Taki Unquy (
The literal translation of Taki Unquy from
The name comes from the Andeans contemporary to the Conquista, who believed that the wak'as were annoyed by the expansion of Christianity. The wak'as, Andean spirits, began taking possession of the Indigenous people, making them dance to music and announce divine will to restore the pre-Hispanic culture, mythology and politics.
Taki Unquy arose in the 1560s in Huamanga, Ayacucho, Peru, from where it spread to Huancavelica, Lima, Cusco, Arequipa, Chuquisaca, and La Paz. At the outset the movement was called "The revolt of the Wak'as", which promulgated the rejection of the Christian god that had been imposed by way of violent coercion during Spanish conquest. Furthermore, the movement promoted the return to worship of the huacas, which are dually the pre-Hispanic gods and the grounds in which their worship was practiced.
According to the new belief, the wak'as' powers were within neither stones nor trees nor lagoons as in time of the Incas, instead they would enter into the bodies of people:
"de los yndios e les hazian hablar e de allí tomaron a temblar diziendo que tenian las guacas en el cuerpo e a muchos dellos tomauan y pintauan los rrostros con color colorada y los ponian en unos cercados e allí yuan los yndios a los adorar por tal guaca y ydoles que dezia que se le avian metido en el cuerpo"
"it made the indians talk and then come to a tremble saying that they had the huacas within them and many of them would drink and paint their faces with red color and would then go to enclosures where the indians would worship the huaca or idol that had possessed them "
Transformation into political revolt
From a rebellion against Christianity, the Taki Unquy devolved rapidly into a political revolt with an ideology in keeping with
The visible leader of the movement was an Indian by the name of
The movement declined in a few years, it is estimated that the practice ended in 1572, but the hope of a "reconquest" survived in the folklore and in intellectual circles. Bruce Mannheim argues that the fear may have been so strong that fifty years later, when Juan Pérez Bocanegra printed the Quechua hymn "Hanacpachap cussicuinin," he conspicuously avoided the term unquy, though it would fit well into the theme alongside other names of the Pleiades.
Transcendency and importance of the movement
The topic had remained in obscurity for decades, and was reinvigorated by the work of Peruvian historian
The playwright, director and actor
- Bruce Mannheim, "A Nation Surrounded," in Native Traditions in the Postconquest World, ed. Elizabeth Hill Boone and Tom Cummins, 383-420 (Dumbarton Oaks, 1998), 400-401.
- Doig, F. K. (2002). History and art of ancient Peru. Volume 6, p. 1000. (Uncl. Mentioned report arrives of testimony of Christopher Ximénes On the Taqui Oncoy mentioned in the above-mentioned work).
- Soriano, W. E. (1987). Los Incas. Lima: Amaru.
- del Pino, A. T. (2001). Encyclopedia Ilustrada del Perú. Lima: PEISA.