Craig Tomas McAdams, Internship in Maras, Peru: Theatre Begins
First, I wanted to give you all an amazing update on “Steve” from the last blog: the Andean Research Institute has graciously put up the funds to get Steve treatment at a clinic here in Peru. Apparently, we are heading to a clinic in Curahuasi, Peru this Wednesday to see a group of German doctors who give a lot of their time to treat children in impoverished communities. Curahuasi roughly translates to “House of Shamans” and this could not be more appropriate for this journey and experience. In other news about Steve, he got up to the letter “L” when I realized that the traditional way of learning to read may not be the most suitable way for Steve. Through the help of my friend and future Peru intern, Cindy Livingston, I started using new techniques that sort of skip the bread of learning letters and go straight to the meat of learning words. This strategy is called “key words” and is accomplished by having Steve identify words that he uses, write the word on one side of the paper and make a drawing on the other side that is related to the word. Over time this gives me a base to teach from and a collection of words that become a kind of flash card bundle. Steve’s first words he chose to work with were “Mama”, “Papa”, “Pachamama”, “Agua”, “Escuela”, and “”Profe Tomas”. For whatever reason, seeing the letters in action and learning them this way has helped Steve grasp them more quickly and I will continue with this form.
This week we started the chess tournament or torneo de ajedrez and the kids love it. It is amazing to witness the contrast between the occasional encouraged chaos the kids love to engage in and the quiet creativity in thought filling the room when a tournament match is taking place. At the same time, we started rehearsals for the theatre performance coming up on Saturday, August 11th. We quickly found our groove learning songs, learning lines, learning places and the rules of theatre. This is absolutely my favorite time with the kids as I love directing and putting the vision of this local tale on stage. The show is already sad, funny, exciting and depthful. Speaking of emotions, the rehearsals have brought me an excellent opportunity for teaching emotional regulation through identification. For the kids (and anyone, really) I find that the first and most important step of emotional regulation is to be able to identify and express emotions. With the emotional qualities of the show I have ample opportunities to guide the kids in finding, identifying and expressing the spectrum of emotions.
However, in the beginning it was apparent that all, almost all of the children have stage fright. J I do not know if this is because none of them are experienced in theatre or speaking/singing in front of a group, but I quickly had to find a way to help them over this obstacle. The magic was in the group, as these kids seem to have more of a collective mentality than the kids I have worked with in the States. Thus, having all the kids speak and sing together first assuaged the fear of the individual. For example, on the first day of rehearsals, a young boy stood in front of the group frozen for almost five minutes while he tried to muster the ability to sing. Instead, we all learned the song and practiced together for ten to fifteen minutes and then the boy had no problem performing in front of the group. After rehearsal, we spend our time with the chess matches and I give the kids the option of playing volleyball, futbal or dodgeball while some of the kids prefer to draw, do puzzles with letters, numbers, colors, shapes and words, or build with Legos.
I have to give a huge thank you to Elizabeth and Yurico. Elizabeth has been coming from Cusco to teach the children the lines in the show. The entire play is in Quechua, and without her assistance, a lot of the words would be meaningless to us all. Therefore, she teaches the kids the meaning of the words and helps them memorize and then I come in and direct where they should be, how they should act, etc. It is a great system and a ton of fun. I have a chant with clapping that gets the kids all riled up right before performing a scene and they love it. To see them smile and hear them laugh is the fuel I get every day to keep moving forward. Yurico is the art director for this enterprise, and he comes on Saturdays to help the kids make masks for the show, ranging from Condors to Venados to Pumas and the kids enjoy this very much. Yurico will also be helping the kids make the scenery to put on the walls for the show. Most of all, I really appreciate the spirituality of the show as it teaches the basics of Andean Spiritual Cosmology, an ancient practice that is being lost (much like the language of Quechua) in the new generation of kids who out of necessity need to make it to the bigger cities and find work. This cosmology, I feel, has a lot to teach, not only to the kids, but to the rest of the world. The lessons of reciprocity (Ayni) with the Earth and each other are immeasurably essential to our lives and the future of our people. 
