ANDEAN PASTVolume 9

2009

Editors

MONICA BARNES

Brazos Valley Museum of Natural History

and

DANIEL H. SANDWEISS

University of Maine

Graphics Editor

DAVID FLEMING

Associate Editor

RUTH ANNE PHILLIPS

With a special contribution by

HEATHER LECHTMAN

andFREDA YANCY WOLF DE ROMERO

Editorial Advisory Board

RICHARD L. BURGER

Yale University

THOMAS F. LYNCH

Brazos Valley Museum of Natural Historyand Texas A&M University

MICHAEL E. MOSELEY

University of Florida

JAMES B. RICHARDSON IIIUniversity of Pittsburgh

Copyright 2009 by the Cornell University Latin American Studies Program

ISSN 1055-08756

ANDEAN PAST is a peer-reviewed, numbered publication series dedicated to research in thearchaeology and ethnohistory of Western South America. Current research reports, obituaries, andautobiographies are subject to editorial review only. Although Andean Past focuses on precolumbiantimes, it includes articles on the colonial period that enhance understanding of indigenous culturesbefore 1492. ANDEAN PAST encourages data-based submissions, contributions to the history ofAndean archaeology, papers grounded in environmental archaeology, fresh interpretations supportedby accompanying data, interim and field reports, and the publication of short documents. Weemphasize high quality grayscale photographs and black-and-white line illustrations.

The Cornell Latin American Studies Program is the publishing institution for ANDEAN PAST.Copyright for Andean Past resides with Cornell LASP on behalf of the editors unless a specificportion, for example, an illustration, is noted as copyrighted by another party. Authors may re-publish their Andean Past articles, obituaries, or reports, in English or in translation, in print, or inelectronic format, provided that at least one year has elapsed since the original publication in AndeanPast as defined by the date on the Editor’s Preface, that prior publication in Andean Past is indicatedin the republication, that Cornell LASP’s copyright is acknowledged, and that the editors of AndeanPast are notified of the republication. If a portion of an article is copyrighted by a third party, authorsmust request specific written permission from that party to republish. This includes on-line postingsin electronic format.

Orders should be addressed to: Latin American Studies Program, 190 Uris Hall, Cornell University,Ithaca, New York 14853, U.S.A.; telephone (607) 255-3345, fax (607) 255-8989, email:jc949@einaudi.cornell.edu

Inquiries and manuscripts submitted for future volumes should be sent to:

Monica Barnes377 Rector Place, Apartment 3CNew York, New York 10280

Telephone (212) 945-0535, cell phone (917) 992-5880, e-mail: monica@andeanpast.org

Cover: Workmen restore the Huánuco Pampa ushnu platform as directed by John Victor Murra andGordon Hadden (1966). Photograph courtesy of the Anthropology Division, American Museum of NaturalHistory.

ANDEAN PAST

Volume 92009

TABLE OF CONTENTS

Editor’s Preface by Monica Barnes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v-xii

SPECIAL MEMORIAL SECTION: JOHN VICTOR MURRA - INTELLECTUAL, SCHOLAR, TEACHER, AND MENTOR

John Victor Murra (August 24, 1916 - October 16, 2006): An Interpretative Biographyby Monica Barnes with a Bibliography of Works by and about John Victor Murracompiled by David Block and Monica Barnes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-63

John Victor Murra: A Mentor to Women . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65-85

Introduction by Heather Lechtman and Freda Yancy Wolf de Romero . . . . . . . . . . . . 65

Anthropology Is My Village by Heather Lechtman . . . . . . . . . . . . . . . . . . . . . . . . . 66-68

Mentors as Intellectual Parents by Freda Yancy Wolf de Romero . . . . . . . . . . . . . 69-72

An Extraordinary Teacher Who Taught All the Time by Patricia Netherly . . . . . 72-73

Kicking Off a New Perspective in Ethnohistory by Ana María Lorandi . . . . . . . . 73-75

