-287-

CD.ptGr 5: tlc f,atlooal cont€at

En cI clelo las estrellas In heaven the sBars En la tlerra las esPinas On earth the thorns Dentro de nl coraz6n In ny heart 1,a ncpfbllca Peruana. The Peruvlan RepubJ.Lc.

Argentlna con su tango Argentlna wlth lts tango M6Jtco con su huaPango Mexlco wlth 1ts huapango Los verdaderos Peruanos The real Peruvlans Sus nullzas Y huaYnos. Their mullzas and huaynos.

Adelante Provlnclanos Forward provinclals Para cantar nuestros huaYnos To sing our huaynos Hacer frente a Ia guaracha To confront the guaracha A los manbos y boleros. The manbos and boleros.

(huayno nEn eI cle1o las estrellastt, Chauca songbook no.4)

The above huayno shows how nuch this type of muslc and dance 1S ldentlfled with Peru, and how it expresses nationallstic feellngs.

The nusic and dance of the Indians of Peru have been transformed throughout tlme by a number of influences, internal as well as external. After the breaking-polnt of the arrlval of the Spaniards ln the 16th century, a second one occurred in the 20th century, when Llma became the foeal point for mlgrants from other reglons of the country, and Peru Lras opened up to Western influences through mass media and tourtgm. Because of stagnation of production, populatlon growth, and poverty, rlany people fron the hlghlands (nostly Cholos and Mestlzos) Left thelr honetowns temporarlly or permanently and mlgrated to Llna and other eoastal towns. On Sundays, these ni.grants went to the stadluns, where nusj-clans and dancers from all over Peru performed. From the r50s, -288- _289_ when a verLtable wave of mlgrants arrlved 1n Llma, reglonal clubs, and the events durlng whlch muslc and dance were perforned. Especlally (whose nembers had a cotmon place of blrth), took on more lmportance, the younger generation of mlgrants took to the new forms of nusie and and the mlgrants shlfted thelr attentlon to these clubs. These clubs, dance. therefore, served as a channel of diffuslon of Andean music. Fifty On the other hand, Andean muslc --which was not heard before ln Lfuna, years ago Lina was a Creole town, wlth few people from the provinces slnce the Creoles llving there preferred waltzes and marineras-- and few or no reglonal clubs, where Andean muslc was rarely heard. becane the popular type of muslc because it was diffused for the rndlan llfe was carrled on fibehind the back of the cityn, in popurar nlgrants Ilvlng ln Lima. Thls ilfanni.ng-outrr of the musj.c and dance of theatres. But tlmes have changed, and the Indlan component of Lima the hlghlands made the Creoles look at this phenomenon differently, Ilfe can no longer be lgnored. Now, Creole music is superseded by and boosted the morale of the mlgrants: thelr nusic was not as Andean musl-c whlch ls fast becoming the popular music of Peru, Iike unattraetive as they had always been made to belj-eve. They took their the huayno and the huaylas. Due to the great denand for records by Local festlvals with them and celebrated them and other events in the nlgrants and by radlo statlons, the record industry prospered in the reglonal clubs. | 70s. Chapters 5.1 and 5.2 reflect the dlfferent relationships that exist 0n the other handr migrants from the Callej6n de Huaylas that went between performers and their audi-ence in an urban context: the music back to the valley on the occasion of a family fiesta or a patron and dance are trpopularrr when working class people lnvolved in their salnt festival brought back nel, types of music. Television was own culture are concerned, whereas they are rffolkloristicrr when middle installed recently, brlnglng visual as well as auditlve informatlon class urbanltes or foreigners are concerned, who are strangers to the tfKoJakn rDallasil from faraway places: and were watched by peopre whose cuLture of the highlanders. The muslc of the Andes has become very llfestyle was entlrely dlfferentt popular in Western societles and many people have records of the rrlndtan fluterr. Concerts of South American --preferably Indian-- The effects of nlgratlon on the perfornlng arts of the Callej5n de muslcians (where ItEl condor pasarr is inevitably played) r are well- Huaylas are dlscussed ln chapter 5.1. attended.

Tourlsmr the effects of which are dlscussed in chapter 5.2, saw the rlse of a dlfferent type of establlshment, Lhe npefias forkl6- 5.1: Frm Andean to popular uuslc: the effects of nl.gratlon rlcasrrr folklorlstle taverns that are visited by tourists and niddle cless urbanites. Tourlsmr BS an external lnfluence on the Andean Founded by Plzarro in 1535r Lina soon became the econonlc and cultural muslc, 1s closely related to lndtgenismo --an ideotoglcal novement eenter of Peru. In the second half of the 20th century, its population that strlves to abollsh the exploltation of the Indian population-- expanded rapldly, through natural growth as well as nigration from and fo1klore. This, ln lts turn, ls reflected in the cultural polltics other areas of Peru. Greater Llma (t,ina and its harbor CaIIao) naa of Peru. 116411221 lnhabitants ln 1961 and 31286t177 in 1972r Bn annual lncrease of 91,. (Dobyns & DoWhtyrl976:tab1e 4) AI1 this had consequences for Ehe muslc and dance of bhe hlghlands, In a recent report on labor migratlons (Minlsterlo de TrabaJo y whlch mlxed wlth those of creore and western origln, creatlng nel, Pronocl6n Soclal, n.d.) ln Peru, it was sald that in 1972 the number nhuayno-cumblarr. types Ilke the A shift took place regardlng the of migrants anounted to 314931000 or 25.81 of the total population. insbruments, the types of ensembles, the repertoiree the performers, Thls spatlal redlstributlon was directly related to the reordering of -290- l"- _291_ the productlve structure and the economic activities of Peru. Most of ares recreation (cultural eventst Some of the purposes the clubs serve the migrants went to Lima (56tr), but many went to the coastal towns, (Ueing with people one can dances, soccer competitions), protection especlally the Northern ones (TruJlllo, Chiclayo, Piura) and to the (when celebratlng the Lrustr ,rgente de conftanzan), social lnteracbion Eastern lowlands where new nigration areas are being opened up. and fundraising patron saint festival and durlng social occasions), In the perlod 197?-1978 migration within the Northern region (conprlsing the depariments of Tumbes, Pi.ura, Lambayeque, La Libertad, andlobbylngactivitieswlthcon8ressmenonbehalfofthelrcon. munlties. Ancash, CaJamarca, and Amazonas) was more lmportant than that to Lima: mlgration to Lima was 46.531, nigration within ihe region was 5O.96f, Al.thougrrmlgrantsoftenconservemanyaspectsoftheirfornersocial and mlgratlon from one region to another was 2.51tr. Accordlng to Ehis Ilfe,thelrreligiousorganization,andtheirvalues,andfunctionas membersofLhenati-vecommunityrtheactivitiesofthecrubs report, the process of |tmetropollzationrr seems to have stabilized in contrlbute to the process of national lntegration' 7) 1981. Thls may be due to Iack of work in the cities because of bhe economlc crlsls, the landreforns which may induce the return of (sub)district and provlnclal There are nutrerous Ancash clubs on the mlgrants to the highlands, or new colonizations in the lowlands which in a larSe The departnental club (cruu Ancash) 1s housed attract nigrants that otherwise mlght have gone to the coast. Ievel. buildinglnthecentreofLiroa.Intheseclubs,musicofthehomeland canbellsLenedto,perfornedeitherbynigrantsorbymusielans Whereas some ni.grants try to asslmllate as quickly as they can to the between the clubs on brought to Llma for the occasion. The differences blg city, others adJust more slowly2 retaining valued aspects of their provinclal, or departmental levels are quite noticeable. For provincial culture. Many of the migrants 11ve in the rrpueblos dlstrict, lnstance,afterthepatronsaintfestiva}ofbheVirglnof Jovenestt, shantytowns on the outskirts of Lima. They often ioin two well-known chiqulnqulrS of caraz was ceLebrated in club Ancash, reglonal clubs which provlde a frame of reference for soclaLlzatlon to de Huaylas string orchestras composed of migrants from the CaIIei6n the urban and national context. trHatuchaytt s performed 1n Lhe folkloristic tavern at a dinner-daneerr l|Atusparia|'and|lLaLiraHuaylina'|.TheeventwaswrittenupinLa Doughty (197211978) estimated the number of clubs to be more than and (sub)district Prensa of January 20r1981. Clubs on the provincial 5rOOO; he studied 505 of them, includlng 185 Ancash clubs. (Ancash Ievels do not geb bhis }songs during one performance. For sugar plantatlons.) Being part Japanese, she belongs to the Japanese example, when she was ln Caraz with her conpany, she sang one mlgrant colony ttthe ttHuarinarr trEI ln Llma and calls herself only Nisei that slngs pasacalle, ( "Adi6s Huaracinatr ) 1 four huaynos ( , anor y huaynosl. rE1 She nade a reeord ln Japanese of Lhe famous fox incalco Ia naranJarr, ItAmapolitarf , and ilQuiero casarmetr ) , and two marineras condor pasatr and some huaynos. Thus, her songs are in Quechua, (uAsf te qulerorr and trYo ne enamor6 de un hombrer). Spanlshr or Japanese. Because she was the best known Nisel of peru, a The Princeslta told ne that the muslc of the Ca1lej6n, ilnuestro ttL6grimas documentary fiLm de una Princesart (Tears of a princess) folkLore vernacularrt (our vernacular folklore) was not we1l-received was nade by a Japanese film team in 1976. untll recently, that it was rrpushed asldert (nos ponian a un lado) in She has been a slnger for 21 years and is known all over peru. Her favor of Creole musj,c. But this has now changed, she saysr because repertolre conslsts of songs fron all parts of Peru, but the naJority tourists 1lke to listen to this type of music. are fron Ancash, slnce those are the ones she prefers and wants people to hear.The flrst songs she learned to sing were of the pastorita Leonci.o Glraldo, the Gorri6n Andino, is much admired by the Huaraclna, and she made her debut in the Coliseo Naclonal in Lima. Prlnceslta de Yungay, who calls him rra pioneer of the vernacular nusic Teodoro L6gez, her ex-husband, composed songs for her, and she also of Ancashfr. He was a singer for more than thirty years, and lived in enlarged her repertoire by llstening to others like pastorita Paramonga on the coast, where he worked in a paper mill. He was born Huaracina, Jllguero der Huascar6n, and Gorri6n Andino. she has ln Anta/Carhuaz 1n 1932t and died i.n an accident in 1981. In 1950, he also conposed sone huaynos, the laiest being ltGrac j.as I ml a6orr, , a won a contest ln Lima, which led to intervj.ews by the press and rtborn huayno fron the heartrr, as she puts it. She made a rarge number radlo-broadcasts. He nade hls first 78-rpm record in 1956, followed by of records: 10 LPs, 12 mlnl-Lps and 65 slngres. For each tour, she 8 LPs, 275 slngles/78-rpm, 2 mini-LPrs, and an album with thirty assenbles group a of musicians and vocalists. Many of them have songs. tlost of his recordings were on the Sono-Radlo label. regular Jobs and have to liberate themselves to go on tour wlth her tJhen he performed ln Yungay, his orchestra consj.sted of two violins, for a few days or more. she used to be aceompanied by a group carred two gultars, a mandoli.n, and an accordion. Before, harp and quena used frSol Naclente del Perfitt, directed by Teodoro L6pez. to be part of the orchestra, but 1t is difficult to find Sood present I was at two performances in which she particlpated: she came muslclans, and they are only included ln the orchestra when recordings to caraz with a company on october zr198o, and performed in yungay on are made. He wore a white shirt, with embroidered cuffs, dark trousers, October 28r 1980, at the occasion of the Anniversary of its political an embroldered dark waistcoat, a woven belt, and a red felt hat. The -29u- _295_ muslclans wore suits. (See photograph no.14g) wlth lt and belleves that lt has brought her luck. She Santiago Maguifla chauca has written ldentlfles a number of songs for himr frbecause mostly huaynos slngs the art $as born wlth rl€r slnce I had the age of and pasacalles rlke rrA ros rayos de (huayno) Ia }unafr she puts (nr nac1,5 connigo; desde que tengo uso and rAdun Huayrasrr (pasacalre). reasonrr, as lt. arte He also srngs huaynos composed by de La raz6n, canto.) Success was lmportant to her in varlous wayss Moises castilro vrlranueva (*Barri-o 1a soledadr) and Maximiriano rrThe chalns of oppresslon were broken and I felt llberated; I started Rosarlo shuan ( urat vez con duefroil ) . These can be heard on a io recover rny real ldentlty, even though I dld not understand the much-sord sono-Radlo LP and cassette calred rrGrandes 6xibos de los slgnlficance of ny muslc and ny culture.rr (Se haUtan roto las cadenas Jlrgueros del Hualcanrr, together with songs the Go*i6n Andino verdadera hlmserf composed: rrMi de opresl6n dentro de tri; comenc6 a recobrar ml a huayno promesa, and a pasacarle ,rAmon ldentldad, atin sln comprender eI signiflcado de mi mdslea, de ml cordilleranorr' rn true Ancash fashion, the first and rast songs of the record pasacalles, cultura.) In the 50ts she was the vocalist of the well-known string are the song type for arriving and reave t,aking. ns orchestra rrAtuspariarf (named after the leader of the Huaraz uprlslng he puts lt, his songs rare born out of oners rlfe, what one goes ln 1885) , that played f or the upper classes ( ttel mundo altort ) . through, what happens to one, what one has seen*. Pastorlta wanted them to play in the stadlums frequented by working when he died a Huaraz magazine renembered hln in these words: *Er Gorri6n people, but they did not Iike that, being nore of a drawlng-room cant5 el sentimlento der puebro, y ro que es puebro der es orchestra. She broke with bhem because of this. Later she sang wlth i-nmortar'. (Tne sparrow sang of rhe feerings people, of the and that ItLos Andes de1 Per6tt and ilMelodias de1 Per6r; she stltl perforns which is of the people is imnorbal) with the latter group. Her repertoire consisbs of chuscadas, pasacalles, and danzas of Ancash and other regions of Peru. And last --but definltely not least-- Maria Alvarado, the pastorita Huaraclna. She sings compositlons of Huaraz compositors like Maximlliano Rosarlo Shuan, Alejandro Collas Paucar, and Moises Castillo Villanueva, anong Born in Marvas ln the province of Aija 1n the cordirrera Negra in (of 1930, others, as well as her own compositions which there are between 20 she left Marvas at the age of ten to become a domestic servant and 30), among them the well-known trEn los filos de un cuchillorr. She ln Lima. As she puts it:rran unknown worrd, a completely separare has recorded 20 LPs and many slngles on the Virrey and Sono-Radio worrd, that had never heard my music and where no Quechua vras spoken. labe1s. Provinclal girls and huaynos were armost an offenserf. (un nundo I met her at Radlo Nacional during one of her broadcasts of rrCanta el desconocido, un nundo totaluente aparte que jamas escuch6 ml Perfir (Peru slngs)r which she presents from 6.00 to 7.00 a.n. every nfislca y donde no se hablaba euechua. Una provinciana y huaynos eran day except on Sunday. She told her listeners that a Dutch anthro- casi- cono una ofensa. ) 0n sundays, she used to go parque to the de ta pologist was with her, who was studying the music of her native Reserva in the eenter of Lima, where peopre from the provinces went to Ancash, adding that it was a good thing that this music would be more pray soccer and listen to music of their homerand. she does not go widely known. After the program, I had breakfast with her, and when I back to the carrej5n de Huayras often, since she has no reratives rrgrand there (when she performed lef t her I was truly impressed with this old Iadyrr of the in the CaIIej6n in 19g1, she had been not hlghland musLc. Her knowledge and love of Peruvian music, her there for twerve years!), buf she stirl very much represents the professionalism, kindness were quite remarkable. callej6n and Ancash. her tenacity and her As she puts it: ,r have rived in Lima since the a8e of 0n Fridays she plays Ancash music and on the other days music from ten, but Li-ma has not got the best of me,r. she was given the other areas of Peru. At the time of the mllitary government her nane Pastorita Huaracina for her debut in 1944 with the rHuayna capacil program was broadcast at a much better hour, from 17.00 to 18.00 dance companyr at the age of 14. She tikes the name because she orelockl and she ls trying to get a better period allotted to her, _296_ _297_ orchestra is typlcal of the Cholos ln the Ca11eJ6n de Huaylas. Thetr shows in their clothing, whlch 1s more styllzed, more saylng that'lt 100ks as lf they professlonali,sm are ashamed of Andes musler the authenrlc muslc, nfolklorlstlcrt than that of the vocallsts 1n the CaIlej6n de the way they only broadcast lt early in the tropnlngrr. (cono HuayLas, and ln.the fact that they perform all over Peru and have made s1 tuvleron vergoenza de ra m6slca andlnar ra nrislea of them are fulltime professionals who are aut6ntlca; solamente nany records. Most en la madrugada hay mdslca peruana.) She also entrepreneurs and earn more money than the performers of the ca11eJ6n. had a televlsion show fron 1gT5 to 19g0, called rAlma folkl6ricarr For example, I was told by the empresarlo of the CoLiseo Nacional ln (Fo1k10r1st1c soul). she ls now a singlng teacher at the Natlonal Llrna that, where an unknown vocalist earns between 1r000 and 2r000 School of Folklore and ls learnlng music notation from the dlrector of ItMelod{as perfirr, soles, the Princesita de Yungay gets 201000, the Pastorlta Huaracina der the orchestra that accompanies her. Huascar6n StlII, ln The Pastorlta 40rOOO, and the Jilguero del 50r000 soles. wants to dlffuse the curture of Ancash and the rest of Peru. rrrhrough essence they do not differ fron the local performers of the Callej6n As she puts it: nusic, we are brothersrr. (somos hermanos a de HuaYlas. trav6s de la mfsica.) But wlthout state he1p, she says, the forklorlstlc music will be pushed rnto the margin. To her, lhe fashlonabre peflas arerrchi.nganas de mala muerte, (dives of iI1 Muslc ls part of the cultural baggage mlgrants bring with them to repute) that use folkl0re for thelr own commercial ends, taking Llma. The locales where popular nusic nay be listened to are the advantage of the tourists and cheatlng them. stadlums and the regional cLubs.

