PATHere.org https://pathere.org Peruvian - American Together Here Wed, 02 Aug 2023 09:47:59 +0000 en-US hourly 1 https://wordpress.org/?v=6.0.3 https://pathere.org/wp-content/uploads/2023/01/cropped-Recurso-1-32x32.png PATHere.org https://pathere.org 32 32 Ceremonia de otorgamiento de Becas 2023 https://pathere.org/ceremonia-de-otorgamiento-de-becas-2023/ Wed, 02 Aug 2023 08:27:30 +0000 https://pathere.org/?p=20564

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CEREMONIA DE OTORGAMIENTO
DE BECAS 2023

El 25 de julio celebramos en Mansión Soledad en Exton, Pensilvania la ceremonia de otorgamiento de becas de PATHere.org del 2023. Ese día estuvo lleno de optimismo, alegría y unión. PATHere.org tiene mucho orgullo en presentar a los becarios del 2023.

GANADORES DE BECAS

1.ARIANA SALAZAR LOZANO

Ariana se mudó a los EE.UU. en 2016 a la edad de 11 años. Ella se acaba de graduar con un promedio de 5.41 de 6 puntos de la escuela de Monsignor Bonner & Archbishop Prendergast de Drexel Hill, Pensilvania. Ariana asistirá a Oberlin College en Ohio, donde empezará su formación universitaria para realizar su sueño de hacerse médico.

2.SOFÍA GABRIELA FERRÁNDEZ

Sofía se acaba de graduar en el puesto número 6 de su promoción de 563 alumnos de Bensalem High School en Bensalem, Pensilvania. Sofía asistirá a Swarthmore College, donde explorará sus variados intereses académicos. En su último año escolar, su programa consistía en estudios tales como danza avanzada, literatura mundial, cálculo y microbiología.

GANADORES DE MENCIÓN HONROSA

3.ISABELLA MARIE HENNESSEY VELAZCO

Isabella completó sus estudios secundarios en Merion Mercy Academy en Merion Station, Pensilvania. Este otoño, Isabella empezará sus estudios en la Universidad de Loyola en Maryland, donde hará una concentración en ciencias políticas para prepararse para una carrera de servicio público.

4.YEMALE AISHA FEBRES

Yemale completó sus estudios secundarios en The Baldwin School en Bryn Mawr, Pensilvania. Yemale se dirige para Occidental College en California, donde piensa entrar en el programa de Diplomacia y Asuntos Internacionales con una especialización en estudios latinoamericanos para dedicarse a una carrera para promover la armonía racial.

PATHere.org  les extiende sus más sinceras felicitaciones a todas las becarias, y a sus familias, por todos sus logros académicos y servicio a la comunidad. PATHere.org les desea muchos éxitos en sus estudios universitarios.

Ariana Salazar Lozano
Sofía Gabriela Ferrández

English

2023 SCHOLARSHIP AWARD CEREMONY

On July 25, PATHere.org celebrated its 2023 scholarship award ceremony at Mansion Soledad in Exton, Pennsylvania. The day was full of optimism, joy, and unity. PATHere.org presents proudly its 2023 award recipients.

SCHOLARSHIP WINNERS

1.ARIANA SALAZAR LOZANO

Ariana came to the U.S.A. in 2016 when she was 11 years old. She was graduated with a 5.41 grade point average, out of 6, from Monsignor Bonner & Archbishop Prendergast High School in Drexel Hill, Pennsylvania. Ariana will attend Oberlin College in Ohio, where she will begin her academic path to realize her dream of becoming a physician.

2.SOFÍA GABRIELA FERRÁNDEZ

Sofía was graduated 6th in her class of 563 students from Bensalem High School, Bensalem, Pennsylvania. Sofía heads to Swarthmore College, where she will explore her various academic interests. In her senior year, Sofía’s program included a variety of disciplines, including advanced dance, world literature, calculus, and microbiology.

HONORARY MENTION WINNERS

3.ISABELLA MARIE HENNESSEY-VELAZCO

Isabella completed her secondary school education at Merion Mercy Academy in Merion Station, Pennsylvania. This fall, Isabella will begin her academic studies at University of Loyola Maryland, where she will major in political sciences to pursue a public service career.

4.YEMALE AISHA FEBRES

Yemale was graduated from The Baldwin School in Bryn Mawr, Pennsylvania. She will attend Occidental College in California, where she will enter the Diplomacy and World Issues Program with a concentration in Latin American studies to pursue a career promoting racial equality.
PATHere.org  extends its heartfelt congratulations to all of its scholars, and their families, for their academic accomplishments and community service. PATHere.org wishes them much success in their university studies.
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Proclamación del 28 De Julio – Día de La Independencia Del Perú https://pathere.org/proclamacion-del-28-de-julio-dia-de-la-independencia-del-peru/ Fri, 28 Jul 2023 08:10:27 +0000 https://pathere.org/?p=20509

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PROCLAMACIÓN DEL 28 DE JULIO DÍA DE LA INDEPENDENCIA DEL PERÚ

Filadelfia, Pensilvania 25 de Julio del 2023

El Alcalde de Filadelfia, James F. Kenney, reconoció el 28 de julio como el Día de la Independencia del Perú, a través de una proclamación oficial con fecha del 25 de julio del 2023. En ese día, el izamiento de la bandera Peruana fue celebrada en frente de la Alcaldía de Filadelfia. La ceremonia incluyó la participación de Patricia Ráez Portocarrero, Cónsul General del Perú para los estados de Nueva Jersey y de Pensilvania, autoridades locales, miembros de PATHere.org , y miembros de la comunidad peruana.

