Music and Dance of Indians and Mestizos in an Andean Valley of Peru
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MUSIC AND DANCE OF INDIANS AND MESTIZOS IN AN ANDEAN VALLEY OF PERU E L I S A B'E T H D E N O T T E R Eburon Delft 1985 The research was done with a grant of the Netherlands Foun- This book 1s dedicated to the people of the Callej6n de Huaylas. datlon for the Advancement of Tropical Research (W0TR0). Copyrlght @ 1985 by Ellsabeth den Otter, Leiden. All photographs and recordings are by the author; a cassette recordlng of the muslc of the CaIIej6n de Huaylas is avail- Thank you for the music able froro the publlsher. The songs lrm singlng Thanks for all the joy theyrre bringing Who can live wlthout it No part of thls book may be reproduced in any form, by print,, I ask in all honesty photoprint, microfilm or any other means, without written What would life be permlsslon fron the publtsher. Without a song or a dance what are we? So I say thank you for the muslc For giving 1t fo me. UitgeveriJ Eburon Postbus 2867 2601 CW Delfb ABBA (Swedish pop group) Cover: drawing by Kees Putman, representlng a modeled vessel from the Recuay perlod (200-600 A.D.), of a human fi- gure playing a natural lrunpet, a duo of flute & drum pJ.ayers, and two members of a brass band playing saxo- phone and trumpet. Otter, E. den Music and dance of Indlans and Mestizos in an Andean valley of Peru / E. den 0tter ; lphotogr. by the author]. - Delft : Eburon. - Fotots Met 11t. opg. rsBN 90-70879-21-2 SIS0 am.z-peru 783.6 UDC 781.7+793.3(85) Trefw.: muziek ; Peru / dansen I Peru. lcknorledgenents @IITETITS express my gratltude Founda- I want to to the Netherlands Page tlon for bhe Advancement of Tropical Research (W0TR0) and Introductlon: ttAs{ es Ia costumbretl to the Instltute for Cultural and Social Studies of the 1 Universlty of Lelden, for enabling me to do the research. Cbapter 1: The'background:theory, hlstory, and soclety goes wlthout saylng that the material could only be ga- It 1.1 The anthropology of muslc and dance 9 thered thanks to the interest and cooperatlon of many Peru- 1.2 The hlstory of Peru and 1ts music 22 vlans ln the area of research and in Lima. 1.2.1 Peru before the Conquest 2u 1.2.2 Peru after the Conquest 32 Flnally, I would like to thank my friends for their pa- 1.3 The area of research 41 tlence and support, especially Dr.Peter Kloos of the 1 . 3. 'l The Calle j6n de Huaylas 42 Instltute of Cu1tural and Soclal Studies: wlthout hlm 1.3.2 Indians, Cholos and Mestizos 58 thls book would not have been wrltten. 1.3.3 The research 73 Chapter 2: Tlre nusic, song and dance of the CalleJ6n de Buaylas 2.1 Introductlon 83 2.2 The lnstruments 84 2.2.1 Musical lnstruments used ln the CalIeJ6n de Huaytas 84 2.2.1.1 Idiophones 85 2.2.1.2 Membranophones 87 2.?.1.3 Aerophones 90 2.2.1.4 Chordophones 95 2.2.2 The construction of lnstruments 105 2.2.3 The combinations of lnstruments 110 2.3 The repertoire 119 2.3.1 Religlous and secular music 123 2.3.2 Religious and secular songs 126 2.4 The huayno as focal polnt of the muslcal culture 131 2.5 The dances 156 2.5.1 Vernacular dances 157 2.5.2 Creole dances 169 2.5.3 Internatlonal dances 170 2.5.4 Folkloristic dances 170 2.6 Concluslons 172 Chapter 3: Tloe performers 3.1 Introduction 177 3.2 The performers and their arts 179 3.2.1 What does [muslcrr mean? 192 3.2.2 How are the perfornlng arts learned? 196 3.2.3 Are the performers amateurs or professionals? 198 3.3 The performers and their public 2O3 3.4 Close-ups of some of the performers 207 3.4.1 Lorenzo Piscoche 207 3.4.2 The performers of Trrnpa 211 Cbapter 4: lte events celebrated J.n the Cal1eJ6n de Euaylas 4.1 Introductlon 227 U.2 The events celebrated ln the CalIeJ6n de Huaylas 231 4.2.1 Comunal religlous events 235 4.2.1.1 Festivals of devotion and diverslon: patron saint festlvals 238 T ru i i 4.2.1.2 Festival of dlversion: Carnival 259 4.2.1.3 Festivals of devotlon: HoIy Week . Cabana and Corpus Christi 263 t\ and 272 I 4.2.2 Private events, religious secular .cgr :.2. 4.2.3 Comunal secular events 274 Comunal work parties 27u \3+\2 4.2.3.1 r, 4.2.3.2 Clvic holidays 274 ro rtr- \ jirl.o \ allanca dances 277 P omab amb a 4.2.3.3 Social Huay lasj . 