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Supay

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For Tío Supay, see El Tío.
Supay, as interpreted in a Peruvian festival

In the Quechua, Aymara, and Inca mythologies, Supay (from Quechua: supay "shadow"; Aymara: Supaya) was originally an ambivalent spirit, both benevolent and harmful, a denizen of the Incan netherworld (Ukhu Pacha) who might enter the world of the living as "shadow", perhaps attempting to bring someone as companion into the world of the dead.

Some explain Supay as a single spirit or god of the subterranean realm. Either way, in the Spanish Christianized conception the Supay was turned more or less into the Devil or demons living in Hell.

Etymology

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The anonymous dictionary of 1586 defines the term as "shadow" (sombra),[1] as do Father Diego González Holguín (1608) under "çupan"[2] and under "supa" Jorge A. Lira (1945) and Jesús Lara (1971).[3][4] In early Quechua-Spanish usage, the sense of "shadow" or "soul" or "anima" is followed.[5][6]

Other forms include: zupay,[6] çupay,[7] hupai,[7] hupee.[7]

Origins

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Among the indigenous Quechua people, "Supay" originally denoted a spirit that could both do good and do harm (they would try to appease the spirit they feared and worshiped[8]). This sense had not been lost to Friar Domingo de Santo Tomás whose dictionary glossed the term as both "good angel" alliçupa and "bad angel" manaalliçupa[9] in his Lexicón (1560), and only the spirit he qualified as bad, i.e., mana alii çupa "evil supay" corresponded to devils, as according to the quoted sermon about fallen angels inserted in the dictionary.[10][7] However, the Christianized Spaniards went on to apply the term "supay" conveniently to mean strictly "devil".[10][7]

The original Supay could be benevolent towards the living whom he liked, or those who suffered a dignified death. But he could be a terrible and evil being for any of the rest, both in the underworld and in the earthly world, and he could tip the scales of bad luck by whim alone.[11]

In the more original conception, the supay dwelled in the netherworld called "Ura Pacha" (or Uku Pacha, in the Incan three-world view[12]) but the supaya as living "shadows" (as per the meaning of the word) may wander into the world of the living ("Kay Pacha", 'Hereworld') to "gather companions" into the world of the dead.[13] The supaya is (typically) the soul of an ancestor,[14] and may assist the living by providing counsel for proper conduct in order to achieve peace (in death).[15] The supaya represents a necessary force of nature that wither things in order to bring about new life.[13]

Just as the Supay became the Devil through the prism of Christianity, the Viracocha, which originally designated a whole legion of primordial ancestors who came out of Lake Titicaca, was turned into the equivalent of the one monotheistic Creator God,[16]

Modern Andean-Christian belief

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The name Supay is now roughly translated into diablo (Spanish for devil) in most Southern American countries.

Vintage Andean household altars or retablos typically depicted two of the aforementioned three worlds, but more recent altars depict all three, with the lowest floor, Uku Pacha, of the lost souls of the deceased and demonical beings. The supay-devils are portrayed as goat-men with wings and long claws on hands and hind feet. There are also winged angels depicted, but the indigenous faith regards this not so much as the battle between good and evil but as striking balance between natural forces.[18]

Some commentary regards the Supay as a single God of Death of the Uku Pacha (inner world),[19] the "god of the mountains",[20] or "the spirit or god who lived in the earth".[21]

What appears to be the case is there is conflation between the Supay, regarded as a trickster deity, and El Tío (q.v.), the Bolivian god of the underworld and the mines.[22] While scholarly argument postulates Tío to have been a sort of Spanish invented frightening god/boogeyman and thus a corruption of Dios,[23] the popular notion is that the miners avoid the derogatory supay and call him Tío, or "uncle".[24] The name is sometimes concatenated as "Tío Supay" or "Uncle Supay".[a][25]

It has been commented that in the early 20th century, the Aymara were more prone to worship the Supay akin to old tradition, and the Quechua more likely to regard it as a disgusting creature.[26]

In some areas of Peru, where the cult of the Virgin of Candelaria is celebrated, she became controller of lightning who frightens away the devilish Supay (early 20th century).[26] This Catholic Virgin Mother is the Pachamama's counterpart, just as the Devil is the replacement for Supay.[20]

Mining communities

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Main article: Tío Supay

Supay is given original meaning in the miner's communities, with Tío or Supay recognized as the lord of the mines,[27] sometimes conflated together into figure of Tío Supay, as already discussed.[25] And the Virgin of the Mineshaft (Virgen del Socavón) is the mining communities' alias of the Virgin of Candelaria previously discussed.[28]

In Oruro, Bolivia, the Carnaval de Oruro features the diablada dance with the Supay cast in the role of its most important devil[28][b] The carnival dance may also feature the china supay or "she-devils" of overtly sexual nature that used to be performed by men.[30]

In the miners' lore, Tío was the king of the underground (rey de lo subterráneo), and Chinasupay the she-devil his wife, according to Victor Montoya, and he sees some parallels with the Hades-Persephone myth here.[31]

See also

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Explanatory notes

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  1. ^ Some miners who claimed to have seen him said he was a small man who smelled of sulfur, and accused him of pranks like hiding the miner's coca or his essentially tools.[25]
  2. ^ It is not clear if the star of the dance really names himself the Supay as Perrin seems to suggest. Otherliterature refer to Lucifer and Satan appearing, both symbolizing El Tío.[29]