On a personal note, this has been a very difficult time for me as my Grandfather, Martin Eugene McAdams, has passed unexpectedly and my father, Craig Eugene McAdams had his second heart attack at age 52. My father is recovering alright, but to be so far from family and friends during this time has been trying. I know both of them want me to finish this service and learning experience. I am thankful for the ability to connect through email and Facebook at this time. I am thankful for my communities back home and their support. I am thankful for the love the kids and families here show me. I am thankful for the mountains and their invitation to do ceremony during this time. Thank you. <3
Quotes from the children and other community members:
“No problem, I can memorize this by next Thursday.”
“Profe Tomas! I’m ready! Let’s study!”
“Thank you for helping my son. This means a great deal to my family.”
“But Profe! I am not a Puma! I am a Condor! I am an Apu!”
“Profe! Pachamama is Mother to all!”
“We feed the bulls this part of the harvest. For all their work.”
“I will be sad when you return to the United States.”
For anyone interested, the play is below (First in English, then in Quechua). It will be recorded on August 11th for the Andean Research Institute and Southwestern College to use, and if anyone is good at making videos/movies, I would love some help with making subtitles and credits when I get back to the States. I will take a picture of each of the children and I want to run the credits in a slide show format. (Craig McAdams on Facebook or cmcadams.swfgc@gmail.com). Thank you.
The Man Who Learned the Lesson of Life
ACT I
(The show opens with Gabriella center stage as the NARRATOR. On stage left MATEO and JOSE are working hard with the VENADOS. On stage right NICASIO is laying down and being lazy while PICAFLORS and PUMAS are hanging around him)
NARRATOR: “One day in Maras, there was a family of a mother, father and three sons. The oldest son, Mateo and the youngest son, Jose, worked hard every day in the fields, with the animals and with the crops.
(NARRATOR gestures towards MATEO AND JOSE. The VENADOS begin singing while MATEO AND JOSE are working and happy.)
VENADOS:
“Pachamama mu ray a ku mu pai sitai kai ya a ai. . .
Si sai pun tai ma ri ri. . .
Kai ai pun tai ma ri ri”
NARRATOR: “Then there was the other son, Nicasio. Nicasio was lazy and did not like work. Nicasio just laid in the field all day, and when he did move, he complained.”
(NICASIO gets up and begins singing and touching his head with his hand in despair.)
NICASIO:
“Uma Nanai. . .
Munai Nanai. . .
Siki Nanai”
(The PIKAFLORS AND PUMAS begin to circle around NICASIO, repeating his singing back to him)
PIKAFLORS and PUMAS:
“Uma Nanai. . .
Munai Nanai. . .
Siki Nanai”
NARRATOR: “Nicasio’s mother came to him one day, very angry and upset with him.”
(NICASIO’S MOTHER comes from off stage right.)
NICASIO’S MOTHER: “Nicasio! You are the only one of this family that never does any work and I am tired of it! If you don’t do work, then you are not my son!”
NARRATOR: “Nicasio was very hurt by this and planned to leave his home forever. He told his brothers goodnight and then left without telling anyone.”
NICASIO:
“wayqenkunamanta despedikuran chaymanta pasapuran.”
(NICASIO is seen saying goodbye to his brothers and walking off stage left.)
ACT II
(In the opening of ACT II, the NARRATOR is seen on stage left and NICASIO is seen on center stage. Then, NICASIO collapses to the floor in exhaustion.)
NARRATOR: “After many weeks of traveling the hillsides looking for food, Nicasio has finally fallen ill. No family would feed him because Nicasio would not work for the food. After Nicasio passed out, an Apu named Ausangate saw him and thought he was a delicious meal.”
(APU AUSANGATE enters from stage left and sees NICASIO)
APU AUSANGATE: “Friends! We have a delicious feast!”
(APU SALKANTAY, MACHUPICCHU, APU PITUSIRAY, APU WANAKAURI, APU PACHATUSAN, APU CHICON, and APU MAMA SIMONA enter from stage left. All of the APUS are upstage, behind NICASIO, and they kneel down to him as if about to eat him. Then, APU MAMA SIMONA turns to the others before they can eat.)
APU MAMA SIMONA: “You know, I am tired of how the people do not do ceremony for us or Pacha mama anymore!”
(All the APUS shake their heads in agreement, and APU AUSANGATE, who is in the center, stands up to speak.)
APU AUSANGATE: “ You are right, Mama Simona, the people never thank us or Pacha Mama anymore. We give them everything. We give them nurturance and abundance, but they never thank us for the Coca leaves or the Chicha we give them!”
