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Emotion, Ethics and Intimate Spectacle in Peruvian Huayno Music

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Emotion, Ethics and Intimate Spectacle in Peruvian Huayno Music Andean Divas: Emotion, Ethics and Intimate Spectacle in Peruvian Huayno Music James Robert Butterworth Music Department Royal Holloway, University of London Thesis Submitted for the Degree of Doctor of Philosophy 2014 1 Declaration of Authorship I, James Robert Butterworth, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ________________________ Date: ________________________ 2 Abstract This thesis examines the self-fashioning and public images of star divas that perform Peruvian huayno music. These divas are both multi-authored stories about a person as well as actually existing individuals, occupying a space between myth and reality. I consider how huayno divas inhabit and perform a range of subject positions as well as how fans and detractors fashion their own sense of self in relation to such categories of experience. I argue that the ways in which divas and fans inhabit and reject different subject positions carry strong emotional and ethical implications. Combining multi-sited fieldwork in the music industry with analyses of songs, media representations and public discourses, I locate huayno divas in the context of Andean migration and attendant narratives about suffering, struggle, empowerment and success. I analyse huayno performances as intimate spectacles, which generate acts of both empathy and voyeurism towards the genre’s star performers (Chapter 2). The tales of romantic suffering and moral struggle contained in huayno songs, which provide a key source of audience engagement, are brought to life through the voices and bodies of huayno divas (Chapter 3). The ethical self-fashioning of these female stars simultaneously embodies Catholic-influenced images of long-suffering women as well as images of hard- working and entrepreneurial neoliberal subjects (Chapter 4). From certain perspectives, huayno divas contest dominant gender discourses through their images of hard work and their symbolic and affective dominance of public space. However, as figures that privilege sentiment over sexuality and inhabit images of ‘modernity’ and ‘success’ while continuing to affirm their status as native Andeans, I argue that huayno divas largely conform to notions of propriety (Chapter 5). Drawing on theories and methods from ethnomusicology, anthropology and critical theory, my thesis contributes an ethnographic and music-centred approach to interdisciplinary debates about stardom, neoliberalism and public intimacy. 3 Table of Contents Title Page 1 Declaration of Authorship 2 Abstract 3 Table of Contents 4 List of Figures 7 Acknowledgements 8 Introduction 10 Stars, Divas and Stories 13 The Ethical Frame 17 Music, Emotion and Mass-mediated Public Culture 21 An Overview of Huayno: Terminological Challenges and Diverse Genre Worlds 23 Methodology: Practical and Ethical Issues 28 Organisation of the Thesis 35 1. Migration, Mass Media and Andean Music, 1950-Present 38 Rural-Urban Migration and Social Transformation in Lima 39 The Rise and Fall of the Commercial Andean Music Industry and the Birth of the Andean Star 1950s-1970s 40 Coliseos and the ‘Urban-Country’ Style 40 Technology, Industry and Stardom 43 Pastorita Huaracina (The Little Shepherdess of Huaraz) 47 Flor Pucarina (The Flower of Pucará) 53 Urban Adjustment and New Directions: Chicha music, 1970s-1980s 57 The Rise of the Contemporary Commercial Huayno Industry, 1990s-Present 61 The Cultural Politics of Folklore, Place, and Nation 63 Folklore, The State and Official Approval of Authenticity 63 From Regional to Andean: Place, Culture and Appeal 65 Conclusion: Continuities and Transformations 67 2. Intimacy and Spectacle: Commercial Huayno Shows 70 Introducing Intimacy 72 4 Intimacy and Publicness 72 Intimacy, Sociality, Pleasure and Power 74 Introducing Spectacle 76 Spectacle, Gaze and Alienation 76 Histories of Spectacle in Andean Music 77 An Ethnography of Commercial Huayno Shows 80 Introducing the Animador 80 Rosita de Espinar’s Anniversary Concert 82 Beer Drinking 91 Gift Throwing 94 Dancing 97 Photograph Taking 97 Social Media 99 Conclusion: ‘Intimate Spectacle’ 102 3. Love Gone Sour: Huayno’s Aesthetics of Emotion 106 Histories of Sentiment 107 Love, Music and Song in the Andes 107 Transforming Love? Lyrical Changes and Rural Urban-Migration 110 Representations of Emotionality in Contemporary Commercial Huayno 115 Song Composition 115 Love Gone Sour: Cynicism, Anomie and Emotional Excess 118 Emotion in Performance 128 Living the Song: Emotion, ‘Sincerity’ and Performativity 128 Escaping to and from ‘Real Life’ 130 Conclusion 133 4. Neoliberalism, Suffering and Ethics: The Paradoxical Self-fashioning of Huayno Divas 135 Neoliberal Logics 138 Economic Reform and the Huayno Music Industry 138 Ethics, Labour and the Neoliberal Subject 140 ‘Success’ 146 The Suffering Subject 148 Correlations and Contradictions: Religious Ideas and the Limits of Neoliberal Logics 152 Conclusion 156 5 5. Chola Divas? Gender, Power and Propriety 158 Intersecting Differences: An Overview of Gender, Class and Ethnicity in the Andes 160 Lover, Mother, Migrant and Worker: Dina Paucar and Urban Andean Womanhood 167 Celebrity, Scandal and Mass Culture: The Transgressive Pull of Chollywood 171 Huayno Divas and Propriety: Dress, Ethics and the Body 174 Stage Presence 178 Abencia Meza: A Foil for Propriety? 