The Ability to Bestow Confidence and Stimulate New Ideas by Victoria Castro . 75-77

The Green Patchwork Paper by Rolena Adorno . . . . . . . . . . . . . . . . . . . . . . . . . . . 77-79

Do Anthropology the Way Poets Write Poetry by Inge Maria Harman . . . . . . . . 80-82

Eight Thousand Solutions to the Same Problem by Silvia Palomeque . . . . . . . . . 82-85

“Kinsmen Resurrected”: John Victor Murra and the History of Anthropologyby Frank Solomon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87-102

GENERAL CONTENT

Costanza Di Capua Di Capua (December 17, 1912 - May 5, 2008)by Karen Olsen Bruhns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103-107

Reconstruction of the Burial Offering at Punkuríin the Nepeña Valley of Peru’s North-Central Coast by Víctor Falcón Huayta . . . . . . 109-129

An Analysis of the Isabelita Rock Engraving and Its Archaeological Context,Callejón de Huaylas, Peru by Víctor Manuel Ponte Rosalino . . . . . . . . . . . . . . . . . . . . . 131-175

Strange Harvest: A Discussion of Sacrifice and Missing Body Partson the North Coast of Peru by Catherine M. Gaither, Jonathan Bethard,Jonathan Kent, Víctor Vásquez Sánchez, Teresa Rosales Tham, and Richard Busch . . . 177-194

A Design Analysis of Moche Fineline Sherds from the Archaeological Site of Galindo,Moche Valley, Peru by Gregory D. Lockard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195-228

More than Meets the Eye: A Study of Two Nasca Motifs by Ana Nieves . . . . . . . . . . 229-247

Early Cotton Network Knotted in Colored Patterns by Grace Katterman . . . . . . . . . . 249-275

Climate, Agricultural Strategies, and Sustainability in the Precolumbian Andesby Charles R. Ortloff and Michael E. Moseley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277-304

Experiences with the Institute of Andean Research 1941-42 and 1946 by Gordon R. Willey.With an Introduction by Richard E. Daggett . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305-316

CURRENT RESEARCH

Archaeological Investigations at Antumpa (Jujuy): Contributions to the Characterization ofthe Early Ceramic Period in the Humahuaca Region by Juan B. Leoni . . . . . . . . . . . . 317-322

San Pedro de Atacama by Carolina Agüero, Mauricio Uribe, and Carlos Carrasco . . . . 323-328

Tarapacá Region by Mauricio Uribe, Leonor Adán, Carolina Agüero,Cora Moragas, and Flora Viches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329-335

New Archaeological and Rock Art Projects in Bolivia by Matthias Strecker,Freddy Taboada, and Claudia Rivera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336-339

Exchange at Chavín de Huántar: Insights from Shell Databy Matthew P. Sayre and Natali Luisa López Aldave . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340-345

La Forteleza at Ollantaytambo by J. Lee Hollowell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346-351

Addresses of Authors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353-354

Advice to Contributors to Andean Past . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355-357

ANDEAN PAST 9 (2009): v-xii.

EDITOR’S PREFACE

Shortly before his death in 2002 I persuadedGordon R. Willey to write his reminiscences ofdoing field-work in Peru under the auspices ofthe Institute for Andean Research, an umbrellaorganization founded in 1936. Over the yearsthe IAR has served to co-ordinate Latin Ameri-can field research among major universities andmuseums. In its early days it provided a NorthAmerican institutional base for Peru’s Julio C.Tello who, in turn, helped to build an interfacebetween North American archaeologists andPeruvian entities. The IAR collected and ad-ministered funds from both federal and privatesources. It has published or co-published anumber of important volumes including Tello’sParacas (1959, 1979), John Hyslop’s Incawasi,the New Cuzco . . . (1985), and Nispa Ninchis, aninterview of John Victor Murra (2000).

