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Moving Away from Silence: Music of the Peruvian Altiplano and the Experiment of Urban Migration / Thomas Turino

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MOVING AWAY FROM SILENCE CHICAGO STUDIES IN ETHNOMUSICOLOGY edited by Philip V. Bohlman and Bruno Nettl EDITORIAL BOARD Margaret J. Kartomi Hiromi Lorraine Sakata Anthony Seeger Kay Kaufman Shelemay Bonnie c. Wade Thomas Turino MOVING AWAY FROM SILENCE Music of the Peruvian Altiplano and the Experience of Urban Migration THE UNIVERSITY OF CHICAGO PRESS Chicago & London THOMAS TURlNo is associate professor of music at the University of Ulinois, Urbana. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1993 by The University of Chicago All rights reserved. Published 1993 Printed in the United States ofAmerica 02 01 00 99 98 97 96 95 94 93 1 2 3 4 5 6 ISBN (cloth): 0-226-81699-0 ISBN (paper): 0-226-81700-8 Library of Congress Cataloging-in-Publication Data Turino, Thomas. Moving away from silence: music of the Peruvian Altiplano and the experiment of urban migration / Thomas Turino. p. cm. - (Chicago studies in ethnomusicology) Discography: p. Includes bibliographical references and index. I. Folk music-Peru-Conirna (District)-History and criticism. 2. Folk music-Peru-Lirna-History and criticism. 3. Rural-urban migration-Peru. I. Title. II. Series. ML3575.P4T87 1993 761.62'688508536 dc20 92-26935 CIP MN @) The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI 239.48-1984. For Elisabeth CONTENTS List of Illustrations ix Acknowledgments xi Introduction: From Conima to Lima PART ONE Music in Conima 1 Instruments, Aesthetics, and Performance Practice 39 2 The Collective and Competitive Nature of Musical Performance 58 3 Making the Music: Rehearsals, Composition, and Musical Style 72 4 Three Fiestas 94 PART TWO The Local, the National, and the Youth of Conima 5 Qhantati Ururi of Conima 117 6 The Urban Panpipe Movement and the Youth of Conima 139 PART THREE The Music of Conimeflo Residents in Lima 7 Conimenos in Lima and Regional Associations 169 8 Centro Social Conima: Music and the Importance of Community 191 9 The Framing of Experience: Festivals and Performance Occasions in Lima 218 10 From Lima to Conima: The Residents Return Home 236 vii Contents Appendix 1: Calendar of Musical Occasions in Conima 253 Appendix 2: Historical Background of the Musical Instruments 256 Appendix 3: Musical Examples 259 Notes 269 Glossary 289 Bibliography 295 Annotated Discography 315 Index 317 viii ILLUSTRATIONS MAPS The departments of Peru 16 2 Puno 17 FIGURES 1 Ankuta panpipe tunings 44 2 Sikuri tropa in parallel 4ths and 5ths 45 3 Conimeiio sikuri tropa 46 4 Pitu tropas (lowest non-overblown pitches) 47 5 Tarka tropa 51 MUSICAL EXAMPLES 3.1 Tarkiada Genre, "Brisas de Hingachi," by Tarkas de Putina 85 3.2 Sikuri Chodo/Ligero Genre by Qhantati Ururi (Filiberto Calderon) 86 3.3 Tarkiada Genre, "Qhantati," by Tarkas de Putina 87 3.4 Sikuri Chodo/Ligero Genre by Qhantati Ururi (Filiberto Calderon) 88 8.1 Sikuri Ligero Genre by Qhantati Ururi 210 8.2 Sikuri Ligero by Centro Social Conima 211 8.3 Sikuri Chodo by Qhantati Ururi 212 804 Sikuri Ligero Genre by Centro Social Conima 213 A.1 Sikuri Lento Genre, "Camacho" (public domain), performed by Qhantati Ururi 259 A.2 Sikuri Lento Genre, "Manuelita," by Qhantati Ururi 260 A.3 Sikuri Chodo Genre by Qhantati Ururi 261 AA Sikuri Ligero Genre by Q'keni Sankayo of Huata 262 ix List of Illustrations A.5 Sikuri Satiri Genre, "Siembra" (public domain), performed by Ayllu Sulcata 263 A.6 Sikuri Satiri Genre, "Cosecha" (public domain), performed by Ayllu Sulcata 264 A.7 Sikuri Imillani Genre (public domain), performed by Qhantati Ururi 265 A.8 Five-hole Pinkillus Wifala Genre, Community of Japisi 266 A.9 Five-hole Pinkillus Carnival Genre, Community of Cambria 267 A.I0 Pitus Achachk'umu Genre, Community of Cambria 268 PL ATE s (following page 168) 1 The town of Conima 2 Sikuri ensemble from the community of Huata, Conima­ wedding performance in Huata 3 Filiberto Calder6n Villasante making sikus 4 Five-hole pinkillu ensemble with cajas from the community of Japisi, performing wifala during the Fiesta de la Candelaria 5 Six-hole pinkillu ensemble with cajas 6 Women perform a t'inka while a pitu and a sikuri ensemble perform in the background for the Fiesta de la Cruz in Conima's plaza 7 Achachk'umu dancers during the Fiesta de la Cruz 8 Dancing during Carnival in the Plaza of Conima 9 Filiberto Calder6n performing tarka (tayka) during Carnival 10 Rey Moreno, traje de luz dance, in the city of Puno during the Fiesta de la Candelaria 11 Sikumoreno panpipe ensemble in the city of Puno 12 Centro Social Conima in downtown Lima 13 Centro Social Conima warming up for a 'folkloric parade' in downtown Lima 14 Centro Social Conima in traje de gala (costume) at Asociaci6n Juvenil