Esta investigación busca entender el proceso de construcción de una identidad moche a través el turismo cultural, donde participa el proyecto arqueológico Huacas de Moche, los emprendedores locales y la política local. Partiendo desde el estudio del turismo, la investigación se inscribe en un debate sobre la autenticidad cultural. Decidimos introducirnos en el fenómeno turístico debido a la importancia que tiene en la vida local y en las políticas públicas para la sociedad local. La investigación se desarrolla en el Distrito de Moche, que pertenece a la Región La Libertad. El distrito posee diversas expresiones turísticas que surgen a raíz de los descubrimientos arqueológicos de la cultura mochica. Se aplicó una investigación de enfoque etnográfico, para analizar las experiencias turísticas a través de entrevistas a empresarios turísticos. Incorporamos el análisis documental para analizar los discursos instituciones del proyecto arqueológico y la etnografía virtual para profundizar sobre el impacto de los proyectos turísticos del poder local. La investigación determinó que la identidad moche construida desde el turismo tuvo como base un discurso empresarial que buscaba transformar el patrimonio arqueológico local en símbolos y narrativas a fines al comercio moche. Este tipo de identidad fue la base de diversos emprendedores para producir experiencias turísticas e incorporar relatos e imaginarios adquiridos desde su trayectoria personal. De la misma manera, el alcalde Arturo Fernández desarrolló proyectos turísticos donde desplegó imaginarios y valores de ciudadanía y emprendimiento, con lo cual logró legitimidad y alianzas políticas a miras de las elecciones municipales del 2022.

The Moche fineline painting corpus contains hundreds of representations of winged figures, but these have never been analyzed as a group. This thesis is an investigation of these winged figures, focusing on iconographic methodology. I have identified and categorized representations of birds (ducks, the Falconidae family, owls,hummingbirds, vultures and condors, etc.), mammals (bats) and insects (dragonflies) in the fineline paintings. Special attention has been paid to genus and family, including the attributes and behaviors of these animals. This has yielded several important observations about how the Moche represented and linked winged figures. In the second part of this thesis I use semiotic analysis to consider winged figures as symbols rather than naturalistic representations. I also examine anthropomorphic winged figures, and analyze the interpretive possibilities and the implications of these interpretations. / text

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Este trabalho buscou sistematizar e analisar artefatos da cerâmica ritual Mochica e Nasca, pertencentes a coleções de diversos museus, cuja morfologia ou iconografia pode ser atribuída às representações de personagens portando ou tocando flautas de pã. Partimos da premissa de que estas representações aparecem em um conjunto de artefatos cerâmicos produzidos de acordo com uma normatização rígida, controlada por elites de poder político-religioso de uma sociedade hierarquicamente estruturada. Assim, a forma como os músicos estão representados na cerâmica pode revelar muito sobre seu papel social, sua relação com as estruturas de poder locais, bem como sobre a simbologia desse instrumento sonoro nas cosmovisões Mochica e Nasca, nos Andes Pré- Colombianos. / This paper aims to systematize and analyse the artifacts pertaining to a variety of museum\'s collections, which iconography or morphology can be ascribed to depictions of characters holding or playing panpipes on Moche and Nasca ritual pottery. We start from the premise that these representations appear in a set of ceramic artifacts produced according to a rigid standardization, controlled by elites holding the political and religious power. Thus, the way these musicians are displayed on pottery can reveal much about their social role, the imaginary place they hold in the minds of the Moche and Nasca peoples, their relation to the worldview and with their local power structures, as well as the symbolism of this instrument to these societies in the Pre-Columbian Andes.