I saw Willey’s essay as a companion to theinstitutional histories we published in AndeanPast 6 (2001), Richard E. Daggett’s “The North-east Conference on Andean Archaeology andEthnohistory: The First Eighteen Years” andDavid L. Browman’s “The Origins and the First25 Years (1973-1997) of the Midwestern Con-ference on Andean and Amazonian Archaeol-ogy and Ethnohistory”. When Gordon Willeyresponded to my request by telephone he star-tled me by saying, “We were all spies, youknow.” I had heard rumors in Peru in the 1970sbut never expected a confession! This was thefirst of a short series of letters and phone callswhich I really value. Colleagues have assured methat Willey was joking. Indeed, the suggestionthat archaeologists may have provided any sortof information to the United States governmentat any time is hotly contested, whatever the roleof Nelson Rockefeller in obtaining federal

funding for the archaeological expeditions of the1940s.

Gordon Willey was quite conscientiousabout fulfilling my request, sending me hismanuscript a few weeks before his final hospital-ization. Because he sensed that time was short,he asked me to write or commission an intro-duction. Richard E. Daggett, who has beenreconstructing the history of the Institute ofAndean Research in connection with his de-tailed biography of Julio C. Tello, graciouslyaccepted the invitation to put Willey’s recollec-tions in context. For additional biographicalinformation on Willey, see his obituary byMichael E. Moseley in Andean Past 8 and thereferences therein.

One of our Andean Past foci is environmen-tal archaeology. Here we present “Climate,Agricultural Strategies and Sustainability in thePrecolumbian Andes” by Charles R. Ortloffand Michael E. Moseley. This is a broad inter-pretation of the interaction of changing climateand precolumbian water management technol-ogy in the development and decline of Andeancultures and states. The authors synthesize theinnovations and adjustments that often permit-ted Andean societies to maintain agriculturalproductivity in the face of widely varying watersupplies from decade to decade and century tocentury. They argue that the very presence oflarge-scale, complex, and labor-intensive sys-tems is direct evidence for cultural memory ofboth extreme weather events and long-termclimatic shifts, as well as a range of possiblestrategies for coping with them. They propose a“vulnerability index” to quantify the relativestability or fragility of various agricultural tech-nologies. They explain why coastal societies are

ANDEAN PAST 9 (2009) - vi

more vulnerable to prolonged drought thanhighland societies, suggesting a mechanismunderlying the long-term shifts of power fromthe coastal valleys to the highlands, and back tothe coast. Some of their observations on An-dean water regimes were presented in a prelimi-nary form in “The Miraflores El Niño Disaster:Convergent Catastrophes and Prehistoric Agrar-ian Change in Southern Peru” by Dennis R.Satterlee, Michael E. Moseley, David K. Keefer,and Jorge E. Tapia A., Andean Past 6 (2001). InAndean Past 9 there is a much fuller exposition.

This brings to mind one of the advantages ofa stable editorship. From volume to volume, wecan develop themes as research emerges. Adsoof Melk remarks in Umberto Eco’s novel, TheName of the Rose, “Until then I had thoughteach book spoke of the things, human or divine,that lie outside books. Now I realized that notinfrequently books speak of books: it is as if theyspoke among themselves.” Certainly, the issuesof Andean Past talk with one another. Volume 9contains two independent but interrelatedarticles on Formative iconography, “An Analysisof the Isabelita Rock Engraving and Its Archae-ological Context, Callejón de Huaylas, Peru” byVíctor M. Ponte R. and “Reconstruction of theBurial Offering at Punkurí in the Nepeña Valleyof Peru’s North-Central Coast” by VíctorFalcón Huayta.

The Isabelita Rock is an important petro-glyph. Formative objects in general, and rock artin particular, are often presented without con-text. Fortunately, Ponte, who conducted ar-chaeological investigations from 1997 to 1999near Peru’s La Pierina gold mine, is able topresent this important work as it is embedded inthe archaeology of its region, and by so doing,adds to the corpus of early Andean art.

