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An Ethnomusicological Study of the Globalization of the Quena in Andean Music and the World

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An Ethnomusicological Study of the Globalization of the Quena in Andean Music and the World An ethnomusicological study of the globalization of the quena in Andean music and the world by Galo C. Bustamante A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Biology (Honors Scholar) Presented May 18, 2021 Commencement June 2021 AN ABSTRACT OF THE THESIS OF Galo C. Bustamante for the degree of Honors Baccalaureate of Science in Biology presented on May 18, 2021. Title: An ethnomusicological study of the globalization of the quena in Andean music and the world. Abstract approved:_____________________________________________________ Eric Hill This ethnomusicological study has examined the forces that have globalized the Andean instrument of the quena and the genre of Andean music as a whole. This thesis specifically addresses the cultural, and socio-political factors over the last century that has led to the quena being circulated across the globe. Much ethnographic fieldwork, and many historical accounts have been published; this thesis takes many of those works and compiles the knowledge into one unified work which tracks the movement of the quena. This was accomplished through review of the existing primary literature and compiling the relevant knowledge into one cohesive body of text. The primary findings show that there have been three waves of spread or globalization: 1) spread from urban migration fueled by Peruvian indigenista movements, 2) a cultural explosion of folkloric interests in cosmopolitan centers such as Buenos Aires and Paris, 3) politicization of the music and a folk revitalization which brought Andean music to the forefront in the 1960’s through the 1980’s in Chile and the United States. These findings should support the existing body of knowledge, and may spark further interest into the quena’s popularity on the continents of Africa and Australia for further research. Key Words: quena, globalization, Latin-American Music, Andean Music, cosmopolitan Corresponding e-mail address: [email protected] ©Copyright by Galo C. Bustamante May 18, 2021 An ethnomusicological study of the globalization of the quena in Andean music and the world by Galo C. Bustamante A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Biology (Honors Scholar) Presented May 18, 2021 Commencement June 2021 Honors Baccalaureate of Science in Biology project of Galo C. Bustamante presented on May 18, 2021. APPROVED: _____________________________________________________________________ Eric Hill, Mentor, representing University Honors College _____________________________________________________________________ Juan Eduardo Wolf, Committee Member, representing University of Oregon School of Music and Dance _____________________________________________________________________ Shaozeng Zhang, Committee Member, representing Anthropology _____________________________________________________________________ Toni Doolen, Dean, Oregon State University Honors College I understand that my project will become part of the permanent collection of Oregon State University, Honors College. My signature below authorizes release of my project to any reader upon request. _____________________________________________________________________ Galo C. Bustamante, Author ACKNOWLEDGEMENTS As many people know, there is no work composed by solely one person. After the undertaking of this thesis project, I am fully convinced this is indeed the case. It is because of this fact that I am extremely grateful for the support of my mentor, Eric Hill, and the rest of the committee including Juan Eduardo Wolf and Shaozeng Zhang. These three committee members have supported me throughout the entirety of this project which began almost 2 years ago. The completed work you have before you would have amounted to nothing without them; it is for their guidance my thoughts have manifested themselves in this thesis. While my committee has supported me through the scholarly aspects of this project, I would have never had the exposure to this wonderful world of music without my Abuelita who exposed me to the quena and selections of Andean music upon her arrival to the United States in the early 2000’s. The time she spent living with me and my family formed some of the greatest memories and set the foundation for my affinity towards flute and Andean music in particular. It is safe to say that this project would have never even have been conceived without her continued influence on my life, thus the reason why I dedicate this work to her. I would be amiss if I did not also acknowledge the support and strength I have received from my immediate family. My parents and younger sister have all offered me unwavering support throughout this arduous process. Everything from moral and spiritual support has been provided to me by my loving family which has kept me going when my motivation was wearing thin. To my roommates who have been very respectful and helpful in this process, I am also very grateful. Whether it was respecting my space and focus so that I could dedicate myself to the work, or even something as simple as sharing food so that I could use cooking time to further my research. In particular, my friend, and “proof of concept” reader, Collin Vogt, has been of instrumental help while I was composing this thesis. Collin has returned countless comments which have helped straighten out my thoughts so that they could be properly conveyed and interpreted by the reader. Lastly, but certainly not least, is my thanks to you as the reader. The logging and documentation of knowledge amounts to very little should it never be shared. It is through your active hunt for knowledge that this thesis is not done in vain, but rather serves its intended purpose of disseminating the knowledge that I have gained over my work and research. I truly hope that you not only learn from this thesis, but enjoy the knowledge and stories contained in this and that your thirst for knowledge never ceases. PREFACE I decided to write and present on the quena and Andean music as it was something special to me. I was raised in a mixed household and my grandmother lived with my family for some time when I was young; she introduced me to Ecuadorian flute music, which I came to love as a child. This was the foundation that sparked my interest to present on the quena and Andean music in an honors course, and, shortly thereafter, Eric Hill approached me and told me how unique of an honors thesis this topic could be should I choose to pursue it. I knew that this was a topic that greatly interested me, and it was something I could remain engaged with as I began to formulate how, and more importantly what I would study. Although I have only visited Ecuador once, and though I was not introduced to this music in its native country, I came to realize that the aspect of this music that meant the most to me was that it was present in my life. In order for me to gain familiarity with the genre in the United States, Andean music must have been globalized and well-circulated, so that is what I set out to research, hoping to find various temporal, spatial, and cultural reasons as to its transnational spread. As I was reading over the literature and conducting my initial research, I realized that there is truly much more to this flute’s history than I had ever imagined. The intersectionality of race and cultural instances impacting the dispersion of this music as well as geopolitical and even commodification and economic factors have all contributed to bring the quena to far ends of the earth to have its music played and shared by many. Through this study, I will unpack how an originally indigenous instrument has been spread not only over the globe through its use and its performance, but also how the appreciation for the quena has grown and spread with its performance. Key among this analysis is recognizing that imitation, appropriation, and expatriation may be modes through which we can view the share and spread of an foreign or ‘Other’s’ music, but this may limit how musicians actually let themselves feel and play the music. Another point of order that will be extremely beneficial to remind ourselves of, is that globalization is a dynamic process. In the sense of this thesis, globalization refers to a mixture between the definitions of “Glocalization” and “Globalization” from What in the World is Music? (2015) by Arnold and Kramer. “Globalization” is the process of progressive integration of the world’s systems, which we can certainly see, and “Glocalization” is the “Term for the processes by which globally distributed goods, services, and forms of expression have been adapted and transformed to meet specific local requirements (Arnold & Kramer, 2015: 250). While we can track the quena on its spread across the globe, the context and features of its use change as time goes on and it spreads to new locales. I want to caution the reader to be cognizant of how the multiple subject roles that we find ourselves in influence our lives and cannot be used to box people into singular modes of cultural ingestion especially with respect to a foreign music. This is to say that my identity as a Latino male, a scientist, an ethnomusicological enthusiast, and my status as a college student all impact the frames in which I perceive new music; the same applies to everyone with their lived experiences and to claim musical appreciation as a one dimensional look into a different culture would be missing the point of our own uniqueness. INTRODUCTION Project Intent This thesis will track the globalization of the quena from its uses in the rural parts of the Andean highlands to its current status in popular culture over the course of the instrument’s historic lifetime.
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