 Well, we're reaching close to the end of the first day of a very successful presentation. It's wonderful, wonderful information and fascinating stuff. But we have yet to go. The Queen of the Mall, I think, is the star of the show. I think it's the best for our grant program. So it's my pleasure to briefly introduce to you Javier from Central Santa Cruz, who is selected out of a pretty impressive pool of applicants from the travel grant from the IAS. And he reflects a lot of things that we're trying to do to mix it up between older established scholars, younger, very quickly advanced scholars and such. It's a really tremendous situation. And Javier, one hands down beyond doubt. Just a quick word or two about him. He's got a bachelor's and an essentiality degree from the IAS, San Antonio de Abad de Cusco. And he is currently the director of the Proyecto de Investigación Arqueológica Innisfiria de Pampa. And if you're like me, you've been sort of tragedy struck that you've only seen newspaper accounts, maybe websites or something like that concerning the discoveries in this area of history of Pampa related to the Warring period. You know, it's one of those things where the first time you heard it, if you were like me, you went, nothing. That's not it. Somebody got mixed up here and you're combining the two articles. Well, not so. It really is the case. And so, like yourselves, I'm looking very much forward to hearing about Ocupación, Wari, and El Espezo. Javier. Thank you. Well, first of all, I want to thank the U.S. Institute of American Studies for the invitation to be here. And also to the organizers, to the speakers who have attended to get to know their different works of archaeological research and, as well as to all the people who have attended, this academic event. The work that I'm considering, we have called the U.S. U.S. U.S. U.S. U.S. First of all, to speak about the U.S. U.S. U.S. U.S. U.S. is a place where two great sculptures have been accepted. The first one is from Wari. It's a character from the U.S. U.S. U.S. U.S. U.S. The second one is the last capital of the Inca resistance, starting with Manco Inca and then with the execution of Tupac Amaro, where the information is really exquisite I'm going to talk a little bit about the location that is located in the province of the Conviación Distrito de Icavapa region of Cusco. To access this route, we have two routes. The first route is a carousel route from Cusco to Valle de San Miguel and then to Inglés to Espíritu Pago. Before, it was almost nine hours to enter this place. And the other route, which is known as the historic route, is where Mankoínca is reflected towards what should be the Icavapa. The carousel route reaches Pampatón and then it is accessed with a two-way or three-way route. The recommendation is this route where you can visit what would be the last capital of the Icavapa. This is the Planta de Espíritu Pampa. It is really extensive, it is only a park that we are showing you. It should be in the different sectors of the 14th century. We have a carousel that is more than 80 meters long. And the different sectors that we are in, sectors of the 20th century, etc. We have a carousel that has been in the work of the research of the Icavapa in 2011. And as a result of this work, it was done in the discovery of Mr. Levis Cadamba. Among the cronists, many of them only mention what they want to do with Icavapa, but they don't mention what they want to do with Espíritu Pampa. Mr. Levis Cadamba has already made a mention of the contemporary scholars who have left Icavapa in the 19th century to Espíritu Pampa. And one of the characters that is also present is Vincent Lee, who makes a contribution to the project of Pusco, who makes a contribution to the development of all those sectors. It is really interesting and the contribution that the Planta de Espíritu Pampa does to all its sectors. Among the archaeological works, we have many of them, that have been in the works since 2002. There we also have Asakai, who makes a development of this space in 3D, of the whole Espíritu Pampa community. Mr. Levis Cadamba and my person who has been working since 2008 to 2014, and later to today. These are two photographic views that you can see. The silver sheet, which is really difficult to see, with the artworks in these areas, and how we find it. And then, this is the space, and it is the moment of the wave of this agressive vegetation and the storm of the area, to start our archaeological research work. Once all this material has been removed, you can see, that we have made 5 trenches of 10 x 2, in which we reached an architecture that did not correspond to the Inca. The Alfarero material, which was not Inca, was of the Meña horizon. Later, we changed our, our strategy of excavations, we made it in Aria, and you can see these spaces. Unfortunately, in the 70s, this space was blocked by the azalea that inhabited this place. You can see a large amount of lytic material, the walls, the wall heads, etc. And at the bottom, you can see the topographic behavior, where you can see what comes to be the main tunnel of the Inca. A context, and other, mentally, only the structures and the bases that were evacuated. This place is known as the Inca-cao-Pamba sector. At present, this is all the space. Until 2018, when we made our archaeological research work, and this is the last tunnel that is left at the temple of the Guaya capital, and that is the largest you can