While Víctor Ponte introduces a recentlydiscovered work of Formative art to thearchaeological community, Víctor Falcón writes

of the recovery of one of the very first pieces ofsuch art to have been discovered by archaeolo-gists. In 1933 Julio C. Tello excavated at Pun-kurí, a major early religious site in the NepeñaValley on Peru’s north coast. Among the spec-tacular finds were a large painted mud relief ofa supernatural feline and a burial offering thatyielded, in addition to the remains of a woman,some very fine ritual objects including an en-graved stone mortar and pestle, and a huaylla-quepa or trumpet made from an engraved Strom-bus shell. As the political tide turned againstTello, the Punkurí finds were lost. No conserva-tion was done at the site for many years, withthe result that the feline relief and other archi-tectural features were not preserved. The pre-cious small finds also disappeared, althoughhope remained that they would someday belocated.

Falcón and his colleagues have made consid-erable progress on the re-assembly of the Pun-kurí artifacts. They discovered the huayllaquepain a museum storehouse. The physical presenceof an object which could be examined for thefirst time in decades, along with study of theTello archives, led to a plausible reconstructionof the burial offering sequence. This is impor-tant because many authors, including Ponte inthis volume, incorporate the Punkurí artifacts intheir analyses.

Attentive long-time readers of Andean Pastwill see that Falcón’s paper sets up a dialoguenot only with Ponte’s, but with papers by Rich-ard E. Daggett and by Henning Bischof in earliervolumes of our journal. In Andean Past 8 (2007),Daggett wrote of Tello’s so-called “Lost Years”,the early 1930s when Tello, in spite of his fameand accomplishments, or perhaps because ofthem, was removed as Director of the Museo deArqueología Peruana. Although the early 1930swere as difficult for Tello as they were for muchof the rest of the world, Tello did not give up.He continued to be a very active field worker,

vii - Barnes: Editor’s Preface

and Punkurí was only one of his many projectsduring that time. Daggett revealed the politicalconditions that beset Tello.

Daggett began his serial biography of Julio C.Tello with our very first volume. In Andean Past1 (1987) Daggett wrote of “Reconstructing theEvidence for Cerro Blanco and Punkurí”.Daggett’s description of the shell trumpet isnecessarily vague, given that it had never beenproperly published before its apparent disappear-ance; however, Daggett did describe the muralsand sculpture in some detail.

Likewise, in his important article, “Towardthe Definition of Pre- and Early Chavín ArtStyles in Peru”, published in Andean Past 4(1994), Bischof could not incorporate theiconography of the Punkurí shell trumpet intohis analysis because of its unpublished andmissing status. Finally, more than twenty yearsafter Andean Past first discussed the Punkurífinds, we have a full description of the Strombusritual instrument and its archaeological context.Breakthroughs like that make our years ofediting very satisfying.

The Andean coast is one of the very fewregions of the world where textile art can sur-vive for centuries, even millennia. Weaving,embroidery, and continuous looping techniquesare all well developed there. In this volumeGrace Katterman, some of whose work onimportant, unique, and contextualized pre-columbian textiles has already appeared in ourseries, presents some extraordinary fish-nets in“Early Cotton Network Knotted in ColoredPatterns ”. These were found in a cache nearthe dry mouth of the Ica River. They are solarge that conservation had to be done in aswimming pool! Katterman illustrates them,explains how they were made and used, dis-cusses their iconography, and draws our atten-tion to parallels in museum collections.

In a variety of prehispanic and colonialfunerary contexts it is not unusual to findhuman heads and other body parts interred witha principal burial. Of course for every severedfoot or hand found in such a burial, there mustbe, or have been, a body missing those compo-nents. In “Strange Harvest: A Discussion ofSacrifice and Missing Body Parts on the NorthCoast of Peru” Catherine Gaither, JonathanBethard, Jonathan Kent, Víctor VásquezSánchez, Teresa Rosales Tham, and RichardBusch discuss such a body, a male adolescent orchild found at the Santa Rita B site in Peru’sChao Valley. This individual is missing manyparts, but what was left of him was articulated atthe time of burial. The authors suggest that hewas a sacrificial victim whose body parts wereharvested at or around the time of death for useelsewhere.

