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Cuenca: Music & Architecture in the City of Four Rivers
(page 1 of 3)
Catedral de la Inmaculada Concepción de Cuenca
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By Giovanna Valdivieso

CUENCA. NOVEMBER, 2003. In the southern part of Ecuador, there exists, quite naturally, a city where art, history, culture and citizens come together to form a tangible and breathing entity. On this early November adventure, Cuenca, the City of Four Rivers, opened its doors for us and showed us a glimpse of why it was declared a "Cultural Patrimony of Humanity" by UNESCO (United Nations Educational, Scientific and Cultural Organization).

We departed from Quito on an overnight bus full of tourists-- local and foreign-- headed for Cuenca to enjoy the city's annual independence celebrations. A golden sunrise welcomed us to the countryside of Azuay, of which Cuenca is the provincial capital. Red-tile roof houses, undulating hills and vast pastures dominated the landscape. Later, stately colonial era mansions, artisan factories and the typical hustle and bustle of an urban environment opened the way to the so-called Sultana de los Andes (Female Sultan of the Andes).

Cuenca was founded in 1557 by the Spanish conquistadors with the name of Santa Ana de los Ríos de Cuenca, in honor of four rivers that traverse the city. These rivers are: Tomebamba, Yanuncay, Tarqui and Machángara. Cuenca, like many Andean cities, has a significant pre-Columbian cultural heritage. This history is centered around the ancient Inca city of Tomebamba and the Cañari culture, both of which were evolving in the region of modern day Cuenca at the time of Columbus' arrival to America.

A few centuries passed after Cuenca's foundation, during which the unique architectural style of the city was consolidated. This consolidation is now reflected in its historic center.

Following its foundation, Cuenca quickly acquired enormous political and economic importance. This blossoming was locally claimed-- quite proudly and loudly -- to be the result of the courage, dedication and love of freedom inherent in its home-grown citizens. Influenced by this regionalistic fervor, on November 3rd, 1820, General Antonio José de Sucre led the citizens of Cuenca to declare independence from the Spanish monarchy.

The anniversary of this proclamation of independence is celebrated every year by Cuencanos with dozens of cultural and official events that take place throughout the month of November. In December, an unique and transcendental celebration with religious overtones takes place in Cuenca, El Pase del Niño Viajero (the Passage of the Traveling Christ Child).

 

Traditional Dance in Cuenca

 

After checking into our hotel, we proceeded to the Departamento de Cultura del Municipio de Cuenca, where don Jorge Villavicencio, the organization's director, welcomed us. He had prepared for us an exclusive and offbeat tour of the colonial sector. With colorful and informative maps in hand, we headed out in the capable hands of Efren, our guide.

Spanish Churches Supplant Cañari Temples
Calderón Plaza, which is named after Abdon Calderon, a famous independence figure, is the heart of Cuenca. In opposing parts of the plaza, two impressive churches stand whose essences are replete with history: the Catedral de la Inmaculada Concepción (Catedral Nueva or New Cathedral) and the Iglesia del Sagrario (Catedral Vieja or Old Cathedral).

Efrén began to relate a story of the Catedral Vieja. The church's structures, which date from 1567, are currently undergoing a restoration which is scheduled to be completed by April of 2004.

The most interesting and telling aspect of the church are the stones that were used to build its walls. All of these stones come from buildings and temples of the ancient Cañari city of Pumapungo. This architectural "recycling," Efren noted, was a deliberate act by the Catholic Church in an attempt to subjugate the indigenous people to the beliefs of the Christian colonizers.

El Sagrario is a chapel formed by a long central atrium and two lateral hallways. "The original chapel was built from donations made by prominent families of the epoch, who used the church for their private purposes."

As we walked inside the chapel, Efran pointed out that nearly 40 people, a mix of professional restorers and students, have been working in the church. Among their accoplishments, the team has been able to rescue, from walls painted seven times over, the original paintings of El Sagrario. Their rescue efforts began in 1999 with the hope of finishing this task by the spring of 2004.

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