• Source: El Brujo

Located in the Chicama Valley, the El Brujo Archaeological Complex, just north of Trujillo, La Libertad Province, Peru, is an ancient archaeological site that was occupied from preceramic times. Considering the broad cultural sequencing, the Chicama Valley can be considered as an archaeological microcosm. Research at the site benefits from the favourable environmental and topological conditions for material conservation.
Huaca Prieta is the earliest part of the complex but the biggest constructions on the site belong to the Moche culture. In this area, there are also the remains of the later Lambayeque and Chimú cultures.




Early Intermediate Period


The development of the Brujo Archaeological Complex during the Intermediate Period falls within a context of early complex societies construction. During the Moche era, monumental religious and socio-political centers usually named huacas were built. Although the architecture, the iconography and the practice of sacrifice relate the Brujo Complex to a ceremonial, ritual and funerary site, the constructions are considered as the result of labor the “caciques” controlled. The huacas of the Early Intermediate Period (200 B.C. 600 A.D.) seem to have exerted a polymorphous and centrifugal power, yet the complex is located in a difficult weather condition area.
The Brujo Complex is represented by three major huacas. The Huaca Prieta mound dates back to the preceramic times. Huaca Cortada and Huaca Cao Viejo (the largest) are stepped truncated pyramids constructed at the northern corners of the terrace during the Early Intermediate Period. Building archaeology unveils seven phases of construction spanning the early and middle phases of Moche era.
Huaca Cao Viejo is famous for its polychrome reliefs and mural paintings, and the discovery of the Señora de Cao, whose remains are currently the earliest evidence for a female ruler in Peru. Both appeared in National Geographic magazine in July 2004 and June 2006. The site officially opened to the public in May 2006, and a museum exhibition was proposed for 2007.




Post-Moche Era


The abandonment of the Huacas at the end of the Early Intermediate Period could have been linked to the political instability and upheavals of the Southern sphere of the Moche. Some archaeologists also point out the extreme climatic events at the end of the Intermediate Period that could have led to the decline of the culture. However, the informations relating to the end of the period are limited. The Lambayeque Culture arose in the Chicama Valley around 900 A.D. before being successively incorporated in the Chimu and the Inca expansive empires. Nevertheless, The Brujo Archaeological Complex remained a ceremonial and funerary area dedicated to the collective memory.




17th-century


A 17th-century letter found during excavations at the site may contain translations of numbers written in Quingnam or Pescadora using the decimal system, the first physical evidence for the existence of these languages (if they are not different names for the same language). Archaeologists believe that the language was influenced by Quechua, an ancient tongue still spoken by millions of people across the Andes.




See also


Moche
Sipán
Trujillo, Peru
Huanchaco




References



Titelbaum, Anne; Verano, John W. (advisor), « Habitual activity and changing adaptations at the El Brujo Archaeological Complex: A diachronic investigation of musculoskeletal stress and degenerative joint disease in the lower Chicama Valley of northern coastal Peru », ProQuest Dissertations and Theses | 2012
Tate, James; Schreiber, Katharina J. (advisor), « The Late Horizon occupation of the El Brujo site complex, Chicama Valley, Peru », ProQuest Dissertations and Theses | 2007
Quilter Jeffrey, « Moche: Archaeology, Ethnicity, Identity », Bulletin de l'Institut français d'études andines, 39 (2) | 2010, 225-241.
Gwin, Peter, « Peruvian temple of doom: his hand grips a severed head, his fanged mouth snarls, and the decapitator god evokes the fearsome wrath of the Moche, a culture that ruled Peru's north coast a millennium before the Inca. In a remote complex of pyramid ruins known as El Brujo--the Wizard--archaeologists have found a trove of ceramics, reliefs, and bones that tell a bloody tale, National Geographic », Vol.206(1) | July, 2004 p. 102
Régulo Franco Jordán, César Gálvez Mora y Segundo Vásquez Sánchez, « Graffiti mochicas en la huaca Cao Viejo, Complejo El Brujo », Bulletin de l'Institut Français d'Études Andines, Vol.30(2), | 1 January 2001, p. 359-395
Velasquez, Jg, « Dedication and termination rituals in southern Moche public architecture, Latin American Anitquity », Vol.26(1) | 2015 Mar, p. 87-105




External links



IBM Virtual Archaeology Site About El Brujo
National Geographic Map of El Brujo
The Huacas del Sol y de la Luna
Information about Visiting El Brujo
Video of letter discussed above Archived 2019-01-16 at the Wayback Machine
• Source: El brujo

El brujo (English: The Warlock) is a 1977 comic written and drawn by Francisco Ibañez for the Mortadelo y Filemón (Mort & Phil) comic series.