Body parts, specifically eyes, are also con-sidered in Ana Nieves’ paper, “More thanMeets the Eye: A Study of Signs in Nasca Art”.Nieves points out that when an intact vessel isviewed, a wrap-around depiction can be seenonly partially at any one moment and from anyone position. To see the whole figure the potmust be rotated. From certain points of viewmotifs which are almost lost in the complexity ofroll-out drawings became more obvious, and,therefore, seemingly more important. One ofthese is the eye-navel. In her paper Nievesexplores this motif’s connections to plantgrowth, fertility, and death.

Gregory D. Lockard also deals with theproblem of complex motifs seen only in frag-ments. In “A Design Analysis of Moche FinelineSherds from the Archaeological Site of Galindo,Moche Valley, Peru” Lockard tackles a problemimportant to field archaeologists, but less appre-ciated by museum scholars; most of the ceramicsrecovered from good archaeological contextscome to us in the form of individual sherds. Inthe case of Moche fineline ceramics we know

ANDEAN PAST 9 (2009) - viii

that the designs carried by these sherds wereonce components of larger scenes. How can onemake a solid analysis on the basis of fragments?Lockard presents a model for doing so.

This issue contains memorials to the livesand work of two Andeanists who died in thefullness of years. The first is a special sectiondevoted to John Victor Murra, professor emeri-tus at Cornell University (the publisher ofAndean Past). The second is an obituary of Cos-tanza Di Capua by Karen Olsen Bruhns. Inmany ways the experiences of Murra and DiCapua ran in parallel. Both were born EuropeanJews whose lives were seriously disrupted by theanti-Semitism and violence of the mid-twenti-eth century. Both used immigration as a meansof coping with their problems.

In 1938 dictator Benito Mussolini strippedItalian Jews of their civil rights. Costanza’scousin, Alberto Di Capua had settled in Ecua-dor and, in 1940, she married him by proxy andjoined him in Quito. Although she had to adjustto an environment very different from herbeloved Rome, Doña Costanza became anexemplary wife and mother, citizen of her newcountry, and a well respected scholar. She wasnot part of John Murra’s circle, but she fulfilledmany of his ideals including independent, cre-ative scholarship and the founding of institu-tions so that work could continue. She had arole in the establishment of the Museo delBanco Central del Ecuador, of the Quito Phil-harmonic Orchestra, and of Quito’s first Jewishhouse of worship.

John Murra came to the United States as ayouth, in part to avoid further incarceration inRomania because of his Communist politicalactivities. He volunteered to fight for the Loyal-ists in the Spanish Civil War. Disqualified by hiswar wounds from service in the U.S. military,and perhaps through the personal interventionof Nelson Rockefeller, Murra was in Ecuador

doing archaeological field-work during part ofthe Second World War and then performedintelligence services for the United States Armystateside while the conflict continued. After1963, he devoted himself almost exclusively toAndean anthropological topics. He became oneof the most famous, respected, and influentialscholars in his field.

Here we concentrate on John Murra as ateacher, writer, and public intellectual. For myshort biography of Murra I conducted archivalresearch at Vassar College, where he taughtfrom 1950 to 1951, and, with three year-longleaves of absence, from 1954 to 1963. I alsostudied Murra’s papers deposited in the Smith-sonian Anthropological Archives and did fur-ther archival research at New York University’sTamiment Library, and at the American Mu-seum of Natural History. In writing this biogra-phy I drew not only on the extensive documen-tation by and about John Murra, but upondiscussions with his colleagues, as well as myown impressions and knowledge of two of theinstitutions which provided him a base. I believeI am the only Andeanist still alive who knewJohn Murra personally and also holds degreesfrom both Vassar and Cornell. Writing a shortbiography of John Murra was a fascinatingproject, not in the least because, from the late1930s until the early twenty-first century, hewas in touch with a large number of both fa-mous and emerging anthropologists, from A. R.Radcliffe-Brown and Ruth Benedict, to myfellow editor Daniel H. Sandweiss, who inher-ited Murra’s bibliographical notes on Sovietethnography. As is usual with historical re-search, human memory and documentation arenot always a perfect fit. In trying to resolvecontradictions, I gave precedence to documents,especially official documents, produced at thetime events occurred.

