2014Monterodiazrfphd(E-Thesis Final)

Rita Fiorella Montero Diaz Fusion as inclusion: A Lima upper class delusion? Music Department Royal Holloway University of London This thesis is submitted for the degree of Doctor of Philosophy 1 Declaration of Authorship I Rita Fiorella Montero Diaz 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 Peruvian popular intercultural music fusions and their impact among the white upper classes of Lima, Peru. Often antagonised, essentialised and understudied, Lima’s white upper classes have historically distanced themselves from the city’s migrant Andean/Amazonian population, whilst maintaining a relationship of hegemony. However, in the aftermath of the trauma and mass displacements of the twenty-year internal war (1980-2000) between the State and terrorist groups, certain sectors among the young upper classes have come to question their own social dominance. This study charts how certain aspects of this re-negotiation of identity and social position, and a desire for integration with wider Peruvian society, has been articulated through the medium of fusions musics. In particular, since 2005 fusion music has crystallised into a distinct genre and received a notable boom in popularity. These recent developments in fusion music are placed within a broad historical frame and the context of Peru’s fraught racial and class relations, to examine how discourses of integration are juxtaposed with those of appropriation, theft, exoticisation and acculturation. How, it is asked, are the processes of mixing, creating and performing ‘someone else’s music’ negotiated? Does fusion music simply propagate a naïve, chauvinist delusion of social progress and equality in the context of a post-war macroeconomic boom, as some Lima critics have argued? This study would appear to challenge them, as it documents how a segment of the young white upper class Lima population interpret and attempt to use fusion music as an anti- hegemonic instrument that seeks to convey a political message of inclusion, integration, social justice and peace. 3 Table of Contents Declaration of Authorship .................................................................................... 2 Abstract .................................................................................................................. 3 List of Figures ........................................................................................................ 6 Acknowledgements ................................................................................................ 8 Introduction ......................................................................................................... 11 Methodology ........................................................................................................... 21 Chapter 1: ‘Traditional white upper class’? .................................................... 28 1.1 Welcome to Pitucolandia ................................................................................. 35 1.1.1 Historical antagonisms ........................................................................... 42 1.2 Going exclusive – A short trip to ‘Eisha’ ......................................................... 48 1.2.1 Racism in Peru ....................................................................................... 58 1.3 ‘Traditional white upper classes’ vs. ‘caviares, progres, pitucos pezuñentos’ 61 Conclusion .............................................................................................................. 69 Chapter 2: Mapping Peruvian fusion music ..................................................... 71 2.1 Mapping Peruvian fusion music ....................................................................... 74 2.1.1 Who listens to live fusion and where? ................................................... 75 2.1.2 What does it sound like? ........................................................................ 79 2.1.3 Where do the upper classes first encounter fusion? ............................... 81 2.2 Did the pioneers change the nation? (A fusion music genealogy) ................... 88 2.2.1. Early beginnings ................................................................................... 88 2.2.2. Miki González ....................................................................................... 92 2.2.3. Jazz fusions ........................................................................................... 96 2.2.4. Fusion diversification – entry of the working and middle classes ........ 98 2.2.5. Freelance musicians, arrangers and technicians ................................. 100 2.2.6. Sales and fusion boom ........................................................................ 102 2.2.7. Consumers or fans? ............................................................................. 105 Conclusion ............................................................................................................ 107 Chapter 3: Fusion, whose inclusion? ............................................................... 110 3.1 Fusion musician dilemma ............................................................................... 111 3.2 Beyond appropriations .................................................................................... 121 3.2.1 Rapprochement with the ‘other’, rapprochement with the self ............ 122 4 3.2.2 A process of intercultural understanding and political awareness? ..... 131 Conclusion ............................................................................................................ 142 Chapter 4: Who has the right to mix? ............................................................. 144 4.1 Historical space transgressions: Cholos igualados ......................................... 146 4.2 Racialised limitations of space transgressions ................................................ 154 4.2.1 Mestizas alienadas ............................................................................... 154 4.2.2 Gringos igualados ................................................................................ 162 4.3 Turning things around? ................................................................................... 172 4.3.1 Blurring race and ethnic difference? .................................................... 172 4.3.2 From white fusion stars with Andean flavour to Andean fusion stars with white appeal .................................................................................................. 179 Conclusion ............................................................................................................ 192 Chapter 5: A post-war delusion? ..................................................................... 194 5.1 Singing the war ............................................................................................... 197 5.1.1 Healing wounds ................................................................................... 203 5.2 Singing a change ............................................................................................. 214 5.2.1 Bareto ................................................................................................... 218 5.2.2 La Mente .............................................................................................. 222 5.2.3 Colectivo Circo Band (CCB) ............................................................... 228 5.3 To sum up: Doing something rather than nothing .......................................... 231 Inclusion or delusion? A conclusion. ............................................................... 236 Glossary .............................................................................................................. 243 Discography ....................................................................................................... 250 Filmography ....................................................................................................... 252 Bibliography ...................................................................................................... 253 Appendix 1: Detailed list of fieldwork interviews, focus groups and informal communications ................................................................................................. 271 Appendix 2: Fusion music timeline (CD) ........................................................ 276 Appendix 3: Music venues for fusion music ................................................... 277 5 List of Figures Figure 1: Map of Peru by geographic regions..…………………....................................30 Figure 2: Map of greater Lima ......................................................................................... 45 Figure 3: Map of Asia ...................................................................................................... 49 Figure 4: Map of predominantly white upper class districts in Lima (Allowed spaces) . 57 Figure 5: Peru’s population pyramid ............................................................................... 64 Figure 6: White upper class fusion scene (Barranco) ...................................................... 67 Figure 7: Mabela Martínez, Sonidos del Mundo ............................................................. 84 Figure 8: El Polen in rehearsal ........................................................................................ 91 Figure

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