Quechua narration and the cosmopoetics of memory in Ch'Aska Eugenia Anka Ninawaman

• Ethel Barja Cuyutupa ^[1]
  1. [1] Smith College

     Smith College

     City of Northampton, Estados Unidos

     
• Localización: Chasqui: revista de literatura latinoamericana, ISSN 0145-8973, Vol. 54, Nº. 1, 2025, págs. 31-49
• Idioma: inglés
• Texto completo no disponible (Saber más ...)
• Resumen

  • Les murmures de Ch'askascha/ Ch'askaschaq chhururuychan/ Los murmullos de Ch 'askascha [The Little Chaska Muttering] by Eugenia Carlos Ríos, who writes under the name of Ch'aska Anka Ninawaman [morning star fire hawk eagle] was published in 2021, in a trilingual edition. Initially written in Quechua, it was translated into Spanish by Anka Ninawaman and French by Claire Lamorlette. Anka Ninawaman is a poet and fiction writer with a doctorate in Social and Cultural Anthropology who lives in France. The compound pseudonym Ch'aska Anka Ninawaman reflects the significance of the natural world in her writing. The author inspires her stories in a landscape between France and the territory of the K'ana Nation, corresponding to Ch'isikata in Espinar Province, Cuzco (Peru), where she is from.

    Los murmullos story collection connects the reader to the emotions, creative struggle, and imaginative force of a transnational writing craft. How does the Quechua worldview infuse Anka Ninawaman's writing strategies? Studying Anka Ninawaman's self-translated version of Ch'askaschaq chhururuychan into Spanish and drawing on critical Indigenous studies, posthumanism, and postcolonial ecocritical perspectives, I argue that Los murmullos challenges stereotypes built upon static Indigenous attributes and disrupts uniformizing paths for collective belonging through what I term "cosmopoetics of memory." This notion names the crossing between cosmovision and poetics when the acts of reciprocity of Quechua communal bonds, implied in the collective enunciation of the narrative, mirror the strong rapport between humans and non-humans in Quechua cosmovision. Overall, Los murmullos provides anticolonial presentations of the Quechua artistic expression, formulates a transnational Quechua cultural horizon beyond the violence of coloniality, and affirms the value of cohesiveness that emerges from the interconnection between humans and other-than-human beings. The notion of cosmopoetics of memory explores the dissemination of the Quechua worldview and heritage through written and oral art, including storytelling and poetry.! I propose to understand this concept in conversation with Critical Indigenous studies, as they operationalize: "Indigenous knowledges to develop theories, build academic infrastructure, and inform our cultural and ethical practices" (Moreton-Robinson 10). In the following study, I discuss first how Anka Ninawaman's Los murmullos contributes to Indigenous knowledge dissemination, materializing the convergence of its poetics and Quechua cosmovision; second, the analysis explores how Anka Ninawaman's cosmopoetics of memory develops at a contact zone related to the Quechua notion of chaupi, in-between or third indefinite element (Mancosu 14), in connection with the multilingual and transnational presentation of her work; third, the study examines how Los murmullos" cosmopoetics of memory underscores the importance of cooperation between humans and other-than-human beings in anticolonial cultural practices.