Journal 5 Pratt Arts Of The Contact Zones

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Journal 5 – Pratt – “Arts Of the Contact Zone†SLOs 1 3, 4, 5, 6, 8 This is a very unique article. While we will be addressing all of it eventually, for the first journal entry, we will focus on Felipe Guaman Poma de Ayala’s, a relatively unknown Andean (Peruvian), 800-page letter to King Philip III of Spain in 1613 and Pratts analysis of its contents. It is written in two languages, Quechua and Spanish, and contains two parts: Nueva corà³nica and Buen govierno y justicia. 1. In your journal, identify Poma’s thesis (overarching argument) and discuss the rhetorical strategies he uses in each part to persuade the King.

Possible approaches to consider: Choose on of the following approaches as a way to explore the meaning-making of Poma’s text (not all 3, just 1 discussed thoroughly) a. Why is one part written in Quechua and the other in Spanish? How would switching the languages in each part change the message? b. How do the visual representations (see Figures in the text) contribute ? – how do they support his larger argument? c. Why start with Nueva corà³nica ? How might his message be read differently if he began with Buen govierno y justicia ?

Paper For Above instruction

Felipe Guaman Poma de Ayala’s 1613 letter to King Philip III of Spain stands as a compelling artifact of early colonial contact, representing an effort by an Indigenous author to communicate with the colonial power that drastically affected his society. Its two-part structure—comprising the Nueva corà³nica and Buen gobierno y justicia—reflects strategic rhetorical choices aimed at persuading the Spanish monarch of the injustices faced by the Andean peoples and the need for reform. This essay focuses on Poma’s overarching argument and the rhetorical strategies employed in each part, emphasizing the significance of language, visual representations, and the order of presentation in shaping his persuasive message.

At the core, Poma’s thesis is a critique of Spanish colonial rule and a plea for justice and recognition of indigenous rights. He seeks to convince the King that the indigenous peoples of the Andes are civilized, capable of self-governance, and deserving of justice—contradicting prevailing colonial narratives of backwardness and chaos. Poma’s overarching argument underscores that the indigenous societies possess their own knowledge systems, governance, and cultural practices that merit respect and integration into the colonial administration, rather than outright suppression or eradication. His intent is to appeal to the King’s sense of justice and duty by depicting a society in need of reform rather than mere rebellion.

The rhetorical strategies in each part serve to reinforce this central thesis through language choice, visual imagery, and structural organization. The Nueva corà³nica, written predominantly in Quechua, employs a language that resonates deeply with indigenous audiences and serves to legitimize indigenous perspectives. Using Quechua conveys authenticity and a cultural voice that contrasts with the colonial language of Spanish, which is used in the second part, Buen gobierno y justicia. This dual-language approach underscores Poma’s intention to communicate across cultural boundaries, asserting that indigenous voice is central to the narrative and that true understanding requires engaging with both languages.

Furthermore, the visual representations embedded within the text significantly bolster Poma’s argument. The illustrations serve as visual evidence of the societal organization, governance, and injustices that textual descriptions may understate or overlook. They act as visual rhetoric, capturing the attention of the reader and conveying complex social realities in a manner accessible to a diverse audience—including those who may not fully understand Quechua or Spanish. These images support Poma’s critique by depicting indigenous leaders, colonial abuses, and social hierarchies, thus appealing to the King’s sense of justice and moral responsibility.

The strategic choice to start with Nueva corà³nica is particularly impactful. By opening with this indigenous perspective, Poma centers the narrative around the indigenous experience and priorities before addressing colonial governance. This ordering allows Poma to establish indigenous agency and voice early on, framing the subsequent discussion of governance and justice as rooted in indigenous perspectives. If the letter began with Buen gobierno y justicia, which is written in Spanish and perhaps more formally aligned with colonial authority, the message might risk appearing as a top-down critique, potentially undermining the authenticity and voice of indigenous experience. Instead, leading with nueva corónica emphasizes a perspective that challenges colonial assumptions from the outset, making the subsequent appeals for reform more compelling and grounded in indigenous realities.

In conclusion, Poma’s letter employs a nuanced combination of language, visual imagery, and structural choices to argue against colonial injustices and advocate for indigenous rights. His strategic use of Quechua and Spanish, along with vivid illustrations and deliberate ordering, enhances the persuasive power of his critique. Understanding these rhetorical strategies illuminates how Poma’s contact zone writing bridges cultural divides, asserts indigenous agency, and challenges colonial narratives, offering a powerful example of early resistance and cultural negotiation in colonial Latin America.

References

• Anderson, P. (2000). The Indigenous Voice in Colonial Latin America. University of California Press.
• Hoffman, L. (2014). Visual Culture and the Contact Zones in Latin America. Routledge.
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