In her honor, Santiago Maguifla Chauca composed a huayno aboul a tle locales: stadlrms and reglonal clubs person from Ancash going to Llma:

Accordlng to Nriflez and Llor6ns ( 1 98 1b ) , f if ty years ago tradi- Desde Aneash vengo I come from Ancash flona1 Andean music $ras rarely heard 1n Llma and Creole music was A Ia capltat To the caplfal broadeast almost excLuslvely. This trend is nol, reversing itself, and A bailar el huayno To dance the huayno Andean nusle 1s heard more than CreoIe muslc. 0r r ES Nfllez & Con mi cholitay With my llttle Cho1o Llor6ns named their article (1981a): rLlma: fron the Creole carousal Puente de mellizo Bridge of twins to the Andean fiestart. Highland nuslc is becomlng the national- music, DeJane pasar Let me through although this is not reflected as much in radio and t.v. programmlng Con ml paisanito With my countryman as ln the record lndustry. A Llma me voy. Irm going to Lima.

Around 1945 rfoLkloristic stadiumstt were built, Iarge circus-Iike (,tT1erua Malvaslnar ) structures to accommodate folklorlstic muslc and dance companies. Thelr rrgolden agefr lasted until 1950, when there were about flfteen Resuming, it may be said that these performers are Cholos and not stadlums. an on the stadiums rrl,os coliseos: de 1o Mestlzos, even In article entitled though they live urban Ilves. They are the ambassadors of m6glco a Io popular, del vinculo locaI aI naclonaltr Arguedas the Cal1ej6n de Huaylas. Thelr repertoire mainry vernacular: is (1977227-?9) wrote about a shift from the magj-c or eeremonial to the huaynos/chuscadas and pasacarles sung in spanish as wetl as in popular and from the local to the natj-onal, saying ttlos coliseos son Quechua, and highrander waltzes and narineras. The acconpanying string verdaderas fraguas. Costa y sierra se funden a fuegor se integranr sQ -298- _299- they are a natlonarlzlng rlnk fortalecen.tr (tne stadlums are veritable forges. Coast and hlghlanO become part of the curturar patrlnony; are Joined by flre, are lntegrated, are fortified.) N6fiez & for Peruvians' who analyzed recorded Andean muslc in Llor6ns (1981a) are less optlnlstlc about the stadlums: where Arguedas and Guerrero 11981)r 204 huaylas out of a Itfortifylng r60sl ranked the Mantaro Va}Iey first, wlbh Arguedas speaks of lntegratlonfr, they use the Dore the rrthe C6sar L6vano (1979) calls thls negatlve term trnlxtlficatlontr to lndleate that ilIncan muslc and dance, iotal of ?Og in aII of Peru' Europeanized adaptatlons of Cuzco muslc and dance, bras pnesented as huancalnperiallsnl'lnhlsarticleontheCollseoNaclonalentitled rrthe real thlngrt. (The much-heard fox lncaico xEI condor pasatr is a ncoliseum:hlghlanderheavenlnLaVlctoria''.ThehuancaBuslc' good example: lt became known worldwlde through Slmon and Garfunkelts lncreaslnglypopularnowadays,isnotaSfatalisticasthemusicfromDegregori trBridge which tnay be a reason for its popurarity' verslon on the bestsel-Ilng LP over troubled water'r ) the other regions, Empresarlos of these stadiums often explolt(ed) the Andean performers (1981)attrlbutesthlspopularitytothefactthatitlsperfornedby by paylng them very llttIe. arapldlyacculturatinggroupofwhathecal}s|'self-madelndians||who tlverelatlvelyclosetoLlnaandinsonewhatbetterelrcumsiances Nowadays, only a few stadiums are left because of the increase in than most other Indians' reglonal clubs and the folklorlstic taverns, to which performers and thelr public have shifted. In 1981, there were two large stadiums Bodrlguez(1977)lsoftheoplnlonthattheshlftofartistsand Ieft, the Coliseo Nacional and the Coliseo Cerrado, both situated in publlcfromthestadlumstothereglonalclubsandsportsfieldslsa popular quarters of Lima. This is where on Sunday afternoon the rrurban goodthlng.Intheclubs,collaborationisvoluntaryandexploltatlon not (yet) occur' for lack of an folktt eome to spend thelr free tlme listening to their own kind of Ilke that in ihe stadlums does nake popular arb into a folklorlstlc muslc. The performers Inay be amateurs or professionals, but generally intermedlary (e.g.empresario) to there are one or mone well-known performers, to draw the crowds. The ghow.Itlslntheregionalclubs(andthennoisomuchlntheupper empresarlo of the Collseo Nacional told ne that singers earn between andmlddleclassdepartmentalandprovincialclubsaSinthelower 1r000 and 2r000 soles, and the (lndependent) orchestras that acccmpany class(sub)dlstrlctclubslntheshantytowns)thatthepopularmusic them 20,000 soles. We}l-known si.ngersr of courser earn more: FLor of the Andes is dlffused' Pucarlna gets lOOrO0O soles, Jllguero deI Huascardn 50r000 soles, consider the stadlums a channel of Pastorlta Huaraclna 40r000 soles, and Prlncesita de Yungay 20r000 Nfifiez & Llor6ns (1981b271-72) contents ln a very urban form' soles. (tn 1981, a day laborer earned 11000 soles a day.) diffusion that presents Andean musical and is sinply watching a The publie 1s separated fron the performers It ls possibly through the Collseo Naclonal that the music from the show.Themigrantclubs,onihecontrary,areachannelofdlffusion ttAndeanizedtr and where a more Mantaro valIey in the center of Peru became the best-known and where the content and the f orn are nost-performed type of Andean muslc. Thls so-called rt[q3ps3tr nuslc collectlveattltudeprevails.Or,lnbhelrwords:l|Thefolk}oristic of the urban model on the migrant' which ls dlstlngulshed by the utlllzatlon of saxophones and clarinets collseum represents the imposition organized response that Lhe (no quenas), conslsts mainly of huaylas, a genre slmllar to the The reglonal club is the collectively huayno. migrantopposestothepresslonsoftheblgclty.l'Themuslcalartof of the internal solldarity and 0f the huaylasr Arguedas (1977227) says that lt was orlginally a the Andes functions as a reinforcement and ideologlcar identiby for the harvest dance of the Mantaro vaIIey, which lras converted into a as a source of sociar, curturar constilubes an acllvity that is Carnlval danee and laber lnto a popular dance. He adds that bhe popular sectors. The Andean fiesta huaylas and the huayno have ceased to be regional genrea and have integratedlnallofsocialliferSswellaSbeingaiypeof -300- - 301 corlectlve consclence that syntheslzes the popurar ldeorogy of the peruvlan versus foreign muslc that ls broadcast. Legal nortns were Andes. Therefore, it serves as a defense nechanlsm towards the soclety establi.shed by the mllitary government that at least $f $ the music at large . ( Nriflez & Llor6ns , 1 p8 1b: 6T ) broadcast should be Peruvian (e.g. created and produced by Peruvlans), of which at least half should be folklorlstlc (e.g. a collective The Andean fl-esta ls used by migrants as the prlncipal way to organize creatlon fron non-urban reglons of the country) and/or classlcal themserves 1n Lima and other rarge towns, because musi.c ls a way to muslc. Thus, 85f of broadcastlng time was left for forelgn musLc. But keep oners cultural identlty ln a mlgratory context. National muslcal even the $f alLotted to Peruvlan muslc was executed on)-y by 4 ldentlty 1s not deflned anymore by the creore wartz, but by the stations out of 28r 2 of which (among them Radio Agricultura) highland huayno. broadcast Andean nuslc Erore than half of the allotted time. Stlll, Andean music ls broadcast more than Creole muslc. Llor6ns concludes However, lt ls not only huaynos that are danced in the reglonal clubs: that the tastes of the nigrants are not represented and, moreover, especlally the younger generation prefers the ilchlchatr rrPeruvlan or that they have ltttl,e cholce as to the klnd of music they want to cunbiafr, a mlx of the highland huayno and the tropical cumbia. This hear. Slnce radlo broadcasting is such an important neans of latest urban popuJ.ar creatj.on played is on modern instruments like comunlcatlon for the nlgrants (more so than the prlnted word), thls eLectrlc gultars. Young people worklng elass flock to the so-called Iack of support is an attempt against the contlnulty and development rrchlchodromesrr 1n the popular quarters of Lima, where for an entrance of popular muslc as an art wlth Peruvian roots. fee of 200 to 300 soles they may dance to their favorlte troplcal orchestra. Llke the huayno, the chicha phenomenon ls a soclal of the 5.2: Fron Andean to folklorlstLc nuslc: the effects of tourlsn lower classes 1 and ls not heard on FM-radlo and in fashionable quarters llke Mlraflores and San Isidro. In the mlddle of the 20th century, a nunber of phenomena contrlbuted to outslde interest 1n the traditlonal Indlan music of Peru: From the r50s the record lndustry prospered due to the great demand rlndigenismorr, an ldeological movement that strived to abolish the f or records by mlgrants f rom the hlghIands. Ntiflez & Llor6ns economic exploitatlon of the Indlan population and to reappralse the (198tat127) the lndustry rather harshly: rrWe suspect Judge that this Indian phenomenon (ttlo lndf.genart ) I and tourism. CIoseIy reLated to lndustry has based its growth and the formation of its capltal on the thls reappralsal of the lndigenous vJay of life, a ronantic and exploitatlon of the popular muslc and the national folklore.rt paternalistic concept of folklore was advocated by the lndigenlstas and the foLklorlsts of that tlme, with emphasls on the Inca past and (1972) Writlng ln the early '70s Doughty mentions the radio as lhe the remote and prlmltive country foIk. Tourism reinforced thls princlpar vehlcre popurar of highrand curture, saying that of lhe 34 nostal.glc type of folkl,ore, because of the rrlndiannessrr of Peru and radlo stations ln Llma in 1966, 78tr broadcast programs speciflcially lts Inca past that could be witnessed in archaeological siLes. Cuzco dlrected at the highland migrants in Ltma. At Radio Agricultura, for and Machu Picchu in Southern Peru are among the biggest tourist lnstance, commerclals, announcements (program for the Coriseo attractlons. Indlgenlsmo and tourlsmr ln their turn, influenced the Naclonal, reglonal club activltles) and Andean muslc each oLher follow cultural polltics of Peru. ln rapld successlon. Indlgenl.sno r80s rrThe In the early thls has changed. In an article entitled In Peru, indigenlsno dates from the end of the 19th century, when a (1980) forelgn musical dlctatorshlprr Ltor6ns dj-scusses the amount of number of people became preoccupled with the revlval of indlgenous -302- -303- traits and knowledge of the past. The abuses committed agalnst rndians T represented a world different fron the centers of povrerl wealth, were denounced 1n publications of groups 11ke,rAsoeiacl6n pro_ progress, lndustry, and lntellectual and politlcal actlvlty in the ttResurgimientort Ind{genail and . FelI ( I 973:63 rIa ) caIIs it netropollses.rt ( Dorson, 1 976: 33 ) 16flexlon permanente sur 1e double problBme de Irindigine et du m6tlssager. rt was a literary cument as welr, with authors like In lts cultural contextr folklore i.s not an aggregate'of thlngs, but a Jos6 Maria Arguedas, ciro Aregrfa, Luis valcdrcer, and many others. rn communlcatlve process. Ben-Anos (1975) does not use the terms the mlddle of the 20th century ant,hropology furthered the scientific rtradltlonalrr and rroral transmlsslonrr in hls deflnition, whlch ls: study of t,he indlgenous way of and people tlfe, like Arguedas, author, rrFolklore ls artlstlc communlcatlon ln small groups.tt Thi.s seems to be anthropologlst, and director of the Casa de Ia Cultura (now National Ito1d wlne ln a new bottlefr, slnce the enphasis ls st,ill on the oral, rnstltute of culture) defended the rndians. Jos6 Matos Mar (1970) the old, and the collectj.ve, but the ileventtr rather than the [ltenrr evaluated lndlgenismo in Peru and concruded that, although lt pretends aspect of folklore is emphasized, concelved as comunlcation or as to integrate the Indian into the natlonal society, it is an instrument perfornance. Thus, as Dorson says: rrFolklore ls where the acti-on isrr of discrimination and domlnance: trlndigeni.smo is a Hispanlc-coroniar and rfolkr need not apply excluslvely to country foIk, but rather creatlon to maintaln dominance.rf By malntaining an isolated position slgnlfles anonymous masses of tradltion-orlented people. it' becomes rtindigenous ethnocentri.smrt. He concludes bhat, unress the (Dorsonr 1976:46) problem Indlan is seen as a natl0nal one related to the situation of underdevelopment, the coloniaL condition of dominance and Folklore, apart from belng oral traditlon, eame to include folk art dlscrimlnation will be maintained. obJects and folk performing arts as weII, and many people relate t,he termrrfoLkLorerr to muslc, song and dance, as weII as handlcrafts.