Puno's Encuentro de Sikuris Tupac Katari x ACKNOWLEDGMENTS Like musical performance in Conima, the research for, and the writing of, this book has been a collective endeavor at various times. I would like to express my gratitude to all the Conimeflo musicians who shared the pleasure of performing with them in Conima, Lima, and Huancane: the members of Qhantati Ururi, Tarkas de Putina, Pitus de Checasaya, Centro Social Conima, and Union Hilata. Filiberto Calderon took me into his home. He also taught me a great deal about music and life in Conima, as did my compadre Jorge Apaza, his father Samuel, his brother Leo, and the rest of their family in Conima. Aldemir Calderon, Manuel Pomare, and Juan Quispe had impor­ tant roles in guiding my work in Conima. In Lima, my compadres in Centro Social Conima, Toribio Mamani and Benito Pomare, welcomed my wife Elisabeth and our son Matthew into their families; many other Centro Social members welcomed us into their homes and into their lives: Fabian Mamani, Fidel Cataricora, Filomeno Mamani, Oscar and Hilda Mamani, and Herman­ jildo Chambi. Bernabe Quispe, a member of both Union Hilata and Asocia­ cion Juvenil Puno in Lima, took particular interest in my study and helped me in countless ways. Although my oldest friend and teacher in Peru was not directly involved with the current study, I would like to thank Julio Benavente Diaz for providing so many insights into the beauty of Peruvian music and the complexities of Peruvian life. I am indebted to my teachers at the University of Texas at Austin for their help and support at an earlier stage of this work. Gerard Behague served as the director of my doctoral dissertation (1987) and throughout my years at Texas provided major encouragement and guidance for my Peruvian re­ search. Richard Schaedel also served as a mentor and as a valuable member of my graduate committee, as did Greg Urban, Richard Adams, Henry Dietz, Steve Slawek, Steve Feld, and John Grubbs; their comments and suggestions still resonate throughout this book. Special thanks go to Stephen Blum, Patricia Sandler, Charles Capwell, xi Acknowledgments Timothy Rice, and Larry Ward, who read earlier drafts of this book and spent many hours providing thoughtful, detailed criticism and concrete suggestions for improvement. Jaime Montano, an early member of Asociaci6n Juvenil Puno and a key player in many of the situations that I describe, also read an earlier draft and provided valuable criticism and clarifications. Especially in chapters 5 and 6, parts of Montano's lengthy commentary on the draft are incorporated into the text. Alma Gottlieb, Samuel Araujo, Fred Lau, Robert Templeman, and Lise Waxer read parts of earlier versions and pro­ vided helpful commentary; Inni Choi drew the maps included in the text. Conversations about writing ethnography with Bruno Nettl, Veit Erlmann, and Paul Berliner influenced this book's final form. To these friends, stu­ dents, and colleagues, lowe a special debt of gratitude. My fieldwork for this study was supported by a Fulbright Fellowship, which I gratefully acknowledge; Dr. Koth de Paredes and the other members of the Fulbright staff in Peru facilitated my work in many ways. Earlier field research in southern Peru, which influenced the present study, was sup­ ported by an Inter-American Foundation Fellowship. I would also like to thank the University of Illinois Research Board for financial assistance in the final stages of this project. My wife Elisab.eth and son Matthew, who at the time was six months old, accompanied me to Peru. Matthew is now seven, and he finds it inconceiv­ able that I have been working on the same project for as long as he has been alive and for much longer than our daughter, Cristina, has been with us. I would like to offer a heartfelt word of thanks to my family for their patience, to Matt for coming home every day and asking, "Is your book finished yet?" and for their enthusiasm when it finally was. xii INTR a DUCTI a N: F RaM caNIMA Ta LIM A IN THE ANDEAN villages along the northeastern shore of Lake Titicaca in Puno, Peru, daily life is very quiet. Depending on the time of year and the agricul­ tural tasks to be performed, routines are established and one day passes much like another. The family I lived with in the District of Conima usually rose before dawn, ate a small breakfast, and then did chores around the house until seven. Being on a different schedule, I frequently awoke to the sound of Filiberto sweeping, or to the sounds of his grandson, the only child in the house, playing with toys of his own invention. Before the family went out to the fields to work, another more substantial meal was served-some variety of potato soup, which was much like the one eaten the day before and the one that would be eaten upon returning.
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