English

PROCLAMATION JULY 28 - PERU’S INDEPENDENCE DAY

Philadelphia, Pennsylvania July 25, 2023

The Mayor of Philadelphia, James F. Kenney, recognized July Twenty-Eighth as the Independence Day of Peru, by means of an official proclamation bearing the date of 25 July, 2023. On that day, the raising of the Peruvian flag was celebrated in front of Philadelphia’s City Hall. The ceremony included the participation of Patricia Ráez Portocarrero, Consul General of Peru serving the State of New Jersey and the Commonwealth of Pennsylvania, local authorities, members of PATHere.org, and members of the Peruvian community.

Proclamation official document

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Announcement of 2023 Scholarship Winners https://pathere.org/announcement-of-2023-scholarship-winners/ Tue, 18 Jul 2023 16:43:07 +0000 https://pathere.org/?p=20493

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GANADORES DE LAS BECAS DEL 2023​

PATHere.org agradece y extiende sus más sinceras felicitaciones a todos los postulantes a las becas del 2023. El comité de becas constituido por las destacadas profesionales peruanas de la región Pamela AlvaEunice Cortez y Mary Luz Marques ha seleccionado a las becarias de este año, cada una de las cuales recibirá una beca de dos mil dólares pagada directamente a su respectiva universidad. Este año, y de manera excepcional, el comité recomendó y PATHere.org aprobó, en base a fondos disponibles, dos premios de mención honrosa, cada uno del cual será de mil dólares pagado directamente a la respectiva universidad de las postulantes de mención honrosa.

Las becarias son:

  • Ariana Salazar Lozano, quien asistirá a Oberlin College.
  • Sofía Gabriela Ferrández, quien asistirá a Swarthmore College.

Las laureadas con mención honrosa son:

  • Yemale Aisha Febres, quien asistirá a Occidental College.
  • Isabella Marie Hennessy Velazco, quien asistirá a Loyola University of Maryland.

PATHere.org les desea a las cuatro ganadoras un exitoso primer año en sus estudios universitarios.

English

ANNOUNCEMENT OF 2023 SCHOLARSHIP WINNERS​

PATHere.org thanks and congratulates each and all of the candidates in its 2023 scholarship program. The scholarship committee formed by the distinguished Peruvian professionals from the region, Pamela Alva, Eunice Cortes, and Mary Luz Marques, has selected the award recipients of this year, each of whom shall receive a scholarship of two thousand dollars that will be paid directly to her respective university. This year, and in an exceptional manner, the committee recommended, and PATHere.org approved, based on its available funding, two honorable mentions, each of whom shall receive an award of one thousand dollars that will be paid directly to her respective university.

The award recipients are:

  • Ariana Salazar Lozano, who will attend Oberlin College.
  • Sofía Gabriela Ferrández, who will attend Swarthmore College.

The recipients of the honorable mentions are:

  • Yemale Aisha Febres, who will attend Occidental College.
  • Isabella Marie Hennessy Velazco, who will attend Loyola University of Maryland.

PATHere.org wishes all four winners a successful freshman year in their academic studies.

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Sección del Consulado Peruano en Pensilvania https://pathere.org/izamiento-de-la-bandera-del-peru-2/ Mon, 17 Jul 2023 13:27:20 +0000 https://pathere.org/?p=20464

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PATHere.org viene ayudando a la comunidad peruana en Pensilvania con la difusión general sobre los servicios y procedimientos del Consulado General del Perú en Paterson, Nueva Jersey, en coordinación con dicha entidad. Puede ver en nuestra página Web sus avisos en la nueva sección “Consulado”.

English

PATHere.org continues to aid the Peruvian community in Pennsylvania with the propagation of general information concerning the services and procedures of the Peruvian Consulate General in Paterson, New Jersey, in coordination with the aforementioned organization. One can see its updates on our new website tab “Consulate.”