To Peruvlansr ttfolklorerr generally means the study of pre-Columbian Whereas rrfolklorefr 1s used to designate traditional- knowledge whlch ls andr therefore, Andean and Indian survivals. Folklore is related to orally transnitted ln rural areas, rrpopularrr is used when speaklng of rf lndigenismotr, slnce both are interested in the reappraisar of urban phenonena. Both, however, are types of traditional knowledge, indigenous traits. and ln both cases the lower classes are lmplied. Arguedas (1954) deflnes trpopular muslctras that performed by the popular (=lower) Folklore classes of the city , whlch ls influenced by muslc from the rural Folklore is a much debated tern, of which many definitions exlst. (see areas and that of other cities, whereas he def j,nes trfolkloristlc Ben-Amos 11975) In 1846, Thons defined the berm rather literalry as the muslcrr as traditlonal music. traditional knowledge (rtlorett ) of the lower classes ( nlelgrr ) in the civilized nations; this traditional knowledge is orally transmitted in Nowadays, the fotkloristic tends to lnfluence the popular heavlly, due the form of advice, stories, myths, and songs. The term is crosely to mass media and migratlon. It is, however, often exptoited when lt connected to the notion that it is the less civirized par! of the is adapted to the demands of the external market when the performers nation, that whleh has stayed behind on the road of civilization and find themselves in a relation of (economlc) dependence wiLh inter- that still conserves a certain faith in the ord traditions and medlaries (lmpresarios of theatres, owners of Itpefias folkl6rlcasr) practice of the o1d rFrom customs.0r, as Dorson puts it: its initlal who eonvert folklore into a show and popular art into a lucratlve conceptualization folklore has suggested the outlines of a hidden, actlv1ty. Instead of authentic folklore, it becomes commerclal forgotten, and backward culture. Whether admired or despised, the folk foIkIore. -304- -305- Arguedas warns of the dangers of dlffuslng traditlonal musie and In 1964r when Arguedas was director of the Casa de Ia Cu]-tura, a dance saylng: rrrt r 1s especlarry ranentable, surprlsing and armost speclal register was opened in the Department of FolkLore for the inexprlcable that the offlclar authoritles dedlcated to sbudying and socloculturaL and sports clubs formed by provinclals ln L1na. A record encouraglng forkJ-ore not only ignore the rudlments of the sclence that archlve was establlshed, and record companies that pressed records of studles thls aspect of the curture, but that, thlnking they know them popular music had to send two of each to the Casa de Ia Cultura. In and our traditronar patrlmony, they adopt deforning measures that order to avoid excesses and to protect the natlonal folklore, obscure the understandlng and lncrease the danger of farsificatlon.rt A reguLatlons lrere approved for performers, stadiurns, radio stations, case in point is rma S6mac, a worrd-fanous cororatura slnger. t.v. channels, theatres and the record industry. Thls supreme Arguedas ls of the oplnlon that, slnce she was a young woulan from Llna resoLutlon no.122 was stlll valld in 1981. who speak dld not Quechual she courd not posslb}y pretend to slng Andean songs. He concrudes by saylng: frrhat what rma s6mac does is Thls concerted effort by the state, together with unlverslties and not a stylized representation of rndlan musiel it is pure deformatlon. connected lnstltutlons, to conserve, defend, encourage, and dlffuse lma sfmac makes a slmpre show out of the rndlan song.,, the natlonal patrimony, has not had the desired effect, and many of (Arguedas t1977: 1 1, 1 9-20) the neasures have not been accompllshed.

At varlous tlmes, folklorists have shaped the curtural politics of In 1968, the First Natlonal Convention of Fo1klore was held in Lima, Peru, through varlous instltutlons. some of t,hem have serlously whereafter the Peruvian Confederation of Folklore and Tourlsm was studled authentlc forkrore, but some have --consclousry or not-- alded founded, recognized by the Casa de 1a Cultura. In 1969t thls and abetted its exploitatlon. lnstitution presented a biII to support the Peruvian fol,klore, whlch remalned wlthout effect. Cultural- politlcs From t 40s .1945, the the state excerclsed control ln var j-ous ways: 1n The change from the Casa de Ia Cultura, wlth Arguedas as dlrector and when Varc6rcel was Mlnlster of Educatione the Section Forklore and the Department of FoLklore under the direction of Josafat Roe1, to the Popular Arts of the Dlrectorate of Artistie Edueation and CuItura1 NatlonaI Instltute of Culture (I.N.C.), wtth Martha Hildebrand as Extenslon was created by supreme decree, in order !o give an impulse dlrector, was not to the advantage of folklore: where in the r50s the to folkloristic and bibllographical studies and to took after the percentage of foLkloristic records anounted to 751, in 1973-174 this conservatlon of the national fo1klore. In 1949r performers ln Llma had was only 19lt a significant difference that reflects the lnterest of to reglster with thls institutlon in order to counter the exploltatlon the state in tradltional,/popular music. In Roelts words (personal and adulteratlon of the fo1klore, and ln 1950 the Assoctation of communlcatlon): ttHildebrand closed the door to folklorett. FoLklorlstlc Artlsts and Ensembres of Peru was officlally recognlzed. The I.N.C. 1s the offlclal state organ that establishes guldelines for The lnstltutlon started aeting as a watchdogl and a ministerial the cultural polltics of Peru. It was established under lhe resorutLon ttBefore of 1954 read: belng broadcast, the folkloristlc Revol"utlonary Government in 1972, by Iaw no.19268 as an organ of fhe muslc of the country mus! be qualified by bhe Directorate of Artlstlc Mlnlstry of Educatlon. Its goalss rrLo promote, support, diffuse, Educatlon and Cuitural Extensj.on.r In 1956, a qualifying conmlsslon lntegrate, and democratlze the natlonal culturert were executed by a lssued identificatlon cards Lo approved performers, whlch enabled then number of lnstltutlons, sueh as the Office of Muslc and Dancer the to act in publlc, on radio programs, and to make recordings. Natlona1 Folkloristic EnsembIe, and the NationaL School of Folkloristlc Art, as far as muslc, song and dance are concerned. -306- -307- (I.N.C./Ley orgdnlca y disposlclones complementarias rlgT6) Bases for the face of the dlslntegratlon and even comnerclallzatlon of our the cultural politics of the Peruvlan Revolution were esiablished: folklore that ls our authentlc Peruvlan and Andean culture.rr culture should be rdecolonlzedrr and become the patrimony of aII Peruvlans, ln a reappralsar of popular curture. One of the goals was The folkLoristlc approach of Andean/Indlan music ls closely related to to proJect the cultural lmage, and one way to achieve thls ls through the lntegratlon of the Indlan lnto the natlonal culture. Mlgratlon and tourlsm. It was expressly said that economlc galn should not be the tourlsm have 1ed to a reappralsal of the lndlgenous bray of life, wlth maln goal of the tourlst industry (tne industry without smokestacks), emphasls on the Inca past and the renote and prlmlt,lve country folk. and that archaeologlcal, historical and esthetical values should not Thts rather outdated concept of the Indian folklore still exlsts, but be sacrlflced to the easy and immedlate gain. folklore is nowadays studled ln lts context and related to anonymous (r.N.c. /Buna no. 6, 1977 t3-7) nasses of tradltlon-orlented peopLe, be they rural or urban. Whereas ilfolkloren ls used to designate t,raditional knowledge whlch ls orally rtpopuJ.arrr Accordlng to Roel (1977), about 81000 nusicians, singers and dancers transnltted 1n rural areas I ls used when speaklng of urban reglstered as professlonal perforners wlth the I.N.C. and carry an phenomena. ldentlfleatlon card. Slnce 1980, the Ancash branch of fhe I.N.C. ln Huaraz reglsters perforners and authors of Ancash folkloristlc music Tourlsn and danee, who recelve an identlfication card. In October 1981, Zz Tourisn 1s generally viewed as an industryl c.e. a neans of muslcians, vocallsts, music and dance groups, as weII as conposers had development. The economic pros (1nfIow of forelgn currency and registered. employment) and cons (control and proflt ln the hands of hotel chalns and alrllnes and seasonal enployment only) r 8s weII as the cuLtural Apart from the Natlonal Institute of CuIture, there are other consequences, have been the subJect of a nunber of publlcatlons. (See lnsfltutlons that engage ln conservlng and promotlng the folklore of Smifhr1977;de Kadtr1979) Smlth deflnes a tourlst as rta temporarlly Peru, such as CENDAF and C0PIFOLP. lelsured person who voluntarlly vislts a place away from hone for the CENDAF (Centro de Documentacl6n y Apoyo del Folklore Peruano) is the purpose of experlenclng a change.rr She dlstlngulshes flve types of continuation of the Peruvlan Confederation of Folklore and Tourlsm. tourlsm: et,hnic, eultural, historlcal, environmental, and recreatlonal Its seat is ln the Riva-AgUero Inst,itute of the Catholie University tourtsm. Although all five types of tourisn exist in Peru and 1n the ln Llma. During the III Natlonal Congress of Folklore ln 19TT, CENDAF CalIeJ6n de Huaylas, ethnlc and cultural types of tourlsm prevall, presented a biLt to defend and support Peruvian folklore and to cneate wlth the concomltant lnterest ln dances and ceremonles, c.Q. a Natlonal Insbitute of Folklore; this bill was to be presented to lhe folklorisilc perfornanees. These are consldered resources, and ln an Natlonal Congress ln 1981 or 1982. CENDAF organized the comemoration lnventory of the touristlc potential conpiled by ORDEZA in 1974r the of the 135th Day of Folklore, celebrated in the auditorium of the conclustons and recommendatlons read as follows: rrTo diffuse the Nationar Library ln Llma on August 21, 1981. The program lras presented varlety and wealth of the tradltlonal festivals, the muslcr the by AleJandro Vivaneo, a well-known folklonist. dances, the popular arts and the typical gastronony, by treans of documentarles and the organlzatlon of fol.kloristic events on a C0PIF0LP (Comit6 Permanente de Int6rpretes del Folklore Peruano), reglonal and natlonal. 1evel.tt ilTo promote the nost representatlve founded in 1979t organized the first ttRaymj- of the natlonal folklore'r, festlvlt,les such as the festlval of Our Lord of La Soledad ln Huaraz, a folkloristic parade in Llma from February 23 to 28, 1981, in order the festlval of Carnlval ln Caraz, the festlval of Our Lady of Mercy to |treappnalse our national folklore through the performer himself, in ln La Merced, and the festlval of Our Lady of the Rosary ln Huarl. -308- -309- SINAI,IOS, 1n coordinatlon with the Reglonal Directorate of the Mlnistry of Industry and Tourism must promote folkloristlc and cultural actlvltles 1n tlmes of major tourlstic abundance., (onDezA, 1974,voI.3: 134, 1 35) 8) Ethnlc touri-sm ls narketed to the publlc in terms of the ,tquaint, customs of lndlgenous and often exotic peoples, whereas cultural rtplcturesquert tourlsm includes the or IlocaL colortr, a vestige of a vanlshlng l1fe style.

In Peru, lnternatlonal bourlsm lncreased by approximately rcf each year from 1970 to '1980: from 1331000 vlsitors in 1970 to an estimafed 3691000 ln 1980. For Ancash, the numbers from 1975 Lo 1980 are:

Natlonal tourlsm International tourlsm Tota1

1975 40,144 3 $94 43,738 1976 40,345 3, 538 43,893 1977 45,398 6r806 5?r2O4 1978 U7 1455 12r596 60,051 1979 61,030 16r070 77,100 1980 + 611539 18rT?4 80 1262 !. r'i-' ll. +)estlmated filr

Source: Reglonal Dlrectorate I.C.T.T./Huaraz. \,r (Mendlburur 1981 )

The sudden increase of foreign vlsltors when the new highway from Patlvilca to Caraz was finlshed 1n 1976 is remarkable: thelr number oTo-e rroi -c exr no almost doubled from 1977 Eo 1978, and grew steadily after that. lV ornecciot't REGIoNAL PEB{ I NI f GP ACiOIt HUARAZ The beauty of the CaIleJ5n de Huaylasr lts flne climate and the posslbilities for trekking and mountain climbing attract Peruvlan as weII as foreign tourlsts. The best, months for visltlng bhe area a"e the rainless months from May to October, whLch coincide wit,h the Program cooer for the Touristic Week Barrios of vacatlon of most Europeans and North Americans. of Yungay, draunl by Juan )RDEN0R-Centro. Tourism, which in 1981 amounted to 1.1fi ot the G.N.p. of the region -310- - 311

