Head of an indigenous community (Alcade) of Ollataytambo in the department of Cuzco. - 1969

The Cuzco Indians wear clothes made of llama wool, which are famous for the richness and beauty of their colours. The patterns vary greatly from region to region of the department. - Indians from the province of Paruro, Cuzco. - 1969

With the arrival of the Spaniards, various musical instruments previously unknown on this continent were also introduced, including the harp, which the Indians have now learnt to build themselves and play in their own unique way. - Indians from the province of Paruro, Cuzco. - 1969

An Aymara Indian plays the zampoña or panpipe, which is made up of a certain number of reed pieces of different lengths. - Hacienda San Juan de Chuquibambilla, Puno - 1969

The quena is still the favourite instrument of the shepherds on the Altiplano. - Hacienda San Juan de Chuquibambilla, Puno - 1969

The legends are only available in German, French or Spanish
Les indigènes ont adopté les instruments de musique apportés par les Espagnols tels que la harpe et le violon. - Festival de folklore Inti Raymi à Cuzco - Indiens de la province de Paruro - 1969

Wearing a woollen chullo under his typical cuzqueño hat and dressed in a wonderful poncho, this young Indian from the sacred valley holds the vara de mando, a silver-plated staff as a sign of his official dignity. He is the alcalde of an ayllu, an agrarian community handed down from the Inca era, in which the Quechuas still live today as they did in times gone by.

This India from San Juan de Chuquibambilla smiles from under her montera, the headdress with the pleated scarf. She only wears her beautiful traditional dress, whose embroidery she is proud of, on very special highland festivals.

The serious face of this girl from Combapata, Cuzco, is tanned by the harsh mountain climate. She wears a cap with a forward-facing peak and a wide, patterned, hand-woven belt around her waist.

This woman from Combapata with her peculiar flat hat, her sharply cut face framed by an embroidered scarf, embodies all the dignity of the ancient pre-Columbian peoples.

In the vast and infinite silence of the Altiplano, the Aymara have been playing their zampoña since time immemorial ... whose wistful and strange sounds are carried away by the mountain winds.

The legends are only available in German, French or Spanish
C'est par une musique aussi tonitruante que discordante que la banda, l'orchestre en ponchos bariolés, inaugure aux quatre vents le nouveau terrain de football!

The legends are only available in German, French or Spanish
Depuis trois mille ans ou davantage encore, 1'Indien de la Vallée sacrée des Incas et de toutes les Andes, pour appeler hommes et dieux, souffle dans le pututo, grosse conque marine du Pacifique, le Spondylus au son rauque.

Pentecost Festival in Ollantaytambo, Cuzco - Young Indian woman in typical costume. - 1969

An lndia cuzqueña from the Ollantaytambo region in her typical dresses. - 1976

The young women also wear traditional clothing, taken on June 17, 1973 during the celebrations for the anniversary of the death of Martín Miguel de Güemes.

A Maya Quiché woman in traditional costume kneels on the steps of the church dedicated to Santo Tomás in Chichicastenango, Guatemala. This temple is a revered place for indigenous people who meet there, mainly on Thursdays and Sundays, market days, to pay emotional homage to their gods. The clergy has long accepted this use of the church for a purpose that has nothing in common with the Catholic ritual. The prayers in the Indian language follow one another. During the ceremony, the natives burn copal, light candles and spread flower petals. The rite is led by a chiman or indigenous priest who has turned his village church into a veritable sanctuary of the Mayan religion. The nave is divided into three sectors. In the first, located near the communion table, the chiman invokes the great figures of his country. In the central part, he addresses the God of the World. The third sector, near the main door, is less specific than the first two. Here the Indian priest can pray to any deity. - 1977

These Cuna women chat at the entrance to their house, where they are protected from the sun's rays. The Indian women love jewellery. Apart from the small gold-plated nose ring, they also wear tight-fitting bands of coral beads on their arms and ankles. On the wall of the house hang various coloured and richly decorated molas, the main product of the Cuna women's handicrafts. In the society of their matriarchal group, women play a considerable role. The onset of puberty of the daughters, for example, is an important event and the occasion for a lively celebration in which all members of the community participate. The puberty of the boys, on the other hand, takes place without any fuss. The young husband lives in his wife's house and has to help his parents-in-law. - 1977

Young Cuna Indian girl from the San Blas archipelago wearing a small gold ring on her nose. These indigenous people form an ethnic group of about twenty-five thousand people. They are a very homogeneous group whose representatives are extremely proud of their culture, whether it be language, customs or beliefs. This does not prevent the Cuna, who are highly intelligent, from being attentive to everything that is happening in the world. Many of them work outside as teachers, doctors, lawyers or artists. Each Cuna community is headed by a chief, who reports to one of the three main caciques of the region. The responsibilities of the latter extend to all the representatives of the ethnic group. A daily meeting of the members of the community allows everyone to speak and express their opinions and judgements on the most diverse problems that the natives have to face. A more democratic system of government could not be imagined!

