Valentina Qori Yachay

Valentina Qori Yachay
Valentina Yachay in 1751 AN; headshot from her agent.
Who's Who of Nouvelle Alexandrie
Full Name	Valentina Qori Yachay
Titles & Offices	Lady Valentina Yachay Former Deputy Speaker, Parap Youth Assembly
Birth Date	8.IX.1721 AN (31 AN years)
Birth Place	Parap, Wechua Nation
Parents	Lord Intiwan Kusi Yachay Lady Marguerite de Valcourt (d. 1735 AN)
Family	House of Inti-Carrillo (cadet branch)
Alma Mater	Royal Conservatory of Parap University of Parap
Occupation	Ballet dancer Concert musician Arts patron
Employer	Royal Wechua Ballet
Political Affiliation	Independent
Organizations	Royal Wechua Ballet Royal Conservatory of Parap Yachay Arts Foundation Parap Local Development Council
Known For	Principal dancer, Royal Wechua Ballet; former Youth Assembly deputy speaker; arts education advocate
Notable Works	Sumaq Taki (poetry, 1745 AN) The Living Tradition (essays, 1749 AN)
Religion	Faith of Inti
Languages	Wechua Martino Alexandrian Istvanistani Audente
Awards & Honors	Golden Condor Award (1748 AN) Order of Cultural Merit
Residence	Parap, Wechua Nation
National Origin	Nouvelle Alexandrie
Citizenship(s)	Nouvelle Alexandrie

Valentina Qori Yachay (born 8.IX.1721 AN, Parap) is a New Alexandrian ballet dancer, musician, and arts patron. She is a principal dancer with the Royal Wechua Ballet and a former deputy speaker of the Parap Youth Assembly. Through her father, Lord Intiwan Kusi Yachay, she is a great-granddaughter of King Manco Cápac I and a distant cousin to the reigning King Sinchi Roca II.

Valentina has received recognition for her performances in both classical and contemporary ballet, and for her work as a concert pianist and violinist. She is the founder of the Yachay Arts Foundation, which provides scholarships for young musicians and dancers from underserved communities in the Wechua Nation.

Early life and education

Valentina was born in Parap on 8.IX.1721 AN, the eldest child of Lord Intiwan Kusi Yachay and Lady Marguerite de Valcourt. Her father is the only son of Princess Urpi, Countess of Suyukuna Hatun, herself a daughter of King Manco Cápac I. This lineage places Valentina within the extended House of Inti-Carrillo, though several generations removed from the direct line of succession. Her mother came from the de Valcourt family, minor South Lyrican nobles with an estate outside Lyonne whose fortune derived from the coastal wine trade.

Lady Marguerite instilled in her daughter an early appreciation for both performing arts and the responsibilities of household management. Valentina began piano lessons at age four and violin at six, while also commencing ballet training at the Royal Conservatory of Parap. By age ten, she was performing in student recitals and had begun voice training.

The death of Lady Marguerite in 1735 AN, when Valentina was fourteen, left her as the senior female member of her father's household. Lord Intiwan, occupied with his duties as a regional magistrate and administrator of the family's estates near Rimarima, relied increasingly on his daughter to manage domestic affairs, oversee household staff, and coordinate the family's social obligations. These responsibilities continued alongside her artistic training, requiring her to balance the demands of performance preparation with the practical administration of a noble household.

Valentina completed her formal education at the Royal Conservatory of Parap in 1740 AN, earning certificates in ballet, piano performance, and violin. She subsequently studied literature and public policy at the University of Parap, graduating in 1744 AN while maintaining her performance career.

Career

Dance

Valentina joined the corps de ballet of the Royal Wechua Ballet in 1737 AN at age sixteen, having been selected through competitive audition. She advanced to soloist in 1742 AN and achieved the rank of principal dancer in 1745 AN, a position she continues to hold.

Her repertoire spans classical works and contemporary pieces that incorporate traditional Wechua dance elements. Critics have noted the technical precision of her performances and her ability to convey emotional depth without theatrical excess. Her interpretation of the title role in Mama Quilla (1747 AN), a ballet based on Wechua mythology, received particular attention for its restraint and authority.

Valentina has performed as a guest artist with companies in Natopia, Constancia, and Oportia, typically traveling without entourage and managing her own performance logistics. These international engagements have contributed to her fluency in multiple languages and her familiarity with court protocols across the Raspur Pact.

Music

In addition to her dance career, Valentina maintains an active presence as a concert musician. She performs regularly as a pianist and violinist, both in solo recitals and chamber ensembles. Her musical interests range from early classical repertoire to contemporary compositions by New Alexandrian composers.