Este trabalho propôs analisar a cerâmica ritual produzida pelos Mochica, sociedade que ocupou a costa norte peruana entre os séculos I e VIII d.C., com base em três eixos principais: o papel mediador de personagens geralmente entendidos como xamãs, ou sacerdotes; os rituais de sacrifício humano e os processos de verticalização do poder político; e as dinâmicas de transformação e suas implicações nas relações entre entes humanos e não humanos. Estes temas, observados na iconografia e morfologia dos artefatos estudados, orientaram o processo de identificação dos conjuntos cerâmicos selecionados para esta pesquisa. A análise pautou-se na identificação de atributos de personagens classificados como xamãs, curandeiros e sacerdotes, com o objetivo de problematizar a utilização de tais categorias no estudo da cultura material relacionada às práticas rituais Mochica. O debate sobre xamanismo foi inspirado pela teoria antropológica contemporânea que discute o \"multinaturalismo ameríndio\". A reflexão centrou-se nos conceitos de transição, movimento e transformação, temas estruturantes das práticas xamânicas e organização sociocosmológica andina. / This dissertation proposes the analysis of ritual ceramic produced by the Mochica, society that occupied the Peruvian north coast between I and VIII centuries, based in three main axis: the mediator role of characters commonly interpreted as shamans or priests; the human sacrifices rituals and the increase of political power processes; and the transformation dynamics and their implications in the relations between humans and non-humans. This themes, observed in the iconography e morphology of the artifacts served as guide for the identification process of the selected ceramic conjuncts which were used in this study. The analysis was guided in the identification of characters classified as shamans, healers and priests, with the objective of problematize such categories in the studies of material culture related to Mochica mortuary practices. The debate about shamanism was inspired by contemporary anthropological theory that concerns to \"multinaturalismo amerindio\". Transitions concepts, movement and transformation, shamanic practices and cosmological of Andean organization are the topic of thoughts in the research.

This dissertation examines Moche (A.D. 300-900) sociopolitical organization in northern Peru at the previously unexplored site of Licapa II, a mid-sized ceremonial center in the Chicama Valley. Moche’s distinct archaeological signatures, chiefly, ceramics and architecture, have long been seen as emblematic of an ethnic and political reality and defined as evidence for the first South American state although recent scholarship has begun to view Moche as a more complex mosaic of interacting settlements across a landscape. My research at Licapa II is the first study of a site of its size and kind, thus constituting a novel contribution to the paradigm shift in Moche research. My excavations, surface collections, and geophysical surveys contributed to understanding the nature of the site and the activities performed there. Licapa II consists of two pyramids (huacas), a canal, and other buildings. I show that the two major structures, Huaca A and Huaca B, are characterized by different material culture, are different in form, and date to different time periods. Huaca A has local ceramics and was mainly used before A.D. 600. Huaca B has Moche IV and V style ceramics and was in use after A.D. 600. Based on my evaluation of radiocarbon dates, the changes in buildings and ceramics seen at Licapa II around A.D. 600 also occurred throughout the Moche world and included the adoption of Moche IV ceramics and soon after, in some places, Moche V. I also show that the Moche V style likely originated in the northern Chicama Valley and spread from there circa A.D. 650. I also argue that political organization in Moche times may have been similar to colonial era organization, based on nested moieties organized around the irrigation system. Overall, in this dissertation I demonstrate that Licapa II was an independent center intimately connected to a dynamic landscape of interconnected nodes in an ever- changing and complex network of sites. Simplistic models based on the concept of large Moche states thus should be discarded. / Anthropology

Mochica cultural reconstructions have been based largely on the analysis of funerary ceramics that contain fineline thematic iconography but context has for the most part been ignored. Previous "ethnographic readings" of Moche fineline themes have not examined the content of non-funerary iconography in specific archaeological contexts, or the relationship between living and funerary iconography based on the contextual data. This investigation addresses these problematic issues by analyzing the artistic content found upon living-context ceramics from the sites of Pampa Grande, and the Huacas de Moche. The content is then examined in relation to funerary iconography, and the living contexts from which it was derived, testing the fundamental premises underlying reconstructions of the ancient Mochica culture.

Este trabalho propôs analisar a cerâmica ritual produzida pelos Mochica, sociedade que ocupou a costa norte peruana entre os séculos I e VIII d.C., com base em três eixos principais: o papel mediador de personagens geralmente entendidos como xamãs, ou sacerdotes; os rituais de sacrifício humano e os processos de verticalização do poder político; e as dinâmicas de transformação e suas implicações nas relações entre entes humanos e não humanos. Estes temas, observados na iconografia e morfologia dos artefatos estudados, orientaram o processo de identificação dos conjuntos cerâmicos selecionados para esta pesquisa. A análise pautou-se na identificação de atributos de personagens classificados como xamãs, curandeiros e sacerdotes, com o objetivo de problematizar a utilização de tais categorias no estudo da cultura material relacionada às práticas rituais Mochica. O debate sobre xamanismo foi inspirado pela teoria antropológica contemporânea que discute o \"multinaturalismo ameríndio\". A reflexão centrou-se nos conceitos de transição, movimento e transformação, temas estruturantes das práticas xamânicas e organização sociocosmológica andina. / This dissertation proposes the analysis of ritual ceramic produced by the Mochica, society that occupied the Peruvian north coast between I and VIII centuries, based in three main axis: the mediator role of characters commonly interpreted as shamans or priests; the human sacrifices rituals and the increase of political power processes; and the transformation dynamics and their implications in the relations between humans and non-humans. This themes, observed in the iconography e morphology of the artifacts served as guide for the identification process of the selected ceramic conjuncts which were used in this study. The analysis was guided in the identification of characters classified as shamans, healers and priests, with the objective of problematize such categories in the studies of material culture related to Mochica mortuary practices. The debate about shamanism was inspired by contemporary anthropological theory that concerns to \"multinaturalismo amerindio\". Transitions concepts, movement and transformation, shamanic practices and cosmological of Andean organization are the topic of thoughts in the research.