covered by ORDENOR-Centro (ORDENOR-Centrorn.d. lnitlabive t,o exploit the folklore of Peru and the Callej6n de z4T), ls stlnulated by bhe Reglonar Dlrectorate Huaylas. These taverns are usually located ln provlnclal capltals llke for rndustry, cornmerce, Tourismr and (r.c.T.T.) Cuzco or Huarazr of ln the centre of Lima, elose to the tourlst rnfegratlon of oRDENOR-Centro in Huaraz. Thls directorate studies tourlstic potent,ial, hotels. tmproves lhe i_nfrastructure, and generally These peflas are a recent urban phenomenon. They are vlsited by creates favorabre condltlons for touri-sm. Mimeographed Lineflos who go there to flnd thelr rrlndlan rootstt, and booklets are handed out to tourists, nlddl-e class with generar information about rrlndlan places by tourlsts who are looking f or the siderr of Peru. Some of ihe area: to stay and visit, trlps to make2 and a calendan of these establlsments are more authentic than others, but all have in folklonistlc events and patron salnt festivals. counon the fact fhat they commercialize folk arts, wlth the rlsk that r'c'T'T' is an exampLe of state intervention ln 1ocal bradi!1onaI these lose much of thelr spontanelty and orlglnallty. More or less events: they promoted and coordinated the patron saint festlvar of played, rrprotestrr Carhuaz, together with the Munlcipality tradltional Latin American folk muslc is along with of that town. (see chapter rnislca 4'2'L'1). The nuslcr op nuevart (new mustc). The Iatter orlglnated ln Chlle office of comunication and Information of oRDENoR- ln the t60s, where lt was used for polltlcal propaganda by Sroups such centro takes care of diffusion through rocar radio, t.v., newspapers as rrQuilapayunrr which was offlelally connected wlth the Chllean Unldad and prograrDs. Apart from fhe religlous festival of carhuaz, r.c.T.T. pronoted Popular of AIIende. This trend reached other Andean countries like other patron saint festivars in the region, like those of Peru a few years later, where it started out as a means of political caraz, chiqui6n, chavin, Huaraz and Recuayr 3s well as carnival propaganda (some of the well-known groups in Llma are assoclated with and Holy Week ln Huaraz. They also coordinated secular events, Iike regi-onal polltlcal partles of lhe left), but became more commerclal wlth tlme. fairs in Huaraz, tourist weeks in Huaraz and yungay, and the (secular) People who go to llsten to what they thlnk is rrauthentlcrr nuslc ln the Huaraz carnlval. This way the state aerves as a curture broker, promotlng taverns are rarely aware of how acculburated many of these Indians are folklortstic activities and, therefore, tourism tc the area. and to what extent their Indianness ls exploited by the mlddle class Mestizo empresarios who contract them to perform in the taverns. The rrfakelorerr, The conclusions taverns can be considered an exanple of a tern used by and flna1 recommendations of a rater pubrication on tourism Donson (1976:5) to indicate tra synthetic product clalming Lo be in the CalIej6n de HuayIas, rprograma de Industria y Turismos authentic oral tradition but actually tailored for nass edificatj-onil. Dlagn6stlco de los circuitos turisticas Carrej6n de Huayras-chav{nil (n.d.:22) were: ,rf the stay of bhe tourist does not The influence of tourisn on the tradltlonal muslc of the CalIeJ6n de coinclde wiLh a traditlonar festival, he does not have the opportunity to observe the Huaylas ls not very widespread as yet, and remalns mostly conflned to folklore of the reglon (whlch is unforgivable if one the festlval of Carhuaz and the taverns of Huaraz. It is posslble that wants to develop tourism). Alt,hough the touristic circuit CaIIej6n rrenclaverr de Huayras-chavfn tourist musi-c renains some klnd of musie I and that f he counts with a strong ganut of fypicar muslc, songs tradltlonal muslc wl11 remaln relaiively untouched, The economlc and dances, there is no adecuate place to present such folkloristic influences are the most obvious: muslc-making ls beconlng a busj-ness manifestations. Therefore, the constructj.on of a stadium thaf will by (semi-) professlonals instead of a rellgious duty and entertalnment serve these ends at any ttme of the year is necessary.f, by non-professionals. This can be noticed especially ln the case of the taverns, where Mesbizo owners run a commercial establishment where If lnterference of 0RDENOR-Centro represents state initiative, the Lhe folk musLc groups have to conform to thelr wishes. taverns in Huaraz (see chapter 4.2.3.4) are the result of private It may be wrong to see the influence of tourism as negatlve only, because it may in fact put lnto motion a process of conserving, -312- -313- reformlng and recreatlng certaln traditions, t,hereby strengthenlng tourlsn nade lts own use of thLs Lnterest 1n Indlan folklore; ldentlty and prlde in the curturar through the mechanlsms of mass media, nationallsn, lndlgenlsno, herltage. However, ln order to have a tourisn (and and a concept of forkl0re) tnat beneflts the people folklore tourlsm the rndlan 1s lntegrated 1n the natlonal flnanclalry as culture. well as culturally, the prevalling contemptuous and/or paternallstlc attltude that the Mestizos generarry take towards the rndlans wl11 have r,o be changed, which would slgnlfy a true revolutlon. The evolutlon from stadluns to reglonal clubs and folkloristle taverns represents a shlft from worklng class people lnvolved ln thelr own culture to mlddle class people that are strangers to the highland 5.3: Concluslons culture. The rrencLaverr music of the taverns and the daity musj-c of the people of the hlghlands have not lnfluenced each other nuch. However, The nuslc and dance of Peru are not statlc and changes take place wlth tourj-sm --and, therefore, forkrore-- belng promoted, the encrave through varlous channels, of which mlgratlon and tourlsm are the most eharacter may be broken down rapldly.0n the other handr lf tradl- notlceabre. The hlgh]-ands have been opened upr exposing people t,he to tional nuslc ls pJ,ayed and recorded by the tavern groups and thus acculturatlng lnfluences that are socloeconomic as well as curturar. propagated, a demonstration effect may forrow, leading to pride in the Radlos, record prayers, eassette tape recorders, and t.v. enabre muslc of Lhe hlghlands and conservatlon of the traditlonal muslc, people to llsten to nusle and watch dances from other areas of the thereby counteractlng the cultural domlnance of urban muslc. country and beyond. on the other hand, there is curtural contlnuity: nuch as in pre-Corunbian shlft tlmes, muslc and dance are mostly used durlng communar A 1n context 1s taklng place: the musie is belng rrinternationarlz€dtt events, and some of the lnstrunents are much llke those used before r taken away from lts owners r 3s it vlere, and the amlvaL of the Spanlards. Ioslng lts lndlviduallty and becomlng anonymous. Performers often do not belong to the same social group as the spectators, and the muslc The fact that Andean muslc is beconing the cultural patrtnony of the does not mean the same to each of them. Instead of being creative natlon of Peru has a number of consequences: partlclpantsr the audlence ls no more than a consuner. Thls gap between performers and publlc may be lllustrated by a performance given - fron tradltlonal and non-urban muslc lt becomes an urban phenomenon, by a Peruvian harplst and his sons at the Tropicat Institute ln thereby dlsplaclng Creole muslc; Amsterdam. Thls perfornance was written up 1n the rrNleuwe Rotterdamse - nass medla ald the dlffuslon of Andean muslcl Couranttt of February 14, 1984, and part of the review forrows: rrAt the Peruvlan where public - 1t becomes a rallylng polnt for natlonarlsm, slnce indlgenous festlval-s, the reacts enfhuslpstically wlth elements are emphaslzed by nationarlstic movements, exarting the excramatlons and handcrapplng and where peopre dance, Lhls muslc is herltage of the people 1n order to relnforce the sense of national extrenely functlonal and cheerful, but on the Western stage lt does ldentltyl lndlgenlsmo ls an exampre of thls type of novement; not show to full advantage.rr closely related publlc - to thls reappraisar of the lndlgenous way of rife, a The that comes to this type of performances is not always able romantlc judge anc paternallstlc conceptlon of folklore was (and 1s) to the qualitles of the musie, and creates thelr own context: advocated they come to muslc by the lndlgenlstas and the forklorlsts, wlth enphasls on llsten to that 1s interesting, fashionable, rrexotlcrt the rnca past and the remote and prlmltlve country folk; r oF out of a concern wit,h the Third World. The context in which the muslcians perform is not the one they are accustoned to, and -315- - 314 - different' The perforBers the interacblon wlth their publlc ts qulte not known to some or aII do not cone from the same communltyt are Balr6r v Mes No.goa (Ant6 Bolivu) b membersoftheaudlence,anddonotperformonaface-to.facebaslsto would ln thelr ov'n country' friends and nel8hborst as they generally ** *t Itlsatypeofperformancethatisconbanj.natedbythepresentatlonal follldrbe LOS YIERI'{ES ESPECIALES especial de technlquesofthemassBedla,Iikemicrophonesandothertypesof -Actuaci6n (anonynous) audlence do -MARIA OBREC,ON Manuel Acosta ujeda performers and the con e_l acompaf,am.iento de Jorge equipment. The X-/ ffift";rTil:ffi:"""t^'-..:Hf_gr1J- recordlng ^ DE^-. YI'NGAY -waldy Pedraza y ru -ni-to ciolli -pRII'ICESITA _N5pEp -Jusn Espjo, Rcy de la pcio notsharethesamefundamentalcultura}values,andcannotcommunlcate Amplir Phyr de Estrcionuni.nto l-/ll..ll RIST AU R ANI, PEIii A Fo LK LORICA!, wltheachother:thedlstancebetweenthemlsSreaterthanthat between the stage and the auditorium' rnEsENtaffi Los MEJoats coNJuNtos EoLx . SONCCO GANADoR DEL CIRCE. s A:.CUARTETO TTNTA .SOL ANDINO DE PACHA@NAS .NEPER .LUNAREJOS 'AYNI .RIMAC LLACTA JR. REC

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PENA FOLKLORICA MANANA SABADO OOR(T{ADO PRESENTA: -Delia Dalila y su Trfo (Figura de Raaio y f.V.) -Se rtnata Andina dc Sihus (Ancsh) Aduertisements pefias -Grupo Zamb[ (Danza Negoirles) for -Curteto Trnta (Curco) in Ltma. -Grupo AYNI (Latinoamricano) folkl6ricas -Grupo N.E.P .E.R. ( L:tinoarrricano) In: EL Diario Marka, -Gruoo Criollo September' 25, 1981. HOI,IENAJE AL DIA DE LA FAMIUA r ANITVIA LALO ME UNA AV. ALCAZAR'oI RIMAC ANTES CLUE DC TIRO Mlt'l|STERlO EE HACIEN DA R ECEPCIO'{ES TELEF. 81ll()41

ATUPLIAPLAY - 316 - -317 - ldentity) because of contact wlth urban Mestizos, temporary migration S['r,tlAru AilD COilCLUSIOT|S to coastal towns or Lima, modern education, miritary serviee, and tourism. A1I this Ieads to a fast diffusion of the dominant urban culture, which.is refrected in the music and dance of the area. In 1970, the area was devastated by an earthquake, whlch had great Thls book dears with the social context of the music and dance of the economic and soclal consequences, the more so since the people of the calrej6n de Huayrasr 3rr Andean varrey in peru. rt revoluti.onary government descrlbes and analyzes the connectlon between musj-c and dance, people, nllltary of that tlme undertook large agricultural, admlnlstrative and educat,lonal reforms. After the new highway and soclaI events. The musical lnstrunents, the repertoire, and the to the song fexts were studied as part of --and reflection of-- the society, carlej6n de Huayras was flnished ln 1976, tourism became a maJor industry. The beauty as well as the performers, their publlc, and the events during which of the area, its fine climate and the they met. possibillties for trekklng and mountain cllmbing attract Peruvlan as well as foreign tourists. The anthropological research, whlch was subsidized. by WOTRO (tfre Netherlands Foundation for the Advancement of Tropical Research ) Chapter 1 serves as an introduction to the description and analysis started from the assumptlon that nuslc and dance are nonverbal means of the materlal gathered in the field. It deals with the theoretlcal and of communication. They are a illanguage of aclionsr, a way of hlstorical background of the research, general comnunicating wlth each other and part of curture as a system of followed by a shared ideas. description of the Carrej6n de Huayras and the peopre living there. The anthropology of muslc and dance is a relativety new dlsclpline The Callej6n de Huaylas is an Andean valIey in North-CenLral peru. which studies these types of expresslve culture in their social contextr 3s part of the culture. Both and dance It 1s about 150 kllometers long and its valley floor is situated at an nusic are means of conmunication and it artltude of 2r200-3,100 meters above sea revel. According to the should, therefore, be possible to gain an insight into a particurar society census of 1981, the population of the Ca1tej6n de Huaylas amounted by studylng them. rn order to give some depth to the synchronlc data gabhered to 2321176 persons, 861433 of whom urban and 1u5r7u3 ruraI. Many of by ne, historlcal data on Peru and Peruvian muslc have been consulted when the rural settLements of the area are corporate peasant communities: available ln the form of archaeoLogical data, books written by chroniclers at the time the bhey are located on marginar Iand, which tends to be exploited by of spanish conquest, and studies by peopre means of a tradltlonal technology involving the members of the 20th century schorars. The of connunlty. Production 1s mainly for subsistence, and the community has the CaIIeJ6n de Huaylas are discussed in thelr social, economi-cal Jurlsdictlon over the dlsposal of 1and. and political context, ln order to better understand their muslc and The area ls inhablted by a population of Quechua-speaklng Indian dance. peasants and Spanlsh-speaking Mestizos (persons of mixed parentage). A strong oppositlon exists between these groups, from a socioeconomic as Chapter 2 descri.bes the musie and dance of the Callej5n de Huaylas: well as from a Seographic viewpoint: the poor Indian peasants llve in the instruments and how they are acquired --€.g. constructed 1n the hamlets at high altltudes, whereas the relatively wealthy Mestizos area or bought in the provinclal capital or Lima-- as weII as the way 1lve ln towns along the hlghway. An intermediate group of acculturated the lnstruments are conblned to form orchestras, e.g. their use. Then, the religious and secular j-s rndlans or cholos is growing rapidly. The rndian popuration 1s repertoire dlscussed. Rellgious music ls played undergolng a process of acculturation (and possible loss of cultural during processions, either by muslcians that accompany traditional dance groups or by brass bands. The secular repertoire is -318- -319- crassified by the peopre of the carrej6n de Huaylas into vernacular, muslc and dance groups that perforn on stage rather than as part of a Creole, and lnternat,ional nuslc, re1lglous or secular communal event. They are discussed more vernacurar are: the huayno, pasacarle, the the yaravi, and the extensively ln chapter 4. danza' ireore (Peruvian) are: the wartz, the marlnera, and the porka. rnternationar are: the so-carred rrfox incaicorf (tne welr-known songs In chapter 3 the background of a number of performers is sketched, rrEl condor pasarr and ,v{rgenes der soil berong to this genre), the based on ?7 interviews with individual musiclans and dlrectors of pasodoble r the co*ido and other fypes of Mexican songs , the cumbia, music and dance groups. Thelr musLcal, educational, and economic and the salsa. background Is dlscussed: whether they consider themselves 0f the vernaeurar genre, the huayno is the most popular type: g51 of professlonals or amateurs, the anount of money they earn, thelr the songs recorded and analyzed by me were huaynos. They are played in profession other than being a muslcian, and the way the repertolre ls a securar context, but are often elosely related to religious events, learned. Their vlews on what music neans to them and what purposes it such as when smarr groups of instruments play i_n bars in rhe periphery serves is glven verbatim. of the processlon during patron a saint festivar. The huayno, being Individual musiclans or small groups of nusiclans and dancers are most fhe focar point of the musicar curture of the calrej6n de Huayras, common in the CalIej6n de Huaylas; even the brass bands are is dealt wlth separately: its musicorogical structure is discussed, relatively small. Most of the musicians play various instruments: at whereafter rrRio santar" a much-performed huayno, is analyzed.. times in dlfferent orchestras, but also wlthin the same group. Most of The contents of song texts of the calrej5n de Huayras, mostry the groups have a director, often someone who founded the group or a huaynos, gathered by oeans of recording and buying song books, were member with a lot of experience and authorlty. Almost all the analyzed and related to the soclal, economi-ca} and poriticar situation performers are part-tine musicians and dancers.In daily life, most of of the area. They are divlded into three categories: then are farmers who earn some money by being a carpenter, 1 ) the ideal situatlon, represented by the homeland and the love of construction worker, shopkeeper, driver, etc. or by migrating to the the parents; coast for a few months each year. They are mostly Indians or Cholos, 2) the suffering in the presenll and with the exception of the members of the folk music groups who are 3) the evasion from the sufferlng through drinking or reaving. predoninanily Mestizos . A number of songs, in Quechua and/or spanish, are givenl with the There generally exlsts a close relationship between the performers and translatlon in English. their public: they live and work in the same area, attend the same Other than being a muslcal genre, the huayno also is the most popurar festivals, and are in regular contact with each other. type of (vernacurar) dance in the carrej6n de Huayras. The dances, Sponsors are very inportant, since they represent a rrhyphenrr between Ilke the types of musicr lnay be divided into vernacular, creole, and the performers and the publie. They pay (part of) lhe expenses of a internationar genres. whereas the secular huayno is a frbaile, danced festlval, out of devotion to a particular Saint of Virgin, but also to by couples, the purely lnstrumental religious rdanzasrf are performed increase bheir prestige in the community. Withouf sponsors, bhere are by Sroupsr of which quite a number exist in the area. Many of these no festivals. nay be seen ln the film procession of the on the octava of the patron In the case of the music played in the folkloristie taverns lttpeflas salnt, festival of carhuaz. Some of these dance groups are a neminder folkl6ricas't) a shift in context 1s taking place: the music is being of the pre-Columbian past, whereas others represent the battres fought rrinternationalizedtr, taken a$ray fron its owners, as it werer thereby agalnst the Spaniards, or persons of colonial times. losing its individuality and beconing anonymous. Performers often do A more recent development are the performance-oriented folkloristic not belong to the same social group as the spectators, and the nusic -320- - 321 does not mean the same to each of them. rt ls a type of performance dlverslon more than of devotlon; the instrr:ments most heard are flutes that 1s contamlnated by the presentationar technlques of the mass and drums, although brass bands are popular nowadays. HoIy Week and medla llke mlcrophones and other types of recording equlpment. The which groups perforners Corpus Christi are festivals of devotion 1n no dance and lhe audience do not share same fhe fundamentar curtural partielpate. The HoIy Week ln Huaraz was acconpanied by brass bands varues and cannot communi-cate wlth each other: t,he dlstance between and the Corpus Chrisfl processlon ln Caraz by flutes and drums. Most them ls greater than that between the stage and the auditorium. of the rellg1ous communal events are of Roman Cathollc origln, but many show pre-Columblan tralts. At private religlous events such as rn order to lllustrate t,he general infornation obtalned by baptisms and weddings no rellglous nusic is performed, but mostly partlclpatlon, observatlon and intervlews, ,,portraltsn the of a vernacular and Creo1e music played by harp, harp and violin, a string muslclan, Lorenzo Piscoche, and of the muslcians of one village, orchestra, or a banda. The prlvate secular events like birthdays and Tunpa, wlrr be drawn. Both case studies nay be considered other small partles resemble the private religious ones. Communal representative: Lorenzo piscoche because he 1s an accomprished secular events may be divided into traditlonal and modern, c.e. rural tradltronal nuslclan, and Tumpa because it is a vllrage where a and urban events. Traditionally, flute and drum music was played variety of types of muslc are found. during communal work like harvesting, house buildlngr road construction, etc. This custom is falling into disuse, but I was chapter 4 describes events durlng whlch r observed music and dance. present at two occasions where communal work partles were accompanied After a general lntroduction on the events cerebrated in the by flute and drum music: cleaning up a cemetery, and clearing rubble callej6n de Huayras, these are crassified arong two sets of ln order to rebuild a cathedral. More modern types of secular communal oppositlons: religlous,/secular and conmunal/prlvate, resurting in four events are clvlc ho1ldays, when parades and publlc serenades are held, basle categories: performances by traveling groups of musleians and dancers, and 1) reLlgious communal events; contests organized during falrs. These are organized urban events, 2) religious private events; nalnly for entertainment purposes, to which entrance fees are charged. 3) secular prlvate events; and However, lt still is }ocal muslc, performed by local musicians for a 4) secular cohmunal events. loea1 public. Dances (ttballes soclalesr) are Mestizo affalrs, where Mos! tradltronal muslc and dance is performed during religious troplcal orchestras and brass bands are the preferred types of communal events sueh as patron saint festivars, carnj_var, Holy week orchestras. and corpus christ'l. Patron saint festivars are festivats of devotion The events during which muslc and danee are performed, be they as werr as diverslon, and music is performed by arl types of ensenbles rellglous or secular, prlvate or commsvlsl, are eonsidered expressions present in the CarleJ6n de Huaylas, wlth the exception of the creole of trconmunltasrr: an expresslon of community structure and solldarity and forklorlstic ensembres. Rerlglous music 1s played cruring the through periodic ceremonial events which interpret and reaffirm common processlons, when the musicians and dancers walk backwards in front of values and identlty. Muslc and dance are important mechanlsms of the lmage of the patron saint, whereas the brass band walks behlnd lt. communicatlon and underline the communltas. Afterwards, vernacurar securar musie (huaynos and paaacarles) is A recent development in the category of entertainment muslc are the played on the streets or in smarl bars. some dance groups have their folkloristic muslc and dance groups that perform on stage rather than own specifle muslc, and dance huaynos with bystanders as we1l. The as part of a rellglous or secular communal event: Iocal muslclans and patron salnt festivals of salnt Elizabeth of Huaylas and our Lady of dancers in touristie restaurants 1n urban centers and folklorlstic Mercy of carhuaz are described in detair. carnival is a festlvar of groups ln tourlstlc taverns in Huaraz. Latln American folk music is -322- -323- played rlve by groups of young middre crass Mestlzos, arternated with shaped the cultural polit,ics of Peru through varlous lnstitutlons, by recorded !'Iestern dlsco musi.c. The first of these taverns in the reglstering performers and regulating the medla ln order to preserve, callej6n de Huaylas opened in 1gTg, around the time that touri_sm to protecb, and promote the national folklore. Tourlsm relnforced this the area started to i-ncrease. The state, in this case bhe Regional Directorate reappraisal of the Indlan cultures of Peru. for rndustryr commspgs, Tourism and rntegration in Huaraz, Whereas bhe music and dance performed ln the stadlums and the regional stimulates tourism by studying touristic potential, lnproving the clubs are part of the cultural baggage of the working class mlgrants, infrastructure, and generally creating favorable conditions for the touristic taverns represent Creole and forelgn sentlments: middle tourism. Thls Directorate 1s also lnvorved in the patron sai_nt class Llmeflos go there to find thelr rrlndi-an rootsrr and tourlsts are festivar of carhuaz, which lt promotes and coordinates. rt arso helps ilIndian to organize there looklng for the slderr of Peru. Here, foIk arts are regional fairs as werl as muslc and dance contests, thus commerclalized and, thereforer m3y Iose nuch of their spontaneity and serving as a culture broker. originality. More or less traditional Latln American folk muslc is playedr BS well as nndslca nuevarr, protest muslc Uhat ortginated in chapter 5 deals with the ways the Andean music is incorporated into ChiIe as a means of political propaganda but has become more the natlonal context and touches on topics such as mi_grati-on, mass commercial in time. People who go to Ilsten to what they thlnk is media, the locaLes tn Lima and Huaraz where popular and folklonisfic rauthentlcil music ln the taverns are rarely aware of how acculturated muslc and dance are performed, and fhe effects of tourism. many of these Indians are and to what extent their Indlanness is Because of stagnaLlon of production, population growth and poverty, exploited by the Mestizo empresarios. &any people from Lhe CalIej6n de Huaylas (mostly Cholos and Mestlzos) leave thelr home towns temporarlly permanently or and The influence of tourism on the traditional music of the CaIIej6n de mlgrate to Lima and other coastal rowns. The migranis often joln Huaylas ls not very widespread yet, and remains mostly confined to the regl0nal clubs whose members have a common place of birth, and bring patron saint festlval of Carhuaz and the taverns in Huaraz. For the their musrc and dance with them. These crubs, therefore, serve as a time being, the traditional and the folkloristic music have not channel of diffuslon of Andean music. Fifty years agor Lima was a creore lnfluenced each other nuch, and the music of the taverns may be town with few peopre from the provi-nces and few or no regionar considered rrenclavett music. However, with tourism (and folklore) belng c1ubs, where Andean music was rarely heard. Indian life was carried on rrbehind promoted, the enclave character may be broken down rapidly. Then the back of fhe clty,, ln stadiums and popular theatres. But again, if iraditlonal muslc is played and recorded by the tavern times have changed, and the rndian component of Lima Ilfe can no groups and thus propagated, a demonstration effect rnay follow, leadlng longer be ignored. Now, creore muslc is superseded by Andean music to prlde in the musj-c of the CaIIej6n de Huaylas and conservation of like the huayno, whieh is becoming fast lhe popular musrc of peru. Due great fhe traditional music, Chereby counteracting the cultural dominance of to the demand for records by mlgrants and by radio stationsl the urban record lndustry prospered. and tJestern music. some nationarly-known vocalists bhaf are originarry from lhe carrej6n de Huayras but are llving and working Glven the subject and methodology of research, the accompanying in Lima were rnterviewed: pastorita princesi-ta Huaraeina, de yungay (a a and Gorrl6n Andino' audlo-visual material 9O-mlnute selection of sound-recordings r rnterest in bhe tradltional rndian muslc and dance of Peru serles of 100 slldes with sound, and a 30-ninute flIm) ls considered was fostered by rrindigenlsmo,r, movement a f or the an essentLal part of the book. Music and dance are medla different revivar of the rndian phenomenon, and --related to this__ an interest from language: being nonverbal, they constitute different channels of ln the folkl0re of the rndi-ans. Forkl0rists, 1n their turn, have communicatlon, to be registered by means other than writlnS. -324- -325- con!Lnu1ty as the tnfluence of the Hlspanlc culture Thereforer the results of an anthropological study of muslc and dance cultural weII as at the arrlval of the spanlards ln cannot be transmltted wlth words alone: audltlve and vlsual that was lnposed upon the Indians lmposed on them in the 20th lnformatlon ls Just as lmportant as the wrltten word. the 16th century, and the tJestern culture century. Holrever, lt can at the same tlme be sald that they have been adapted to flt the partlcular use of the people of lhe CaIIeJ6n de Concludlng rm-nkst Huaylas, be they Indlans, Cholos, or Mestizos'