ALL THE APUS:
“Coca k´intucha hoja redonda (bis)
Qansi yachanki noqaq vidayta chiripi wayrapi waqallasqayta
Qansi yachanki noqaq vidayta chiripi wayrapi llakillasqayta”
(Then APU SALKANTAY stands up.)
APU SALKANTAY: “That is true, APU AUSANGATE. The people have become very bad. They only care about themselves and not each other. They certainly do not care about us or Pacha Mama. They never think to tell us if they are thirsty or hungry.”
(APU MACHUPICCHU stands up)
APU MACHUPICCHU: “That is true, APU SALKANTAY. We see the people destroy Ayni every day. We should no longer help them have abundance. They even kill animals for fun and not necessity!”
(APU PITUSIRAY stands up.)
APU PITUSIRAY: “You are right, my brother MACHUPICCHU! They do not deserve our help. For example, beyond the community of QESWARMARKA, the people there are suffering. They are fighting over water, animals and plants. However, because they do not thank us, we do not help them find the water that is nearby. The water is on the hillside, hidden under sticks and brush, but they are too lazy to find it. All they would have to do is work , thank Pacha Mama, and give her love and they would find the water.”
(APU WANAKAURI stands up)
APU WANAKAURI: That is right, my brother PITUSIRAY! And if they do not find the water, that community will disappear. If they do not practice Ayni!”
(APU PACHATUSAN stands up)
APU PACHATUSAN: “That is true, APU WANAKAURI. And the water that was meant for them will be used by the plants and animals.”
(APU CHICON looks up impatiently)
APU CHICON: “Let’s eat now!”
NARRATOR: “Nicasio has heard all of this. He is scared and wants to leave immediately.”
(NICASIO stands up screams and runs off stage left.)
ACT III
(ACT III opens with all the people of QESWARMARKA in chaos. They are all yelling at each other, fighting over water. NICASIO is seen off stage left, watching the mess. The GOVERNOR OF QESWARMARKA is on center stage looking upset. The NARRATOR is off stage right.)
GOVERNOR OF QESWARMARKA: “We have no water! Help!”
(NICASIO enters stage left.)
NICASIO: “GOVERNOR! I know where the water is. . .”
NARRATOR: “NICASIO suddenly remembers how hungry he is. . .”
NICASIO: “ I only ask for a hot meal and. . . to marry the prettiest woman of QESWARMARKA!”
(NICASIO laughs thinking the GOVERNOR would know the part about marrying was just a joke. However, the Governor takes him seriously.)
GOVERNOR of QESWARMARKA: “Here is some bread, young man, now please tell us where the water is!”
(All of the people of QESWARMARKA stop fighting and pay attention to NICASIO.)
NICASIO: “First, you must practice Ayni and thank Pacha Mama and the APUS.”
GOVERNOR OF QESWARMARKA: “Why would we thank them, we have no water?”
NICASIO: “Pacha mama and the APUS will provide all the water you need, they only want a relationship with you. Now here, please thank them with this offering and your prayers.”
(NICASIO gives all the people of QESWARMARKA Coca Leaves and Maiz and shows them how to give thanks to Pacha Mama and the APUS. Next, the 8 APUS watch this event from stage left and stage right, 4 APUS on each side, unseen by the people. The APUS are very happy.)
NICASIO: “Now we must work for our water. Help me clear all these sticks and brush.”
(NICASIO and all the people of QESWARMARKA help clear the sticks and brush and they find that there is a lot of water. All of the people of QESWARMARKA gasp when they see this.)
GOVERNOR OF QESWARMARKA: “Thank you, NICASIO! We are grateful to you and to Pacha Mama and to the APUS. The people of QESWARMARKA will now forever practice AYNI with PACHA MAMA and the APUS. Also, my daughter, SIRENKINTI, saw how you saved our people and wished to marry you.”
(SIRENKINTI, comes to center stage and holds NICASIO’s hand. NICASIO looks out at the audience with a face of embarrassment.)
SIRENKINTI: I have seen this man learn the lesson of life and I share my heart, my love with him.
(All of the characters come onto to stage and sing.)
