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Copyright by Kathryn Ann Metz 2010 Copyright by Kathryn Ann Metz 2010 The Dissertation Committee for Kathryn Ann Metz certifies that this is the approved version of the following dissertation: Music from Amazonia: Roots, Cosmopolitanism, and Regional Expression in Iquitos, Peru Committee: ____________________________________ Robin Moore, Supervisor ____________________________________ C. Joshua Tucker ____________________________________ Stephen Slawek ____________________________________ Veit Erlmann ____________________________________ Ward Keeler Music from Amazonia: Roots, cosmopolitanism, and regional expression in Iquitos, Peru by Kathryn Ann Metz, B.M.; M.M. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2010 DEDICATION Dedicated in loving memory to Dina Seretti and Victor Huertas Written and completed in honor of Phyllis Marie Ledoux Everyone knows something you don’t. Learn from them. -Phyllis M. Ledoux I wonder at this age If I can learn something new So I practice my language In hopes that I do… But I need some new words These ones are getting worn I’ve used them for so long They’re wrinkled, ripped and torn -Chickpeas, “Words I Love” ACKNOWLEDGEMENTS I would like to thank the people and institutions without whose support this entire project would never have happened. I owe Chris Beier and Lev Michael a debt of gratitude for introducing me to Iquitos in the first place, summer 2003. I am tremendously thankful for Elsa, Wilder, Wilder Jr., Rudy, Martín and Lissette Linares who opened their home in Lima to me countless times, regularly shuttling me to the airport and back. Wendy Ramírez, Zeudy Valderrama, Edward Upi, and Jean Carlos Bardales have all had a hand in my success. I especially owe thanks and gratitude to Piedad Olórtegui and her entire family for regularly providing amazing hospitality. I am grateful to Angel Paz and Fernando Córdova for musically inspiring me and trusting me with their ensembles. Thanks to Finita, Fr. Joaquín García at the CETA, the staff at the Amazonian Library and the Mother Superior of Colegio de Nuestra Señora de Fátima as well as Florinda, Ana and Silvia and all the muchachos at KMV. Raymundo, Italo and Mónica transcribed key interviews, for which I am very grateful. I am honored to have known and performed with Explosión, especially Raúl Flores, Ofelia Chávez, Eduardo Aguilar, David Núñez, Twinkie and Papo Torres. Carlos Reátegui and his family and colleagues, including Victor Aguilar, have indefatigably shared their repertoire and techniques with me for years, for which I am very appreciative. And of course, my international iquiteño contingent, Mónica Hernández, Cesar Gil, Sanni Saarinen, Jorge Moreno, Graciela Blanco, Gloria, Mario Cardozo, and Lars Pomara sustained me with friendship, company and tortilla española. Above all, I have been extremely blessed by an v iquiteño family that has adopted me as their own. Mario Meder, Dina Seretti, Mario Jr., Kirle, and Veronica showed me nothing but kindness, patience and love as they provided for me in more ways that I can count. Dina will be sorely missed. To committee members Joshua Tucker, Stephen Slawek, Veit Erlmann, and Ward Keeler, I am grateful for their wisdom and criticism. Committee chair and advisor Robin Moore worked tirelessly through countless drafts, offering invaluable advice and edits, encouraging me from start to finish. Similarly, professors José Limón, John Hartigan and Bob Duke have impacted me greatly during my tenure at UT-Austin. Andrew Dell’Antonio has provided me with advice, wisdom and friendship from the beginning. And without my initial formation with Gerard Béhague, I would not have finished this project. I owe a debt of gratitude to my colleagues at the Rock and Roll Hall of Fame and Museum, especially to my team that has encouraged me toward the completion of this project with patience and enthusiasm. Lauren Onkey, Jason Hanley, Stephanie Heriger, and John Goehrke have supported me tirelessly through this process. I am eternally appreciative to my many editors and friends who have selflessly spent countless hours on the most minute stylistic details found within, especially Kathy Harper. I am also grateful to Terry Stewart, Margaret Thresher, Laurie Kosanovich, Traci Ottenfeld, Jacqueline Chisholm and all the Rock Hall staff for their unending encouragement. Friendships that developed and blossomed in Austin, Texas have kept me afloat, including more names than I can possibly mention, but there are a few whose absence in my life would be duly noted and deserve far more than accolades in the present volume. Thanks vi to Mary Agnew, Mehdi Boudra, Patrick Dill, Jamie Freedman, Robin Hughes, Sarah Jarosz, Ryan Kangas, Kim