The Garland Handbook Of Latin American Music

1. The Garland Handbook Of Latin American Music Part Three: Nations and Musical Traditions, South America, Afro-Peruvian Traditions

2. Overview • Afro-Peruvian Traditions • Reflect encounter between African, European, and Indigenous traditions • Reflect varying degrees of acculturation • Various factors • Particular social and cultural dynamics in Peru • Cofradías • Recent revivalist movements (i.e., folkloric nationalism, and negritude)

3. Afro-Peruvian Traditions • Musical instruments • Common idiophones most likely of African origin or derivation • Marimba • Quijada (mule jawbone) • Cajita (small wooden box) • Cajón • Tamborete

4. Afro-Peruvian Traditions • Contexts and genres • Afro-Peruvian traditions during colonial period • Two forms of expression • African in origin/derivation • Context of Cofradía • Acculturated • Reflected European influence on Afro-Peruvian traditions • Context for exposure and blending: church, military bands, dance halls

5. Afro-Peruvian Traditions • Contexts and genres (cont.) • Afro-Peruvian experience of colonial Peruvian life also captured in some genres • i.e., penalivìo, pregones, and maca-maca • Traditional song forms include • Festejo • Basis for several dance genres (i.e., the alcatraz, ingá, and zapateo) • Landó

6. Afro-Peruvian Traditions • Contexts and genres (cont.) • Creole musical traditions (nineteenth century) • Reflect nationalist spirit of time • Representative of coastal Peruvian mestizo identity • Confluence of African, European and Amerindian traditions • Include • Song and dance genres • Zamacueca (or marinera) • Tondero • Resbalosa • Vals criollo • Emerge in context of declining Afro-Peruvian musical traditional

7. Contexts and genres • Contexts and genres (cont.) • Twentieth-century urban musical traditions • Reflect renewed interest in Afro-Peruvian traditions • Revival and recreation of Afro-Peruvian traditions (i.e., the landó and festejo) • Folkloric ensembles (i.e., Ricardo Palma, La Cuadrilla Morena, and Peru Negro) • Academic folklorists (i.e., José Durand, and Nicomedes Santa Cruz)

8. Afro-Peruvian Revival • Music and Authenticity • The recent revival of Afro-Peruvian musical traditions poses important questions concerning authenticity and tradition • Consider the following questions • How did social and cultural factors impact the development of Afro-Peruvian musical traditions up to the nineteenth century? • How were academic folklorists and folkloric ensembles involved in the revival of Afro-Peruvian traditions? • How might modern interpretations of Afro-Peruvian musical traditions be considered controversial? • How might modern interpretations reflect contemporary Afro-Peruvian identity? • How does this situation compare with other folkloric revivalist movements (i.e., the blocos afros and samba reggae in Brazil, the New Song movement in Argentina, etc.) • How might such questions help us to understand such concepts as “authenticity,” and “tradition,” and the nature of musical acculturation?