She has recorded two albums: Lacaran Voices (1746 AN), featuring piano arrangements of traditional Wechua melodies from the Mount Lacara region, and Chamber Works (1750 AN), recorded with the Parap String Quartet. Both received favorable reviews in musical publications, with critics noting her technical facility and interpretive thoughtfulness.

Writing

Valentina has published two collections of writing. Sumaq Taki (1745 AN) is a volume of poetry in Wechua and Martino, drawing on themes of landscape, memory, and artistic discipline. The Living Tradition (1749 AN) collects her essays on arts education policy, traditional arts preservation, and the role of cultural institutions in national identity.

Her policy essays, originally developed during her service on the Parap Local Development Council, argue for increased public funding for arts education in rural areas and for the integration of traditional Wechua artistic practices into conservatory curricula. Several of her recommendations were incorporated into regional education policy in the Wechua Nation.

Civic service

Youth Assembly

Valentina joined the Parap Youth Assembly in 1736 AN at age fifteen, the minimum age for membership under the Regional and Local Government Organization Act, 1699. Youth Assemblies are local deliberative bodies composed of residents aged fifteen to twenty, empowered to discuss youth and community issues and adopt resolutions for consideration by municipal authorities.

She was elected deputy speaker of the Parap Youth Assembly in 1738 AN, a position she held until 1740 AN. In this role, she presided over sessions in the speaker's absence, managed debate procedures, and coordinated the Assembly's committee structure. Her tenure coincided with the Spring Crisis of 1739, during which the Youth Assembly passed resolutions supporting constitutional governance and organized volunteer efforts to assist displaced residents in Parap.

Valentina reached the age limit of twenty in 1741 AN and transitioned out of Youth Assembly membership. Her service earned recognition from the Governor of the Wechua Nation, who cited her "steady leadership during a period of national uncertainty."

Local Development Council

Following the passage of the Local Government Quality Enhancement Act, 1740, which established Local Development Councils throughout the Federation, Valentina was appointed as the Youth Assembly representative to the Parap Local Development Council in late 1740 AN. She continued serving on the Council after aging out of the Youth Assembly, transitioning to a seat representing civil society and arts organizations in 1742 AN.

On the Local Development Council, she sat on subcommittees addressing education policy and cultural development. Her work required reviewing budget proposals, questioning municipal officials, and drafting development recommendations. She developed a reputation among her colleagues for thorough preparation and for asking questions that required substantive answers rather than rhetorical deflection.

Valentina resigned from the Local Development Council in 1748 AN to focus on her foundation work and performance career, though she continues to testify before Council subcommittees on arts funding matters when invited.

Civic Assembly

Upon reaching age twenty-one in 1742 AN, Valentina became eligible for membership in the Parap Civic Assembly, the adult deliberative body established under the Regional and Local Government Organization Act, 1699. She has attended Civic Assembly sessions intermittently, participating in debates on cultural policy and education funding, though she has not sought leadership positions within the body.

In 1743 AN, following passage of the Civic Participation and Engagement Act, 1743, Valentina coordinated a petition from arts organizations to the regional legislature advocating for increased conservatory funding. The petition, which gathered over 3,000 signatures, contributed to a modest increase in the regional arts budget for 1744 AN.

Philanthropy

In 1747 AN, Valentina established the Yachay Arts Foundation using a portion of her inheritance from her mother's estate. The foundation provides scholarships for talented young musicians and dancers from underserved communities in the Wechua Nation, covering tuition, instruments, and living expenses for students attending conservatories and academies.

The foundation also sponsors an annual summer intensive program in Rimarima, where professional artists provide instruction to scholarship recipients and other young performers. Valentina teaches master classes in ballet during the intensive and has personally mentored several foundation scholars who have gone on to professional careers.

Personal life

Valentina resides primarily in Parap, where she maintains an apartment near the Royal Wechua Ballet studios. She also spends considerable time at her family's estate outside Rimarima, where she assists her father with household administration and entertains guests during the social season.

She is fluent in Wechua, Martino, Alexandrian, Istvanistani, and Audente, having studied languages both formally and through her international performance engagements.

Valentina is a practitioner of the Faith of Inti, the traditional religion of the Wechua people, and observes major festivals at the Temple of Inti in Parap.

She has declined two previous marriage proposals from members of the New Alexandrian nobility, preferring to focus on her artistic and philanthropic work. As of 1752 AN, she remains unmarried.

Ancestry

Valentina is descended from King Manco Cápac I through her great-grandmother Princess Urpi, Countess of Suyukuna Hatun. This places her within the House of Inti-Carrillo, though in a cadet line several generations removed from the throne.

See also

• Royal Wechua Ballet
• Regional and Local Government Organization Act, 1699
• Local Government Quality Enhancement Act, 1740
• House of Inti-Carrillo
• Princess Urpi