Young Cuna Indian woman from the San Blas archipelago. She wears a small gold ring on her nose. These indigenous people form a nation of about 25 000 people. They are a very unified group whose members are exceptionally proud of their culture, language, customs and beliefs. Each Cuna community has a leader, who in turn is under the command of one of the three main caciques of the region. The responsibility of the caciques encompasses the entire ethnic community. The daily meeting of the members of the community allows everyone to speak, present their views and express their opinions on the various issues facing the indigenous people. A more democratic system of government could not be imagined! - 1977

Two Cuna women preparing their food. Here bananas are being pounded to a pulp in a wooden mortar. - 1977

A Cuna woman washing on a flat wooden trough. - 1977

Young Cuna Indian woman from the San Blas archipelago. She wears a small gold ring on her nose. These indigenous people form a nation of about 25 000 people. They are a very unified group whose members are exceptionally proud of their culture, language, customs and beliefs. Each Cuna community has a leader, who in turn is under the command of one of the three main caciques of the region. The responsibility of the caciques encompasses the entire ethnic community. The daily meeting of the members of the community allows everyone to speak, present their views and express their opinions on the various issues facing the indigenous people. A more democratic system of government could not be imagined! - 1977

The Cuna woman is engaged in the manufacture of her clothing, namely the well-known cotton blouse (mola). She works under a tree or at the entrance of her home, sheltered from the sun. The Indian woman likes to cover herself with ornaments. She wears a small golden metal ring on her nose. On her arms and ankles she wears tightly fitted bracelets made of coral beads. While her husband fishes, hunts or works in one of the crop fields he owns on the mainland, the Cuna woman stays at home and performs a multitude of domestic tasks. She plays a considerable role in the society of her clan, which has a matriarchal structure. Thus, the puberty of girls is a very important event and is the pretext for a lively celebration in which all members of the community participate; in contrast, the puberty of boys goes unnoticed. It is also the case that the young husband will live in his wife's home, having to assist his parents-in-law in all circumstances. - 1977

A young Cuna woman shows a colourful and richly decorated mola, the main product of Cuna women's handicrafts. The patterns usually depict people, mythological animals and geometric figures. All the images are symbolic and closely related to the extensive religion of the inhabitants of the San Blas archipelago. The mola is composed of several pieces of fabric carefully sewn together. - 1977

An Indian woman in the town of Antigua in Guatemala. - 1972

An Indian woman from La Antigua sits at her loom. The fabrics thus produced vary considerably in colours and patterns from region to region and even from village to village. This peculiarity, which is found in all the Indian republics of the continent, stems from the fact that clothing is a characteristic of origin for the indigenous people. It distinguishes them from the others and expresses their attachment to their place of origin. - 1977

The clothing worn by Guatemalan Indian women includes essential elements such as shirts, blouses known as huipiles, skirts, belts and headbands, the colours and decorations of which vary considerably from region to region and even from village to village in the country. This phenomenon, common to all the Indian republics of the continent, is due to the fact that, for the indigenous people, clothing is a factor of social identification. It allows the wearer to distinguish himself from others and to be attached to his place of origin. - 1977

Doña Concepción Pacach Tzina weaving. She is wearing the traditional dress of her people and lives in the village of Santiago Atitlán in Guatemala. The indigenous weaving technique has hardly changed over the centuries. Most other commercial activities are also carried out using the same simple technique as in the past. Nevertheless, many Indians, some of whom are ingenious craftsmen, are able to produce actual works of art, weavings or ceramics, basketry and objects made of stone, metal or wood. - 1977

Doña Concepción Pacach Tzina wears the traditional dress of her people and lives in the village of Santiago de Atitlán in Guatemala. The typical costume is an example of the culture of every town in Guatemala. One of the most striking accessories is the famous tocoyal of Santiago Atitlán. The tocoyal is a ribbon that is wrapped around the head and is between 20 and 25 yards long, which is roughly equivalent to between 16 and 21 metres. To use it, it is wrapped around the head 20 times, simulating a hat. The 20 loops refer to the Mayan calendar and also signify the continuity of life, the feathered serpent and the Tzu'tujil culture. One of the most famous personalities to wear this garment was Doña Concepción Ramírez Chonita from Santiago Atitlán, who won the competition to be depicted on the 25 cent coin of the national currency in 1936. - 1977

The typical costume is a sample of the culture of each village in Guatemala. One of the accessories that stands out the most is the famous Tocoyal of Santiago Atitlán. The Tocoyal is a ribbon that is wrapped around the head and measures between 20 and 25 rods long, or approximately 16 and 21 metres. The way it is used is by wrapping it 20 times around the head, simulating a hat. The 20 turns are related to the Mayan calendar and also signify the continuity of life, the feathered serpent and the Tzu'tujil culture. One of the best known personalities who wore this garment was Doña Concepción Ramírez Chonita, from Santiago Atitlán, who in 1936 won the competition to appear on the national 25-cent coin. - 1977

The young Mayan woman Rosa-María embroiders flowers on a blouse (huipil). These embroideries are typical for the Santiago Atitlán area. - 1977

It is Sunday, market day in Santiago de Atitlán, on the shores of a beautiful Guatemalan lake. These men are wearing their ethnic cotton trousers with vertical stripes. Some of these garments still have multicoloured embroidery on the lower part. However, while some have kept the typical local shirt, the majority of the others have adopted the European or American cut shirt. Men who travel and work outside their community are more influenced by the outside world than women. - 1977