see. The main path of this temple, here is another path, and at the top, you can see the circular structures, that one is in the Inca-cao-Pamba, and at the bottom, is the Guaya-Pamba. This is a plant plan, you can see that it is similar to what I would have done with Chopata. This is a structure that was completed in 2011, and this part that you can see is the one that I showed earlier. Actually, the information is very long, I'm going to try to give a little more summary. This is an offer that is on the other side of the wall. This is a tunnel that I'm going to expand, this is a funeral structure in which, unfortunately, it was destroyed, but we can see the constructive characteristics it has. Here we see what should be a sealed structure. We didn't find anything, we only found a landslide, which would give us some information that we have been seeing that it is for future landslides, or also to store different products. This is a funeral structure that is located in this one, that has been completed by Chopata. This is an offer, really interesting, cultural material, that is located in the middle. You can see, once you have forgotten about the temporary landslides, you can see the large amount of that part that I showed earlier, which is the wall, which is made up of texts and offerings. This is the main offer, and unfortunately, it was destroyed. This is a funeral structure, really interesting, it is a rectangular structure with the walls, and the middle is divided into rectangular blocks, which have approximately 1.7 meters of height. In this space, it was where to deposit the offering, part of the offering, and in this space, it was where to deposit the individual, it was like a cage, really an interesting context. And part of that funeral context, we have these elements, some bottles, material, weapons of war, and elements that have entered this funeral context. Well, this is the offering that you can see in the middle, which is made up of different objects, in a Wario style, as you can see. Here we have a local production, it is a production that the natives or the Achani, the Achani or the pyros, are made up of material. But the shape is Wario, the iconography is also Wario. Part of this offering can also be seen sectorals of silver, for the knees, the cannibals, you could say, and tools, which indicate that the spirit and the panther are elaborating metals. The elements of the sun are the Chonta, which the natives use to use us for war, or at home. This is the Chonta that they are using in the hands, and it is part of the evidence that you can appreciate. Here we have textiles, all the metals have been wrapped in textiles, but the metal is not. It is a place, a divine age. All this organic material comes to decompose. We only find it in all contexts of what comes to be the indenture. Organic material comes to decompose. Another context that broke the natural floor. Later you can appreciate the structure of the interior. We find the Mercury sulfur, which in all contexts has been associated with the projectiles, with the knives. The upper part is where the offering is located, the natural floor, and is in the deposit of this material. Remember, again, the material that is offered in the material of the Guari style, we have a knife, a screwdriver, a teflon of silver that is evidenced. And also this material that is found in textiles. What corresponds to a bowl or a bowl, with a silver finish, we only find it. Well, well, in the U.S., there is much more cultural content that is offering in the context of the Guari style. Another U.S. in D. You can see the straight wall on the right side. There you can see what the occupancy floor is. This is a tower, the upper part is a double floor tower. And here you find several funerary contexts and offerings. The process of work and there you can see the different funerary contexts. This is an offering, a funerary context a funerary context that has a shape of an inverted dome. The shape is interesting as it has been designed. It is very impressive. And that is another context. You can see the shape of how its tubes are sealed. A funerary context, a funerary context and an offering in the upper part. Another offering and another important offering inside this space. Here you can see how it has been distributed and divided by these modes. The concentration of the funerary contexts is found in this space. An offering and then the contents. Part of an offering inside this of everything that is of these structures you find a well-organized and well-selected earth. Both the funerary contexts also have the same behavior. Another funerary context part of this offering we can see the material of the local production of the style of Wari. The different materials are also in plate tubes. The individual can only indicate what we found in what they wanted to do. This is another funerary structure that is shaped of an inverted dome. Inside it is divided by sections. It is impressive how this funerary structure was made. Part of the objects related to this dome is the material of the fibrates. Here you can see a local production of the fibrates and the fibrates which are owners of this space. They have a local production of the different styles that are found in this of what they wanted to do. An offering of local production and imported material. A funerary context of a floral cantilever of the Chakipampa style and also associated with the individual that we found in the