Tag: activism

Summary of Now Peru Is Mine

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In Now Peru Is Mine: The Life and Times of a Campesino Activist, Manuel Llamojha Mitma and Jaymie Patricia Heilman present a testimonio of Llamojha’s lifelong activism and struggles against socioeconomic and racial oppression in Peru—and across the globe, to some extent—throughout the 20th century. Now Peru Is Mine illustrates the idea that nonviolent resistance, especially activism involving the written word, can be far more effective than violent means with respect to achieving social progress.
The book begins by outlining the events of Llamojha’s early life that led him on his activist path. Although Llamojha was born to an indigenous peasant family in a community with a severely low literacy rate, his father taught him to read and write at a young age. Llamojha witnessed the abuses of the hacendados firsthand, and these injustices, in conjunction with his literacy, inspired in him a desire to lead and make a difference. He initially intended to become a priest, but was unjustly rejected as a result of his race and class. He then joined the military, planning to use his service as the jumping-off point for a revolution, but was dismissed for these very same revolutionary inclinations. Over time, Llamojha learned more about the systems of oppression operating in Peru, through books, word of mouth, and his personal observations. He became secretary general of a migrant club in his community, challenging the local authorities.
Next, Llamojha and Heilman focus on Llamojha’s activism with the Jhajhamarka hacienda. Llamojha would use his ever-present typewriter, as well as makeshift seals and other “official” devices, to compose complex legal documents. The authorities constantly harassed him, occasionally forging documents to brand him a communist. Llamojha observes that he was in jail so often that it became like home to him. He was even forced to fake his own death at one point in order to evade arrest. This constant turmoil was difficult for his family to handle at times. While Llamojha was in jail, he also continued his activism. Eventually, he was elected personero legal of Concepción, a position to which he continued to be reelected over the years.
Llamojha was later elected secretary general of the Confederación Campesina del Perú, and in the sixties he traveled to various socialist countries, including Cuba, the Soviet Union, and China. Llamojha criticized the brand of communism practiced by the USSR, favoring instead the peasant-oriented communism of Mao’s China. Upon his return, Llamojha was jailed for an entire year. Unfortunately, in the seventies, schisms developed within the CCP in response to the state-enforced agrarian reforms of the Velasco military government. Llamojha and others opposed the regime because they felt the reforms were insufficient, and disempowered the peasant class. During this period, various other disputes also arose within the left.
Next, Llamojha and Heilman recount likely the darkest period in Llamojha’s life: the loss of his son Herbert. Herbert was wrongfully arrested on suspicion of involvement in a terrorist attack perpetrated by the Shining Path. Disturbingly, he was turned in by Llamojha’s own brother, who was apparently sympathetic to the hacendado cause. The Shining Path later attacked the prison in which Herbert was being held, and he escaped, but he was never officially seen again. This tragedy profoundly devastated Llamojha and his family. In this regard, Llamojha and Heilman present a pointed critique of violent revolutionary tactics like those employed by the Shining Path and other militant organizations.  
Now Peru Is Mine addresses issues that are echoed within a plethora of scholarly works, including Waskar Ari-Chachaki’s essay “Between Indian Law and Qullasuyu Nationalism: Gregorio Titiriku and the Making of AMP Indigenous Activists, 1921-1964.” Both works demonstrate the power of literacy in terms of organizing movements and effecting social progress. Like Llamojha, intellectual activist Gregorio Titiriku had a father who taught him to read and write early in his life. Like Llamojha, these abilities inspired and allowed for Titiriku’s career as an activist. Finally, for both Llamojha and Titiriku, the knowledge of and familiarity with the intricacies of their respective governing institutions provided by literacy was instrumental in their success. This connection is important because it demonstrates that the effectiveness of Llamojha’s writing-oriented, nonviolent resistance is not an isolated aberration. These forms of activism work across the globe and across historical time periods, not just in Peru and not just during the period of Llamojha’s work.
Llamojha and Heilman’s message regarding the importance of this kind of resistance can be seen in one passage in the book in particular, which depicts some highly meaningful images. In Chapter Two, “‘I Made the Hacendados Tremble’: Defending Jhajhamarka Campesinos, 1948-1952,” specifically on pages 47 through 52, Llamojha and Heilman describe how Llamojha used his typewriter and makeshift stamps to draw up documents. Llamojha recounts that he used to carry his typewriter wherever he went so that he would always be prepared to draft petitions, formal requests, memos, and the like, if the situation should present itself. He goes on to explain that he would then take these documents directly to the national government himself, bypassing the local authorities. In doing so, Llamojha was time and time again able to win important rights and protections for his people, going so far as to “make the hacendados tremble.” The image of Llamojha carrying his typewriter around wherever he would go is especially striking because it contrasts so strongly with more traditional images of revolutionaries carrying guns and other weapons. Llamojha’s example affirms the adage that the pen (or typewriter, as the case may be), is truly mightier than the sword.
Works Cited
Ari-Chachaki, Waskar. “Between Indian Law and Qullasuyu Nationalism. Gregorio Titiriku and the Making of AMP Indigenous Activists, 1921-1964.” Bolivian Studies Journal/Revista De Estudios Bolivianos, vol. 15, 2011, pp. 91–113., doi:10.5195/bsj.2010.11.
Mitma, Manuel Llamojha, and Jaymie Patricia Heilman. Now Peru Is Mine: the Life and Times of a Campesino Activist. Duke University Press, 2016.

Political Activist in 20th century Peru: Manuel Llamojha Mitma

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(photo credits: Llamojha, Concepción, 2013. Author photo.)