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Izamiento de la Bandera del Perú https://pathere.org/izamiento-de-la-bandera-del-peru/ Fri, 14 Jul 2023 13:40:34 +0000 https://pathere.org/?p=20442

El consulado General del Perú 🇵🇪 en Paterson 🇺🇸 y PATHere.org te invitan al:

Izamiento de la bandera del Perú

 
FECHA:

🗓 25 de Julio del 2023
HORA:
🕕 12:00pm – 1:00pm

LUGAR:
📌 Philadelphia City Hall
1400 John F Kennedy Blvd.
Philadelphia PA 19107

Invitados

🔴 Maestro de Ceremonia: Roberto Vinces
🔴 Sandra Monsalve
🔴 Valentina Rodriguez / Francisco Gonzales
🔴 Ashley Mahaux / Walter Vidarte

❗Te esperamos❗

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Archaeological Complex of Toro Muerto https://pathere.org/archaeological-complex-of-toro-muerto/ Tue, 06 Jun 2023 07:04:14 +0000 https://pathere.org/?p=20349

Archaeological Complex of Toro Muerto

Description

The Archaeological Complex of Toro Muerto is a petroglyph site created by agroalfareras (agricultural-ceramic) societies in which their worldview symbols and daily life scenes were portrayed in thousands of engraved rocks of volcanic origin. It represents a remarkable example of particular tradition of rock art. Throughout a large range of evidences, it is possible to confirm that between 800 – 1500 years A.D. many anthropomorphic, zoomorphic, geometric figures and many scenes were engraved, identifying in the stone block panels of the site. They were located at a large desert plain that is in the Majes valley.

In the group of petroglyph localities around the world that hold an ancient and even a significant density of engraved rocks, Toro Muerto has an exceptional place for its cultural attributes and values that are masterfully expressed, and it stands out not only in Peru or in America.

The Archaeological Complex of Toro Muerto is located in the region of Arequipa, at 163 km from the city of Arequipa and next to the village of La Candelaria. It belongs politically to the Uraca and Aplao districts, province of Castilla. It is located western Andes Mountains, Toro Muerto is located in a wide and desert gorge that joins the Valley of Majes River, whose landscape is distinguished by its dry lateral gorges, fluvial terrace in both shores and river course (Fig. 1). In detail, the petroglyph site is located in the north shore of that valley; moreover, it is delimited to the east and west by high and large cliffs, almost verticals, that are composed by volcanic rocks.

As many other coastal valleys of Peru, the Majes valley is formed as an ‘oasis’ in the desert, which serves as a natural route for Pre-Hispanic communities that moved from the highland to the coast, and vice versa, looking for subsistence products and goods to exchange.

In this area, the Toro Muerto gorge has a large alluvial fan of 11 km of longitude and 5 km maximum wide in its joint with the valley. It has an inclined plan that domains it, whose altitude varies between 1900 meters in its highest point and 400 meters in 

its lowest point. It has an arid and dry environment; however, it has a spring of underground water that emerges in the southwestern sector of the site, called spring La Aguada. This water source is a relevant element in the local landscape and, above all, a resource of singular importance in the zone since it is the only place of permanent humidity in the plain that allows few vegetation as an oasis. That played a crucial role for the ancient Pre-Hispanic populations that used this space and walked through it.

In that regard, the archaeological complex is inserted in a desert landscape distinguished by more than five thousand blocks of igneous rock of volcanic nature, located on the land belonging to the “Moquegua” formation of the Tertiary Period. (Fig. 2) The origin of these rocks goes back to the geological period known as Pliocene. During this period, it is possible that the violent pyroclastic emanations of the Coropuna and Chachani volcanoes, located in the upper part of the Majes valley has generated blocks of dacite tuff (Bedia 2012, 22; Linares 1974, 141). Subsequently, due to weathering and inclement weather, they fragmented and spread over the sandy surface of the gorge. Large blocks of dacite are particularly concentrated in the upper part of the stream and decrease in quantity and size towards the lower part (Fig. 3).

In addition to the Toro Muerto site, other archaeological sites in the Majes valley confirm the continued human occupation of this region (10000 years), identified from the Lithic Period to the Inca and Colonial periods; which suggests that it was inhabited and traveled for centuries. Evidence of this prolonged use of the territory are the petroglyphs of Watapia, La Culata de Aplao, La Barranca, located upstream, as well as Alto de Pitis and Querullpa, closer to Toro Muerto. Moreover, towns, cemeteries, geoglyph fields, among others, such as Beringa, Casquina, Cosos, Cerro Bilbao, Huancarqui, Cerro del Gentil, Acoy, Quizcay, Huario, Santa Rosa, El Carmen and La Real; correspond to the Early Intermediate Period (100 B.C. – 900 A.D.), Middle Horizon (600 A.D. – 900 A.D.), Late Intermediate Period (1100 – 1430 A.D.) and Inca (1438-1532 A.D.) (López y Maquera 2016, 111).