dome. Another funerary structure is a local production where you can appreciate the design of the fibrates that you are working on in this ceramics. Inside there is an iconography of a Uari style that is inside this glass. This is a piece of music that they are working on in units of the area. Another funerary context is a local production of the fibrates and the tools associated with the obsidian. These fibrates are the basis of the funerary structures. It was where the individual was represented but the vast majority of these fibrates are with an ornament part of the offering that you can see inside. And as we also see the part of the offering that we have in our presentations that correspond to the tools of the obsidian and this is a texture of silver that is similar to the evidence of a kakamaka as part of a wakere or kebubo if you can see the representation of our propofas it is similar to the spirit of Tapa. Another structure in D with another structure in D in this space we also do not find any event or any funerary context of the funerary structures even if there is a kakamaka style that is being found inside these obsidian but we are not finding any funerary context but this is the funerary structures that we find in different styles imported and also from the area. This is a funerary context that has a shape of a boat where it deposits in this part and it is interesting in its cultural content and subsequently it is where it deposits in the interior. This has been more or less a meter and a half of material that seems to be a material of cement if you are a kakamaka you do not find anything and we find what we had to do a funerary context This is part of this offering that we find in different styles the material of the boat where it is represented on the funerary side in pairs they are offering to their individuals and you can see the different styles that we are evaluating part of this offering we have a kajamaka style we have these representations and if you can see this is the representation of a little monkey in the area you can see the ears and the wings correspond to the hands it is a local production that is being produced in this space part of the offering are these elements that we find these elements are distributed that we are finding inside the same captain and as well as outside of the captain part of the offering are all these materials of Tupus in silver here we see the material that was distributed in different parts both in the same captain in Ayacucho and as well as outside outside of the Pusco department we see the people of 103 Dr. Patricia Noblog who is the one who does the study and these materials are distributed in different parts of the area and in the area another context that is related to this structure unfortunately it was distributed but we are going to see what is being done in silver with another representation associated with what is being done in silver it was more than half a moon and in this space is where the offering is located well this is another architectural unit this unit is where what comes to be the main tomb of the lord of Cavallo here we see a funerary context that is below the counterfeit of this world unfortunately it was broken another funerary context this is an offering an offering a context where only mythical elements are found with a mass earth that the gods used as dual elements how could they do the form of chairs that they offended their death a funerary context that was finished in the natural sun where half of this plate was associated with the elements of women tools for the creation of the ceramics that are in this surprise also tools and a funerary context and what comes to be the character that we talk about of the lord of Cavallo the water water the distribution of the funerary context and the offerings that are in this exhibition this is the tomb it has a 1 meter diameter with a height of 1 meter 70 these plates are 1 meter 1 meter 60 or 1 meter 65 which will be sealed all this structure has been sealed with this clay all the technical units were sealed with this clay there you can see what I wanted to tell you that mass earth was not selected it was made up of all the funerary context in the offerings this type 5A it is a very young studio you can see it better in which it is decorated as the 5A and this is also what Quanchopata comes to say and also in different parts of the cruzco area but they are all empty only structures are found we find a marked context that corresponds to a character I will indicate there is all this space of what they wanted to do of spirit and power you can see the funerary context is a silver texture you can see the mascarade you can see this red color it has been painted not only the funerary context are associated with this element part of what they wanted to do the 20 wheels these representations the pelinical commands the center and the vacuum are inside this object you can see here something shiny those are the detection arms there you can see part of the funerary part of this character this character according to the analysis it was bought from 8 to 9 only part of the inventory it has a estimated age more or less 25 to 35 years of age the character who used this space I will talk about it later and part of what the text is the soft tissue at the time of the withdrawal is in nothing this character as you can see corresponds to the person who used this space this is the bracelet it has a pechera these