4.2.3.4 Entertainment 277 4.3 ConcLusions 284 Santa[. Chirnbot{1 Chapter 5: The natlonal context 5'1 From Andean to popular nusic: the effects of migration 289 5.2 From Andean to folkLoristic nusie: the effects of tourism 301 asma 5.3 Conclusions 31? PAC/flC OCTAN Summary and conclusj.ons 316 rtlr Aija 3. Notes 326 t *t,I 328 Charts 1-5 S Appendlx 1: audlo-vlsuaL materlal: descrlption of c n iqu)(n sl1de showr sound-seleetlon and film 334 Lote t Highuays Conococha Deg artmen t Appendlx 2: questlonnalres 343 boundary o T or.lns Glossary 346 030 Llterature 354 Fliles Paramonga J. p Pati 0EPARTfIENT 0F ANCASH, pERU Introductlon: A.s{ es la costunbrei ItMuslc and dance are a means of understanding peoples and behavior, and as such are valuable tools in the analysis of culture and society. Because of thelr lntense emoti-onaI va}ue, they enter into alL those social situations which lmply helghtened effects, and 1n their turn call forth lntense enotional reaction.rf (Boas 11965:607) When asked why they played a certain muslc, danced a certain dance, or wore certaln clothlng, the anslJer glven by the performers almost invariably $ras trAsi es Ia costumbreil (Such is our custom). Although peopJ.e do not openly recognlze the symbolism of their music and danee, and even though these may have lost their original meaninS, it cannot be sald that they have no neanlng at all for the participants. During a secular or religious event ideas are translated into expressive actions, often by means of music and dance. Therefore, it was up to rtr€r as an anthropologlst, to observe these eustoms and to flnd the prlncipte underlying the phenomena observed, in this case the nusic and dance of the people livlng in the Callej6n de Huaylas, an Andean va1ley ln North-CentraL Peru. This work ls based on the assumption that the types of music and dance in the CaLleJ5n de Huaylas are related to sociaL classl language usage and, ultimately, cultural identity. They refLect the ldentity of the ethnlc groups llving in thls Andean val-Iey: the Indiansr the Mestizos and an intermedlate group of acculturated Indlans called Cholos. If music and muslc behavior may be used to identify specifie groups in soclety, one should be abl,e to do so by listenlng and watchingr 3s well as by observlng the social context in whieh they take place. Knowlng the p1ace, the people and the occaslon, one can predlct what lnstruments wiII be used, what repertolre wiLl be played, what Ianguage wlII be spoken, and what types of dance there will be. -2- -3- Conversely, upon hearing a certain type of music, played on certain movements. To a great extent it takes place on an unconsclous level, instruments in a certain time and place, and singlng in Quechua or whlch may be the reason why the answer to my questions regardlng the nwhyn Spanish, one can tell what type of people is connected with it. Thus, of muslc and dance, thelr functj.on and meanlng so often lras if one hears a flute and drum combination playing pasacalles and rrSuch 1s our custonrr. huaynos i-n a rural village, one can be falrly sure that the sponsor is Gerbrands (1983b:1) call"s the multidlsciplinary study of hunan an Indian or a Cholo. 0n the other hand, if one hears a brass band behavior rrethnocommunlcation[, a term he deflnes aa rtthe Jolnlng of with saxophones or other modern lnstruments playing a cumbia, one is lndivldual persons into a soclal unit by neans of a eultural"Iy deflned likely to be ln an urban center, at an event sponsored by a Mestizo. system of signsrt. The preflx 'tethnorr reLates to the words rta culturally deflned systemrr: the members of each culture have thelr own Anthropolog3r as a sclence of culture way of communicating with each other. Ethnocommunicatlon ls closely related to senlotlcs, the study of As a cultural anthropologist interested in the music and dance of the signs: both have nonverbal communication as their fleld of study, the Itlanguage illanguage people of the Cal1ej5n de Huaylas, I was influenced by ideas and of thingstt and the of actionsrr rather than lhe theories generated by structuralisn, semiotics, and ethnocom- rrlanguage of wordstf . munication. The semlotician Van Zoest glves the following deflnltlon of rfcuLturefr rrCulturerr ls a concept used by anthropologists and refers torrthe (1978:53): rrCulture is a skilI shared by a group to recognlze, totality of manrs Iearned, accumulated experience, the soclally interpret and produce si-gns in an ldentical nanner.rl bransmitted patterns for behavior characteristic of a partlcular social grouprrr ds defined by Keeslng and Keeslng (1971:20).