wlth the followlng recommendation: that the The functlons of muslc and dance are manlfold: they allow emotlonal I would like to flnlsh de Huaylas be stlnnulated and expresslonr glve aesthetlc pleasure, eniertaln, communicater enforce nuslc and dance of the CalleJ6n eLose promobed through serlous study and audlo-vlsual reglstratlont 1n conformlty to soclal norms, and valldate soclal instltutlons and wlth the performers, leading to a Larger partlclpatlon by rellglous rltuals. In essenee, they contribute to the contlnuity and cooperatlon identlty' stabillty of culture and the lntegratlon of society. them and reinforclng thelr cultural

The muslc and danee of the CaIleJ6n de Huaylas reflect a 1nore or Iess undifferentiated soclety: groups are snall and have no obvious leaders, and arr performers are equal, be they frute and drum ptayers or nembers of a brass bandl sololsts are relatively rare. Slnce the nuslc of the CaJ-1eJ6n de Huayras 1s so community-orlented, the stereotype of the rtlittle Indian playlng his flute all by hlmself in the mountaLnstt does not seem bo apply to thls area, where muslc and dance are generally collectlve. Vernacular types of nuslc and dance make up most of the repertoire and are performed by Indi.ans and Cholos, malnly durlng communal religlous events. The tradttional group dances and the huaynos ln Quechua may be means of reinforcing cultural ldentlty and of reJecting the dominant urban culture. The Mestlzos show a preference for Creole and Latin music and danee, mainly during seeular events.

rn thls soclety where bwo ethnlc groups coexlst, together with an lntermediary 8roup, the performing arts serve to express the economic, polltical and social dlfferentlatlon: the Indians, Cholos and Mestlzos of the CaIIej6n de Huaylas eaeh have thelr preferred lnstruments and repertoire of muslc and dance.One of the (few) ways in which the culturar ldentlty of the marginated rndlans and cholos may be expressed ls through music, song, and dance. Although 1t 1s very dlfficult to separate pre-Colurnblan fron post-Columbian tralts, 1t is obvious that the muslc and danee show '326 - -327- they exlst, in multlple versions and combinations throughout Peru. Ifotes 5t Information on fiesta dates was obtained from a variety of 1: The criteri.on for the maln categories was the materiar which sourcess a card index of dances, indicating the festivals during made to sound, but the subsequent is subdivisions do not have the same which they were performed, compiled by the Office of Music and Danee consist'ency of criteria, and i.nstruments are classed of the National Institufe of Culture in Lima; the ORDEZA-publication playing-method, according to construction, and shape. There have been other ItPrograma de industria y turismo - diagn6stico de los circuitos attempts at classlfication, amongst others by A.Schaeffner turisttcos CaIIe j6n de Huaylas-Chavlnr'1 Carrionr s rrlibro de Oro H'Draeger in 1936, rrMonografia ln 1948, and recentry by the rnternationar Museums de Yungayrr; the de la provincia de Huaylasrrl and a Iist Commitiee, Musical Instruments Collections (CIMCIM), of festivals complled by Arguedas. Informants in the CaIIej6n de sachs-Hornbostel crassificatlon but the is stilr widely in use today. ) Huaylas were father Elmer Norabuena, the priest of Yungay, and Abelardo Mallqui, Iibrarian at ORDENORCentro in Huaraz. 2t vienrich descrlbes a dance carred ,of the rncasrf: ficipate parlas, in it par_ the rnca with Nustas, pizarro, and an oId man 6:0n the 24th of June, Sainf Johnrs day and, incidentally, the a leather mask and (see with a whlte beard. drHarcourlrlg25:105-107) The National Day of the Campesino, teachers of the school of Caraz drHarcourts conflrn the existence of this type of dance presented a skit of the arrival of the images of Corpus Christi. of their at the time research. rn fhe ca1lei6n de Huayras there are a number of Although thls vras done by children, it was stated explicibly that dance Sroups that portray the deflat of the rncal most of them have a this was not meant to ridicule the event, but to show the townspeople masked auqul with them. the rich folklore of Caraz and its sumoundings. two ilruIeil 3: notable exceptions to this exist: pedro Espinoza, eaja 7z Fred Jongkind, who studied regional associations using the & roncadora player rrdependenciarr from Huayras who plays wartzes, marineras, and theory developed by Lafin American social scientists, even cumbias, probabry due to the fact that he also plays the disagrees with Doughty and others who have studied regional a yslado, tuba in rrThe banda, and c6sar a harpist from Huaraz who accompani.ed associations , sayi,ng: regional associations j-n Lima cannot the well-known singer Ima Sumaq on some of her (inter)national fulfiIl the assumed functions of assisting the rural migrant in and prays boleros, tours tangos, and other Latin Amerj-can genres that none adjusting to clty life and of developing the region of origin. It is of the other harpists of lhe calrej6n de Huayras pray. not the recent migrant who joins a regional club: for the solution of personal problens 4: The and the establishment of social contacts the legend which explalns the origin of the statue of the neighbors, colleagues, friends and relatlves are much more important Cruclfied Christ of Huaraz rrcenturies ls as follows: to the regional club member than his fellow members. The regional ago, sone lnnocent young boys herding their club is on the whole essentially elitist and composed of weII- dangerous cattre near a marsh outside Huaraz heard a carpenter at work and went in adjusted and successful migrants. Thai they have united in regional search of him. They encountered an o1d constructing ,.n ,ho told them that he was associatlons is not a result of feelings of solidarity with the his hut there in order to help the Huaracinos. The boys rcopaisanost (fellow countrymen) of the homeland or in Lima, but is brought him some food, which he did not toucn, but after probably more prestige urban they found two weeks a result of motivations. It is an a statue of a Crucified Christ with fresh drops of blood institution. Direct contributions, lobbying activities and other and sweat on his forehead. AfLer they had told forms of indirect help in the modernization of the regions are, on thisl the townspeople about they lost their voices and died as saints. The statue was taken the whole, lnconsequential, and do not justify the assertion that the to the church ln town, but it kep! disappearing associatlons play an important role in highland development and was from the church and found each time in the place where 1t discovered. Thereupon, change. f' (Jongkind rlgT4: 1!4, 2721273) the authorities decided thai a tempre shourd"as be buirb It seems to me that Doughty and Jongkind look at the matter fron marsh was there: the flIIed in and a chapel lras constructed.f, ( Maguifla Chauca, different perspectivesl this does not undermine my assumption that 1957 z2-4) the music and dance of the migrants are transformed in the process. AnoEher versj-on of the legend of fhe Crucified Christ of Huaraz says Some will cllng to bheir traditional music and dance, whereas others that an woman old living near the marsh just outside Huaraz found a will show a preference for more modern types. statue of the Cruclfied Christ smelling notifled 6eautifully of rilies. She the townspeople, who took the image to the church in town. 8: SINAMOS was an agency at ministry level during the military Tl" next day, lt had disappeared and was rouno again place government popular where it was originalry in the responsible for fosterlng and channelling rouno by the ord woman. After this happened a participation in economic and other institutions. few timesl she asked the statue why it wourd whereupon not stay in the church, lt answered that it would rather be at Ehe edge of the marsh, and asked wheiher a tempre courd be eonstructed lhere.rr (yauri Montero r1979:84-85) These legends are what Smith (1gT5:chapter 5) catls ,,key 1egends,,: CHART N0.1: 0VERVIEt.J 0F 0CCASIONS, INSTRUMTNTS, REPERT0IRE, AND DANCERS

OCCAS I ONS I IISTRUI'IENTS REPERTO I RE OANCERS

Rel igious Secu I ar

pni va te communal pri vate corrnunal enterta i nment Rel >ec.

funera I patron st. f smal I faena ciosing of CAJA & RONCADORA processi on V )allas de Corongo Carnival party fundraising schoo 1 yea r , patron st.f CAJA & RAYAN procession V Pallas Hu aras

patron st. f. CAJA & HUANQUILLA procession V tluanquil.l as Corpus Christi

patron st.f CAJA & PlNCULLO process i on v laballeros de Huari

patron st.f faena CAJA / FLAUTA process'ion V C arnival

patron st.f TINYA / CHISKA processr on V Capi tanes

patron st.f. VIOLIN processi on V Cahual I us Al 1 Sou l Oay 's Chapetones I

bapti sm anni versary /cl (, HARP N @ patron st. f VIOL proces s 1 on V haqapas 1N/CHISIG/TI NYA I haqs ha s

\/I0LIi{/TEN0R patron st.f DRUtr/ processi on V Atahua l l pas |IANDOL IN

bapti sm patron st.f ann lversary HARP / VIOLIN procession V Mozos (cantina) I nca i cos Antihuanqui I ias patron st.f HARP/V IOL I N/BRASS processi on V Nu s tas BAND AEROPHONE Luz qu eno s Negri tos