representations pelinical commands and what comes to be a bucket and a set which has been made with a bucket the bucket is a primer which is used by the natives of the area and it has been lined with a silver sheet these are the gold bracelets they are represented in these pelinical commands there you can see these lentils which have been printed or carried in the end as well as the facial arrangements which Dr. Patricia has made an analysis of these lentils here you can see something of 14 figures, 7 on the left and 7 on the right these are the representations of these lentils which do not look like one to the other this would indicate that for the elaboration of these characters they have participated or as well they may have been the rulers who were inside this space of the bucket apart from the depth we also have these lentils which we don't do as the famous chess pieces which are some of the 600 figures of these lentils we see that in Espíritu Papa not only this character we find we find other characters but not at this level that we have found in Espíritu Papa we see that in Espíritu Papa this is the same of this space another context you can see of what a circular pectoral has been associated for a while at this level only the dentist we find another funerary context there is this bottle with the representation of another comorfa of the plant a pectoral that needs to be preserved circular are a touch not only the individual we have the denture for the constructive characteristics we can indicate that the character the way it was it was in the next position an offering and you can see of these lentils in these characters there is a lot of information about these data a slightly distorted context but we find part of what would have to be a pectoral of the plant and these elements of these pectoral we are finding in different spaces we see chachapoyas there is a museum inside of what is exactly what we are finding in Poma Canche, in El Cusco not only there are pectorals of these we have the identity in Espíritu Pampa we can indicate that in Espíritu Pampa there are gold canteras silver canteras it was a place where these metals were produced and possibly they were imported to other places this is the major temple where we found Espíritu Pampa and only this part of this space was discovered it was still missing this place and where we found very interesting things really and you can see the photo of the place this is an offering where it is made up of a crown of silver associated with a vase another vase without decoration of a pectoral in this space we find what they are doing an offering of a chameleon more or less of three years of age more or less of the year and all this space is really missing because what we found in the funeral contexts is under the floors there is no element in the upper part one or the other is where we find the funeral contexts and the offerings this is a small structure where it was a place where they made their magical and religious ceremonies for their deities or for their temples this structure is really what we wanted to do the same capital we have these these niches inside of the conserved characteristics spirit of papacy a very important role inside of the Wario song we only have the evidence that is being placed inside this space there is also part of this temple and here we find the wario it has the form the characteristics of the wario funeral at the time of the opening we are surprised that it is a wario funeral here this is the space an interesting data and another data this is a stage that we found in the 2008 it is wario but it is in the Inca occupation and here you can see another stage that is wario we can find here Cajamarca so what what I want to tell you is that in the spirit of papacy all the coexistence between the warios and the incas we find inside the occupation an Inca Inca but the form is wario there is a basin that we found more or less with a diameter of 50 with a height of 30 where the Andean resistance of 30 Spanish invasions where the participation of the different ethnicities that are facing invaders but inside the iconography we find iconographic elements of warios and in the spirit of papacy we can see that the coexistence between the warios and the incas that is part of the truth of the warios even there we use the same canteras of the warios the information is really interesting of what is being recovered in the spirit of papacy the wario presence is not isolated the wario presence is strong we find spirit of papacy near spirit of papacy Chontabamba with Sevilayo in the same Quillabamba in Pichari, Quindir, in Inca and it will be more or less a month ago the wario presence was found and also in what I would do in the Inca we see that spirit of papacy the wario presence is really massifical in this space well really, thank you very much for your attention I hope you wait we have about 10 minutes for questions I would like to select the last questions if you have any inquiries sometimes the chat does not give you everything but the information is really very wide thank you excellent material excellent job congratulations really is to envy I also have a question of chronological character because the material that you associate with the wario well known of wario castle we have a wario presence in the wario castle and the dates are type 8 in the last you presented a tomb wario style with material inca how do you explain it at a chronological