Kattari, Peter Kvetko, Sidra Lawrence, Mark Lomanno, Jane Mathieu, Julia McReynolds, John Rose, Melanie Morgan, Emily Pinkerton, Ana Sánchez-Rojo, Kim Schaefer, and Diana Uribe. Meera Chandrasekaran’s patience, listening and cooking skills are unparalleled. Colin Ferguson’s undying optimism regularly kept me afloat. Genevieve Frisch has always provided house, home and love. Sonia Gaind’s generosity extended beyond friendship and into family. Karla Hamelin’s sincere concern for my well-being provided significant comfort, as did her running partnership. Dan Sharp and Laura Wolford seem to only know how to encourage, despite distance. April Prince’s role in my development as a person and as a scholar cannot be overstated. Her endless support, camaraderie, love and humor provide even more fuel for an already solid friendship. Most importantly, I owe an eternal debt of gratitude to my dear friend, colleague, running partner, and porteño Michael O’Brien. Michael is not only my good friend par excellance, but he has consistently challenged me and entertained me in one fell swoop. This project would not have reached completion without him. While my immensely supportive friends are too many to count, there are many who have gone above and beyond and my Cleveland contingent includes Reena Samaan, Lisa Vinciquerra, Matthew Brady, Arlie Matera, Lucas Dorsch, Jeremy Hoag, the CWRRC, book club, Virginie Tchakoumi, Mary Davis and Matthew Gengler. Danny Kamins’ transcriptions were invaluable. Carolyn Donoghue’s unflagging understanding and encouragement got me through dark days. Many thanks to Jenny Fraser who has helped me keep the vii ethnomusicology spark alive. Above all, Cory Korkow has suffered through many dissertation crises and has always had sup(port) at the ready, along with experienced patience. My far-flung deputation includes Elise Pelletier, Rhonda Turnbough, Cathy Kooistra, Karen Oates, Lorraine Schnier, Iván Bódalo, Irene Díaz, Iñaki Córdoba, Erica Konya, Anne Fillian Burg, Lee Mars, Erika Hughes, Jason Lee Oakes, David Harnish, Mary Natvig, Carol Hess and Jody Gatten. Kami Meighan’s affirmations were invaluable. Allison Lindemann not only offered moral support but she gave me a car that has kept me mobile in Cleveland’s harsh winters. Joan Miller’s thoughtful gestures always bring a smile to my face. Above all, I am eternally thankful for my family, especially my brother Tim. While my mom did not survive to see me embark on this adventure, her unflagging love for me and confidence in me gave me the strength to finish it and her wisdom prevails. Last but not least, my father has been nothing but patient through this entire process, forgiving my negligence and short fuse and rewarding me with dinners, pretzels and board games. Thank you, Dad. viii Music from Amazonia: Roots, Cosmopolitanism, and Regional Expression in Iquitos, Peru Kathryn Ann Metz, Ph.D. The University of Texas at Austin 2010 Supervisor: Robin Moore This study explores the construction of regional identities through music performance and mediated forms of public culture in the urban Amazon of Peru, focusing on the city of Iquitos. A fast-developing metropolis, Iquitos’s increasing industrial, ecological and economic importance on the national scale has driven a population explosion, drawing migrants from the surrounding jungle whose traditional communities are disintegrating. Urban musicians respond to these changes by attempting to create an inclusive, Amazonian regional community through public culture. A local folkloric genre called pandilla, which has morphed from a style associated mainly with native communities in another region of the Amazon to a distinctly mestizo music and dance from Iquitos, has been particularly central to this process. Shaped through forms of public culture in urban Amazonia that articulate cosmopolitanism and globalization to the local milieu, it connects a folkloric past – molded by colonial dominance – to the present, which is steeped in ix cosmopolitanism and regional pride. This project traces the region’s history beginning with an influential folkloric ensemble, Los Solteritos, which emerged in the early 1960s and came to epitomize local mestizo music, shaping iquiteño esthetics and repertoire, and establishing pandilla as a pan-Amazonian folkloric genre. It shows how this urban folkloric group claims deep ties to rural, indigenous Amazonia, even as it invests heavily in cosmopolitan esthetics and the mechanized reproduction of sound. Finally, this study demonstrates how Explosión, a pop group that performs tecno-cumbia music became the representative pop ensemble of Iquitos by bringing local symbols of cosmopolitanism and folklore into their
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