User:Shomon/Pedro Humire

Pedro Humire
Pedro Humire
Background information
Birth name	Pedro Pablo Humire Loredo
Born	(1930-07-30) 30 July 1930 Socoroma, Chile
Genres	Poetry, Aymara Culture
Occupation(s)	Poet, writer, teacher, artisan and musician
Instrument(s)	Guitar, Charango, Quena
Years active	1965–present

Pedro Pablo Humire Loredo(Socoroma, Arica and Parinacota Region, 30th June 1935-Cornel 13th August 2020) was an Aymara poet and musician recognized for his contribution to the indigenous cultural legacy of Chile.

Biography

He was born in Socoroma in the Andean foothills, 30km from Putre (Parinacota), in the north of Chile. He put his indigenous identity before his Chilean nationality: "I am more Aymara", he said.1

His parents were Daniel Humire Carrasco and Jesusa Loredo Gómez. He was the youngest of nine siblings.13 He took his first steps in music at age five, while his mother was herding cattle and his father played songs accompanied by a guitar under his poncho.4 He was married to another teacher, María Isabel Rodríguez Cabrera, with whom he had two children, Emilio Felipe and Pedro Kurmi. He did his basic studies in Santiago at the Escuela Normal José Abelardo Núñez.15

During the 1960s he participated in the Sierra Pampa de Calatambo Albarracín as a poetry reciter. After that he presented the paper Bordering Folklores of Arica in the Faculty of Music of the University of Chile. He published the poem A las manos de una joven indígena in 1961. Four years later, in 1965, he recorded for the same university, twelve unpublished Andean musical pieces accompanied by his father Daniel Humire. The pieces are kept in the archives of the Faculty of Arts at the University of Chile. Years later in the 1990s, he published Parinagotan Socoromanpi Piñalulina Arunti - El Parinacota and Socoroma salute Peñalolén - a total of fourteen works about his own experiences.34

He entered the University of Santiago de Chile (USACH) where he studied Philosophy, Linguistics and Literature. During his student years he wrote for the newspaper La Gaceta de Arica, but after the military coup in Chile in 1973, the closure of some schools in his area due to his ideology, deprived him of entering the Conservatory. Despite the difficulties, he attended as many classes as he could as a listener.145

He was committed to teaching, he was a rural teacher in Chañaral Alto, in the Rapel Fig Tree also in the commune of Chañaral Alto, where he went in search of stability in the work, since at that time there were movements of population to Iquique in search of better living conditions. He was a teacher in Monte Patria between 1998 and 2008, when he retired. He worked to perpetuate the indigenous culture, working to recover the history, culture and Aymara traditions, for which he made an intense work of diffusion throughout his life. He worked as a teacher of Spanish language and music and at the same time he combined it with his facet as a writer of stories, poetry and songs for children.126

As a musician he recovered pieces of the huayno and Andean genres. He traveled around Chile visiting the Mapuche communities of Tirúa and Puerto Saavedra in his effort to recover the indigenous cultural heritage.

Prison

His eagerness to transmit his own philosophy caused him both satisfaction and suffering: following the path of music and speech he has won university and national prizes for indigenous poetry and song; following the path of political activism, by supporting the Popular Unity government of Salvador Allende, [quote required] he was arrested in 1973 and imprisoned in the Estadio Nacional detention center in Chile and in other centers where prisoners were tortured at the beginning of the military dictatorship of General Augusto Pinochet.1 Humire was held captive at the Estadio Nacional in Santiago for almost two months and was later transferred to the Chacabuco concentration camp in northern Chile. Upon his release, he was interned for a year in a hospital in the capital due to the lung damage caused by the blows he received during that period. [citation required]

Inspiration

His ability for literature woke up very early, at the same age that he became aware of the discrimination he lived with for the rest of his life because he was an indigenous person.4 His style was not innovative, but his work emerged from the environment and the memories of his childhood and youth.7 "Since I was a child I won literary contests, but they put children with a more European look, with blue eyes, to read my poems, I just listened to them, they always appealed to the good presence" [quotation required].

Pedro Humire with his charango and Aymara poetry

He is convinced that without indigenous thought this continent would collapse, and adds with disappointment: "our countries are not evolving because they remain at the copy of the United States and Europe, every change made in education or in the economy does not point to the spiritual and intellectual change of man" [quote required].

In spite of all this, he did not regret it, he fought to prevent what is now a reality, that French-American mining companies would settle in Aymara territory, dispossessing this people of their waters and lands. In order for the situation to be reversed, he trusts in that of a small part of the young people, "those who have grown tired of the weight of neo-liberalism and this crushing culture" [quote required].

