In Ayacucho, the mixture of indian, colonial, and contemporary culture fluidly waltzes along the narrow streets and bursts onto the vast plazas. The 34 colonial churches appear at intervals along the cobbled alleys, each within view of at least two others. Evidently, the Spaniards anticipated an Inca rebellion and summoned a surplus of divine presence to aid their cause. Nowadays, one finds buisinessmen worshipping next to Quechua women, one fiddling with his mobile phone and the other twirling a rod of wool, each passively absorbing the sermon spoken from in front of the extravagantly kitschy altar.
Festivals in the Central Andes are in no shortage, and Ayacucho, in the heart of the hills, is no exception. In fact, they boast over 400 parties a year, each maintaining a unique character that dates back hundreds of years. This year, they´ve added an additional event to the already overflowing calendar - the International Guitar Festival - which I happened to find in it´s third and final night. Their layering and timing took some time to comprehend, but once I gained a slight understanding, I sat with wide eyes, openly gaping at their dexterity. By the third performer, I could share in the unbridled excitement of the old woman sitting next to me, bouncing in her seat with the first lick of each tune, whispering her affection to no one in particular. I remained stunned, despite the elbows thrust into my side at each concluding chord.
When my attention wasn´t darting from block to block leading me in untraceable circles around the city, I took some time to recooperate and prepare for the upcoming stretch. From what I hear, it´s a beast. When my claws are sharp enough to defend myself, I´ll confront the animal with as much gusto as I´ve got left.
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