*edd i ng patron st.f small party performance CONJUNTO DE CUERDAS VC ( canti na ) funeral patron st.f smal 1 party civic hol idays performance BANDA processi on weddi ng Carnival contes t Holy l^leek ["

performance PENA CRIOLLA c

perfo rma nce CONJUNTO IROPICAL CI

pe rfo rmance FOLK I{USIC GROUP

t= lo IC )+ lzt> o lo (D- lm l3 0,

o J tll p 6 I o1 a 5 m I J 60 0 < = r a o- u 3 o a o o,. r. a 5 c) 13 o- @ a C - (D =c €=(o-.r' 5 o 7 d oO O C -t o 5C C ^C' o <6 @ c = z f = a o o o @ P @C=1 oj3 v G = o1 t: o o- o o- ao 5 c oo = -t --l o a a (D o'o m- do E oo o, rq, JA< J ! o o(D o m o o Jga o u J o (o --{ I N (D I ao @ o 0r(.o < u l.^) oo q o r| N o .Dc lr, J , o \o a!qa o -rl I 3 I C l/1 r- lx lo l< FI (-) lo' l! li- lro () tq l= l3 lf15 ro r- 2 l= lq lq. l; l: lq o lo li lo lo ro ri lp' lE F l; lo l:: lE. lt la '" l; (, l; lg. l; (-)z l:': l+ le lr m lg.lo 13lp 14 t.. l;r"1..

c=3{EJ ==:EaE={!= oaggoE d=.JoooooPF;rlai-:[email protected] oo,.da'<=-.15r@o :-.-.oo-Jdg< "b,-.orogoorcoJ.oJNo2 3 :.oa e* 33 * ,..r; {3gS-Jroo ; i,F

e3*!*13 o oc o 5@ 6 (DJ. (D @o MUSICIANS AND THEIR

VE RNACULAR C REOL E inirnnanorunL Reperto i re Corri dos Fox Bo1 Musicians Huaynos I eros Mi 1 i tary Re1 igious I Pasacalles ly'al tze Marineras Rolkas Inca icosl Pasodobl I es Trop i ca 1 ma rches marches Lorenzo Pi scoche (caja & roncadora) 20-30 4-5 1 nos Jim6nez" (caja & roncadora) 50 3-4 ,l

Mel icio Luna (viol in) 3 J-{+ I 3 2 Eloy Cano (harp) 50 4 7 2 ? 4 I Fidenci o Cal vo about (harp) u) 100 B- 10 w 6-7 15-20 2 6-7 o

Los Aventureros I de Tumoa" (striniT orchestra) 1 40 4 B

Centro Musical ro re Yu ngay tha n ( stri ng orchestra ) 200 10 10 '10 5 10 Banda "Juventud Carhuaz" 50 10 15-20 30 10 5 15-20 6 1? Banda "Juventud de " i nnume- Nuevo Yungay" rabl e" 20 6-B 4-5 'l_E 7-B 4-5 5

CHART N0.4: SOCI0CULTURAL GR0UPS IN THE CALLEJON DE HUAYLAS

INDIANS CHOLOS MEST I ZOS

nstruments used/Ensembl es -flutes and -string orchestra - banda

-viol in -banda -pefia cri ol 1 a -ha rp -"tropica1 " orchestra -banda -folk music groups

rovenance of instruments manufactured by musicians manufactured by special ists manufactured in Peru, themselves, or special ists in the area, or imported other Latin Amenican in the area countries, or imported

Repertoire of song and dance vernacular: vernacul arlC reol e: C reol e/ i nternati onal :

song: huayno, pasacalle song: huayno, pasacalle songr waltz, huayno I Spanish Spanish in and/or Spanish in Quechua and/or in Quechua and/or Quechua (,^) pasacal pasacalle marinera t^) dance: huayno, le dance: huayno, dance: waltz, J group dances (danzas) cumbia pair dances: waltz, marinera pair dances: huayno, I Performers and their public traditional Indian peasants acculturated Indian peasants urban, Western-ori ented, rural or urban of mixed European and Indian parentage

vents religious events: re1 igious events l religious events:

-communal (patron st.fest. ) -communal (patron st.fest. ) -communal (patron st.fest. ) .private (bapt'i sm,weddi ng, -private (baptism,wedding, secular events: funeral ) funeral ) -civic holidays secul ar events l secular events: -social dances -faena -sma1 1 pri vate parti es -entertainment CHART N0.5: THE PERF0RMERS, A suMMARy 0F THEIR r.1AIN socroculTURAL INDICAToRS Name Instrument(s) Number Ase(s) ro fess i on ducati on Earnings (so)es) Repe rto i re Lorenzo Pi scoche caja & roncadora 1 4B a rme r/ Ven do r Znd Elem. i 500-2000 a day- V Narctso Morales caja & roncadora 1 55 a rme r/Ma nu fa c 2nd Elem. 1000 a day urer of tiles V (some C and I) Hnos. J im-enez cajas roncadoras & 3 52 ,54 , 56 a rme rs/S hop- 1st Elem. 4000 a day eeper V LonJunt0 Cruzcoto ti nyas / chi skas 4 64,61 ,45,39 =a rmers/I^leav er/ none/l ittle 1000 a day 4anuf. of tiIes V Eloy Cano ha rp AE 1 i hoema ke r 3rd Elem. 5000-6000 a day V (some C and I) Pascual Ramirez ha rp i 44 a rmer/ Ca rpen te r E 1 ementa ry 2000-3000 a day V (some C and I) Fidencio Calvo ha rp 1 24 Seconda ry 4000-10000 a day V (some C and I) I es ha rp 1 IZ I ectri ci an 2nd Secondary 7000-8000 a day V (some (, C and I) lJ) o ha rp 1 66 N none 2000 an hour VCI llel icio Luna v I iol in 1 33 armer/Basketmak. 5th Elem. 3000 a day V (some C and I) Shaqshas "Los traditional yungay', 16 14,16,19,23 arme rs some El Shaqshas de dance group em. gratis, or V 25 ,29,28 ,30 1000 33,40,42;40 a day 45,45 ,52 ,53

S haqa pa s trad i ti ona I 15 a rme rs "Pukapachan pukara dance group l ittle gratis

Atahua I Ipas ',Los tradi ti ona.l a rmers/ E ) emen Hijos del So1" dance group ta ryl dancers: 1500 V a borers/ Second a ry music'ians:3500 tudents a day Stri ng orchestra tri nq orches tra 7 (plus "Los Aventureros 38 ,26 ,28 , 39 , Fa rmers/ (some) Elem.7 1000 a day yocalist 25,26 u/c de Tumpa" ,29 ,13 Construct i onwor Seconda ry ke rs/ S hopkeepe r

------

\ame Instrument( s) Number A9e( s ) )rofess i on ducati on Earnings (so1es) Repertoi re

tri ng orchestra tri ng orches 6 i 18,30,25,24 armers/ El ectri - :1 ementary/ 1200-1500 an hour C Centro Musical ra I 35,26 i an/ Rad i otechn i ieconda ry (as a group) ungay " i an/Teacher anda ''Bri sas del rass band 14 28,21 ,31 ,21 lF a rmers,z Ba ke r/ (some) Elem. 30000-35000 a day CI uascarin" 23,36,17 ,23 iConstructi on (as a group) 31,40,30 lwo rkers

landa "Juventud ass band 15 19,20,30,35, Farmers/Carpen- (some) E1em. 30000 a day VCI je Caraz 40,45,50,etc ters/Construction (as a group) lworkers

Janda "Juventud ass band 15 38 ,36 ,56 , 28 Fa rmers/ some) E'l em. 30000 a day VCI ie Carhuaz" 19,52,36,?6 S hop keepe r (as a group) 54 ,38,32,32 42,36,31

de ass band :a landa "Juventud l2 ?4,37 ,?8,30, rmers/ i(some) E1em./ 30000-350Q0 a day VCI I 'luevo Yungay" tB,42,45 ,52, 3a rpen te r/ ry (as a qroup) lSeconda w 43,26 ,45 la ker w w anda "Flor Andina" rass band 15 42 (director Fa rme rs / Ca rpen (some) E1em. 80000 a day VCI ters/Construc- (as a group) I ti onworkers/ Dri vers

anda "Flor del rass band 26 34 (director Construct ion some) Elem. 35000 a day 'io VCI Santa " wo rke rs/ Labo - (as a group) rers 'i n Para- nong a :o 1 kg roup olk music 6 23,?6,25,21 Studen ts,/ Seconda ryl 10000 an hour Folkloristic 'Al pamayo" roup 16,18 Adm i ni strator Tertiary (as a group) (v c r) rol kgroup ol k musi c 5 16,16,14,13 tuden ts Seconda ry 10000 an hour Fol kl ori st i c 'Li akta Runa roup 11 (as a group) (\/ c r)

o1 kgroup olk music 6 23,32,33,26, S tu dent s/ Second a ry,/ 10000 an hour Fol kl ori stic a1 )1 Kusy Chasky" roup Admi n i strators Tertiary (as a group) (v c r) :oi kgroup olk music 5 26,25 ,20,26 , S tuden t s/ Seconda ryl 10000 an hour Folkloristic roup vocalist 'Hermanos de.l Ande" 30 Tea che rs Tert i ary (as a group) (v c r) -334- -335- Appendlr 1: the audlo_visnal naterlal The lnstruments that were rlmportedrr by the Spaniards now make their The folrowlng lnstltutions j.n appearance: are possession of the audio_v1sua1 Slides 51 Lo 5T show a duo playlng vlolln and harp at a baptism. material, as well as the book: Slldes 58 to 63 show how a harp ls constructed. Sl1des 64 to 68 show how strlnged instruments are used in a religious The rnstltute -- of curturar and social studies of the university context, durlng a procession, and to accompany Atahuallpas during the Lelden, in Leiden. of procession. -- The Netherlands same Foundatlon for the Advancement of rropical Stldes 69 to 74 show a string orchestra consisting of one vloIln, two Research (WOTRO), in The Hague. mandolins, two guitars, a quena, and a vocalist. The -- Ethnomusicorogical centre ,Jaap Kunstrr of the university Slides 75 to 80 show how a guitar is constructed by a local Amsterdam, in Amsterdam. of speclallst. -- Larln American Research and Documenrarion (cEDLA), Il"*:?tt""o:r:r" The latest arrival on the musical scene are the bandas, brass bands -- The National Museum of Ethnology, in Leiden. of European orlgin: -- of Ethnomusieology of the Tropenmuseum, in Slides 81 to 95 show how lmportant these bandas are: they acconpany m"r":a""'.artnent the painting of the patron saint of Caraz during the processlon; they -- Thertlational University nsantiago of Ancash Antrinez de Mayolo,,, are used to enliven a wedding in Tumpa/Yungay; and participate in the parade on Independence Day in Caraz/Huaylas. -- ttAlpamayotf of social Sclences or the carhorie universiry of Slldes 96 to 99 show the folk music group in a tavern in Ifr,';'.1fl::t Huarazr the largest town in the valley.

