Mochica language


Mochica is an extinct language formerly spoken along the northern coast of Peru and in an inland village. First documented in 1607, the language was widely spoken in the area during the 17th century and the early 18th century. By the late 19th century, the language was dying out and spoken only by a few people in the village of Etén, in Chiclayo. It died out as a spoken language around 1920, but certain words and phrases continued to be used until the 1960s. A revival movement has appeared in recent times, and it is now taught in schools.
Mochica was spoken by those of the Sican culture, but it is not proven that it was spoken by those of the Moche culture, and it is ruled out that it was spoken by the Chimos, as they spoke Quingnam.
The only varieties are according to each researcher who compiled their vocabulary, so we have the variety of Ernst Middendorf, Compañon, Bruning, etc.

Denominations

Colonial sources record several designations for the language now generally known as Mochica: Yunga, Mochica, Muchic / Muchik, and occasional appellatives such as Pescadora. The choice of name varied according to author, period, and context.
The Franciscan friar Luis Jerónimo de Oré in his Rituale seu Manuale Peruanum refers to the "Mochica" language and also uses the phrase Mochica de los Yungas. In the latter case, he seems to distinguish between the language itself —called Mochica— and the northern peoples —denominated Yungas. It is worth noting that at the time Yunga was employed not only as a geographic and climatic term, derived from Quechua exonym yunka, but also to refer to the Mochica as an ethnic group.
In 1644, the diocesan priest and parish vicar of Reque published the , the only known colonial grammar of this language, where he consistently used the exonym Yunga. His choice reflects the fact that Yunga was, in the colonial lexicon, the Spanish designation for the coastal peoples, regions, and languages.
The Augustinian friar Antonio de la Calancha employed the form Muchic in his Crónica moralizadora. In the nineteenth century, the German physician and philologist Ernst W. Middendorf revived that variant and disseminated it as Muchik in works such as Das Muchik oder die Chimu-Sprache. Middendorf identified the language with that of the Chimú, partly because Quingnam was at that time poorly documented, whereas colonial references and traces of Mochica still existed. Furthermore, nineteenth-century archaeology often grouped Sicán and Moche material into stages labeled “proto-Chimú” or “early Chimú,” which reinforced the misattribution. Later archaeological and linguistic research clarified these associations.
In sum, Mochica, Yunga, Muchic/Muchik, and occasionally Pescadora appear in the sources and scholarly tradition. Today, Mochica remains the most widely used term in academic literature, while some revitalization projects prefer Muchik, consciously drawing on colonial spellings and nineteenth-century usage.

Classification

Mochica is usually considered to be a language isolate, but has also been hypothesized as belonging to a wider Chimuan language family. Stark proposes a connection with Uru–Chipaya as part of a Maya–Yunga–Chipayan macrofamily hypothesis.

Geographic distribution

According to the list of the vicar of Reque and author of the aforementioned Art, Fernando de la Carrera, the peoples who in 1644 spoke the Mochica language were as follows:
Jolkesky notes that there are lexical similarities with the Trumai, Arawak, Kandoshi, Muniche, Barbakoa, Cholon-Hibito, Kechua, Mapudungun, Kanichana, and Kunza language families due to contact. Jolkesky also suggests that similarities with Amazonian languages may be due to the early migration of Mochica speakers down the Marañón and Solimões.file: Mascara lambayeque.jpg|thumb|200px|Funerary mask from Batán Grande.

Learning program

The Cultural Office of the district of Mórrope has launched a program to teach the Mochica language in an effort to preserve the region’s ancient cultural legacy. The initiative has been well received by local residents and adopted by numerous schools. Additional cultural activities—such as the crafting of ceramics and decorated gourds —have also been introduced as part of the revitalization effort.
Previously considered a dead language, Mochica is now taught in 38 schools and has around 80 speakers.

Phonology and orthography

The phonology of Mochica is not known with certainty due to the differing transcriptions used by different authors. In addition, the two primary sources on Mochica were recorded over 200 years apart, with significant phonetic changes having occurred during that time.

Vowels

Carrera Daza (1644)

Carrera Daza distinguishes six vowels in Mochica, represented as, with the latter sometimes being written as in different editions of his grammar. This vowel is characterized as "begin as an e and end as a u, in such a way that there are two vowels in one". A diacritic is used to indicate length, though it is mainly restricted to a few roots and the ending -ô, used in the genitive construction.
The letter is sometimes used as a palatalization marker by Carrera Daza, and diphthongs did not occur in the Mochica of his time.

Middendorf (1892)

In contrast, Middendorf recognizes 17 vowels, including 11 plain vowels, two "impure" vowels, and four diphthongs. The impure vowels are written as and. Middendorf admits that he was never able to correctly pronounce them, but characterizes them similarly to the of Carrera Daza. is described with a very fleeting u sound, such that in rapid speech it would sound similar to or. is described as reminiscent of the diphthong.

The sixth vowel

The vowel represented by is hotly debated in the field of Mochica studies. As no sound recordings of Mochica exist, and because the existing descriptions are rather vague, the true phonetic value cannot be discerned and any interpretations remain completely hypothetical. One hypothesis is that the sixth vowel was, commonly found in Amazonian languages. Other hypotheses have given realizations of and.
A comparison table of the vowels in Carrera Daza and Middendorf is given below.
Carrera Dazaa, âeio, ôu, ûœ/æ
Middendorfa, ā, ăe ī,, ĭō,, ŏu, ū, ŭä, ů

Thus, a vowel system of Mochica would resemble the table below:

Consonants

The orthography used for Spanish at the time of the writing of Carrera's grammar was very chaotic and inconsistent. One may therefore never be quite sure on the nature of consonants, especially sibilants, in Spanish colonial texts of the time.

Sibilants

The symbols used to represent Mochica sibilants in Carrera are and.
The grapheme is described unanimously among Mochica scholars as representing.
All but two authors coincide in their description of the phoneme represented by or. The only sources to disagree are Stark, which interprets them both as different allophones of, being and respectively. Hovdhaugen interprets them as having a palatal pronunciation, which is represented as.
and
Carrera explains the distinction between and as "they have to be pronounced between them both, hurting on the last one as in ssonto, amoss." The use of "hurting" is derived from Nebrija's Gramática de la lengua castellana, who described consonants and vowels using this definition: "they were called vowels because they have voice by themselves without mixing with other letters, the others were called consonants because they cannot sound without hurting the vowels". Thus, combining the two descriptions, it may be inferred that "sounded only when the second would affect the contiguous vowel", representing or.

Digraphs and trigraphs

The digraph is derived from a normal digraph but with the inverted to represent the difference from normal. Middendorf describes his corresponding sound as like the German. Hovdhaugen interprets it as, Stark as, Torero as, Eloranta and Michael et al. as, Cerrón-Palomino as and Adelaar as.
The trigraph is described as representing a sound difficult to pronounce by Carrera: "These one pronounces starting with T, hurting on the Z and on the vowel, that comes after H, so that it does not say cha but tzha." He further describes the articulation of it as having the "tongue touch the palate next to the teeth". Middendorf describes it as similar to the German z.
The trigraph is, according to Carrera, articulated as "he X preceding consonant has to be pronounced hurting between both in a soft way, attaching the tongue to the palate, in such a manner that the sound of the first letter, the vowel, may come out through one side and the other of the mouth". Stark identifies this sound as, Torero as a voiceless post-palatal lateral fricative, Hovdhaugen as, Adelaar as, and Salas, Eloranta and Michael et al. as.