Two Mayan women in their typical costumes meet for a chat in front of the entrance to a pharmacy in Santa Cruz in the department of Alta Veracruz. - 1977

A Mayan woman visits the health post in Santa Cruz Verapaz with her son. - 1977

This Mayan woman waits patiently on a bench in San Cristóbal in the department of Alta Verapaz. - 1977

Picturesque scene taken at the Friday feria in the Guatemalan village of San Francisco el Alto. You can find everything in the Indian markets, not only products of the land and crafts, but also domestic animals. The turkey has been known throughout Central America since pre-Columbian times. Then it moved to South America. The Spaniards brought this bird to Europe when they conquered the American continent. - 1977

Friday market in San Francisco El Alto in the department of Totonicapán, Guatemala. From the 16th century onwards, the Spanish introduced domestic animals unknown to the natives into the Americas, but which they began to breed for their own use. Cows, sheep, goats and pigs became common. Pigs rose to prominence during the colonial period and became a desirable source of income in many areas. In the lower regions, pigs are fed on bananas or cassava (palm lilies). They roam freely in the streets of towns and supplement their diet with whatever is available to them. However, in the mountainous areas of Guatemala, these animals are raised for the production of lard, which is sold to mestizos and whites. - 1977

Young Mayan woman at the Friday market in San Francisco El Alto in the department of Totonicapán, Guatemala. Following the example of their ancestors from pre-Columbian times, Mayan women today still carry everything on their heads, the laundry they washed at the river, the fruits, utensils, edibles and small pets they want to sell at the market. - 1977

A little Mayan girl at the Friday market in San Francisco El Alto in the department of Totonicapán, Guatemala. - 1977

Young Mayan woman at the Friday market in San Francisco El Alto in the department of Totonicapán, Guatemala. Following the example of their ancestors from pre-Columbian times, Mayan women today still carry everything on their heads, the laundry they washed at the river, the fruits, utensils, edibles and small pets they want to sell at the market. To do so, they use magnificent baskets made by the artisans of their community. - 1977

A Mayan woman at the Friday market in San Francisco El Alto in the department of Totonicapán, Guatemala. Following the example of their ancestors from pre-Columbian times, Mayan women today still carry everything on their heads, the laundry they washed at the river, the fruits, utensils, edibles and small pets they want to sell at the market. To do so, they use magnificent baskets made by the artisans of their community. - 1977

The Friday market in San Francisco El Alto in the department of Totonicapán starts early in the morning. Those who have travelled a long way to visit the market like to go to one of the stalls to eat something. - 1977

Indian women in San Cristóbal de Totonicapán, in the department of the same name, Guatemala. The life of the indigenous people is marked by the excellent relations that exist between the different members of the community. The most arduous tasks await each of them. But the women know how to give themselves a moment's respite. They take advantage of this time to talk with their neighbours about a wide range of topics, and to confide in them about their families and their problems. - 1977

Following the example of their ancestors from pre-Columbian times, Mayan women today still carry everything on their heads, the laundry they washed at the river, the fruits, utensils, edibles and small pets they want to sell at the market. To do so, they use magnificent baskets made by the artisans of their community. The youngest child of the family accompanies his mother on all walks. Thus, even at a very tender age, he takes part in all the events of daily life. The picture was taken in Totonicapán. - 1977

Little Mayan girl from Totonicapán. - 1977

At a market near Quezaltenango, this indigenous woman weighs her goods with a simple hand scale. - 1972

Mother and child photographed on the road from Quezaltenango to the capital of Guatemala. Like their more distant pre-Columbian ancestors, today's Mayan women carry everything on their heads: the clothes they have washed at the river, the products of the land and crafts, the provisions for the road or even the small domestic animals they go to sell at the nearest market. For this purpose, they use beautiful baskets made by artists from their community. The youngest child in the family accompanies his mother on all her journeys. Thus, from a very young age, the Indian child comes into contact with all the realities of the daily life of the woman to whom he owes his birth. - 1977

At the market in Chichicastenango. Fruits and vegetables are still weighed with simple hand scales. - 1977

Indian girls at the market of Chichicastenango. The indigenous people of this country, who make up almost half of the total population, live mainly in the mountainous regions. They are divided into six main ethnic groups, each of which includes a number of subgroups. Most of these Indians are descendants of the pre-Columbian Maya, from whom they have inherited numerous traditions, whether in daily work, social form, beliefs or crafts. - 1977

Potters' corner at the Sunday market in Chichicastenango, Guatemala. This fair allows the inhabitants to buy or sell the products of the soil and handicrafts. The Indian woman looks longingly at the objects she has decided to buy. - 1977

Mayan women selling tortillas (cornmeal cakes) in Chichicastenango, Guatemala. The market starts very early in the morning. Mobile kitchens are frequented by those who have often travelled great distances to get to the fair. - 1977

A mother with her child, taken at the Sunday market in Chichicastenango. Following the example of their pre-Columbian ancestors, Mayan women carry the youngest child of the family on their backs. It accompanies its mother on all walks. In this way, it participates in all the events of daily life from a very tender age. - 1977

A family kneels in front of the steps of the Santo Tomás church in Chichicastenango.

