Pilgrims at Qoyllurit'i

The pilgrimage to the sanctuary of the 'Lord of Qoyllurit'i' is a celebration that fuses Christian elements with elements of local pre-Hispanic cults, in particular rituals of connection with the apu (protective spirits associated with the mountains). It is estimated that up to 90,00 people participate each year, coming from different parts of the Cusco region, who together make their way to the sanctuary located in the valley of Mount Sinakara, at about 4700 m asl. Divided into eight nations according to their district of origin, the pilgrims carry wooden crosses and icons through the various mountain passes along the route, and perform numerous types of dances, which have always been a central element of the celebration. The importance of the event is also linked to the meeting between the different Andean communities, coming from different altitudes and therefore engaged in different economic activities, with the related exchange of products. Some of the codified costumes in fact represent the inhabitants of the different areas.
In Chambi's photograph, probably taken in Ocongate, one can observe at least three/four different types of costumes.
In the front row in front of the cross, one notices a dark mask with an aquiline nose, hat, stick and long hair. This could be one of the machula, characters in the procession who are described as 'ridiculously old men sporting a grotesque mask, often with a long nose and a white beard, a long coat, who hobble around with the aid of a long stick' (Sallnow, M. J., Pilgrims of the Andes: regional cults in Cusco, 1987, p. 220). They represent the ñaupa machus, the first mythical inhabitants of the Andes.
Behind the character in the second row with the blond hair, who is difficult to identify, we find a large group of people wearing light-coloured painted masks, gloves, a shirt with an armband, embroidered robes, beaded headgear similar to chullos, headbands and scarves at the hips. Their mask and costume can be traced back to the K'achampa costumes, used in the dance of the same name, which is believed to be of Inca and martial origin, and include all the accessories visible in the photo. Their participation in the festivities of Qoyllurit'i is attested for instance by Sallnow (1978, p. 232). However, the photo seems to lack warakas (slingshots) and monteras, also part of the costume. However, other elements of the clothing are reminiscent of the costume in use today in Andahuaylillas in the dances for the festivities dedicated to the patron saint San Pedro, in which headscarves are central to many dance steps.
Finally, the two young men standing could impersonate the ukuku or paulucha: half-human, half-bear creatures whose costume includes a wool mask similar to a balaclava, long fabric slings and a robe with black fur and fringes. They are among the most important figures in the procession, in which they also play the role of guardians. Here the distinctive elements of the costume are barely discernible, but the upright posture seems consistent with a controlling role in the procession.
With the exception of the machula, all these costumes have similarities with those found in the group portrait taken for the festival in the hacienda La Angostura and the shot taken at the Corpus Christi procession in Andahuaylillas, also by Chambi. And indeed, the pilgrimage to Qoyllurit'i falls practically at the same time as Corpus Christi (58 days after Easter, but also close to the solstice celebrated in pre-Hispanic times), and in the village of Ocongate one continues into the other (Sallnow, 1978, p. 232). Both celebrations blend both local and Christian elements, but in the case of the pilgrimage the indigenous roots are more pronounced while the Catholic meaning - linked to an apparition - was only formalised in the first half of the 20th century (Cometti, Fabiano, Terry, 2020).