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From Grief and Joy We Sing: Social and Cosmic Regenerative Processes in the Songs of Q'eros, Peru Holly Wissler

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From Grief and Joy We Sing: Social and Cosmic Regenerative Processes in the Songs of Q'eros, Peru Holly Wissler Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 From Grief and Joy We Sing: Social and Cosmic Regenerative Processes in the Songs of Q'Eros, Peru Holly Wissler Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FROM GRIEF AND JOY WE SING: SOCIAL AND COSMIC REGENERATIVE PROCESSES IN THE SONGS OF Q’EROS, PERU By Holly Wissler A Dissertation submitted to the College of Music in partial fulfillment for the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2009 The members of the Committee approve the Dissertation of Holly Wissler defended on 22 April 2009. _____________________________ Dale A. Olsen Professor Directing Dissertation _____________________________ Michael Uzendoski Outside Committee Member _____________________________ Frank Gunderson Committee Member _____________________________ Benjamin D. Koen Committee Member The Graduate School has verified and approved the above named committee members. ii I dedicate this to my beloved parents, Harv and Joyce Wissler iii ACKNOWLEDGMENTS Fieldwork in Peru for this project was supported by a Fulbright-Hays Doctoral Dissertation Research Abroad Grant (2007), and initial stages, including an intensive Quechua language course, were supported by a grant from the Presser Foundation (2002). I thank my employer, Wilderness Travel, who gave me additional tour groups in Peru in 2005 and 2006, which funded my fieldwork during those years. Friends and scholars in Cusco, Peru helped in a variety of ways. Jorge Flores Ochoa provided rich insight into Andean concepts, and José Luis Venero clarified classification of Andean plants, flowers, and birds. Janett Vengoa de Orós, Ines Callalli, and Edith F. Zevallos worked diligently with me on many transcriptions and translations of Quechua texts, and helped in discussions with Q’eros friends. In particular, Gina Maldonado spent many days, which translated into months and years (2005–2007), working with me during intensive transcription and translation sessions with the Q’eros. The camaraderie and trust Gina and I developed, both between ourselves and with the Q’eros, led into hours of deep discussions that helped clarify so much of the detail, nuance, and spiritual aspects of Q’eros’ music-making, for which I am most grateful and indebted. Peter Frost, Rosi Blume, Amy Tai, Luis Gonzales, and Carmela Sierra were continual sources of friendship and support, always there to “end an ear”when I needed to discuss conflicts or bounce ideas. I thank Paul Heggarty in England for his generous information about linguistic aspects of Quechua. On the U.S. front, I am grateful to Trevor Harvey for his help and expertise in creating my alternative transcription design that shows yanantin in song structure, and Deborah Olander who helped my writing attain an active voice. I am most grateful to Catherine Allen who read entire chapters of the dissertation, and gave poignant, guiding suggestions. I also thank my advisor, Dale Olsen, whose expert writing and editing skills helped me to organize and articulate my ideas in such a way so that they would be more easily accessible to the reader. Robin Davis, Flynn Donovan, and my sister Terry Wissler were supportive friends who listened to my ideas, conflicts, joys, and sorrows in every stage of this project. In the spirit world I thank my Mom and Dad from whom I inherited some personality traits that proved to be essential in both my fieldwork in Q’eros and writing in the U.S. From my Dad, his child-like ability to hunker down and joyfully hang out with anyone helped me in the iv field, and from my mother, her tenacity and discerning, critical thinking helped me to write it up. Their presence was always with me. Finally, I extend my heartfelt gratitude to John Cohen, who laid some of the essential groundwork from which I was able to orient my own thoughts about Q’eros music. John’s continual stream of penetrating, prodding, forthright, and challenging questions and insightful feedback have been foundational in my work, which this dissertation builds and expands on. Lastly, no words can express my thanks to the Q’eros community and my dear comadres and compadres who took me in and taught me so much about love, humanness, conflict and resolution in the Andean world, connection to the earth and spirits, and deeply meaningful ritual. There are too many to name here, but some key figures have been: Víctor Flores Salas, whose passion and zeal for learning and playing all kinds of music pulled me in from day one, and whose outrageous sense of humor made it fun; the sage wisdom