Tlre sllde shos lte sound-selectlon The slide show was conposed out I reglstered the orlginal sound on a Uher 4200 IC tape recorder with generar of a tolar of 31400 slides and gives a overview of the research, anal0gous a Sennheiser MD421 microphone, using Agfa PE46 Hifi tape, and of Lhe to the descriptive part complled the master tape of the sound-selection on Ampex GM-3600 tape book, e.g. general information t, the ca11ej6n and its peopre, manufacture de Huaylas ln the sound-studio of the Royal Tropical Institute in Amsterdam, and use of instruments, and occasions durlng whlch musie and dance were observed. after which I nade 8 copies on Anpex GM-3600 tape. Jan Tuender/ added sound and comentary were Amsterdam copled Lhe master tape on TDK-AD9O cassettes, which may be to the series of 100 slides. The slides were FE canera equipped taken with a Nikon ordered from the publisher. with 2g, 50, and 135 nm lenses. whenever necessary a t{eEz 3qBcr2 flash was used. r used Agfa professional the orlglnal slides. 5os film for Sound-selectlon ao. 1 ( 1 :40) Eight copies of the series were made Audio visual centre of urre uni,versity by the Slnglng of a hymn,rrBendigamos aI Sefforrrby Padre Fausto, followed of Leiden on Kodak Ektaehrome by the prayer rrPadre Nuestrorr, during the procession on July of s1lde dupli.cating material 5OT1 and developed 3rd process whenever posslble according to the E6 the festival of Salnt Ellzabeth of Huaylas, 1981. ' sound registered at the time when photographs were taken is used. Lhe Sound-selectlon no.2 (2: 10) rrQoya qoyllurrr on slides 2 to 17 are an introduction to the calrej6n Religlous song waraq sung by Rosita Avila, Caraz, geography, de Huaylas: 1ts October 25, 1980. the effects of the earthquake of 1gTO, and of the people llving there. the acbivities slldes 18 to 21 show how muslc is used Kuyakoq Maria Loving Mary case (comnunal ro accompany work, ln this waraq qoyllur Morning a faena labor): a group of men Qoya star is clearing rubble in Shumaq mama order to rebuild the cathedral of C^i^r,- *oorpanied kuyee Beautiful and beloved mother and a caja. by two flautas Ankupeekal-Iaanee Have mercy on us slides 22 Lo 27 show cirilo Plscoche making a frauta Waree wanukuptii- Tornorrow when I die wood, slides 2g out of reed and Shumaq mamallayri Beautiful mother and 2g show his brother t orenzo piscoche playing and t,he tinya, and slides the Kuyee waweekiman Your beloved son i#^a: 30 Lo 3z show t o"".,)o making a Qayakaramunki. You wiII inplore, Slides 33 to 50 show the traditlonal instruments (mainly flutes and drums) and how fhey are used: during (first four lines repeated) during fhe patron carnivar: caja & roncadora; saint festival or Euauv caja huanquirra accompanying bhe Huanquirtas ^-)c^r^r: & patron _during tne piocessionl and during the saint festival of tungay: uioiirr", tinyas accompanying the shaqshas during ihe proce""io.r. and chiskas -336- Waktsa vldallacho -337- ,t my poor Waqar purillaptil 1lfe by Torlbio Vactaci6n, one players. When I walk, of the chlska .Chakllleekiman chayamuu crying MakllLaakuna tsoqpashqa. t_ come at your feet Sotrnd-selectlon no. 12 (2225) flY hands entwined. (ftnst Response sung by a cantor during AtI Soults Day 1n Huaraz, on four llnes repeated) Novenber 2, '1981, accompanylng hinself on a violin. Foltowed by t,he prayer rtPadre nuestror. Sound_selectlon no.J (2: l5) speclal huayno Sound-selectlon no. 13 (4:30) for the cuttlng of earthquake 1970r. eomposed the carnival tree (m< Huayno about the of and sung by Maxlmlllano :ffd'J;,t,#i:"iffi j,ll Rosario Shuan, accompanying hlmself on the violin. Huaraz, November J*,,",:t::it*",:"",i",,".0,1',""),#i! 4, 1981 . Sound_seleo,tlon no.4 (3:OO) Soy la flusta del desierto I am the princess the desert Marlnera "ca,qcaparrn"ii'Ji.y"a of by two caja De 1a Cordillera Blanca the White Mountain Range roncadoras de santo roiruro- & roncadora prayers: ,rlas 0f de-Antar,.-i_r:""on ,io-.ir"r" Entre relampagos y truenos Between thunder and lightning the guiro Voy cantando mis canciones. I sing my songs. ff:'l:3i, *?'",' 3:r ;, Tj; . oi" i"e " " Sound_selectlon "?;**i:,'*:"':iiilh,::,,"",. Llevo Ia sangre serrana I have the blood of the highlands no.5 ( t :SO) Speclal muslc ror p;fi", De mis condores coraje The courage of my condors Piscoche. played on La grandeza de Inca The greatness carazr December caja & raydn by Lorenzo ni of my Inca 17t l9go. EI progreso de mi pueblo. The progress of ny people. Sound-selectlon no.6 (2:OO) I Pobre rni Huaraz querido My poor beloved Huaraz ,Pasaca11es, played UV'll"i", Huanquiii"J a,,"i,,- ;;"";-.'r1::R'qiJ?;1rrX.t Convertido en escombros Converted to rubbish del Nifio Angel oD i?irtX,,i,1"1,.":."J""rTj;il,tfr" Por Ia voLuntad del cielo By the will of heaven r .l"rru""V 10, 1 9S 1 .- Shouting sound Va cobrando su belleza. Is eovering its beauty. l:n:r"r"rir.T.::Ti,""01-;; 0i,,o"." ,Jr,.o" heard, "rrJ.as well of as rhe Huaraz, capltaS- andino Huaraz, Andean capltal Sound-selection no.Z (l :10) Del departamento de Ancash 0f the departnent of Ancash 16 caJa & huan-quirra En sus parques y avenidas In lts parks and avenues prayl""r-,0*1ng the procession li"':#;d of corpus christi Floresclendo lentamente. Flowering slowly. ffiJH,[;-Jit-'i; ;T.,,x'i* : lnases r.;; (Fuea) "]";.::;:"",, Sound-selectlon no.g ( Como no he de llorar How can I not cry r\+o 1 :30) caJa & plncullo ;l;;:;", Como no he de sufrir How can I not suffer Huarl durlns a group of Por Huaraz querida For beloved Huaraz !!" p"t"o-n;""il restivai--oi"E".nu"r,^accompanvlng cabalreros de on september 30r 198r. uot""the Our Lad,, or uercy, Pueblo donde nacl, caray./ Town where I was born, caray./ metar pel,er be11s. Pueblo generosa, caray. Generous town, caray. Sound-selectlon no.9 (2:I0) Two flautas Ay mamaclta, imaneechi tsarikaman Rikaptii, nawlllaami waqakurin ;::: i Ay mamacita, inaneechi tsarikaman(qa) 1* :1'""iTryr *l ".'"'T.",11L . ;;,li1;Sl # i: :lH'", # Yarpaptll, shonqollaaml llakikurin. _Sound-selectlon no. t0 ({: lO) 0h littIe woman, lt nust be what happened that affects me Huayno for When I see 1t, ny eyes cry arr bv rconiunro rra;ras,-'" i.;loXio "l"t?:.il"r:o de puebro 0h Ilttle woman, it nust be what happened that affects me Plscoehe. - --'1e e'u d crarln' Preceded by Libre,,: rwo an expranation uy Lorenzo When I remember it, my heart grieves. Sound-selectlon_ao. II (t:45 Sound-selectlon no. 14 (2:40) Huayno plaved -by anO l :I0) two ;i;;" and Huayno ttR{o Santatt sung by Eloy Cano, acconpanylng himself on the capltanes of two chiskas to accompany harp. Caraz, September 8, 1980. February f^umRa,-ioriJ"Jo'*u, auii"ru. the r""tivai of the 22, 19gi. an i,"Jo"-"o1in,, saint Eduwigis r o, "nno.,n""J-i. euechua -338- -339- R{o Santa, R{o SanEa, caudaloso Sound-selectlon no. t6 ( 1 :25) Rlo Santa, Rio Santa, caudaloso Two violins, one tlnya and one chiska accompanying a Sroup of Quiero que 1Ieves todas nis penas a1 olvido Shaqapas wlth pasacaLle on the way to the house of the sponsor. que a Qulero lleves todas mls penas aI olvido Durlng the patron salnt festival of Carhuazl Our Lady of Mercy, on Todos me dlcen, todos me cuentan, que eres santa September 21, 1981. Note the Jingle rattles. Todos me dlcen, todos me cuentan, que eres santa De qu6 te vale, de qu6 te slrver eue eres santa Sound-selectlon no. 17 (2:00) Sl tus comientes son traieloneras, Rio Santa A group of ShaqshaslrrLos Shaqshas de Yungayrt, with their muslclans De qu6 te vale, de qu6 te si_rver eue eres santa (two vlolins, two tlnyas and two chlskas) taking leave of the patron S1 tus corrienies son traicloneras, Rio Santa. saint of Huanchuy,/Yungay, Vlrgin of Lourdes. The leader of the group, rRj.ver Ciro Luna, announces the nusic. Note the iingle rattles. Huanchuy, Freely transrated: santa, please take my troubres avray on your February 12, 1981. abundant waters. Everyone calrs you hory, but to what avair, if your currents are treacherous, River Santa.rt Sound-seleetlon no. 18 (2:00) Group of Atahuallpas from Paramonga: song about the assassination of (rusa) the last Inca Atahuallpa, acconpanied by violin, tenor drun and bongo drurn. Carhuaz, Our Lady of Mercy. 0ctober 1t Markacho yakucho keekarqa rn the virlage, in the water Patron saint festlval of 1981 (octava). sienpriran kikiipa keekanki rou will always be mine Akapano klriiki wishushqapis Toothress guinea pig rike a Sound-selection no. 19 (3:50) slenpriran klkiipa keekankl. you will always be mine. Huayno itDesde el monento que te fuistetrr played by Pascual Ramlrez Sound-selectlon no. 15 (3140) (harp) and Melicio Luna (vlotin), announced by Melicio Luna. Both rtPerdl as we}l. Note the rockets that are flred outside. Huayno ml sorteriail sung by Juan carvo, accompanying himself musicians sing on the harp. Huaylas, July 51 1981. Durlng the patron saint festival of Mancos/Yungay, Saint Roque, August 16, 1981, Destlno donde me llevas Destiny wherever you take me (1r45 Donde me arrastraras Wherever you Sound-selectlon no.2o and 1:50) wiII drag me Violin and harp duo playing a huayno in the house of the sponsor Por valles desconocidos Through unknown valleys Voy contemplando durlng the patron saint festival of Toeash/Pueblo Librer Virgln of I contemplate 131 1980. and onlookers beat Mirando beLlas mujeres Looklng Guadalupe. Decenber The vtollnist slngs at beautiful women body and along. The in Hermosas flores Pret,ly flowers the rhythm on Ehe of the harp sing text is Ya no hay remedio en mi vlda Spanish and the fuga is in Spanlsh and Quechua. Both are difficult to There is no remedy in my life played the Pendl ya mi solteria. I an not single any understand. The huayno is followed by musj.c during more. procession, to acconpany the Mozo dancers, whose netal pellet bells ( repeat ) can be heard, as well as the banda that walks behind the image. Tarde sera de tu carifio Sound-selecti-on no.21 (1:55 and 1:20) Itrs too labe for your affection ltHuayllnito sung group Incaicos of barrio Ay amor mio 0h my love Huayno orgullosorr by a of que and The cracklng of slings may Ia perdi en este nundo Since I have lost in thls world Delicados, aecoppanied by violin harp. Mi Juventud My youth be heardr dS weII aS background noise. During the patron saint Sin saber que me querias festival of Huaylas, Salnt Elizabeth, on JuIy 6, 1981. Without knowing that you loved me Ay amor nio 0h my love Huaylas, tan querida Huaylas, homeland so beloved Llorar6 mi desengafio I will lament my emor tlerra Cruel desventura. Cruel misfortune. Huaylas, tierra tan hermosa Huaylas, honeland so beautiful Con tus mejores canciones With your best songs ( r'wa) Yo te canto con ternura I sing for you with tenderness you tenderness. Con eI destino nunca se puede One can never resist destiny Yo fe eanto con ternura. I slng for with Tal vez maflana vuelvas a ml Maybe tomorrow you will come La cordillera, R{o Santa The mountain range, Rio Santa back to me Ay palsanita, Son que unen con Unite with my homeland mujer bonita 0h countrylronan, pretty woman los mi tierra Tarde querido beloved o temprano ser6s de m1. Sooner or later you wltl be mine. Pueblo Ancash tan People of Ancash so Por su belleza escogida For your beauty chosen ( repeat ) Por su belleza escoglda. Eor your beauty chosen. 340 - - 341 festlval of Carhuaz, Ocbober 1, 1981. Ml Huayllnlto, por qu6 llora My little Huaylino, why do you cry Our Lady of Mercy, on Mi por qu6 Caraclno, sufre My llttle Caracino, why do you suff Sablendo que yo te qulero Knowlng that I love you Sound-selectlon no.26 (2:5O) Con el a1-na y eI coraz6n A string orchest,ra called rtEcos del Callej6n de Huaylastr and With my soul and my heart consistlng guitars, ptaying Con eI alma y eI coraz6n. With ny soul and of a violln, a mandolin, and two a polka: ny heart. ttMi riltlma huel1arr. At a farewell party given for the mayor of (rwa) Caraz on November 7, 1980. Sablendo que yo te qulero Knowlng that I love you Te de poder Sonnd-selectlon rl.o.Z'l (3: 10) fuiste mi Iou went away from me rrMl Sln compasl6n me deJaste A huayno called pecho es un cementeriorr, played by the string Without compassion you Ieft me |tCentro L1mefi1to sln coraz5n. Llttle Limeno orchestra Muslcal Yungaytt at a wedding in Puny6n,/Yungayr on without a heart. March 21, 1981. Noie the accordion. (repeat) Sound-selectlon no.28 ( 1 :40) Re11g1ous song, *Adoracl6nr, addressed A religious march called rrCruzpananJ.rr, played by the Banda ItJuventud to salnt, Elizabeth by a de Ca?aztt processlon patron group of rncaicos of barrlo Nahulnyacu, acconpanied by during the of the saint of Tocash/Pueblo viorin and Llbre, Virgin of Guadalupe. Decenber 13t 1980. harp, during the proeesslon on JuIy 6, i9gt. A banda ray U" heard in the background. Sound-selectlon rro.29 ( 1 :35) A m111tary march, played by the Banda of the Republican Guard of Relna de Atun Huaylas Queen of Great Huaylas Peru, to accompany the sponsors to their house on September 23, 1981, Reina de las nleves Queen of the snows the vispera of the festival of Our Lady of Mercy of Carhuaz. Santa Isabel Salnt Ellzabeth Relna de ml tlerya Queen of my homeland Por tl estoy slempre fellz. Because of you I an always happy. Sound-selectlon no.30 (2:O0) The m111tary brass band of the Battalion ItHuascardntt of Caraz, Tu siempre serds You will always be playing a march during the parade on JuIy 25, 1981, the anniversary De Huaylas Ia luz The light of Huaylas of the Polltical Creation of the province of Huay1as. Slenpre relnards You w111 always reign En ni cludad. In my town. Sound-selectlon no.31 (2:O0) A pasodoble played by Banda rrJuventud de Carhuazl during bullflghts ( repeat ) in Carhuaz, on September 261 1981. Sound-selectlon rro.Z2 (1 *5) Sound-selectlon no.32 (2225) A harp and two viollns accompanylng Antlhuanquj.rlas, a tradltlonal Huayno-cumbla, played by Banda Orquesta rrHiJos de Shupluyrr during type of dance group, durlng the procession 1981. glliro. patron of our Lady of Mercy, Carnival in Yungay, on March 3, Note the salnt of Carhuazr on September Z3t 19g1. Noie tne rhythm stlcks wlth metal pellet bel}s. Sound-selectlon no.33 (3:50) The folk rnusic group rrHermanos de1 Anderr perfornlng in bhe tavern Sound-selectlon oo.Z3 ( I :45) trlmantatarr in Huaraz. They play the Peruvlan waltz rrXenobiarr and sing A group of Nustas durlng the processlon of Our Lady of Mercy of as well. Huaraz, Oetober 2t, 1981. Carhuazr on September 24r 1981. They are accompanled by a harpr two vlorlns, a muted trumpetr 8n arto sixophone, and a tenor saxophone, Sound-selectlon no.34 (4:5O) and slng at intervars. Rockets and a banda are heard in the Folk muslc group ItKusy Chaskyil playlng the huayno rR{o Santatr in background. the tavern nEI Estribott in Huarazr on September 5r 1981. The muslcians slng as well, while people dance, whistle and clap their Sound-selectlon no.2ll ( 1 :00) group hands. A of Negrltos, acconpanled by a harp, two muted t,rumpet, vlolins, a and a crarinet, durlng the patron saint festlval of carhuaz, Our Lady of Mercy, on the 1st of Oetober, 19g1. The nusic played is speclal dance muslc (danza).