Foto: Andina.pe
The antiquity of Toro Muerto has been tentatively raised, based on stylistic comparisons and by association with designs recognized in ceramics and textiles discovered in regional archaeological contexts (Koontz 2018; Van Hoek 2018). Thus, the petroglyphs of this site have been linked with the Period of Regional Development or Early Intermediate Period and, later, with the Wari Empire (Middle Horizon), some 1300 years ago; as the Chuquibamba culture of the Late Intermediate Period, some 800 years ago, continuing until the Inca period, some 500 years ago. This has allowed to maintain preliminarily that the engravings were made between approximately 800 and 1500 A.D., with their maximum stylistic apogee during the Chuquibamba period (900 – 1450 A.D.) (Pozzi Escot 2009; Núñez 1986; Linares 1974). However, it is also suggested that petroglyphs could be even older, i.e., from the Formative Period (2000 B.C. – 200 A.D.) (Van Hoek 2018, 10). The Archaeological Complex of Toro Muerto is distributed over an area of 50 km2; of which 10 km2 have the highest concentration of rocks engraved with various figures that create the great repertoire of rock art of the site (Gonzales 2018, 42). Although to date there are 2584 painted rocks in the site, it is difficult to calculate the exact number of figures engraved in the panels, because many of them are now almost imperceptible, or are covered by sand. This repertoire of petroglyphs is composed of schematic men with head trophies or beheaded, men with feathered headdresses, men with extraordinarily large hands; men with serpentine figures coming out of their armpits; men with radiant sun-appearing heads; men with radiant headdresses. Also, very schematic human figures with masks or body adornments; men dressed in clothes adorned with wavy lines; human figures with “solar” heads holding camelids; human figures showing the phallus; schematic human figure whose left hand touches a bird (Núñez 1986, 337) (Fig. 4). On the other hand, various drummers are represented, and among them, dancing human figures held by their hands, accompanied by quadruped animals with spots on their bodies; human figures with huge fingers on their four limbs; felines with spots on their bodies and without spots, alone or in groups (op. cit.). Camelids are represented alone or with their shepherds. In this regard, some scenes show a man jumping on a camelid or groups of camelids enclosed in circular farmyards, with or without their shepherd inside. In other scenes, the shepherd has his rope tied to the cattle. Moreover, camelids are shown still or running; nursing their offspring; in long caravans and where the snout of each of them is attached to the tail of the other (Ibidem). Birds such as eagles, falcons and condors were also represented in flight or stills. Other zoomorphic figures engraved has the shape of lizards, snakes and catfish (Fig. 5). Greek crosses in different shapes also were engraved, a Greek cross with a square in its center and a central point in that, that was related to other zoomorphic figures; a Greek cross with internal lightning; a cross with blades ending in hooks; concentric Greek crosses. In addition, geometric figures such as a square with a circle inside, a square with a cross inside filled with dots, circles joined by a straight line, solar figures with a central point (Ibidem). Amongst the engraved figures are dancers with weeping eye masks surrounded by zigzag signs, straight lines and dots that seem to represent extraordinary large number of “musical signs” in this petroglyphic locality (Núñez 1986, 338). Similarly, anthropomorphic figures seem to dance on a stage (Fig. 6).

Indeed, there is a diversity of human figures represented in the site, which have an unmistakable style, since they have faces with a single dot on it, with two eyes or with three long descending lines. In addition, other figures only show a cross with curves on the sides in the face, or between the body and the headdress, two eyes are without further facial representation. In some dancing figures, the face is formed by its external part and, in the center, a circle with a vertical line that sometimes is straight and sometimes curved, while in others, the face is full size.

For example, the dancers are with moving catfishes or with many quadrupeds, and sometimes together with falcons and felines, also dancing alone, in pairs or in groups of 3 or 4, and so on until forming large groups. In a particular case, there are two dancers in vertical position and next to them, two in horizontal position, and all with a great dance movement (Ibid. 338) (Fig. 7).

Other topic that is distinguished are the zoomorphic figures whose mouth emanate consecutive lines or lines and dots like effluvium. Sometimes an animal’s “effluvium” goes directly to the sex of the animal in front of it. Occasionally, that figures are seen between the dancers and the “musical signs”. In others, the symbol of the “effluvium” emanates from three animals simultaneously, and in general, from quadrupeds and birds (Núñez 1986, 338).

The most part of the Toro Muerto petroglyphs were engraved deeply due to the softness of the dacite rock of vacuolar matrix, with mica and sanidine crystals, and of colors that goes from dark coffee almost black to light sepia and creamy white due to the rusting caused by the rain and weather. They were engraved with axes made of hard sharpening stones and andesites, in shape of wedges and hammers. A large number of juxtaposed figures of different sizes often covered the vertical or slightly oblique rock surfaces. The engraving processes included the striking, blending, scratching, chipping and percussion engraving of these stone materials. The execution of some details of the figures such as hands, eyes and small animals, were made with enough care and figured by fine incisions (Linares 1974, 142).  The grooves of the engravings appear in angular form as deep channels; shallow, superficially struck and scratched, thus revealing the different techniques employed (Núñez 1986, 337).

The most remarkable feature of these rock art expressions are the stereotyped elements associated in comparable scenes. The basic motifs present in part or in whole correspond to: vertical or sometimes horizontal bars, zigzag lines and parallel lines, anthropomorphic dancers and small mammals (dogs, felines and/or llamas) (Guffroy 2009, 222).

 

The frequency of these motifs does not exclude a certain diversity in the other engraved figures, particularly in the lower part of the site, which seems to correspond to an early period of occupation of the site. The anthropomorphic beings engraved in this sector represent individuals playing drums, characters with headdresses and human silhouettes. Signs are scarce in this area, also targeted by stones with a single petroglyph of small size (Op. cit. 223).

