A glimpse into the Archive of Martín Chambi

Before delving into this small selection of photos, it can be useful to learn a bit more about Martin Chambi.

In 1908 he decided to become a professional photographer and moved to Arequipa, a city in economic and artistic ferment, where he worked as assistant of the famous photographer Max T. Vargas for nine years. He also became involved in the city's artistic and cultural circles and won his first prizes.

Having mastered the technique, he decided to become independent by opening his own studio, first in the Andean town of Sichuani (1917 - the year he also published his first postcard) and finally in Cusco (1923).

For these he photographed different aspects and classes of the local society, as well as the andean landscape and the precolombian ruins - object of a growing interest.

Afterall, the years during which Chambi got set in Cusco were the years of the peak of foreign archaeological missions and of the embryonic emergence of tourism, but also of indigenism: a movement that advocated reconnection with the native culture to change the fortunes of the country - corrupted and divided - and denounced the exploitation and marginalisation of the 'indios'. 

Many mantain that, being indigenous and coming from a poor family himself, he had an unpreceded connection with the population and particulary with the 'indios', often poorly known and understood by photographers. They certainly emerge from his photos with great dignity and a certain solemnity.

On a more practical note, Chambi's photographs are interesting because they show how typical clothes and objects present in museal collections were used and the style at the time, and in which contexts. 

Active until the earthquake that hit Cusco in 1950, Chambi then gradually stopped photographing and almost got forgotten in his country. He died in 1973. 
Thanks to the determination of his family and the interest of some researcher, his work has then received great international recognition.

This photograph is also interesting for the costumes and objects which can be observed in the foreground.

The peasants of the hacienda infact wear typical costumes of characters called "Ukuku" (left) and "Qapac Qolla" (right), linked to the dances held for the Corpus Christi procession, a festivity where christian liturgy and native traditions meet and fuse together.

Chambi was presumbaly interested in the festival also as an indigenist. It is because of the movement attention to the native culture, infact, that the celebration regained strenght and is now proudly attended by many locals. 
In the Mudec's little collection of prints we indeed find a photograph Chambi took at the Corpus Christi celebrations in a nearby city, Andahuaylillas. 

Interesting costumes and dances can be observed in this image too.

This other precious silver salt print acquired by the museum shows at least three different kinds of costumes, linked in this case to the pilgrimage to Qoyllurit'i, another sincretic celebration very popular in the region of Cusco.

A different kind of interest holds this image, providing a concrete testimony to the spirit of indigenism. Here Chambi indeed depicts the company of Luis Ochoa, protagonist of the season of theatre in quechua language in the 20s and 30s. Keeping with the indigenist revival of Inca culture, the actors are dressed in a inca-inspired way.