Although I knew John Murra personally, Idid not know him well. However, there are

ix - Barnes: Editor’s Preface

others who did. In particular, many womenremember him as an excellent mentor. HeatherLechtman, who was one of John Murra’s stu-dents at Vassar College in the 1950s, and FredaYancy Wolf de Romero, who met Murra in1963 at the American Ethnological Associationmeeting at Cornell University, invited some oftheir friends and colleagues to share testimonyabout Murra’s role in their lives. In addition tocontributions by Lechtman and by Wolf, wehave short essays by Patricia Netherly, by AnaMaría Lorandi, by Victoria Castro, by RolenaAdorno, by Inge Maria Harman, and by SilviaPalomeque. Their portraits are varied, yet con-sistently depict a man utterly without genderprejudice, who encouraged women to be theirtrue selves. For many of these women, Murrawas their most important teacher. Castro em-phasizes Murra’s power to instill confidence inothers. This is an ability Murra knew he had.On October 8, 1963 he wrote in his diary,“Since Albacete [headquarters of the Interna-tional Brigades in the Spanish Civil War] I havehad this skill of provoking confidence fromvarious groups.”

In addition to being an original scholar,Murra was a perspicacious critic. This is re-flected in his numerous book and film reviews,but also in his teaching. While often beingsupremely influential, teaching is an activitythat can be quite ephemeral. Lechtman et al.provide us with a vivid picture of Murra’s inter-actions with students. Complementing theiressays, Frank Salomon, John V. Murra Profes-sor of Anthropology at the University of Wis-consin, Madison, gives us a sense of Murra’slectures in an essay entitled, “‘Kinsmen Resur-rected’: John Victor Murra and the History ofAnthropology”. Salomon reconstructs Murra’sviews from notes taken during courses offered atCornell in the early 1970s. This is a topic uponwhich Murra never published directly, which isa pity because it is clear that he had both insightand strong opinions on the subject. At Salo-

mon’s request, we subjected his article to strictpeer review, as well as two levels of editorialreview.

In working on the John Murra section Irealized just how many intellectual kinsmen andancestors we anthropologists have. A little fieldtesting with Andeanist scholars at various stagesof their careers revealed that no one couldidentify more than a fraction of the individualsmentioned in the John Murra section and inDaggett’s introduction to Willey’s reminis-cences. So that these pieces would make sense,we wrote a series of biographical footnotes. In allwe have almost 150 such notes. Although thesecover only a few overlapping circles withinanthropology and her sister sciences, they reveala dazzling intellectual complexity. I have arenewed respect for those who specialize in thehistory of anthropology.

As a graduate student under the influence ofMurra, Salomon undertook a Cornell sponsoredfield trip to Ecuador. Among the scholars hemet there was Costanza di Capua. Murra em-phasized the role of dedicated amateurs inbuilding national anthropologies and acknowl-edged the conflicts that developed between cre-dentialed professionals and those who were self-trained. Costanza was a model aficionada, be-ginning with her studies of the baroque art andarchitecture of Quito, and continuing with hermajor study of figurines, “Valdivia Figurines andPuberty Rituals: An Hypothesis”, published inAndean Past 4 (1994), and with her examina-tions of trophy heads, precolumbian seals orstamps, ancient Ecuadorian ceramic iconogra-phy, and the symbolism associated with theVirgin Mary.

