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Pasacalle Activists Practicing Culture in Villa El Salvador, Peru Carlos Odria

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Pasacalle Activists Practicing Culture in Villa El Salvador, Peru Carlos Odria Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 “Seeking a New Path”: Pasacalle Activists Practicing Culture in Villa El Salvador, Peru Carlos Odria Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “SEEKING A NEW PATH”: PASACALLE ACTIVISTS PRACTICING CULTURE IN VILLA EL SALVADOR, PERU By CARLOS ODRIA A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2014 Carlos Odria defended this dissertation on October 31, 2014. The members of the supervisory committee were: Michael B. Bakan Professor Directing Dissertation Michael Uzendoski University Representative Frank Gunderson Committee Member Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGEMENTS The idea of practicing culture has fascinated me for a long time, both as a musician and researcher. Getting to know the young, imaginative, and passionate pasacalle activists of Villa El Salvador (Lima, Peru) has given me the possibility of exploring a case study in which such a concept of culture-making is blatantly intertwined with local notions of citizenship, race, ethics, society, and musical performance. To some extent, writing this dissertation has been an intellectual exercise as well, a practicing of cultural interpretation, empathy, and understanding. This practicing of course has depended on the participation of many ‘players’ in order to be possible; friends, acquaintances, informants, and family members, all of them have been tremendously important in the making and practicing of my work. These generous players have supported and trusted me in different facets and stages of the investigation, and for that I am immensely grateful. My conversations, interviews, and hanging out sessions with my Villa El Salvador friends and collaborators constituted the main root from which all the ideas and concepts I propose here grew into branches and leaves. These ideas, I recognize, are mere interpretations (and sometimes literal restatements) of the knowledge VES activists passed on to me. For that reason, I want to thank pasacalle leaders Michael Ramirez, Carlos Olivares, Jota Jota, Omar Salazar, Pamela Otoya, and Leonardo for sharing with me their experiences of life, their dreams, their worldviews, and their ideological concerns. Their collaboration comprises the kernel of this research. I also want to thank my pals and musical partners Michael Rojas and Quique Valdez, accomplished musicians and music educators based in Villa. My gratitude for their friendship and guidance during the first stages of my fieldwork. Throughout our everyday chats, our musical ‘jams,’ our walking across the streets of the district, our exchange of stories, and the generous meals we shared at the ‘chifa’ (a traditional establishment that serves Peruvian-Chinese food), Michael and Quique helped me to grasp the particular sensibilities that shape life in the district and, perhaps more importantly, the worldview and aspirations of local working musicians. They both were generous enough to introduce me to other musicians in the area and allowed me access to the facilities of Arena y Esteras, a cultural organization in which part of this research was carried out. My appreciation also extends to the team running the Center of Documentation of Villa El Salvador (Centro de Documentación de Villa El Salvador) and, especially, to Dante Abad, a multifaceted journalist, social scientist, archivist, and media guru whose passion in life for a long time has been the recording of the history and evolution of his beloved Villa. Graciously, Dante offered me complete access to the Center’s valuable archives and shared with me countless stories (many of them autobiographical) about the settlement and subsequent political organization of the local population in the desert. Hearing Dante’s stories pushed me to reconsider and better focus my analytical lens during the early phases of my ethnographic work. iii I also thank Ana Sofia Toguchi, founding member of Arena y Esteras, for welcoming me into the facilities of her organization. The initial scope of my research in Villa El Salvador comprised the hybrid and improvisational dance/circus work of Arena y Esteras. However, witnessing the artistic orientations adopted by Ana Sofia and her team ignited in me the desire to pursue a larger investigation concerning the role of the circus arts within pasacalle choreographies, which led me to the enlightening ‘discovery’ of Villa’s batucada movement. In addition, Ana Sofia’s invitation to present a series of talks focused on music and culture inside the Arena y Esteras facilities enabled me to engage local musicians, neighbors, and activists in conversations that proved to be educational for all parties concerned. For their mentorship and academic guidance, I thank the Musicology faculty of the Florida State University College of Music. I am particularly appreciative of my advisor, Michael Bakan. Thanks for your time, patience, and commitment, Michael. Your intellectual advice and sharp scholarly intuition have been fundamental to enabling me to channel my usually overflowing cascade of thoughts into work that is more focused and manageable—writing that ‘single sentence’ that tells the story of the entire dissertation proved to be the most difficult and instructive part of this entire endeavor! Additionally, I am grateful for your friendship and your willingness to share with me your musical ideas and talent outside the classroom. Here is to so many gigs and concerts we have played together! Thanks also to Frank Gunderson for his honest and insightful academic advice, which was always delivered with a friendly smile. His passion for reading and teaching has showed me the true nature of what being a scholar is all about. Thanks to Denise Von Glahn for teaching me the value of history and for showing me that scholarly writing can also be a rewarding source of artistic inspiration. Thanks to Dale Olsen, who first introduced me to the academic study of music and who explained to me the meaning of that strange word, ‘ethnomusicology.’ Finally, thanks to Michael Uzendoski, whose creative mind and refined anthropological thinking have inspired in me the seeking of connections between culture, nature, and spirituality in this research. His love for Andean and Quechua culture has been a recurrent stimulus throughout the writing process. Deep appreciation extends also to Jillian White and the FSU Center for Leadership and Social Change for awarding me with the 2012 Moellership Award. This award facilitated for me a summer of research and full-time teaching at the Villa’s Hipolito Unanue Middle and High School. Finally, I am most grateful to my family for their support, love, and care. Thanks to my father, Raul Odria Picasso, for letting me stay in his house during my work in Lima and for sharing with me his inquisitive ideas regarding my dissertation topic. His profound knowledge of Peruvian history and society has frequently challenged my own assumptions about things I have taken for granted. Thanks also to his partner Sarah for her unwavering hospitality, joyful encouragement, and exquisite and copious cuisine. At her table, I gained several pounds, but also the energy and positive thoughts necessary to carry on. Above all, I thank my best friend, wife, and life partner Naida Saavedra. Her company, her warm advice during the most taxing moments of this research, her continuous and unselfish iv care, her love and patience have given me the vitality and enthusiasm I needed to finish this long adventure. Ten years ago, when I moved from Lima to the United States seeking the dream of becoming a professional musician, I had never thought about joining the world of academia. I was barely able to communicate in English and only carried with me a high school diploma. Shortly after my arrival in the States, I met Naida at the Florida State University, when she was pursuing her graduate studies in Communication and Spanish Literature. Little by little, and through her own example of dedication, continuous effort, good planning, sense of humor, and hard work she showed to me the rewards of academic life. Seeing her flourishing and growing as a person, scholar, and creative writer transformed me. It led me to gain the courage to come back to school and pursue a music degree. Later on, while finishing my Bachelor’s degree and entering into the unknown territories of graduate school, Naida showed me the necessary skills to survive a Master’s program and to finish a Ph.D.—something that a few years before would have been just an improbable dream. More importantly, I have learned from Naida that it is possible to become a better individual while also becoming a better academic (an endeavor that of course I am still trying to achieve!). Naida, this dissertation goes out to you. You were the most important player in this team and without your involvement nothing could have been accomplished. v TABLE OF CONTENTS List of Figures ...........................................................................................................................vii Note on Translations ..................................................................................................................
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