The votive offerings are placed on the steps of the Church of the Calvary. They burn pieces of copal and pray to their gods. - 1977

A Mayan Quiché woman on the steps of the Church of the Calvary. She burns pieces of copal and prays to her gods. - 1972

A Mayan Quiché woman on the steps of the Church of the Calvary. She prays to her gods. - 1977

The main festival in Chichicastenango is celebrated every 21st December during the winter solstice in honour of St. Thomas the Apostle. The masked dancers are considered to be imitating the Spanish invader of times past. - 1977

The main festival in Chichicastenango is celebrated every 21st December during the winter solstice in honour of Saint Thomas the Apostle. Throughout pre-Columbian times, the Indians knew only two types of musical instruments, drums and wind instruments (flutes, trumpets, whistles and ocarinas) made of cane stalks, bamboo or clay. - 1977

The main festival in Chichicastenango is celebrated every 21st December during the winter solstice in honour of Saint Thomas the Apostle. Throughout the pre-Columbian period, the Indians knew only two types of musical instruments, drums and wind instruments (flutes, trumpets, whistles and ocarinas) made of cane stalks, bamboo or clay. Instruments made of copper such as trumpets, trombones, saxophones and horns were soon adopted by the natives from the Spanish conquerors. The use of the foreign musical instruments and the adoption of a foreign type of music brought noticeable changes to the folklore of the indigenous people. - 1977

A young woman from Jodhpur wearing traditional clothing and jewellery. A delicate, pink veil is loosely draped over her head. She has a bindi on her forehead, a traditional red dot adorned with a small gemstone. She wears a traditional necklace (often referred to as a thushi or timaniya) with small, gold-coloured pendants, as well as a simpler chain underneath. She wears numerous bangles on her forearms. – Sardar Market (or Girdikot) in Jodhpur – 1990

Two elderly men from Jodhpur, wearing traditional turbans, are taking a smoke break. The men are squatting in a typical Indian resting position beside large jute sacks by the roadside. One man wears a voluminous, pure white turban, as is often seen in the daily life of older village communities in regions such as Jodhpur. The other man wears a colourful red turban with a bandhani pattern (a traditional Indian tie-dye technique). – Sardar Market (or Girdikot) in Jodhpur – 1990

In the narrow streets of Jodhpur, below the monumental Mehrangarh Fort, street vendors like this and intricate murals are a familiar part of the everyday cityscape. The woman is stringing together fresh flowers, which in India are used for religious rituals (puja), temple visits and weddings. In the metal basin lie orange and yellow marigolds (Tagetes), which in Hindu culture symbolise purity and the divine. – 1990

A street vendor selling traditional earthenware pots at the market in Jodhpur. The woman is wearing a traditional, colourful costume, as well as eye-catching arm and foot jewellery. The large, round, light-coloured vessels are traditional Indian water pots, known as matkas. These unglazed pots use evaporative cooling to keep drinking water cool naturally during the hot summer. In the foreground are stacks of smaller, reddish-brown clay bowls and pots, painted with delicate black and white patterns. These are often used for storing food, dairy products such as yoghurt (dahi), or as cooking vessels. Hand-woven mats or fans (probably made from palm leaves) are also on sale. – 1990

An older man’s standing in Rajasthan is reflected in his traditional Rajasthani attire. The colourful, patterned turban is the most striking feature. It consists of a long strip of fabric and symbolises honour, pride and social status. The white top (angarkha, a tunic) with its small floral pattern is a traditional wrap-style garment. It is often tied at the side with cords. The red cloth around the waist serves as a belt and a decorative element. A long, well-groomed beard is often a sign of maturity and dignity in this region. – Jodhpur – 1990

A nomad from the Thar Desert (Rajasthan). The men who led the long caravans of camels towards the Indus Valley and on through the steppes of what is now Pakistan and Iran towards the Mediterranean, or upstream via the Khyber Pass towards Afghanistan and southern Russia, would likely have looked much the same. – Jodhpur – 1990

Threshing grain is a traditional agricultural technique in which grains are separated from the chaff by dropping them into the wind from a certain height. A woman lifts a basket to clean the grain in the wind, whilst a man sits on the ground and sifts the grain. It is likely to be pearl millet. In Hindi and the local Rajasthani language, this nutrient-rich grain is called bajra. It is extremely drought-resistant and a staple food for the people in this desert region (e.g. in the form of bajre ki roti, a flatbread). – Area around Jodhpur – 1990

A man is sitting on the ground, sifting the grain. It is likely pearl millet. In Hindi and the local language Rajasthani, this nutrient-rich grain is called bajra. It is extremely drought-resistant and a staple food for the people in this desert region (e.g. in the form of bajre ki roti, a flatbread). – Area around Jodhpur – 1990