One of the unique features of Andean Pastobituaries is that we try, in so far as possible, topublish a complete bibliography of works by andabout the deceased, unless such a list of publica-tions has already appeared. We go beyond what

ANDEAN PAST 9 (2009) - x

a reader would find with a casual Google orJSTOR search and I challenge you, Reader, toput us to the test. When a scholar dies after along career the list can extend to five or sixdouble-column 10-point pages, as it does withEdwin Ferdon and Richard Schaedel in AndeanPast 8, and with Frédéric-André Engel in An-dean Past 7.

This issue of Andean Past contains an evenlonger bibliography of the works of John Murracompiled by David Block and myself with thehelp of colleagues acknowledged in a noteincluded with that bibliography. Murra’s bibliog-raphy presented particular challenges. Not onlydid he publish frequently in first-tier North andLatin American academic journals, he wrote fora general audience in periodicals including TheNation and Lima’s El Comercio. Murra kept hismajor work in print by republishing it in a vari-ety of venues, sometimes in translation, andsometimes with updates and revisions. Col-leagues have told us about expected posthu-mous publications. In his early years Murrafrequently commented on African, PuertoRican, and French Caribbean cultures, politics,and letters. We hope that our bibliographyreflects the full span of his intellect. Althoughwe worked on it until the moment of going topress we are certain it is not complete. If youknow of anything we have missed, please let usknow.

In this issue we have another installment of“Current Research Reports”, a feature we beganwith Andean Past 6 (2000/2001). These shortpieces allow researchers to communicate theirlatest findings and conclusions unrestricted bypeer review. This volume includes reports onthe area around San Pedro de Atacama, north-ern Chile by Carolina Agüero, Mauricio Uribe,and Carlos Carrasco, as well as one on Chile’sTarapacá Region by Mauricio Uribe, LeonorAdán, Carolina Agüero, Cora Moragas, andFlora Viches. Juan B. Leoni presents his find-

ings on the Early Ceramic Period in the Huma-huaca region of northwestern Argentina. LeeHollowell discusses portals at the Fortaleza/Templo del Sol of Ollantaytambo in Peru’sUrubamba Valley and suggests that the Templodel Sol is an ushnu. He further postulates thatthe original Ollantaytambo ushnu occupied aposition at or near the location of the presentchurch. Matthew P. Sayre and Luisa LópezAldave write about the ways in which dataderived from shells shed light on patterns ofexchange at Chavín de Huántar, a topic relatedto Falcón’s observations on the Punkurí finds.Matthias Strecker, Freddy Taboada, andClaudia Rivera report on two rock art projectssponsored by SIARB, the Bolivian Rock ArtResearch Society. One is the Vallegrande Pro-ject in the Department of Santa Cruz thatstudies and protects the Paja Colorado Cavewith its complex rock art. The other is theBetanzos Project in the Department of Potosíwhere study of the mural art of small caves androck shelters is integrated into archaeologicalsurvey.

As I have worked on the past few issues ofAndean Past, it has become apparent to me thatnot all scholars have mastered the difficult workof preparing manuscripts for publication. Wesometimes receive submissions which have realmerit in terms of underlying research, datareported, and analysis, but have flaws thatwould seem fatal to many editors. Among themost common are inaccurate citations, poorillustrations, convoluted prose, apparent in-consistencies, and sometimes even bad spellingand grammar. For a long time we have served asa writers’ workshop via e-mail. We consultintensively with willing authors, helping themturn imperfect submissions into fine publishedpapers. I think this is one of our most importantcontributions to Andean studies. We have thecontinuing opportunity to help researchersimprove their articles. People whose work first

xi - Barnes: Editor’s Preface

appears in Andean Past often go on to build asolid list of articles.