ALL:
Song in Quechua, English translation below:
“MUST MEET THE MOTHER EARTH
ONLY FROM YOUR HEART IS CRYING BLOOD
NEED TO KNOW THE MOTHER EARTH
ONLY FROM YOUR HEART IS CRYING BLOOD
MOTHER EARTH BEAUTIFUL WOMAN, AND THE BIG DAY IS COMING
MOTHER EARTH HEART OF GOLD, YOUR CHILDREN CAN HAVE A RETURN TO THE HEART OF GOLD”
THE END
RUNA YACHAN IMAYNA KAUSAY KASQANTA
ACTO I
WILLAQ: Hoq p´unchay Maraspi , kasqa hoq ayllu, mantayoq, taytayoq chaymanta kinsa wawayoq. Kuraq qhari wawaq sutin kasqa Mateo, sullk´a wawa kasqa Jose, sapa p´unchay nishuta llank´asqaku chaqrapi, chaymanta uywakunata michispa.
Qentekuna chaymanta Pumakuna takinqaku:
“Pachamama mu ray a ku mu pai sitai kai ya a ai
Si sai pun tai ma ri ri. . .
Kai ai pun tai ma ri ri”
WILLAQ: chaymanta kasqa hoq wawanku , Nicasio sutiyoq, Nicasio kasqa nishu qella, manas llank´ayta munaqchu.
Nicasio:
“Uma Nanai. . .
Munai Nanai. . .
Siki Nanai”
PIKAFLORS and PUMAS:
“Uma Nanai. . .
Munai Nanai. . .
Willaq: Hoq P´unchay mantan llakikuspa chaymanta renegaspa paywan ( chay qella kasqanmanta)
Nicasio Mantan: Nicasio qanmi kanki chay ayllunchispa mana llank´ayta munankichu , nan sayk´usqana kani chaywan, sichus qan mana llank´anki , manan qanqa wawaychu kanki.
WILLAQ: Nicasio wasinmanta lloqsinampaq nihu sasa karan, pay turankunawan rimaran chaymanta lloqsipuran wasinmanta.
Nicasio wayqenkunamanta despedikuran chaymanta pasapuran.
TAKIY:
Llaqtay orqo rikhurinchus mana (bis)
Ripurnayri yachakunchus mana(bis)
ACTO II
WILLAQ: Asqha p´unchay ripusqanmanta Nicasio hoq p´unchay haqay karu orqopataman risqa puñuq, manataq pay llank´ ayta munaqchu, chaysi chay p´unchayqa k´alata p´achanta ch´utirukuspa kunparayasqa, chaypi puñurapusqa wañusqa hina. Chayllamansi Apu Ausangateqa rihurirusqa , chayqa nisqa ima sumaq mikhuna kasasqa, amalla sapallaychu mikhurusaq, aswan wahasaq hoqkunata.
APU AUSANGATE: wayqeñañaykuna hamuychis, chaypi kashan allin mikhuna.
APU MAMA SIMONA: qankuna yachankichis , noqa renegasqa kani runakunapq, mana hayk´aq imallatapas haywariwanchischu .
APU AUSANGATE: cheqaqmi chayqa mama Simona, mana hayk´aq runa niwanchischu añanchay nispa nitaq pachamamatapas. Noqanchis qonchis imallaptapas. Paykunaman qonchis kaysayta chaymanta asqha mikhuyta, ichaqa manan hayk´ aq paykuna niwanchischu añanchay chay coca k´intullawanpas nitaq ahawanpas.
TAKIY: TODO LOS CONDORES
Coca k´intucha hoja redonda (bis)
Qansi yachanki noqaq vidayta chiripi wayrapi waqallasqayta
Qansi yachanki noqaq vidayta chiripi wayrapi llakillasqayta
——————–APU SALKANTAY: Chayqa cheqaqmi, Apu Ausangate. Runaqa nishu millaymanmi tukunku. Paykuna puralla yuyanchakunku mana hoqkunata yuyankuchu.chayqa cheqaqmi, manan noqanchistaqa qawariwanchischu nitaq pachamamatapas.manan paykunaqa yachankuchu sichus noqanchis kusisqachus icha khuyay qasqanchista.
APU MACHUPICHU: CHAYQA CHEQAQMI Apu Salqantay. Noqanchis qawasqanchisma hina runakunaqa chinkachishanku aynita. Noqanchis yanapayta atisunmanmi nishu unaypaq. Paykuna wañuchinku uywakunata kusikunankupaq , mana kaysanankupaqchu.