A woman is performing the ritual known as ‘threshing’, in which grain (such as millet or wheat) is thrown into the air so that the wind separates the lighter chaff from the heavier grains. The woman is wearing many bracelets, which are an essential status symbol for married women in Rajasthan. Wearing many bracelets – particularly those made of materials such as coloured glass, clay or the traditional lac (resin) – indicates that a woman is married and symbolically serves to ensure her husband’s protection, health and long life. – Jodhpur area – 1990

A man from the Rabari community, an indigenous group of nomads and herders. Rabari men traditionally wear very large, voluminous white turbans. The way the turban is wrapped and the pattern (here a subtle floral print) can often provide clues as to the specific region or social status. Wearing large gold earrings and several beaded necklaces is an integral part of the male traditional costume and serves both as decoration and as an expression of wealth. – Jodhpur area – 1990

A woman from the Rabari community is piling the grain she has winnowed into a heap. She is wearing many bangles, which are an essential status symbol for married women in Rajasthan. Wearing many bracelets – particularly those made from materials such as coloured glass, clay or the traditional lac (resin) – indicates that a woman is married and symbolically serves to ensure her husband’s protection, health and long life. – Jodhpur area – 1990

A woman is performing the ritual known as ‘threshing’, in which grain (such as millet or wheat) is thrown into the air so that the wind separates the lighter chaff from the heavier grains. The woman is wearing many bracelets, which are an essential status symbol for married women in Rajasthan. Wearing many bracelets – particularly those made of materials such as coloured glass, clay or the traditional lac (resin) – indicates that a woman is married and symbolically serves to ensure her husband’s protection, health and long life. – Jodhpur area – 1990

This young woman from the Jodhpur area is wearing the traditional jewellery and clothing characteristic of the nomadic communities in this region. The numerous white rings on her upper and lower arms are known as churas. In many Rajasthani tribes, married women wear this jewellery, which was traditionally made of ivory or bone and is now mostly made of plastic. Her facial jewellery includes a striking nose ring (nath) and an elaborate headband (matha patti). The heavy necklaces with green beads and large metal pendants are typical examples of the region’s tribal-style silver jewellery. – Jodhpur area – 1990

A woman is performing the ritual known as ‘threshing’, in which grain (such as millet or wheat) is thrown into the air so that the wind separates the lighter chaff from the heavier grains. The woman is wearing many bracelets, which are an essential status symbol for married women in Rajasthan. Wearing many bracelets – particularly those made of materials such as coloured glass, clay or the traditional lac (resin) – indicates that a woman is married and symbolically serves to ensure her husband’s protection, health and long life. – Jodhpur area – 1990

A rural scene in Rajasthan, where women are milking a family cow by hand. This traditional method of milk production is widespread in rural India and is often part of daily life in farming villages. Milking is traditionally often carried out by women, whilst the whole family, including the children, helps with household chores and animal care. Cows are considered sacred in Indian culture and are a vital source of livelihood for the rural population. – Khuri – 1990

A man dressed in traditional Rajasthani attire steps out of his house in the village of Khuri in the Thar Desert. He is wearing a striking orange turban and is holding an antique flintlock musket (known locally as a ‘torador’). In the foreground are bulbous clay vessels (amphorae), traditionally used to store water or grain. – 1990

This man, wearing a bright orange turban (safa or pagri), is holding a rifle. It is a torador, a classic Indian matchlock musket. A striking feature is the curved stock, which is often decorated with inlays of ivory or bone. These rifles were used in northern and central India from the 16th century well into the 19th century. They served both for protection and for hunting big game. The barrels were often elaborately chiselled and the stocks painted or inlaid with precious materials. – Khuri – 1990

The scene captures a typical, bustling moment at a public transport bus stop in Deshnoke, characterised by improvisation and a dense crowd. Deshnoke (also known as Deshnok) is a small town in the Indian state of Rajasthan, around 30 km south of Bikaner. – 1990

Cattle market in Phalodi, situated in the heart of the Thar Desert between Jaisalmer and Bikaner. Although camel caravans have become very rare, dromedaries remain important as riding and pack animals in the desert. – 1990

At the traditional cattle market in Phalodi, this man is preparing a thin flatbread. The freshly chopped vegetables (potatoes and chillies) are staples of everyday Rajasthani cuisine, which makes do with just a few ingredients in the barren desert environment. – 1990

A trader at the livestock market in Phalodi sells traditional, very large metal basins or cooking pans (often referred to as kadhai or tasla). The basins are made of sturdy, hammered iron or sheet steel. The individual metal plates, which have been firmly joined together with rivets, are clearly visible. These handmade vessels are used for preparing large quantities of food at festivals or for agricultural purposes. – 1990

Portrait of an elderly man from the rural areas of Rajasthan. The artfully wrapped turban provides protection from the strong sun, whilst the gold earrings are a traditional form of jewellery for men in this region. – Phalodi – 1990

A man with a full beard and a traditional turban (often referred to as a pagri or pugree). This headdress consists of a long, unsewn piece of cloth that is artfully wrapped around the head. – Phalodi – 1990

The large white turban worn in the Rajasthan region protects against extreme heat and often signifies social status or membership of a particular community. The traditional leather shoes are handmade and typical of this region. They are characterised by their pointed shape and sturdy leatherwork. The simple wooden stick is used by shepherds or elderly villagers in rural areas as a walking stick and a tool. – Phalodi – 1990

