals through the use of reciprocally understood symbols. More broadly, however, communication is the very act that gives organic life its "purposeful" linearity: from bacteria using DNA for reproduction to complex human societies using the internet to purchase goods. Closer to home, "communication" is what keeps a family together, allowing quarreling couples or siblings to understand differences and grudges and allowing resolutions. Without communication, all life would quite simply cease.
In this essay, communication will be seen as a tool that can help us understand how our cultural realities are integrally linked to the past.
Ecuador is considered "magical" country due to its complex and diverse cultural components. This "magicality" manifests itself with special subtlety within the traditions and history of Andean or indigenous cosmo-vision. To be able to see this subtlety, however, one must understand the symbolic tools of communication used in indigenous festivities and rituals. This understanding not only leads one beyond a superficial understanding of Andean cultural realities, but can lead to a more profound intellectual and emotional encounter between cultures.
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The Festival of Pendoneros (the Bannermen) in the province of Imbabura
is an example of an Andean tradition within which ancient symbols shows
us glimpses of a slowly receding indigenous communal lifestyle. These
simple rituals help non-indigenous Ecuadorians understand our common
cultural heritage and our humanity.
In the month of October , the parish of San Rafael del Lago , located
twenty minutes from Otavalo , celebrates the festival of San Miguel
de Porras . The festival is the fruit of the meshing of indigenous
belief and Catholicism. Not surprisingly, given the subtlety of indigenous
assimilation, the festival easily mixes Christian symbols (crosses,
candles) with their own (costumes, typical dress, cuisine). The timing
of the festival, not coincidentally, coincides with the harvest. The
indigenous, a people whose livelihood is tied to the land, set their
cultural clock by the planting seasons. October is a time where the
indigenous thank Pacha Mama (Mother Earth) for their finished
labor and plead for success before beginning a fresh planting season
in November, the start of the rainy season.
The festivities begin on the eve with rituals that have their root
in the indigenous world: burning of dried herbs (chamizas) , dances
and acrobatics . First, the burning of the dried herbs has two meanings:
the invoking of rains through the smoke that rises to the heavens from
where the phenomenon comes and, on the other hand, the sacrifice, the
offering of the Catholic creed to the saints (here the herbs could
be understood as incense). Likewise, the dance, now mixed with religious
chants, is the indigenous method for communicating and celebrating
an event. Finally, as a visual and oral people, the acrobatics with
their brilliant colors also represents the colors of their festive
mood and that shows up in the environment so that it can be felt by
all.
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