APU PITUSIRAY: Turay Machupicchu chayqa cheqaqmi chay nisqaykiqa. Manan paykunataqa yanapananchischu. Imarayku, haqay Qéswarka llaqtapi, runakuna nishuta llakipi kashanku. Paykuna ñak´arishanku unumanta, kaqllataq uywakunapas, sachakunapas. Imarayku mana yanapanchischu, manataq paykuna noqanchista yuyawanchischu, noqanchis manan yanapananchischu unu tariyta. Ichaqa unuqa haqay orqo patallapi kashan, uhullatan t´oqonanku kashan. Ichaqa paykunaqa qellataq kanku chaymi mana tarinqakuchu. Paykunaqa llank´anallanku, chaymanta añanchananku pachamamata unuta tarispanku. (allimmi paykuna kanqaku)
APU WANAKAURI: Chayqa cheqaqmi, ñañay Pitusiray nisqa, sichus mana unuta tarinqaku chayqa , chay llaqtaqa chinkapunqa. Manataq aynita ruwankuchu chayqa.
APU PACHATUSAN: Chayqa cheqaqmi, chay unuqa qanqa uywakunapaq chaymanta sach´akunA (wiñananpaq) ima.
APU CHICON: Apuraychis mikhuna
WILLAQ: Nicasio uyarisqa chayta llipinta, chaysi condorkuna mikhunanku kasaqtin k´aparispa ayqekusqa.
ACTO III
———–GOVERNADOR : Manan unuyku kanchu yanapaywaychis
NICASIO: Kuraq tayta. Noqa yachani maypi unu kasqanta.
WILLAQ: Nicasio yuyarin rayqaymanta kasqanta.
—————-GOVERNADOR : Chayqa chay t´anta wayna, kunanqa willawayku maypi unu kashan.
NICASIO: Qallarinapaqqa, kankunaqa aynita yuyarinaykichis, chaymanta pachamamata, apukunatawan.
—————GOVERNADOR:Imarayku noqayku yuyarinayku, noqayku mana unuyuqma kashayku.
NICASIO: Pachamama chaymanta Apukuna unuta qosonkichis , paykuna munanku qankunawan kausayta. Kunan ckaypi, ama hina kaychischu chaykunawan haywarikusun .
——————GOBERNADOR: Añanchayki Nicasio, noqayku añanchaykiku chaymanta pachamamata, apukunatawan,chaymanta ususiypas, añanchasunki imaynata llaqtaykuta kausarichisqaykimanta, ichaqa pay munay kasarakuyta qanwan.
NICASIO: Noqa sinchi kusisqa kani, kunanqa yachani ayllupi llank´ayta chaymanta yanapayta. Añanchami chay sumaq urpita, sonqompi noqata hap´iwan.
—————NUST´A: Noqapas kusiqa kani chay qhari ruwasqanwan chaymanta chay kausayta imaynata pay yacharan.
TAKIY: “PACHA MAMA
PACHAMAMATAS REQSIKUNA
HAY QUE CONOCE A LA MADRE TIERRA
SONQOLLANMANTAS YAWAR WAKASHAN
SOLAMENTE DESDE SU CORAZON ESTA LLORANDO SANGRE
PACHAMAMATAS REQSIKUNA
HAY QUE CONOCER A LA MADRE TIERRA
SONQOLLANMANTAS YAWAR WAKASHAN
SOLAMENTE DESDE SU CORAZON ESTA LLORANDO SANGRE
PACHAMAMA SUMAQ WARMI, HATUN P’UNCHAYSI CHAYAMUSHANNA
MADRE TIERRA MUJER HERMOSA, YA ESTA LLEGANDO EL GRAN DIA
PACHAMAMA QORI SONQO, WAWAYKIKUNAS KAYMAN KUTINQHA
MADRE TIERRA CORAZON DE ORO, TUS HIJOS CAN A VOLVER A TENER CORAZON DE ORO
About the Moderator
Jim Nolan is in his 6th year as president of Southwestern College. He has worked for a dozen universities or colleges, both online and on the ground. He holds a Ph.D. in Counseling Psychology, and attended graduate school in English/Irish Literature. He reads a lot of books, takes a lot of photos, plays guitar, got married in India in 2010, and has a wire haired fox terrier named Barney. He is the opposite of a guru, whatever that is called.