Except for our Current Research section,obituaries, and personal recollections such asGordon Willey’s and Dick Daggett’s contribu-tion to this volume, all Andean Past articles aresubject to strict peer review, as well as two levelsof editorial review. For many reasons I stronglyprefer signed reviews. Thus I am especiallygrateful to reviewers Robert Ascher, GalenBrokaw, David Fleming, Alice Kehoe, andKevin Vaughn for allowing us to reveal theirnames, facilitating communication with theauthors of submissions. We also appreciate theimportant contributions of the anonymousreviewers who have helped us select papers forAndean Past 9. We are grateful to Treva Levineof Cornell University’s Latin American StudiesProgram for her essential work in the printingand distribution of Andean Past.

Sometimes readers and authors encourage usto include color illustrations in Andean Past.While there is no question that faithful colorreproduction increases the informational con-tent of publications, it also adds greatly to theircosts and may, in any case, be technically impos-sible. To render color accurately it is necessaryto use glossy fine art paper, a very expensiveproposition. It is also quite demanding of com-puter memory because color illustration files arealways larger than those of the same object orscene rendered in greyscale. Furthermore, asanyone who photographs an object, prints thephoto on a digital printer, and then comparesthe print with the original object quickly discov-ers, it is very difficult to reproduce color withoutsignificant shifts. Only photographs taken witha standard color scale in view can have theircolor rendered accurately. In addition, allmonitors and printers used must be carefullycalibrated to produce standard, numericallydefined colors. Digital cameras and scannerscannot be calibrated with present technology.

Thus, accurate color reproduction is a dauntingprocess in museum fine art publication andwould be almost impossible with the materialavailable to Andean Past. By using greyscalerenditions we signal that color has been ab-stracted, and the reader is less likely to be ledastray by the subtle, or not-so-subtle, deviationsfrom the color of the original subject that arealmost inevitably an element of color photo-graphs. In our layout we separate, for the mostpart, black and white text from grayscale. Thisallows for better scanning of the print versionsof our articles.1

The editors personally undertake all aspectsof Andean Past from acquisitions, to reviews, toline editing, to graphic design and layout as ouralumni contribution to Cornell University, andas a service to our discipline. We are generallynot remunerated for this and met our ownexpenses, with the exception of some overheadprovided by the University of Maine, Orono.The purchase price of Andean Past covers theprinting and distribution only, accomplished byCornell University’s Latin American StudiesProgram. We hope readers remember this whenthey ask us for costly improvements. Unless theycan identify additional sources of financialsupport, they are asking us to increase ouroutlay from personal funds. This is not alwayspossible.

Lately I have felt some external pressure totransform our journal into an open access inter-net publication. Readers who advocate thatshould understand that there is a good reasonwhy “open access” is not called “free access”.Under open access models, ultimate costs ofpublication are transferred from the consumersto the producers. In that sense open accessfollows the model of advertising and info-

1To get an optimal scan, set the scanner for “black andwhite”, and scan the text. Change the scanner setting to“grayscale” for the photographs and continue.

ANDEAN PAST 9 (2009) - xii

mercials. Open access is costly to publishers andauthors and the financial arrangements underly-ing it are usually complex, sometimes underwrit-ten by government funding. The economics ofopen access are often obscure to scholars affili-ated with large, well-endowed institutions whocan absorb the expenses of faculty and students.For example, the costs of maintaining JSTORare huge. Independent scholars who must payfor their own web pages quickly learn the truecosts of posting large amounts of material on theInternet.

Whenever one makes such Internet postingsone must keep copyright in mind. Andean Pasthas one of the most liberal policies amongjournals in this respect. Like our peers, we holdcopyright to the journal’s contents. However,because we encourage sharing our articles withmonolingual

Spanish-speaking colleagues, we grant blanketpermission to authors to republish their articles,in the original or in translation, including on theInternet, provided one year has passed since thework was published in Andean Past.

As we send this issue of Andean Past topress, our tenth volume is in progress. I canassure readers that it will be another solid, databased, book length contribution to our field.However, its exact contents are largely up toyou.

Monica Barnes1 November 2009