References

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  1. ^ Taylor (2000), p. 22.
  2. ^ Holguín (1608) Vocabulario apud Taylor (2000), p. 22
  3. ^ Lira, Jorge A. (1945) Diccionario kkechuwa-español apud Taylor (2000), p. 22
  4. ^ Lira, Jorge A. (1978) [1971] Diccionario Qheshwa-Castellano apud Taylor (2000), p. 22
  5. ^ Taylor (2000), p. 26.
  6. ^ a b Quispe-Agnoli, Rocío (2017). "Sacred as Evil Otherness in Early Colonial Andes". In Díaz, Mónica (ed.). To Be Indio in Colonial Spanish America. University of New Mexico Press. pp. 196–198, notes on p. 213. ISBN 9780826357731.
  7. ^ a b c d e Díaz, Mónica (2017). To Be Indio in Colonial Spanish America. University of New Mexico Press. pp. 196–198, notes on p. 213. ISBN 9780826357731.
  8. ^ Cuentas Ormachea, Enrique (1986). "La Diablada: una expresión de coreografía mestiza del altiplano del Collao". Boletín de Lima (in Spanish) (44): 35. El indígena no repudiaba al Supay sino que temiéndole, lo invocaba y rendía culto para evitar que le hiciera daño
  9. ^ Ramírez, Susan Elizabeth (2018). "2. Ancestralities and the Failure of Colonial Regimes". In Santoro, Miléna; Langer, Erick D. (eds.). Hemispheric Indigeneities: Native Identity and Agency in Mesoamerica, the Andes, and Canada. U of Nebraska Press. pp. 54–56. ISBN 9781496206626.
  10. ^ a b Silverblatt, Irene (1987). Moon, Sun, and Witches: Gender Ideologies and Class in Inca and Colonial Peru. Princeton University Press. pp. 176–178. ISBN 9780691022581.
  11. ^ Tapia, Javier (2020). Mitología Inca: El pilar del mundo (in Spanish). Plutón Ediciones X Sl. ISBN 978-84-18211-10-2. Retrieved 2024-08-29.
  12. ^ Bastien (1987), p. 139.
  13. ^ a b Bastien, Joseph W. (1987). "Quechua Religions: Andean Cultures". In Eliade, Mircea; Adams, Charles J. (eds.). The Encyclopedia of Religion 12. Macmillan. p. 137. ISBN 9780029094808.
  14. ^ Bouysse-Cassagne, Thérèse (2023). "1. Potosí Revisited: Toward a Pre-Hispanic Potosí". In Barragán, Rossana; Zagalsky, Paula C. (eds.). Potosí in the Global Silver Age (16th—19th Centuries). BRILL. p. 137. ISBN 9789004528680.
  15. ^ a b Bonilla, Heraclio (November 2006). "Religious Practices in the Andes and their Relevance to Political Struggle and Development: The Case of El Tío and Miners in Bolivia" (PDF). Mountain Research and Development. 26 (4): 336 and Fig. 1.
  16. ^ Gose, Peter (2003). "6. Converting the Ancestors: Indirect Rule, Settlement Consolidation, and the Struggle over Burial in Colonial Peru, 1532–1614". In Mills, Kenneth; Grafton, Anthony (eds.). Conversion: Old Worlds and New. University Rochester Press. p. 142. ISBN 9781580461238.
  17. ^ Strong, Mary (2012). Art, Nature, and Religion in the Central Andes: Themes and Variations from Prehistory to the Present. University of Texas Press. p. 210. ISBN 9780292742901.
  18. ^ Strong,[17] citing Millones, Luis (2004), Dioses familiares p. 194.
  19. ^ Adames, Hector Y.; Chavez-Dueñas, Nayeli Y. (2016). Cultural Foundations and Interventions in Latino/a Mental Health: History, Theory and within Group Differences. Routledge. pp. 20–21. ISBN 9781317529804.
  20. ^ a b Crump, William D. (2021). "Bolivia and its folklore". Encyclopedia of Easter Celebrations Worldwide. McFarland. p. 25. ISBN 9781476680545.
  21. ^ LeCount (1995), p. 50.
  22. ^ Lane, Kris (2021). Potosi: The Silver City That Changed the World. Univ of California Press. pp. 142, 185, 204. ISBN 9780520383357.
  23. ^ Estermann, Josef (2014). "7. La imagen de Dios en perspectiva indígena andina". Cruz & Coca: Hacia la descolonización de religión y teología. Quito: Editorial Abya-Yala. p. 155 and n158. ISBN 9789942093752.
  24. ^ Urban and Sherzer 1991 apud Bonilla[15]
  25. ^ a b c Claure Covarrubias & Monotoya (2005), p. 73.
  26. ^ a b Urteaga, Horacio H. [in Spanish] (8 February 1911). "Bocetos historicos: El culto de Supay y el de la Virgen Madre". Illustración peruana (in Spanish) (71): 823.
  27. ^ Sallnow, M. J. (1989). "9. Precious metals in the Andean moral economy". In Parry, Jonathan P.; Bloch, Maurice (eds.). Money and the Morality of Exchange. Cambridge University Press. p. 213. ISBN 9780521367745.
  28. ^ a b Perrin, Marie France (2009). Bolivia vestida de fiesta (in Spanish and English). Photographs by Jaime Cisneros. La Paz, Bolivia: Impr. Sagitario. p. 104. ISBN 9789995406806. Supay, el diablo más importante de la danza Diablada/ Supay, the dance's most important devil.. Virgen de la Candelaria o del Socavón , la que hasta el día de hoy es venerada especialmente por los mineros
  29. ^ Claure Covarrubias & Monotoya (2005), p. 53:"Los diablos y luciferes representan simbolicamente al Tío en el Carnaval . Lo interesante es cómo este ser demoníaco.. es capaz de bailar a su vez en honor a la Virgen del Socavón"
  30. ^ Sallnow (1989), pp. 249–250 based on the ethnography of June Nash (1979)
  31. ^ Claure Covarrubias & Monotoya (2005), p. 54.

Bibliography

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