Publication history


The comic strip was first published in the Mortadelo magazine, issues #309 (January 23, 1977) to #330 (March 21, 1977).




Plot


Atilo Pérrez, the chief of the F.E.A. (Federación Espías Asociados, English: Federation Spy Associates), hires the services of a rustic and somewhat clumsy old warlock, named Aniceto Papandujo, to finish off El Super. Fortunately, Mortadelo finds out about this plan and convinces Filemon and El Super that the warlock's power is only all too real. Therefore, Mortadelo and Filemon are assigned to protect their boss against the magical traps Papandujo sends their way:

A marble which turns anyone holding it into a frog if the word "idiot" is spoken. While the first three transformations can be reversed with a blow on the head, the fourth is permanent. This fourth transformation affects El Super until he is (by unexplained means) restored to his human form for the rest of the story.
A bottle of whiskey which temporarily fulfills any wish the drinker makes, with the aim of having El Super say that he wishes to drop dead if he lies. However, Mortadelo and Filemon drain the whiskey themselves before it reaches El Super, and find their desires inexplicably fulfilled, if only for a few seconds each time.
A flying chair which speeds off at breathtaking velocities if the words "good morning" are pronounced in its vicinity. But instead of El Super, Mortadelo and Filemon end up as its unwitting victims.
A spider which turns any living being it touches into a pig, until it contacts another victim, which instantly reverses the transformation. But distrustful of a strange box deposited on his desk, El Super orders Mortadelo and Filemon to open it at a safe distance, unleashing the spider upon the city.
A jinxed pen which brings bad luck to its holder - even only temporary ones like the mailman, Mortadelo and Filemon.
A blowgun poison which turns its victims into sadistic pranksters, in the hopes that anyone he annoys would want to kill the offender. But by an unlucky chance, Mortadelo gets hit by Papandujo's dart and begins to turn his colleagues against him.
A mirror which renders anyone looking into it (or at least the portions reflected in it) permanently invisible. But not only El Super, but also Pérrez, Mortadelo, Filemon and a few other agents become its victims until the mirror is shattered, restoring their missing body parts with the appearance of donkeys.
A door frame which sends anyone walking through into the prehistoric age. When the door is installed at the T.I.A. headquarters, Mortadelo, Filemon and El Super have to contend with a selection of obnoxious dinosaurs and an irate caveman.
A letter which kills anyone reading it. Mortadelo's timely reconnaissance prevents this scheme from working, but several safety mechanisms built into the letter's envelope foil any attempt to destroy it - until Mortadelo sends the letter back to Atilo Pérrez.
A spray which makes any person or creature hit by it literally pop out of existence. But the spray can is leaky, exposing its true nature, and Mortadelo and Filemon desperately try to get rid of it.
Finally, Papandujo manages to feed El Super a potion which makes him behave like a chicken (even to the point of laying real eggs). Mortadelo and Filemon infiltrate F.E.A. and manage to blow both Papandujo and Pérrez into space. In order to destroy the warlock's elixirs and concoctions, Mortadelo thinks of diluting the whole collection inside El Super's bathtub; but when El Super decides to take a bath, the unwholesome mixture turns him into a horrifying monster, ending the story with another furious chase of Mortadelo and Filemon.




References



DE LA CRUZ PÉREZ, Francisco Javier. Los cómics de Francisco Ibáñez. Ediciones de la Universidad de Castilla–La Mancha Cuenca, 2008. ISBN 978-84-8427-600-5
FERNÁNDEZ SOTO, Miguel. El mundo de Mortadelo y Filemón. Medialive Content, 2008. ISBN 978-84-92506-29-3
GUIRAL, Antoni. El gran libro de Mortadelo y Filemón: 50 aniversario. Ediciones B. ISBN 978-84-666-3092-4

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