In the rural and semi-arid regions of Rajasthan, water is an extremely scarce resource. It is a traditional, often arduous task for women and young girls to walk for miles every day to wells or water points to provide for their families. The containers are balanced directly on the head using a small, ring-shaped cloth pad (called an indhoni), leaving the hands free whilst walking. The girl wears traditional jewellery such as necklaces and a discreet nose ring. - Lathi - 1990

Women from the desert region around Lathi and Jaisalmer are known for these colourful traditional costumes, which stand in stark contrast to the barren, sandy desert landscape. This woman is carrying a small child in her arms and is dressed in a patterned tunic (often called a kurti), combined with a striking, usually red headscarf (odhni or dupatta), which is artfully draped over her head and shoulders. Typical of this region are the heavy, multi-layered necklaces with beads and silver pendants, as well as the wide bangles, which are often made from imitation ivory, bone or plastic and cover almost the entire forearm. – Lathi – 1990

This young girl from the arid and water-scarce region of the Thar Desert is balancing two containers on her head. At the bottom of her head is a large, ribbed tin can. Placed on top of this is a traditional, shiny vessel made of brass or bronze. Such vessels (often referred to in India as a lota or ghara) are traditionally used to carry and keep water fresh. To distribute the weight and protect the head, a small, ring-shaped fabric pad (known as a chumbal or indhoni) is usually placed directly on the hair beneath the containers. Balancing the load on the head keeps the hands free and allows for an upright posture, but requires extreme dexterity and strong neck and back muscles from a very young age. – Lathi – 1990

The picture shows the traditional exterior wall of a mud house in the Jaisalmer area of Rajasthan, decorated with the intricate traditional folk art known as Mandana art. This wall decoration is one of the oldest forms of tribal art in India. It is traditionally applied to walls and floors by women. The paintings are created for festive occasions such as Diwali, weddings or births. They serve to protect the house, welcome deities and attract good fortune. The brown background consists of a mixture of clay and cow dung (Geru Mitti). The white, delicate patterns are painted using a liquid made from white chalk or lime (Khadiya), applied directly by hand or with simple brushes. – 1990

A traditional mud-brick house (kucha) in the Jaisalmer region, decorated with white lime paint. A woman in a red sari stands in the doorway, hanging up a bright orange cloth. The white decorations on the brown mud walls are examples of Mandana art, one of the oldest forms of tribal and folk art in India, practised mainly by women in Rajasthan and Madhya Pradesh. – 1990

A traditional mud-brick house (kucha) in the Jaisalmer region, decorated with white lime paint. Standing in the doorway is a woman in a red sari, hanging out the washing. The white decorations on the brown mud walls are examples of Mandana art, one of the oldest forms of tribal and folk art in India, practised mainly by women in Rajasthan and Madhya Pradesh. – 1990

A group of musicians from Jaisalmer in Rajasthan, playing traditional folk music on their instruments. They are wearing the colourful turbans (pagris) and white robes typical of this region. The two box-shaped keyboard instruments (on the left and in the middle) are harmoniums. They produce sound via a built-in bellows, which is pumped with one hand whilst the other hand plays the keys. The horizontal drum on the right is a dholak. It is a double-headed hand drum that is very widely used in Indian folk music. The repertoire often includes Qawwali songs and epic chants that have been passed down through generations. – 1990

A woman in traditional dress steps out of an intricately decorated doorway, carrying a gleaming water jug. The massive stone columns and the frame around the door are covered from top to bottom with delicate floral patterns, ornaments and reliefs, of the kind frequently found on the historic haveli mansions in Jaisalmer. An outstanding example of the region’s traditional craftsmanship. – 1990

A woman walks down a street in Jaisalmer wearing traditional, colourful clothing. She is wearing a pink ghagra choli (a loose-fitting skirt and top) and a patterned red dupatta (veil) covering her head. She skilfully balances a large, rolled-up quilt or mattress on her head. In her right hand, she also carries a full, light-green plastic bag. Carrying heavy loads on the head is a common method of transport in many rural regions of India. – 1990

Barbati, a nomad dressed in the traditional attire of the Bhopa community from the desert region around Jaisalmer in Rajasthan, sits on a stone step with her toddler on her lap. She wears a traditional ensemble consisting of a vividly coloured veil (known as an odhni or dupatta) and a printed blouse (choli), as well as a floor-length, loose-fitting skirt (ghagra). A striking feature is the large, golden nose ring, which is artfully fastened to her hair or ear by a chain. In many rural regions of Rajasthan, this piece of jewellery signifies a woman’s marital status. On her forehead, a round, glittering pendant sits directly at the hairline, a typical element of Rajasthani wedding and festive attire. On her wrists she wears thick, traditional bangles (often made of imitation ivory, bone or colourful plastic), which can cover almost the entire forearm and are firmly rooted in the regional culture. – 1990

The nomad Barbati in traditional, colourful festive dress. The striking pink veil covers her head and is often artfully draped over her shoulders. On her forearms she wears stacked, wide bangles in the traditional colours of white, red and blue, typically made from imitation ivory, plastic or glass. A delicate, traditional tattoo pattern can be seen on the back of her hand. – Jaisalmer – 1990

