ABSTRACT
Rather than creating a setting for bringing together large numbers of people, the design of Chavín is structured to affect the perceptions of individuals. Chavín was not a theatre where one sat back to watch; it was a construct where the visitor was immersed in sensory experience. Moving down into the circular courtyard would create a feeling of enclosure that would be accentuated by penetrating the temple’s narrow galleries. The galleries’ layout creates dislocation, while the sheer size of the Lanzón gives a sense of awe. Some archaeologists have proposed that it was also possible to create powerful sound effects by controlling the flow of water through drainage channels running through the temple. In one case, it was observed that pouring water down the drainage canal below the staircase leading to the temple creates a very loud noise, more like applause (or the roar of a jaguar) than running water. The iconography of the figures at the site also makes it clear that those entering the temple were often in a drug-induced trance state. A range of psychoactive plants was available in the area around Chavín, and these plants are clearly represented in the art at the site.