The masked dancers’ figures that prevailed in the middle and upper part of the site incredibly demonstrated a revealing ideological evolution, related to the emergence of a true unique symbolic graphic in the Peruvian rock art. The quantity of petroglyphs engraved on a single stone – which can reach 150 figures – and the apparently unfinished state of some panels suggest a progressive process of execution organized according to certain stylistic conventions (Ibid.), which have not yet been fully defined.

The dancing characters have a certain diversity in the position of the legs – straight or folded serpentine- as well as in the appearance of the faces/masks, which can be with one or two eyes and tears figures; with lines or without facial features. Almost all of them have hairs or feather headdresses. The relationships between the rectangular shape of the bodies and their hips to one-side position with the bars and zigzags that surround them are evident, giving the scenes a sensation of great movement (Ibid.).

The animals related to that dance scenes are mostly dogs or small felines, less frequently a profile view of llamas and birds of prey, belonging to the fauna of the region (Linares 1974, 138). Many are in the same scale that men, but sometimes are oversized. There is a large diversity of animal figures inside the panels where the group of bar/zigzag/dancer are absent or peripheral. Felines with spotted or scratched bodies are represented mostly in scenes of confrontation or one running behind other, with a profile view of the head or a frontal view, and sometimes with effluviums (Guffroy 2009, 223).

Many birds’ species are in a profile or frontal view with wings outstretched, usually with a falling tear of one eye. There are great representations of snakes and beings with snake shapes, mostly with one head, as lizard, batrachians and fishes.

The camelid figures with rectangular bodies, alone or in flocks; deer, and other animal species of large size, difficult to recognized are also quite numerous.

Foto: Andina.pe

Justification of Outstanding Universal Value

The Archaeological Complex of Toro Muerto is a remarkable example of a petroglyph site created by agroalfareras (agricultural-ceramic) societies in which their worldview symbols and daily life scenes were portrayed in thousands of engraved rocks of volcanic origin in America. Its location is a large desert plain of Tertiary Period; as 2584 engraved rocks that were identified so far in an area of 5078 hectares. That make the site an extraordinary petroglyph locality in the world, and above all, in the American continent.

Toro Muerto is an outstanding expression of a rock art tradition in the Andean region and in America. It is possible to find evidence that show the artistic mastery in the application of many engraving techniques in volcanic rocks, the selection of a large iconographic corpus of a high symbolic importance and the figure and unique scenes composition, that reflect culture heritage and the specialist work on their own time and space. The rock art, as a universal artistic creation, was practiced by ancient human groups and civilizations to express important aspects of their economic and social activities; believes and religious practices. The petroglyphs of the Archaeological Complex of Toro Muerto have a particular sample of this ancient cultural and artistic testimony.

The site represents a particular example of cultural transformation of natural landscape for the amount of thousands of petroglyphs, small groups of geoglyphs, graveyards, tombs and ancient related roads, all located in a large desert plain of sandy surface, sprinkled with volcanic rocks, that prevail in the valley and has a unique groundwater source. These natural and cultural elements as a whole give the place not only functional but also relevant symbolic connotations. In the Andes, there is a longstanding relationship between man, nature and the cosmos. Both in the Andean world and in other ancient civilizations, the actions of individuals were conditioned and structured from a particular way of seeing and understanding the world. Toro Muerto reveals a lot about the way people perceived, understood reality and expressed themselves, as well as the way they related to these kinds of spaces.

As many other ancient civilizations, people represented their worldview through rock art in the Andean world. The Toro Muerto petroglyphs expressed masterfully a particular tradition characterized by the recurrence of anthropomorphic, zoomorphic and basic geometric motifs of symbolic nature. They were organized in figures and scenes that reflected continuation, changes, mutilation and superposition of motifs in time. Therefore, the Archaeological Complex of Toro Muerto is an exceptional testimony to a cultural tradition which has disappeared in the “Archaeological Heritage – Rock Art Sites” category (see Comparative Analysis).

Criterion (iii): The ancient Andean societies expressed through rock art their way to see and understand the world and the landscape. The Archaeological Complex of Toro Muerto reveals the material expression of a remarkable particular tradition of rock art, expressed in figures and scenes about daily life of high symbolic significance. They were engraved in thousands of volcanic rocks, and social transformation of the natural landscape. Consequently, the Toro Muerto petroglyphs have an exceptional testimony to a cultural tradition, which has disappeared.

Comparison with other similar properties

Rock art exists in most countries around the world, so it represents a universal creation of man and one of the first expressions of human capacity for the abstraction, overview and idealization. This art reveals not only important aspects of economic and social activities, believes and religious practices, the mythical thought and nature, but also the aesthetic sense, and artistic and cultural creation of ancient societies that produced them.

In the American continent, especially in Peru, there is an important sample of rock art in its four methods such as pictographs, petroglyphs, geoglyphs and mobiliar art with rock art tradition, that represent around 8000 years of ideological and social evolutions. The most updated national inventory made to date indicates the record of about 900 sites identified in the many regions of the country, which 400 belong to localities of petroglyphs recognized in 22 of their 24 regions. Arequipa is in the top of the list with 88, the biggest amount of this type of sites, then Puno with 75 and Huánuco with 67 (Hostnig 2003, 10, 17).