This portrait of the nomad Barbati is characterised by a wealth of symbolic and ornate jewellery: on her forehead, just beneath her veil, she wears a round, bell-shaped ornament. This piece of jewellery is typical of married women in Rajasthan. A large, delicately crafted nose ring, attached to the hair or behind the ear with a fine chain (often studded with pearls). It is traditionally regarded as a sign of marital status. – Jaisalmer – 1990

The bright pink veil worn by the nomad Barbati covers her hair and is typical of women from the region around Jaisalmer. It serves both as protection from the sun and as a sign of respect. The striking, round ornament on her forehead is a traditional hairpiece often worn by married women in Rajasthan. The large, elaborately decorated golden nose ring is connected to the earrings or her hair by a delicate chain. She wears a bindi on her forehead. Her neck is adorned with several heavy, traditional necklaces (some decorated with coins). – 1990

The bright pink veil worn by the nomad Barbati covers her hair and is typical of women from the region around Jaisalmer. It serves both as protection from the sun and as a sign of respect. The striking, round ornament on her forehead is a traditional hairpiece often worn by married women in Rajasthan. The large, elaborately decorated golden nose ring is connected to the earrings or her hair by a delicate chain. She wears a bindi on her forehead. – 1990

Barbati, a nomad from the Thar Desert, makes chapati, the flatbread known in various forms throughout the Near East. She kneads flour, salt and water into a smooth dough, which she shapes into a round disc between her hands, much like a pizza chef, and then cooks in a pan, turning it several times. – 1990

Barbati, a nomad, is preparing dough outdoors whilst wearing her traditional Indian attire. She is dressed in a colourful ensemble consisting of a dark top and skirt with a floral pattern, as well as a bright pink veil (dupatta or odhni) covering her head. Her jewellery is very striking and includes several necklaces (including one with coin pendants), bangles on both wrists, earrings and traditional headdresses. In front of her stands a clay bowl containing dough, and she is currently shaping a ball of dough with her hands. Next to the bowl is a small bottle of oil. – Jaisalmer region – 1990

Barbati, a nomad, is preparing dough outdoors whilst wearing her traditional Indian attire. She is dressed in a colourful ensemble consisting of a dark top and skirt with a floral pattern, as well as a bright pink veil (dupatta or odhni) covering her head. Her jewellery is very striking and includes several necklaces (including one with coin pendants), bangles on both wrists, earrings and traditional headdresses. In front of her stands a clay bowl containing dough, and she is currently shaping a chapati with her hands. Next to the bowl is a small bottle of oil. – Jaisalmer region – 1990

Making dough for flatbreads is a daily ritual in almost every Indian household. The everyday, unleavened flatbread chapati is made from whole wheat flour (atta) and water. Preparation: Flour and water are mixed in a shallow bowl (often made of clay, brass, or wood, called a parat) and kneaded vigorously until a smooth dough forms. This is divided into small, uniform balls and rolled between the palms of the hands. The balls are either rolled flat with a rolling pin (belan) or flattened by hand. The bread is baked directly in the embers. – Jaisalmer region – 1990

Portrait of a young Indian woman in traditional clothing from the Jaisalmer region. Her style of dress and jewelry reflect India’s rural culture. She wears a striped top (choli) paired with a red, patterned skirt (ghaghra) and a matching headscarf (odhni or dupatta). On her wrist, she wears numerous light green glass bangles as well as a wide silver bracelet. Her face is adorned with traditional earrings (jhumkas) and a delicate nose ring (nath). – 1990

The picture shows traditional Peruvian Andean inhabitants holding so-called pututos (ceremonial wind instruments made from large sea shells) in their hands. The pututo is a prepared conch shell (often Lobatus galeatus) that has been used in the Andes since pre-Columbian times. The instrument produces a very loud, deep sound and was originally used to gather communities, send signals over long distances or initiate sacred rituals. The people are wearing typical, hand-woven Peruvian ponchos with fringes and traditional legwear. – Inti Raymi in Cusco – Peru – 1976

Unlike the better-known markets in and around Cusco, the Sunday market in Urcos (Quispicanchi Province, Cusco Region) remains almost untouched by mass tourism. Locals from the surrounding villages arrive dressed in their finest traditional costumes to sell fresh produce and share a large glass of freshly fermented ‘chicha de jora’. This is a traditional, alcoholic maize beer from the Andes, with a history stretching back thousands of years in what is now Peru, Bolivia and Ecuador. It is regarded as the ‘sacred drink of the Incas’ and was traditionally drunk during religious ceremonies in honour of the sun deities and the Earth Mother, Pachamama. – Peru – 1976

Flute player in the pueblo of Checacupe (3,430 m above sea level), Cuzco Department. Unlike the indigenous wind instruments, which all have specific names (kena, pincullo, etc.), the flutes are simply called ‘flauta’, which suggests that they only came into being after the Conquista as replicas of the European instrument. - Book: Picture 116 - Peru - 1976