Este trabalho buscou sistematizar e analisar artefatos da cerâmica ritual Mochica e Nasca, pertencentes a coleções de diversos museus, cuja morfologia ou iconografia pode ser atribuída às representações de personagens portando ou tocando flautas de pã. Partimos da premissa de que estas representações aparecem em um conjunto de artefatos cerâmicos produzidos de acordo com uma normatização rígida, controlada por elites de poder político-religioso de uma sociedade hierarquicamente estruturada. Assim, a forma como os músicos estão representados na cerâmica pode revelar muito sobre seu papel social, sua relação com as estruturas de poder locais, bem como sobre a simbologia desse instrumento sonoro nas cosmovisões Mochica e Nasca, nos Andes Pré- Colombianos. / This paper aims to systematize and analyse the artifacts pertaining to a variety of museum\'s collections, which iconography or morphology can be ascribed to depictions of characters holding or playing panpipes on Moche and Nasca ritual pottery. We start from the premise that these representations appear in a set of ceramic artifacts produced according to a rigid standardization, controlled by elites holding the political and religious power. Thus, the way these musicians are displayed on pottery can reveal much about their social role, the imaginary place they hold in the minds of the Moche and Nasca peoples, their relation to the worldview and with their local power structures, as well as the symbolism of this instrument to these societies in the Pre-Columbian Andes.

In this chapter, I argue that developments characterizing the Late Moche Period in the Jequetepeque Valley, including both the adoption of highland artistic styles at San José de Moro and Huaca Colorada, as well as the proliferation of Moche religious architecture throughout the hinterland, were significantly influenced by interactions with highland societies, including Wari and Cajamarca. I support this thesis by examining the reconfiguration of the chicha-based political economy and the intensification of competitive feasting in the region that accompanied the ascendancy of the priestess cult in Jequetepeque. I also contend that a specific cosmological framework of coastal-highland opposition and gendered complementarity, evident at the time of the conquest, appears to have taken root in the Middle Horizon. In other words, culturally constructed and religiously mediated notions of geography, alterity, and interdependence can partly explain the tenor of Moche-highland relations and the subtle transformations of Moche ritual practices and political relations. The data suggests that the priestess cult may have been patronized by sierra polities, even if indirectly, for it conformed to emerging geo-cosmological and gendered understandings of coastal-highland dependencies. / En este capítulo, argumento que los desarrollos que caracterizan el Periodo Moche Tardío en el valle de Jequetepeque, incluyendo tanto la adopción de estilos artísticos serranos en San José de Moro, así como la proliferación de arquitectura religiosa moche a través del territorio, estuvieron significativamente influenciados por las interacciones con las sociedades serranas, incluyendo Wari y Cajamarca. Sostengo esta tesis examinado la reconfiguración de la economía política basada en la chicha y la intensificación de los festines competitivos en la región que acompañaron la ascensión del culto de la Sacerdotisa en Jequetepeque. También sostengo que un marco cosmológico específico, de oposición costa-sierra, basado en la complementariedad de los sexos masculino y femenino, evidente al momento de la conquista, aparenta haberse enraizado durante el Horizonte Medio. En otras palabras, nociones culturalmente construidas y mediadas de geografía, alteridad, e interdependencia, pueden explicar parcialmente el tenor de las relaciones moche-sierra y las sutiles transformaciones de las prácticas rituales y relaciones políticas moche. Los datos sugieren que el culto de la Sacerdotisa puede haber estado promovido por las organizaciones políticas de la sierra, incluso indirectamente, porque se conformaba a comprensiones geocosmológicas emergentes de las dependencias costa-sierra.