of Agustín Machacca Flores and Isaac Flores Machacca, who provided deep insight into complex issues; Juliana Apasa Flores and Juana Flores Salas, who loved me like a sister, and willingly taught me so much about the women’s role in Q’eros music-making; the brothers Marcelino and Jacinto Qapa Huamán, who provided profound detail about the relationship of music-making among the people, animals, and the spirit world; and another set of brothers, Juan and Luis Quispe Calcina, and their wives Rebecca Machacca Quispe and Sebastiana Machacca Apasa, who took me in like family and were steady, subtle supports in practical aspects of my fieldwork. The list goes on and on, but suffice to say that living and working with the Q’eros has changed my own life and perceptions in profound and subtle ways, and I am forever beholden to all Q’eros people, the ones I know well and the ones I have not yet met. v ABSTRACT The Quechua community of Q’eros in the Andes of southeastern Peru is renowned in the Cusco region and within various circles (layman, scholarly, esoteric, tourist). The Q’eros are also known nationally and internationally for their continued practice of indigenous customs such as musical rituals that other Andean communities no longer maintain. This dissertation shows how the Q’eros’ two principal indigenous song genres, Pukllay taki (Carnaval songs) and animal fertility songs, serve as active forms of social and cosmic renewal, regeneration, and reproduction. Regenerative processes through musical performance occur on many levels: the revitalization of relationship with the cosmological spirit powers, the Apu (mountain spirits) and Pacha Mama (Mother Earth); the renewal and reinforcement of social ties and women’s and men’s roles; and the re-creation and reproduction of cosmological worldview. This dissertation shows how the Q’eros actively regenerate, re-create, and reproduce social and cosmic relationships and cosmological perceptions through their music-making. Three Andean concepts that the Q’eros specifically name and describe show how music serves in the regenerative processes of social and cosmic relationships, and in cosmological worldview: animu, yanantin, and ayni. Animu is the animated essence that is in every person, object, and invisible spirit, which propels the life-governing concepts of yanantin (complementary duality) and ayni (reciprocity). Yanantin is the union of two contrasting and interdependent parts that are in movement with one another, in continual search of equilibrium, and with a meeting and overlap in a center. The Q’eros articulate the reproduction of the cosmological worldview of yanantin in performance roles and instrument pairs. I argue that yanantin is also expressed on the micro level of relationship between vocal and pinkuyllu (flute) melodies in song structure and between songs, as well as on the macro level of communally sung expressions of joy and grief. Ayni is the most fundamental and life-sustaining form of reciprocal exchange in Q’eros, and many other, Andean communities. The Q’eros give offerings in many forms (food, drink, special ingredient bundles, and songs) to the Apu and Pacha Mama in exchange for the well- being of the people and their animals. Q’eros’ singing and flute playing are active forms of ayni, in that they are musical offerings that are sent out through samay (breath, life essence and force) in propitiation. To ensure receipt of the songs by the spirit powers, the Q’eros employ a vocal vi technique they call aysariykuy (“to pull”): ends of phrases are sung in prolonged, held tones with a final, forced expulsion of air. This is the Q’eros’ active way to send the song out so that it will reach the spirit powers. Once the spirit powers successfully receive a song, the powers will be able to reciprocate beneficially. The tension caused by the desired necessary, successful reciprocation from the spirit powers to the people, and remembrance of times when that has not been the case, often result in the sung expression of grief and anxiety. The singing of grief and anxiety rebuilds sociability that loss and death have disrupted. By contrast, the joyful communal singing in the annual Carnaval celebration serves to re- establish social ties and renew social relationships in the community, a practice that balances the communal singing of grief during animal fertility. This dissertation shows that the regular and expected release of joy and grief through music contributes to individual and communal balance and healing. The dissertation details the social and cosmic regenerative processes throughout in the form of detailed ethnographic description; insight from the author’s participation; interviews; analyses of musical detail and aesthetics of specific audio examples; musical transcriptions (both in five-line
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