Toro Muerto is compared to important petroglyph localities in Peru such as Alto de Las Guitarras, Cerro Mulato, Yonan, Huancor y Checta, by superposition signs, iconographic changes, figure mutilations or appearance of many patinas that indicate the possible existence of various performance moments, as a reflect of certain ideological evolutions. Moreover, it is compared to Palamenco and Samanga because they are located in plains and engraved rocks are distributed in heavy or widespread concentrations. The location in a dominant position over the valley makes it similar to other sites as Checta, Chichictara and Huancor. The appearance of small geoglyphs and tombs related to petroglyphs allows comparing also to Locumba, Quilcapampa and Miculla sites. Likewise, the representation of common elements as felines, birds and musicians, with sites as Chichictara and Quilcapampa.

However, it is distinguished from sites mentioned above, and stands out from them because sites with more than 50 engraved rocks in Peru are rare; barely 12 sites exceed this number. In that regard, the Archaeological Complex of Toro Muerto has a remarkable petroglyphic locality of 2584 engraved rocks inventoried to date, and distributed in an area of 5078 hectares; that show the greater variety of engraving techniques and superior abilities in its production. Likewise, it is also different from that by complexity and peculiarity of scenes represented in a support of particular features. In addition, the landscape, where the appearance of important natural and cultural components as a freshwater spring, geoglyphs, graves and cemeteries stand out. Therefore, it represents the most remarkable exemplar of a large tradition of rock art in Peru and the Andean region.

On the other hand, the Archaeological Complex of Toro Muerto is located in an outdoor plain and in an arid and desert environment, next to a valley, common in the Peruvian coast. In contrast to other petroglyph sites in America, inscribed on the Tentative List of World Heritage such as Las Labradas (Mexico), Itacoatiaras of Ingá River (Brazil) and the Pre-Hispanic rock art of the Dominican Republic.

Thereon, Las Labradas is a group of 600 basalt rocks of volcanic nature, located in the seashore, while Itacoatiaras of Ingá River is a rocky panel of 24 meters long and 3.5 m tall approximately, that are part of a granitic rocky outcrop, located in an area near Ingá River, in a semiarid and wooded environment. Finally, Pre-Hispanic rock art of the Dominican Republic represented in paintings, petroglyphs and low relieves, has been identified in outdoor stations, shelters and caves, scattered in the coastal plains, large valleys and mountains of the country.

The antiquity of Las Labradas sites (1000 B.C. – 300 A.D.) and Itacoatiaras (10 000 B.C. – 1400 A.D) are earlier than Toro Muerto; however, the human occupancies of the main site of Itacoatiaras of Ingá River present a chronology that is extended until the 14th century A.D., contemporary with the development of the Toro Muerto petroglyphic locality.

There is no doubt that an aspect that makes Toro Muerto different and even makes it stand out above all the mentioned sites, is related to the site extension and engraved rock density found there.  This is a site feature, in contrast to that sites, and it stands out when considering the relative chronology allocated to the site (800 B.C. – 1500 A.D.), about only seven centuries.

Moreover, the Archaeological Complex of Toro Muerto is compared to the following sites registered in the World Heritage List:

  • Gobustan Rock Art Cultural Landscape (Azerbaijan), represents 40 000 years of history through 6000 engraved rock art that are in an area of 537 hectares, located in a rocky plateau of a semi desert region. The site also has remains of occupied caves, settlement and burials, which reflect an intensive human use during Humid Period that continued until the last Ice Age, from Upper Paleolithic to Middle Age. 
  • Petroglyphs within the Archaeological Landscape of Tamgaly (Kazakhstan), produced between 2000 B.C. and 10th century, it has 5000 petroglyphs located in an area of 900 hectares. It has 48 complexes with sites and cemeteries that are testimony of social organization and rituals of pastoral towns.
  • Petroglyphic Complexes of the Mongolian Altai (Mongolia) of 12 000 years. It represents the most comprehensive and well preserved visual record of human prehistory and early history of a region in the intersection between Central Asia and North Asia.
  • Rock Art in the Hail Region of Saudi Arabia (Saudi Arabia) represents almost 10 000 years of human history inside a valley with running water. It has traces that ancestors of current Arabian left of this existence.
  • Prehistoric Rock Art Sites in the Coa Valley and Siega Verde (Spain and Portugal) of Upper Paleolithic (22 000 B.C. – 10 000 A.D.) with 645 engravings produced in an escarpment. It has a group of the most remarkable Paleolithic art of the Iberian Peninsula. 

In contrast to the mentioned sites, the Archaeological Complex of Toro Muerto express its global importance by the following:

  • The engraved rock density, 2584 petroglyphs registered up to date, located in an area of 5078 hectares.
  • The petroglyph high level preservation, despite the vulnerability of natural and human factors.
  • The cultural and natural landscape which makeup Toro Muerto, does not suffer substantial changes after the petroglyph creation.
  • The site represents an important testimony for the human occupancy process of Peruvian south coast valleys by agroalfareras (agricultural – ceramic) societies between 9th and 16th centuries A.D., and a particular cultural tradition of rock art in America.
  • The site is an under-represented geocultural area in the World Heritage List with rock art sites, as thematic studies of ICOMOS mention.