Sound-selectLon no.25 ( 1 : 15) A Sroup of cuzqueflos, accompanied by a harp, two vi.olins, a tlnya, an alto saxophone, and a muted trumpet, during the patron salnt -342- -343- Rio Santar Rio Santa, caudaloso Rfo Santar you carry Appeadl'r 2: the questlonnalres Rio Santa r R{.o Santa, caudaloso much water Quiero que lleves todas mis penas aI olvido I want you to take all (hrestlonralre 1 (tradlttonal groupsl strlng orchestrasr folk Quiero que 11eves todas mis penas aI olvido my troubles to oblivion nuslc groups) (Iast two lines repeated) 1. Nonbre del grupo. C6no naci6 eI nombre? Todos te. dicen, todos te llamanr gue eres santa Everybody calls you 2. Lugar de orlgen? Todos te dicen, todos te llamanr gue eres santa holy 3. Fecha de fundaci6n? Qui6n 1nlc16 eI grupo? Con qu6 flnalidades? De qu6 te vale, de qu6 te sirver eue seas santa Bu! to what avail, 4. Nfmero de lntegrantes: nombre, edadr sexor gu6 instrumento(s) Sl tus corrlentes son traiclonerast Rio Santa RIo Santa, if your toca, grado de instrucci-6n, profesl6n, de d6nde es? De qu6 te vale, de qu6 te slrver gu€ seas santa currents are 5. Nonbre del director? Si tus corrientes son traicioneras, Rio Santa. treacherous. 6. C6mo han adqulrido los lnstrunentos? 7 . CudI es eI valor de los lnstrrrmentos? (ll.g.:the fuga in Quechua is difficult to understand) 8. Qul6n es duefro de Ios lnstrumentos? 9. Llevan vestlmenta especlal? Tlre flIn 10.Cudnto ganan? The film was made on October 11 1981, the ocLava of the patron saint 11.Hay instltuclones que les apoyan? festival of Carhuaz. (see chapter 4.2.1.1 for a description of this 12.Han grabado dlscos? festivat) ln 8-mm camera (Nizo 481 macro) was used, and a Lotal of 60 13.Qu6 clase de mfslca tocan? mi-nutes was shot on Kodachrome 40 film. Sound was recorded by Frenk 14.Cuil es su repertorlo? Boeren, a Dutch student at the Agricultural University of Wageningent 15.C6no obtlenen su repertorlo? (Composlci6n suyo o de otros, who was living in Carhuaz at the time. The filn consists of two radlo, etc. )? parts: the morning when the dance groups wifh their musieians and 16.Saben leer mdslca? Qul6n les ha ensefiado? visitors arrive in Carhuaz, and the afternoon when a procession takes 17.Tlenen partlturas? De qul6n(es) las han obtenido? place that lasts around five hours. In order to be mobiler no tripod 1B.En qu6 ocaslones tocan Uds? D6nde? was used; when bhis "activen approach is used, one can speak of the 19.Cantan los lntegrantes mlsmos, o llevan cantante? ttparticipant Es var6n o muJer? En qu6 ocasiones canta? camerarr, analoSous to participant observation. The rraficlonadotr flprofesionalrl events were registered as faithfully as possible, and were noL 20.Cu6ndo se puede llarnar o directed, staged, reconstructedr or fic0ionalized. Editing, although a un m6slco? a deliberate lntervention, took place accordingly and was in fact no 21.Cu6ndo se dice que un conJunto es bueno/malo? more than a compression of the real time (five hours) into fl1m time 22.Pueden darme unos ejemplos de conjuntos buenos/malos? (60 minutes) and ultimately the finished movie (30 ninutes). It nay, 23.Qu6 signiflca ta palabra rmfsicarr para Uds? therefore, be sald that the event shaped the film. 24.Cu61 es Ia flnalldad de Ia mfislca, segrin Uds? 25.Por qu6 tocan Uds? I Coples were made on Sony KCA-30K vldeo cassettes by Studlo 0Lto/Soest. QuestLonnalre 2 (banttas) 1. Nonbre de Ia banda? 2. Ltgar de origen? 3. Director de la banda: nombre, edad, lugar de nacimiento, educaci6n, profesi6n? 4. Fecha de fundacl6n de la banda? 5. Ndmero de lntegrantes? 6. Instrument,os utlLizados? 7. D6nde compran los lnstrumentos? 8. Cu51 es eI valor de los instrumentos? 9. Qul6n es duefro de los instrumentos? 10.Cu61 es eI repertorio? 1 1.Qu6 clases de mfslca tocan? 12.Los mfslcos saben leer mfsica? 13.Qui6n Ies ha ensefiado? 14.Qu6 partituras tienen? 15.De qu16n(es) las han obtenido? 16.Qui6n da el tono para cada pieza? 17.Cu6ndo se puede llamar itaflcionadotr a un m(sico? -344- -345- 18.Cudndo se puede llarnar ltprofeslonalrt a un mfisico? 1l.Cu6l es el valor de los lnstrumentos? 19.Cu6ndo se dlce que un mfislco es bueno/malo? 12.Qu16n es duefro de los instrumentos? 20.Cu6ndo se dlce que una banda es buena/mala? 13.Saben leer m(slca? 21.Puede darme unos ejemplos de buenas bandas? t4.Qu6 vestlmenta llevan? 22.Por qu6 tocan Uds? 15.Cudt es eI slgnlflcado de Ia vestimenta? 23.En qu6 ocaslones tocan, y d6nde? 16.Cuates son los pasos de la danza? 24.Hay ocaslones en que no tocan bandas? 17.Cu6f es eI signiflcado de los pasos de Ia danza? 25.8n qu6 trabajan los mrislcos, aparte de }a mfsica? 18.En qu6 ocasiones ballan Uds? D6nde? 26.Llevan vestlmenta especlal., como uniformes? 19.C6mo aPrenden a ballar? 27.Cudnto ganan aI dla? 20.Cu6ndo se dj-ce que un danzante es bueno/malo? 28.Cuii1 es Ia funcl6n de Ia mfsica, segdn Ud? 21.Cudndo se dice que una danza es bien ejecutada? 29.Qu6 slgnlflca Ia palabra rrndslcart para Ud? 22.Son aflclonados o profeslonales? Por qu6? Z3.por qu6 bailan Uds? Cu6I es Ia flnalidad de Ia danza? Questionnalre 3 (tnatviduat perforners) 24.Ganan dlnero? 1. Nombre, edad, sexo, de d6nde es, d6nde vive, grado de lnstruccl6n, profesi6n? Qtrestlonnalre 5 (lnstrtnent-nakers) grado de 2. Qu6 lnstrunento(s) toca Ud? Canta Ud? 1. Nombre, edad, sexo, de d6nde esr d6nde vlve, 3. C6mo ha adquirldo su(s) lnstrumento(s)? lnstrucc15n, otras Profeslones? 4. Cuiil es eI valor de su(s) lnstrumento(s)? 2. Desde cudndo hace instrumenios? 5. Desde cuSndo toca'Ud? 3. De qui6n/c6so ha aprendido a hacer instrumentos? 6. C6mo ha aprendldo a tocar? 4. Qu6 clase de instrumentos haee? 7. Hay otras personas en su familia que tocan algdn 5. Solo, o con aYuda de algui6n? lnstrunento? 6. De qu6 material(es) se hacen los instrumentos? 8. Toca Ud. solo, o tanbl6n en conJunto(s)? 7. De d6nde obtiene el materiaL? 9. Qu6 clase de nfslca toca Ud? 8. Qulenes compran sus instrumentos? 10.Cu61 es su repertorlo? 9. Cudnto cuestan los instrumentos? 11.C6mo obtlene su repertorio? (Composlcl6n suya o de otro, 10.Cudnto tlempo se demora para hacerlos? radlo, etc) 11.Sus trabajos son de creatlvidad propia, o copia de 12.Sabe leer nfslca Ud? C6mo ha aprendido? otros? 13.Tlene partlturas? De qul6n(es) las ha obtenido? 12.Qu6 instrumentos toca Ud? 14.L1eva vestimenta especlal? 13.Qu6 mfsica toca/Preflere Ud? 15.Cudnto gana Ud? l4.Participa Ud. en conjunto(s)? 16.Ha grabado dlsco(s) Uat 15.Algu16n de su fanllia practica algrin instrwaento? 17.8n qu6 ocasiones toca Ud? D6nde? 18.Cu6ndo se puede lIamar rraficionadotr o rrprofesionalrr a un ndslco? 19.Cu6ndo se dlce que un mrisleo es bueno/nalo? 20.Puede Ud. darme unos ejemplos de misicos buenos/matos? 21.Qu6 signiflca Ia palabra rmfisj.catt para Ud? zz.Cuil- es Ia finalidad de Ia mdslca, segrin Ud? 23.Por qu6 toca Ud? Questtonnalre 4 (tradltlonal dance groups) 1. Nonbre de La danza? 2. Cu61 es eI origen de La danza? 3. Cudntos danzantes hay? (Hombres/muJeres) 4. Qul6n dlrige a los danzantes? 5. Desde cu6ndo exlste eI grupo? 6. Danzantes: nombre, edad, sexo, de d6nde es, grado de lnstruccl6n, profesi6n? 7. Mdslcos acompanantes: nombre, edad, sexo, de d6nde es, qu6 instrumento(s) toca, grado de instrucci6n, profesi6n? 8. Qu6 clase de mrislca tocan? 9. C6no han adqulrldo Ia mfislca? 10.C6no han adqulrido los instrumentos? -3q6- GlossarSr Cahuallus: a lype or traoitill"; dance sroup. (see chapter 2.5.1) adoracl5n: Iltera11y rtadoratJ onr, rel.lgious music played caJa: made out ln church for a - large double-headed drun of a hollowed-out Vlrgln or Silnt. eucalyptus 1og, with bass strings. aerophones: ('see nenbranophones) instruments through or in which alr ls made to vlbrate. (see chapter 2.2.1.3) caJ6n: box whieh ls beaten rhythmlcally wlth bot,h hands by ahlJado/a: (term a player who slts on it. godchlld of address or reference). (see ldlophones) agente munlcipal: municlpal agent or representative, princlpal campero3 leader of a traditlonal dance group. offlclal of a barrio. peasant, person alcalde peddneo: petty mayor, campeslno: farmer, a who I1ves in the rural munlelpal (tnOtan) offlce to area. manage loca1 affairs. cancl6n: song. aItlp1ano: hlgh plateau, speclfically that, of Southern Peru and Bo1lv1a, and the Lake Tlticaca region. cantlna: a snall bar, often make-shlft at the ti-me of a patron antara: (see zampoflas) saint festlval. Antlhuanquillas: Capltanes: a type of tradltlonal dance group. a fype of tradltional dance group. (see chapber 2.5.1) (see chapher 2.5.1)

cargo 3 (1) flesta sponsorship; (2) clvil office. arranque condor: (see condor rachi) AtahuaJ.lpas: Chapetones: a type of tradltlonal dance group. a type of iradltional dance group. (see chapter 2.5.1) (see chapter 2.5.1) charango: a stringed instrument wlth a resonator made auqul: elown or tfdevilil who acconpanies tradltional dance rold out of the carapace of an armadillo; used groups. Literal)-y: manrr (Quechua). by folk nuslc groups. (see chordophones) bajada: day before the maln day of a patron saint festlval, when the image is lowered from 1ts chiska: a slx-hole plugflute, made of reed. pedestal. (see (see vispera) aerophones) balle: secular pair Cholo: a person who ls neither Indian nor Mesti-zo dance, e.g. huayno, marinera, cumbia. ln a eultural sense. banda: a brass band, of European origin. chordophones I lnstruments that consi.st of one or various chords banda de guerra: a milltary brass stretched between flxed points. band, of European origln. (see chapter 2.2.1.4) barrlo: ward, a subdivislon of the dlstrict. chromatlc: muslcal scale whlch consists completely of semitones (ha1f steps). bombo argentino: double-headed drum; used by folk muslc groups. (see membranophones) chuscada: (see huayno) broquel: sma1l wooden shield used by Huanqulllas. clarin: (see idiophones) a transverse natural trumpet, made of reed and wood. (see aerophones) Caballeros de a type of traditional dance group. Huarl: (see chapter 2.5.1) collseo: stadlum ln Lima where performances of highland muslc and dance take plaee on Sunday afternoon. -348- danza: muslc to accomr"il'a""oitional dance groups colocacl6ns f1nal day of a patron salnb festival, when the during processlons, belonging to the verna- lmage of the Vlrgln or Salnt ls returned to its cular genre. place. danzanter tradltional dancer. compadrazSo: the ceremonlal relatlonshlp established between godparenta or sponsors and the parents of a chlld delanteros leader of a row of traditional dancers. or ownera of an object. Ritual co-parenthood. despedida: llterally: rleave takingrr, religious music compadre/comadre: lhe tltle and term of address used by the godparent played for a Virgln or Saint. or ceremonlal sponsor of a child or obJect ln spea- king wlth or about the father/mother of the chiLd or devoto: devotee of a saint, one who pays part of the male/female owner of the object sponsored, and vi-ce expense of a rellglous flesta. versa, if the godparent is a man/woman. Parenb-godparent relation. dlatonlc (scaIe): a scaLe made up out of seven notes to the octaver €.8.: G A B C D E Fis. conunidad an offlclally recognlzed, Iandholdlng community lndigena3 of Indians who have held collective title to enconlenda: royal trust, given to the Spanish conquerors ln thein land since colonial tines. the 16th century, to exact tribute for t,he crown. conmunibas: a feellng of togetherness. faena: collective public work, tributary labor. (see chapter 4.2.3.1) condor rachl3 a contest staged during Carnival ln which horse- men uslng their hands attempt to kiII a condor flesta: festivaL, especially bhat of a patron saint. which ls suspended from an arehway as they ride under it. Fiestas Patrlas: Independence Day, the national holiday (see chapter 4 .2.1.2) celebrated on JuIy 28. (see chapber 4.2.3.2) conJunto! a sma}l ensemble or group of costumed dancers. flauta: a six-ho1e plugflute, made of reed. conJunto troplcal: an ensemble that plays frtropicalrt nusle like (see aerophones) cumblas and salsa, as well as !{estern pop music. fox incalco: a type of muslc which belongs to the Cordlllera Blanca/ lfhlte/Black Mountai-n Range. lnternational genre. Negra fuga: the last and faster part of a huayno corrldo: song type of Mexican origin. or a pasacalle. creacl6n pol{tica: the recognitlon of the polltical creation of glllro: a notched hollow gourd held in the palm a provlnce or a district, eelebrated annua1ly. of the hand and scraped wlth a stick. (see chapter 4.2.3.2) (see idlophones) Creo1e: rtcriollort, a Spanlard born in the colonies. haclendal large landhold1ng. Nowadays: someone who lives in a coastal town. helleon: Iarge clrcular bass horn. Creo1e (genre): coastal types of muslc and dance, llke the (see aerophones) Peruvian waLtz, the marinera and the polka. (see chapter 2.3) huanqullla: a three-hoIe plugflute, made of reed or plastlc. cumbla: ttLroplcalr muslc, orlgj.nally fron Colonbla, (see aerophones) belonging to the internailonal genre. Huanqulllas: a type of traditional dance group. Cuzquefios: a type of tradltlonal dance group. (see chapber 2.5.1) (see chapter 2.5.1) Huaras: a type of traditional dance group. -350- (see chapEer 2.5.1) Blfts durlns .;":?lJ. huaylas: popular type of music and dance of the Mantaro Mozos: a type of tradltlonal dance group. Valley in Central Peru. (see chapter 2.5.1) huayno: the most popuLar type of vernacular music, mudanza: change ln movement of tradltlonal dance groups. song and dance, often featuring a pentatonic melody and a blnary syncopic 2,/4 rhybhm. Negrltos: a type of tradltlonal dance group. (see chapter 2.4) (see chapter 2.5.1)

huayno-cumbi_a: a conbi-natlon of the vernacular huayno Nustas: a type of tradltlonal dance group. and ihe international cumbia, rrchicharr. also called (see chapter 2.5.1) octava: eight days after the naln day of a patron ldiophones: instrunents that produce sound wlthout need_ salnt festlval. ing chords or tense membranes because of the rlgidit,y and elastlcity of the material. Pallas: (see NusEas) (see chapler 2.2.1.1) padrinazgo: godparenthood or sponsorship, the relation- Incalcos: a type of traditional dance group. shlp between godparent and godchild. (see chapler 2.5.1) padrlno: godfather (term of address or reference) indigenismo: an ldeological movement to abolish the ex- ploitat,ion of the Indian population and to pasacalle: a vernacular type of muslc and dance. reappraise the Indian phenomenon. Pashas: costumed male performers carrylng long whlps international Latln American types of music and dance (genre): at the flesta of Salnt Elizabeth of Huaylas. Ilke the fox 1ncalco, the pasodoble, the (see chapter 4.2.1.1) cunbla and the salsa. (see chapter 2.3) pefia (fo1kl6rlca): tavern in urban centers where llve Latin American folk muslc ls perforned. Intl-raymi: pre-Columblan festival of t,he Sun, pefia criolla: an ensemble that plays Creole nuslc like IIiklla: carylng cIoth. Peruvi-an waltzes and marineras. AIso: a tavern where thls type of music is performed. madrina: godmother (term of address or reference). (see chapter 4.2.3.4) marcha regular: religlous music played by bandas during pentatonic (scate):a scale nade up out of five notes to the octave, processions. B.g.!GABDE. marinera: a type of dance of ihe Creole genre, danced pincullo: a three-hole plugflute, made of reed. by people from Lima and other coastal towns. (see aerophones) mayordomo: sponsor of a fiesta. plazal the maln square of a town. membranophones I lnstruments that by means of one or more pututo: a natural trunpet made of a conch-shell. membranes that are strongly stretched produce sound when an agent roakes them Quechua: the language spoken by the Indian populabion vibrate of the Andes. (see ehapEer 2.2.1.2) quena: a notched flute with six or seven holes and Mestlzo: Spanlsh-speaking person of mixed Indian and a thunbhole, made of wood or plastlc. European ancestry. (see aerophones) monte: tree decorated with fruit and other small ray6n: a ihree-hole plugflute, made of wood and entwlned wrth ;"i33.: rernacular lndtgenou" tvpl"33? iusrc and dance, like the (see aerophones) (genre): huayno, the pasacalle, the yaravf and the danza. (see chapter 2.3) repfbl1ca! (see faena) rl,spera: the day before the naln day of a festlval. roncadoraS a three-ho1e plugflute, made of wood. (see aerophones) raravlz a sad song, belonglng to the vernacular genre. sacachina: a charango shaped like a smal1 guitarl zampofias: a set of endblown. closed flutes in single or used by folk nusic groups. double graded rows; used by folk music groups. (see chordophones) (see aerophones) salsas rrtropicalfr nuslc, orlginalJ-y from Puerto Rlco, belonglng to fhe international genre. shaqapas: Jlngle rattles nade of dried frult shells, worn by Shaqapas and Shaqshas. (see ldlophones)

Shaqapas: a type of tradltlonal dance group. (see chapter 2.5.1)

Shaqshas: a type of tradltlonal dance group. (see chapter 2.5.1) slerra: hlghlands. sol: basic nonetary unit of Peru (at the tlme of the research the so1 was valued at 285 (June 1980) and 400 (Decenber 1981) to one US dollar) syncopatlon: when the first note of the measure is strong)-y accentuated. tenor drum: sma1l double-headed drurn, of European orlgin. (see nembranophones) taqul: pre-Columblan unit of music, poetry and dance. temuflo: natlve Iand, place of birth. tlmbales: two drums with metal bodles of dlfferent si.zeg. (see membranophones) tlnya: small doubLe-headed drum nade of a hollowed- out maguey trunk, with a bass strlng. (see membranophones) vals crlollo: a type of waLtz danced by people from Lima and other coastal towns, belonglng to the Creole genre. varayoq: po1lt,lca1 and rellglous offlcial of an Indian comunlLy. Literally: rrhe-who-has-a-stafftr. T-

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