Summary:

Born on May 3rd, 1921, Manuel Llamojha Mitma fought without the use of violence for the land rights and national inclusion of campesinos. Llamojha preferred the term campesinos to Indigenous because it allowed people to feel more connected to their Quechua ancestry and got rid of the labels given to them by the Spanish and higher officials in Peru. His captivating story is organized through Jaymie Patricia Heilman’s own writing using a mixed range methodology including excerpts from documents written by Llamojha, testimonials from Llamojha and his family members, and archival records. Throughout his life, Llamojha recalls the immense struggles faced by him and members of his community including the lack of sufficient, good quality land and the discrimination and mistreatment from hacendados and the Peruvian government. One persistent struggle Llamojha faced was being accused of being part of the Peruvian Communist Party- Shining Path in the 1980s which was responsible for the deaths of 69,000 Peruvians. These accusations forced Llamojha and his family to flee their home and live in the city of Lima for almost two decades. Nevertheless, Llamojha continued his work as an activist. His ability to read and write, which was not common among campesinos at that time placed him in a position of leadership among other campesinos in rural Peru.  

Quotes:

“Campesinos have fought so much and suffered so much, during colonial times and republican times, too. We need the future world to know about this, the suffering of the campesinos.” ((Jaymie Heilman and Manuel Llamojha Mitma, Now Peru Is Mine: The Life and Times of a Campesino Activist (Durham, NC: Duke University Press, 2016),14.))

“We used to write ‘indigenous campesino community’ because representatives of the high authorities came and said ‘you are an indigenous community.’ So we accepted that and started to write documents and memos, always writing ‘indigenous campesino community.’ But later, we wanted to suspend use of that word. ‘Why should we write that?’ we asked.”((Jaymie Heilman and Manuel Llamojha Mitma, Now Peru Is Mine: The Life and Times of a Campesino Activist (Durham, NC: Duke University Press, 2016),12.))

“Because I was the only boy in the pueblo who knew how to read, no one else, the kids followed me around.” ((Jaymie Heilman and Manuel Llamojha Mitma, Now Peru Is Mine: The Life and Times of a Campesino Activist (Durham, NC: Duke University Press, 2016),25.))

“I organized a tenants’ union and we began the struggle. I started to draw up documents. I went with my typewriter. I drew up documents and got peasants to sign them. I always walked around with my typewriter, I wrote petitions, and got all the people to sign.”  ((Jaymie Heilman and Manuel Llamojha Mitma, Now Peru Is Mine: The Life and Times of a Campesino Activist (Durham, NC: Duke University Press, 2016),49.))

“You have to struggle. You have to organize the masses well and not abandon them. You have to continue the struggle until you attain all the peasantry’s goals, until you attain the goals of the pueblo, which needs to liberate itself from the clutches of tyranny.” ((Jaymie Heilman and Manuel Llamojha Mitma, Now Peru Is Mine: The Life and Times of a Campesino Activist (Durham, NC: Duke University Press, 2016),188.))

Timeline:

                   

Published Work:

Now Peru Is Mine: The Life and Times of a Campesino Activist  by Jaymie Heilman and Manuel Llamojha Mitma

https://www.amazon.com/Now-Peru-Mine-Campesino-Narrating/dp/0822362384

 

Indigeneity & Hip-Hop in La Paz, Bolivia

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This documentary brings to the spotlight hip-hop/rap in Bolivia from groups such as Wayna Rap (which translates to Aymara to English to “Young Rap.”) The documentary explores how hip-hop and the community created by the youth of La Paz serves as a way to empower the youth. The use of hip-hop and rap to build and create positive messages and bolster the self-esteem of the youth and embrace their indigenous roots/identity. It touches on ways that this group of artists has been able to help change the racist and discriminatory narratives that are so commonplace in El Alto, Bolivia. It helps re-establish a link to indigenous Bolivian youth’s indigenous identity in a national context; they find a way to embrace their indigeneity in a day in age where media outlets and political discourse paints them as the cold sore of society. As the director of the cultural center Wayna Tambo, Santos Callejas, puts it, society labels them the “chronic red” in reference to the violence that plagues the youth of El Alto. Additionally, they are very open to celebrating and recognizing indigeneity by creating music and rapping in their indigenous tongue of Aymara. Where public school and institutions in Bolivia fail in recognizing and giving legitimacy to indigenous practices and language, Wayna Tambo offers a viable and inclusive environment to do so in a self-expressive and entertaining way.
Moreover, the cultural center, Wayna Tambo, serves as a hub for these kids to find and create their own space for self-expression and safety. Having a radio station as well, they’re able to spread their platform far beyond the confines of El Alto and can reach a broader audience with their message. They speak on outside influences that they draw on in the U.S as they stand in solidarity with places like The Bronx, NY that are also stricken by poverty and crime. Thus, artists in the U.S have risen and raised awareness to oppressive systems and injustices they face. They make note of artists such as Mos Def, Dead Prez, and Immortal Technique whom all have a unifying theme in that they speak of social justice and call out the systems put in place to oppress and suppress impoverished communities, specifically African-American communities. I found it particularly interesting because I like to think hip-hop and freestyling are a form of storytelling and a method of coping. These young artists can channel the energy and emotions they keep stored up and are able to raise consciousness and awareness to the present, everyday realities and struggles they go through. Through this, they are able to resonate with each other and create strong social networks of support, as well as create a universal message and relate to struggles that span farther than just their local communities in La Paz. Through this art form, the youth are able to redefine themselves and fight back the negative stereotypes of the youth (specifically indigenous youth) in La Paz, Bolivia, and find an escape in the music. It serves as a community and space for youth that are affected by poverty in their neighborhoods as a positive outlet and to keep the youth from falling into the cycle of crime that affects so many of the kids of La Paz.
Linked below is a playlist I compiled of the 3 part series documentary created by: Eli Breitburg-Smith and Meredith Webb.