Therefore, and upon the previous comparative analysis of petroglyph sites, both national and international, Toro Muerto is a site with a group of remarkable cultural attributes and values in the world, that makes it exceptional.

Article taken from:  Archaeological Complex of Toro Muerto – UNESCO World Heritage Centre 

Photographs taken from : Andina.pe

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2023 Scholarship selection committee https://pathere.org/2023-scholarship-selection-committee/ Fri, 19 May 2023 21:11:01 +0000 https://pathere.org/?p=20320

PATHere.org is pleased to announce the members of its 2023 Scholarship Committee: Pamela Alva, Eunice Cortez, and Mary Luz Marques, who have the responsibility of evaluating the candidates and selecting the recipients of PATHere.org’s 2023 Scholarships. We thank each of the committee members for her efforts to further the goals of this educational program.

Pamela Alva

Pamela Alva is a family nurse practitioner who works in a Philadelphia health center as a primary care provider. Her professional career began upon graduation from La Salle University in Philadelphia in 2012 with a bachelor’s degree in nursing, which was possible with the aid of the Peruvian-American scholarship granted by ANPA. 

Following her passion, she moved to the Dominican Republic for 2 years, where she worked as a volunteer for a medical NGO providing medical care to remote communities in the Puerto Plata area l. She serves currently as a board member of this organization. Upon returning from her internship, she worked at Jefferson Hospital in Philadelphia as a clinical nurse on the telemetry floor for 4 years. Guided by her medical vocation of service to the underserved, she attended Case Western Reserved University in Ohio, where she received her Master’s of Nurse Practitioner in Pediatrics with a subspecialty in family medicine. She enjoys running, reading public health books especially her favorite author/physician Dr. Paul Farmer, traveling, and spending time with her loved ones.

Eunice Cortez

Eunice Cortez, a native from Peru, completed her undergraduate studies at the National University of San Marcos, in Lima, and her graduate studies in the United States, where she was awarded her master’s and doctoral degrees by Temple University. Dr. Cortez’s doctoral dissertation “Andean Spanish in Peru: Acquisition, Variation and Change in the Speech of Huancayo” was but the start of this scholar’s 

engagement in sociolinguistic research on Peru, a topic on which she has published her opus Identidades del español andino: Estudio sociolingüístico en la ciudad de Huancayo (Identities of Andino Spanish: A Sociolinguistic Study in the City of Huancayo)Likewise, Dr. Cortez has deepened both the academic community and the general public’s knowledge of the issues concerning language and society and Peru through journal publications and frequent presentations both in Peru and in the United States.

In addition to her valued and copious academic contributions, Dr. Cortez has taught a full repertoire of courses in language and literature at Temple University and Lehigh University, where at the latter, she holds the post of teaching associate professor in the Department of Modern Languages and Literatures. Furthermore, in her years of service at Lehigh, Dr. Cortez has held and continues to hold numerous administrative and academic advisory positions. Most recently, Dr. Cortez authorized the organization Peruvian Americans Together Here.org (PATHere.org) to post on its webpage her article “Nuestra Diversidad Lingüística” as part of the organization’s cultural program in honor of Peru’s Bicentennial Independence celebration.

MARY LUZ MARQUES

Mary Luz Marques works as a bilingual Library Coordinator at the Free Library of Philadelphia (FLP). Ms. Marques served as REFORMA Northeast (RNE). President for 2015-2016 — the goal of this organization is to advocate for the improvement of library and information services to Latinos currently, she supports RNE as the Chair of the Leadership Institute. Ms. Marques holds a Master’s Degree in Library and Information Science from Clarion University (USA), and a second Master’s Degree in Bilingual/Bicultural Studies from La Salle University (USA), and a Bachelor’s Degree in Communication Science, Journalism, from Inca Garcilaso de la Vega University (Peru). 

 

Ms. Marques is passionate about diversity, culture awareness, and cross-cultural communication in libraries. Some of her blog postings are on the International Federation of Library Associations and Institutions (IFLA), New Professionals Special Interest Group (NPSIG) webpage. 

She co-presented at the Public Library Association (PLA) 2012 “Total Branch Makeover: A Six Months Action Plan” and PLA 2018 “Curious About #FreeLibraryofPride: A Successful Collaborative Story.” 

In her volunteer time, Ms. Marques writes for Impacto Newspaper, as a freelancer, and leads the board of the non-profit organization Acción Colombia. Currently, she supports the Philadelphia Latin American Book Fair as the Coordinator of Education. In 2022, Ms. Marques was recognized by Philadelphia Councilman At-Large David Oh for her contributions to this community project. Ms. Marques loves to travel and to learn about other cultures and traditions. Also, she adores capturing special moments with her creative photography and enjoys being in contact with nature through practicing road biking with her husband and friends.

