Peru

La legislación concursal peruana cuenta con un mecanismo preconcursal que permite al deudor obtener un acuerdo con sus acreedores cuando atisba, a corto o medio plazo, la crisis de la empresa. Mediante la regulación de un ágil procedimiento administrativo, de carácter preventivo, el empresario puede refinanciar o reprogramar las obligaciones contraídas, logrando a mantener la empresa viable en el mercado.

"Das 18. Jahrhundert war ein Jahrhundert, das die Welt erschütterte. Um den gesamten Globus rebellierten immer wieder Menschen gegen die absolutistische Herrschaft und oft auch gegen die koloniale Unterdrückung. Im Rahmen der Auseinandersetzungen kamen Schätzungen zu Folge bis zu 100.000 Menschen ums Leben um.1
Einen dieser Aufstände, in Europa wenig bekannt, stellt die Gran Rebelión zwischen 1780-82 dar. Er erschütterte die Vizekönigreiche Spaniens und hatte das Potential die koloniale Ordnung zum Einsturz zu bringen. Eine Aufstandsbewegung dieser Größenordnung, kam jedoch weder überraschend noch unvorbereitet. Wir können die Bewegung José Gabriel Condorcanqui, der unter dem Namen Túpac Amaru II., die Bewegung in ihrer ersten Phase anführt nicht als isoliertes historisches Ereignis betrachten sondern Teil der eskalierenden Aufstandskonjunktur des 18. Jahrhunderts."

While ethnographic and historiographic research on hip hop has predominantly focused on large metropolises, less attention has been paid to smaller regional cities and the specific ways hip hop travels between urban locales. This paper examines the movements of youth and hip hop practices in Peru, tracing moments of exchange and interaction to contribute an alternative perspective for understanding how hip hop has taken shape across Peru. Such an approach extends the scholarship on hip hop’s socio-spatial dynamics and provides a rich lens through which to understand the ways particular hip hop practices and social forms emerge. Situating the experiences and recollections of hip hoppers from several cities in 1990s and 2000s Peru, while drawing parallels with other forms of expression, also illustrates how hip hop’s histories and circulations reflect longer-standing patterns of mobility, cultural appropriation, and the centrality of expressive forms in navigating changing circumstances of Peruvian urban life.

Over the past few years, the Quechua of the Urubamba (Qosqo, Peru) have launched a series of legal and political initiatives that assert their customary law beyond their own territories, in matters that directly or indirectly impact their communities and natural environment. The strategic framework employed, grounded in the Quechua ontology of sumaq kausay (‘beautiful living’), entails epistemic bridging and legal coupling in which Indigenous, rather than Western methodologies, perspectives, and processes take precedence – and they have been remarkably successful in encouraging a wide array of non-Indigenous (and even markedly unsympathetic) political, research, professional, activist, and global governance organizations to adhere to this agenda. Thus the work of the Quechua communities of the Urubamba sheds new light on the legislative and policymaking implications of Indigenous customary law, both in Latin America and on the world stage.

Lucy, a California free-spirit and Nichiren Buddhist, follows the sound of the panpipes to the Andes, seeking to find or create the ideal society of which they sing. In Peru and Bolivia she chews the sacred coca leaf, participates in indigenous ceremonies, starts a Fair Trade export company, and encounters U.S.-supported human rights abuses that lead to a life-or-death decision.