level did you get the possibility to explain it at a chronological level because we are talking about a temporal space until this moment considered as 500 years of difference so here comes the question who were the waris who lived with the incas according to your interpretation and how can you continue the continuity of the presence between waris just like you through these 500 years well, as I said that the waris when there was the colax these societies did not disappear in the morning they were still part of the persistence that's why when you enter the incas these characters a data that they use the same canteras for the production of the incas the other is the material that we found this tomb that you have seen this one has the same characteristics the way they have developed it we have these perpendicular layers this one here is a fragmented it is an indication that it is related to a tomb in any of the contexts that we have found it has the same characteristics we open and it is it has not yet been made of what is going to be an adaptation of Réal Carbono but if it is made of what has been done of Wari occupation something of 9 datations thanks to Brian Bauer that is more or less between 650 to 900 the presence we made the inca in 14 windows that has more or less of what is coming to be the inca resistance until the death of the Kupa Hamaru one so the chronology of the occupation that has it it is interesting that what are you finding in this space I have a question that the colonies that speak of the Conquista de Becababa to the University there were hundreds of spaces of the inca site according to the map that we have shown in our first talk of the site it shows that all the occupations of the inca are on one side that part of Wari is like the center of the inca but in the area between the inca occupation and the Wari occupation I think that there were many evidences that maybe there was more occupation between that I think that maybe it is possible that the Inca were occupying all that inca and that is a context of reuse of the context of the area of Wari no effectively the occupation the occupation inca we cannot really determine in this place you have owners it is a bit difficult to advance with the inca we have to always be connecting with them we have to detect the places of the production of the inca of the Wari in a walk you can find the Wari occupation in Chontababa which is also a Wari occupation so the presence of Wari is massive but there are more investigations to determine the extension exactly within the spirit of Wari your last slide do you have in all these places what are the Wari places it is mainly for the inca what are the different contexts and what are the other places in the Inca why they say they are Wari why they are Wari what are the evidences that we have but I did not understand the question but the last slide you have different places that say with Wari why they are Wari because here sometimes someone says that it is Wari that it is only Wari or suddenly and only what is the most about it here in Pichari there is presence of Wari in which in 2012 in my exit I found at the time of opening a street I found a Wari within this space in Concevidayo we have Concevidayo and Chontabamba they have given us Wari material of the same people that at the time of making their houses etc. etc. in other words, they cover or for the last time they cover it so that the ministry does not have any problems In Inca as I tell you again with that trace that was in the supervision area of my colleague who was excavating he was excavating a Wari occupation that he did not know because he was not in Inca so that is why he said that the presence of Wari is more located within what he would like to do in Pizuna Well, thank you very much for the presentation I have a question Well, it seems that in the Wari in that area would be the gold do you think? but does the Chonta also grow there or is it lower? Well, I notice that one is Chontabamba but maybe another resource that they were conceiving around there Can you be the Chonta? because if you want a way well, I do not know if necessarily, but if it is a container to store the tools I do not know if you thought of the Chonta the Chonta grows both in Chontabamba and as well as in Espíritu Planta it is an element of the area that the natives use to make war so the Incas and as well as the Boreis use this material to use it and as well as other tools we have resources we have gold, silver, copper, quail exotic animals so this space of Espíritu is like an important role in what the Wari expansion would be for the natural resources that this space had Aluna and Ketu all the material that is in my previous year is considering this is already a lot of material that it has I am saying it in a very reasonable way it is already several years right? what is that? I think it is there these are musical instruments if you can see these are animals that are represented in the area they are I don't know those who have traveled to Espíritu Planta they are the animals this kind of nest that you can see there is no one that they support or look at this this is the way they are but they are musical instruments in this space and not only we find the investigations that are being done in the area of Cusco we have also found these types of musical instruments Aluna and Ketu I think it is a little bit complicated but I wanted to again thank Javier for a wonderful presentation