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CONSULADO ITINERANTE EN FILADELFIA-PENSILVANIA https://pathere.org/consulado-itinerante-en-filadelfia-pensilvania/ https://pathere.org/consulado-itinerante-en-filadelfia-pensilvania/#respond Thu, 20 Apr 2023 02:25:07 +0000 https://pathere.org/?p=20310

CONSULADO ITINERANTE EN FILADELFIA-PENSILVANIA

LOS SIGUIENTES TRÁMITES SE REALIZAN UNICAMENTE PREVIA CITA, A TRAVES DE UN MENSAJE POR CORREO ELECTRONICO A:
consulado@conpernj.org

EN EL MENSAJE DEBERA COLOCAR EN LA SUMILLA:

CITA PARA FILADELFIA PARA TRAMITE (colocar nombre del trámite).

EN EL CONTENIDO MENCIONAR SU NOMBRE COMPLETO, NUMERO DE DNI, DIRECCIÓN Y TELÉFONO EN LOS ESTADOS UNIDOS)

PARA OBTENER CITA PARA PASAPORTES ACCEDER AL SIGUIENTE
LINK: http://www.consulado.pe/es/Paterson

LUEGO ENTRAR A ICONO ROJO “RESERVE SU CITA PARA PASAPORTES”, EN “CONSULADO ITINERANTE EN FILADELFIA” PRESIONAR EL RECUADRO “RESERVAR AHORA” Y SEGUIR LOS PASOS.

SOLO SE RECIBIRA PEDIDOS DE CITAS HASTA LAS 5:00 PM DEL 18 DE ABRIL

SIN CITA:
PODERES FUERA DE REGISTRO, CERTIFICADOS DE SUPERVIVIENCIA Y CONSTANCIAS SIMPLES.

MÉTODO DE PAGO: EN EFECTIVO.

PARA EL RECOJO DE PASAPORTES Y DNI´s TAMBIEN SE DEBERA ENVIAR UN MENSAJE AL CORREO: consulado@conpernj.org
SOLICITANDO SE LLEVE SU PASAPORTE Y/O DNI A FILADELFIA.
COLOCAR NOMBRE COMPLETO.

PARA VERIFICAR PREVIAMENTE SI SU DNI Y/O PASAPORTE SE ENCUENTRA LISTO PARA RECOGER INGRESE AL SIGUIENTE ENLACE: http://www.consulado.pe/es/Paterson/Paginas/Busqueda-Documentos.aspx

LA ENTRADA AL LOCAL SERÁ SIN ACOMPAÑANTES. FAVOR LLEGAR 10 MINUTOS ANTES DE LA CITA.

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PATHere.org 2023 Scholarship application is available online https://pathere.org/scholarship-application-2023-2/ Wed, 18 Jan 2023 17:09:29 +0000 https://pathere.org/?p=20279

The PATHere.org 2023 Scholarship application is available online.  This year’s scholarship application deadline is May 18, 2023.  

For more information about the scholarship and its application form, please visit PATHere.org’s educational committee scholarship program tab in this link: scholarship aplication 

PATHere.org

La solicitud de becas de PATHere.org para el 2023 está disponible en nuestra página web.  La fecha límite para enviar la solicitud es el 18 de mayo del 2023. 

Para más información acerca de la beca y la solicitud, por favor visite la pestaña del comité educacional – programa de becas en este link: solicitud de beca 2023

PATHere.org

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Fiesta de los Tres Reyes Magos https://pathere.org/fiesta-de-los-tres-reyes-magos/ Mon, 09 Jan 2023 23:05:15 +0000 https://pathere.org/?p=20221

PATHere.org desea empezar este nuevo año 2023, agradeciendo el valioso apoyo voluntario de nuestros miembros y amigos durante el año que acaba de concluir, es muy importante reconocer los esfuerzos desplegados para permitir que se concluya nuestra agenda de trabajo y por ende con el cumplimiento satisfactorio de nuestra misión. Sean para todos los seguidores de PATHere.org nuestros mejores deseos de prosperidad y éxito para el año que inicia.

PATHere.org en su segundo año de trabajo culmina con la coordinación del proyecto mancomunado con La Hermandad del Sr. de los Milagros y la iglesia de San William, ambas instituciones de Filadelfia, celebrando la Fiesta de Los Tres Reyes Magos, el día 7 de enero del 2023.

PATHere.org agradece profundamente a US Marines y su programa Toys for Tots, ya que a pesar de la limitación de donaciones adquiridas compartieron con nosotros juguetes para edades de 0 – 5 años, los cuales llenaran de alegría a los niños de la comunidad peruana e hispana en general.

PATHere.org invita a nuestros compatriotas de Pensilvania, Delaware y Sur de New Jersey a formar parte de ella para que juntos podamos apoyar a nuestra comunidad y difundir nuestra valiosa cultura peruana, más información se podrá encontrar en nuestro Sitio Web, https://pathere.org la cual ha sido relanzada, en ella está disponible el formulario de inscripción para la membresía.

Muy agradecidos,

PATHere.org

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