Two women in the traditional dress of the Cusco region. The textiles are characterised by their craftsmanship and symbolism. The women are wearing colourful, patterned woven shawls draped over their shoulders. These traditional shawls are used in everyday life both to protect against the cold and to carry objects or babies. The typical, loose-fitting skirts, usually dark in colour or with colourful trim, are characteristic of the Andean region. The woman on the left is wearing a light-coloured felt hat decorated with coloured ribbons. In Peru, the shape and colour of such hats often reveal the exact region of origin or village community of the person wearing them. – 1976

An indigenous woman from Chinchero wearing the hat typical of the Cuzco region. The borders on the top of the hat symbolise the Inca empire of Tahuantinsuyu, the empire of the four corners of the world with Cuzco at its centre. The delicate motifs on the manta are also characteristic of this region. - Book: Picture 101 - Peru - 1969

The clothing, the hats and the playing of the pututo conch shell are deeply rooted in the vibrant culture of the Cusco region and are still proudly displayed there today at festivals and receptions. The pututo is a traditional wind instrument made from a large sea snail, which has been used in the Andes since Inca times for ceremonies, rituals and long-distance communication. – This photograph dates from 1969 and was taken in Ollantaytambo. The person behind the player is an alcalde (mayor) with his staff, the varayoc, which translates as ‘the lord of the staff’. – Peru – 1969

During the Whitsun festival in Ollantaytambo, this mask is worn by the dancers of the Ukuku troupe. These mythological figures represent beings that are half-human and half-bear. They act as humorous yet disciplined intermediaries between humans and the mountain gods (Apus). During the colourful processions through the Inca streets of Ollantaytambo, they maintain order, joke with the spectators and accompany the holy cross. – Peru – 1969

Children of the Chipaya culture in the barren Altiplano of Bolivia. The Chipaya are considered one of the oldest indigenous communities in the Andes. They live in a very salty and isolated region near the Lauca River and Lake Coipasa in the department of Oruro. The boys are wearing the typical, coarsely woven, sleeveless garment of the Chipaya people, known as an ‘ira’ or ‘tipoy’. The girls in the background usually wear the traditional, very fine braids (trenzados), which have a distinctly African appearance. The houses in the background are the famous round or rectangular huts (putucus), built from peat and grass sods (tepes) and thatched with straw. This construction method provides perfect protection against the region’s extremely icy winds. – Chipaya – Bolivia – 1976

The Chipaya tribe in the Bolivian department of Oruro, which now numbers just under a thousand people, inhabits a particularly inhospitable region of the Andean high plateau on the Río Lauca, which flows into a salt lake. The Chipayas are the only highland indigenous people who obtain part of their food through hunting, as agriculture and livestock farming alone are unable to meet their needs due to the highly saline soil. At dawn, groups of hunters lie in wait on the lake shore for flamingos, ducks and Andean geese, which they catch using bolas – throwing balls attached to long straps. The word ‘Chipaya’ comes from the Aymara language and means ‘a mat of reed or straw woven with reed cords’. To protect themselves from the strong winds of the Altiplano, the Chipayas have, in fact, had to tie down the thatched layers of their roofs with cords since time immemorial. The belief that the Chipayas are the direct descendants of pre-Inca populations is supported by mummy finds in burial towers from that period, which, amongst other similarities, display the same hairstyles that the women spend hours and hours creating. - Book: Picture 156 - Bolivia - 1976

The Chipaya tribe in the Bolivian department of Oruro, which now numbers just under a thousand people, inhabits a particularly inhospitable region of the Andean high plateau on the Río Lauca, which flows into a salt lake. The Chipayas are the only highland indigenous people who obtain part of their food through hunting, as agriculture and livestock farming alone are unable to meet their needs due to the highly saline soil. At dawn, groups of hunters lie in wait on the lake shore for flamingos, ducks and Andean geese, which they catch using bolas – throwing balls attached to long straps. The word ‘Chipaya’ comes from the Aymara language and means ‘a mat of reed or straw woven with reed cords’. To protect themselves from the strong winds of the Altiplano, the Chipaya people have, since time immemorial, had to tie down the straw thatch on their roofs with cords. The belief that the Chipaya are the direct descendants of pre-Inca populations is supported by mummy finds in burial towers from that period, which, amongst other similarities, display the same hairstyles that the women spend hours and hours creating. The picture shows a typical pre-colonial loom. - Book: Picture 154 - Bolivia - 1976

An indigenous woman from Chipaya in the Bolivian highlands. Typical of the traditional costume are multi-layered ponchos or capes made of heavy, warm fabric to protect against the harsh climate of the high mountains. The intricate braided hairstyle, featuring woven hair ornaments and pins, reflects the cultural identity and centuries-old traditions of the Andean people. – Chipaya – Bolivia – 1976

This man belongs to the Chipaya culture, which is one of the oldest surviving cultures on the American double continent. His traditional identity is clearly reflected in his clothing: the hat is an absolutely distinctive feature of the Chipaya people. It is traditionally handmade from pressed sheep’s or alpaca wool. It has a characteristic brim and often features a dark band. Underneath the hat, he wears the typical, colourfully patterned Andean cap with ear flaps, which protects against the extreme, icy winds of the Altiplano. – Chipaya – Bolivia – 1976

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