179 Engendering Suffering, Empowerment and Agency: Realities, Desires and Commodities 182 Engendering Suffering 182 Narratives of Empowerment 184 Performance, Agency and Public Space 187 Conclusion 188 Conclusion 190 Final Reflections and Future Directions 195 Glossary 199 References 204 Bibliography 204 Webography 219 6 List of Figures FIGURE 1. A PERFORMANCE AT THE COLISEO CERRADO DEL PUENTE DEL EJÉRCITO IN THE LATE 1960S. FROM LEFT TO RIGHT: MÁXIMO ALANYA, THE SINGER VICTOR HERRERA ‘EL HUANCA’, THE FEMALE SINGER ROSITA SALAS, A RADIO ANNOUNCER AND A JOURNALIST (AT THE MICROPHONE). PHOTO: COURTESY OF MÁXIMO ALANYA. ............................................................................................................................... 41 FIGURE 2. PASTORITA HUARACINA AT THE COLISEO NACIONAL, 13 SEPTEMBER 1963. PHOTO: COURTESY OF LUZ ELENA ALVARADO). .......................................................... 49 FIGURE 3. FLOR PUCARINA. ...................................................................................................... 56 FIGURE 4. ‘CHICHA’-STYLE POSTER ADVERTISEMENTS IN LIMA. PHOTO: HTTP://WWW.MUNDO-FOTO.ORG/2011/01/LA-NUEVA-IMAGEN-DE-LIMA.HTML (ACCESSED 5 JANUARY 2014). ............................................................................................ 59 FIGURE 5. ROSITA DE ESPINAR PERFORMS ON T-SHAPED STAGE TO THE CROWD AND TO THE CAMERAS. PHOTO: HTTP://WWW.FLICKR.COM/PHOTOS/ROSITADEESPINAR/6001024978 (ACCESSED 5 JANUARY 2014). ................................................................................................................... 90 FIGURE 6. PERFORMERS ENTERTAIN THE CROWD AT A COMMERCIAL HUAYNO PERFORMANCE IN CHORRILLOS, LIMA, JUNE 2012. PHOTO: JAMES BUTTERWORTH. ............................................................................................................................................... 90 FIGURE 7. DINA PAUCAR PREPARES TO SLAP HER ANIMADOR, ORLANDO AGUIRRE AS THE PAIR ROLE PLAY A LOVERS’ TIFF ON STAGE IN CHUPACA, JUNE 2012. PHOTO: JAMES BUTTERWORTH. ...................................................................................................... 91 FIGURE 8. DINA PAUCAR SAYS A TOAST AFTER BEING HANDED A CUP OF BEER FROM THE CROWD IN CHORILLOS, LIMA, JUNE 2012. ...................................................................... 94 FIGURE 9. SPECTATORS AT A COMMERCIAL HUAYNO PERFORMANCE IN CHORRILLOS, LIMA, JUNE 2012. PHOTO: JAMES BUTTERWORTH. ....................................................... 96 FIGURE 10. ALEJANDRO PAUCAR (FATHER OF DINA PAUCAR) GETS IN ON THE ACTION BY THROWING POSTERS FROM THE STAGE INTO THE CROWD IN CHORILLOS, LIMA, JUNE 2012. PHOTO: JAMES BUTTERWORTH. ................................................................... 96 FIGURE 11. A STUDIO PHOTOGRAPH OF MARISOL CAVERO. ............................................. 111 FIGURE 12. DINA PAUCAR ADDRESSING A PRESS CONFERENCE IN HER ROLE AS UNICEF AMBASSADOR IN PERU, JUNE 2012. PHOTO: JAMES BUTTERWORTH ........................ 142 7 Acknowledgements Doing a PhD has the potential to be a rather solitary experience so I am extremely fortunate to have received a great deal of support from numerous people and institutions. First, I would like to express my profound gratitude to my supervisor, Henry Stobart, who has been a constant and invaluable source of guidance, provocation and good humour. Thanks also go to my advisor, Anna Morcom, who has always been very encouraging and full of fascinating ideas. I am grateful to the Arts and Humanities Research Council for granting me a doctoral scholarship, which enabled me to undertake this research. I also thank Royal Holloway Music Department and the Society for Latin American Studies for their financial assistance with fieldwork and conference-attendance costs. I extend a huge thanks to all those in Peru with whom I shared conversations, interviews, musical experiences, dances, meals and beers. These include: Máximo Alanya, Anibal Alanya, Luz Elena Alvarado, Carolina Aramburú, Lily Bustamente, Marisol Cavero, Hector Cordova, Juana Cortés Canchis, Samuel Dolores, Rosario Flores, Angélica Harada
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