Today, his weapons are only his pen and paper, and his unfailing quena and charango, original instruments that seem to be the only elements that have the power to bring smiles to his tired face. In addition to reminding us that the valorization and rediscovery of the original peoples of Latin America is indispensable for the development of modern society [quote required]

Cultural Recovery

He worked on the recovery of the indigenous cultural heritage, a commitment he acquired from an early age, the value of which he sought to disseminate. Part of the legacy left by Pedro Humire consisted in the publication of verses, among them those published in Geografía Poética de Chile, which brought together the work of authors such as Pablo Neruda, Gabriela Mistral or Mariano Latorre.14

He encountered significant difficulties in transmitting both the indigenous culture and the Aymara language, especially in Putre and Colchane, where he worked as a teacher, his cultural proposal was not well received. In contact with Florencio Mamani Challapa, a wise Amauta, he recovered part of the Aymara language and the mythology of the Return of the Inca.2

Regarding the teaching of Aymara in schools, he claimed the absence of a native Aymara teacher, whose language was mother tongue, against the training of a non-Aymara-speaking teacher. With this fact, he highlighted the loss of both the language of the unwritten tradition based on a linguistic code and symbols, as well as the loss of the cultural heritage, a fact to which he dedicated part of his studies in 1986.248

He wrote to Tata Inti (father sun) and Pachamama (mother earth) from the ancestral, to the current syncretism that has overflowed the Aymara people in the Andean zone of South America, between Bolivia, south of Peru, northwest of Argentina and big north of Chile. He has won several awards for Aymara poetry and musical composition. He has authored several books of poetry such as Parinacota Sukurumampi Piñalulina and Relatos tradicionales Aymaras y Poemas [quotation required]

Legacy

Throughout his life he wrote numerous poems and stories, he also composed music, material that was rescued through interviews and published on video. His life was an ancestral patrimonial testimony that he knew how to transmit to the community of Monte Patria, commune where he resided.1 He recomposed the Huayano Arcayale, a native composition of which some fragments were conserved until it was completed, the piece was recorded along with other recovered compositions.2

For his contribution and work in the conservation and diffusion of the Aymara cultural legacy he is considered one of the most relevant poets in Chile.1

Work Poetry The Vintners.5 In the hands of a young indigenous woman, (1961).3 Aka Jach' a (Spanish: Esta larga Pampa), first poem to win an award.6 Uma (in Spanish: Agua). Selected to be read at the Indigenous Biennial in Estación Mapocho.6 Taruja.7 The Parinacota and Socoroma greet the Peñalolén. Autoediciones Populares, Santiago 1987.7 Books Santiago Mapuche.4 Other works Birth, life, death and rebirth of the Aymara people.4 Two legends and a poem. A compilation of dances for children.4 Awards and recognitions 1960- In the normal school José Abelardo Nuñez distinguished himself by winning a story contest. 1962- Honorable mention in the literary contest of the Ateneo in Arica, he participated with the short story Los ocultos días de Julián Mamani.3 1963-1965 He collaborated successfully with Manuel Dannemann and Raquel Barros in the Department of Musical Research at the University of Chile. However, he was not mentioned by Dannemann in the "Encyclopedia of Chilean Folklore. 1963- First prize for the poem Parinacota, awarded by Ateneo and Ilustre Municipalidad de Arica.3 1964- Spread musical instruments such as charango and quena in Santiago de Chile, in the Program Chile Ríe y Canta, and many festivals. This is the first approach of the Aymara music to the urban folklore, the same one that gave origin to the new song with Violeta Parra, Víctor Jara and many others. 1966- He is the first and youngest Aymara writer to appear in 1966 in the "Antología de la Poesía del Norte", a book by the university publishing house. 1967- The remembered northern writer Mario Bahamonde selected his poems: PARINACOTA and ANICETO TABLEDO. 1976- He won the Faculty of Arts poetry contest, University of Chile with the poem Aquí la Gente se Olvidó de los Nombres de los Cerros.5 1983-1985 At the University of Chile he won the University Song Festival twice. In 1983 with JISKALALA, in 1985 with the song THE PEDAGOGICAL. 1999-2002 Twice he won the Chilean Indigenous Poetry Award, Aymara version, in 1999 with AKA JACH' A PAMPA (This long pampas) and in 2002 with the poem UMA (water). 2003- Twice he obtained an honorable mention in narrative, Los ocultos días de Julián Mamani (The hidden days of Julián Mamani). Universidad Católica del Norte, with the story of an Aymara boy from PACHALLAMPE. 2008- Recognition of his work and legacy, granted by

Spanish language article here: https://es.wikipedia.org/wiki/Pedro_Humire

References

https://www.cantoscautivos.org/es/testimony.php?query=10671

http://www.bibliotecanacionaldigital.gob.cl/bnd/628/w3-article-555609.html

External links

• www.example.com