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

3. Afro-Peruvian Traditions  Musical instruments Common idiophones most likely of African origin or derivation Common idiophones most likely of African origin or derivation MarimbaMarimba Quijada (mule jawbone)Quijada (mule jawbone) Cajita (small wooden box)Cajita (small wooden box) CajónCajón TamboreteTamborete

4. Afro-Peruvian Traditions  Contexts and genres Afro-Peruvian traditions during colonial period Afro-Peruvian traditions during colonial period Two forms of expressionTwo forms of expression African in origin/derivation African in origin/derivation Context of CofradíaContext of Cofradía Acculturated Acculturated Reflected European influence on Afro-Peruvian traditionsReflected European influence on Afro-Peruvian traditions Context for exposure and blending: church, military bands, dance hallsContext 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 Afro-Peruvian experience of colonial Peruvian life also captured in some genres i.e., penalivìo, pregones, and maca-macai.e., penalivìo, pregones, and maca-maca Traditional song forms include Traditional song forms include FestejoFestejo Basis for several dance genres (i.e., the alcatraz, ingá, and zapateo) Basis for several dance genres (i.e., the alcatraz, ingá, and zapateo) LandóLandó

6. Afro-Peruvian Traditions  Contexts and genres (cont.) Creole musical traditions (nineteenth century) Creole musical traditions (nineteenth century) Reflect nationalist spirit of timeReflect nationalist spirit of time Representative of coastal Peruvian mestizo identityRepresentative of coastal Peruvian mestizo identity Confluence of African, European and Amerindian traditions Confluence of African, European and Amerindian traditions IncludeInclude Song and dance genres Song and dance genres Zamacueca (or marinera)Zamacueca (or marinera) TonderoTondero ResbalosaResbalosa Vals criolloVals criollo Emerge in context of declining Afro-Peruvian musical traditionalEmerge in context of declining Afro-Peruvian musical traditional

7. Contexts and genres  Contexts and genres (cont.) Twentieth-century urban musical traditions Twentieth-century urban musical traditions Reflect renewed interest in Afro-Peruvian traditionsReflect renewed interest in Afro-Peruvian traditions Revival and recreation of Afro-Peruvian traditions (i.e., the landó and festejo) 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)Folkloric ensembles (i.e., Ricardo Palma, La Cuadrilla Morena, and Peru Negro) Academic folklorists (i.e., José Durand, and Nicomedes Santa Cruz)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 The recent revival of Afro-Peruvian musical traditions poses important questions concerning authenticity and tradition Consider the following questions Consider the following questions How did social and cultural factors impact the development of Afro-Peruvian musical traditions up to the nineteenth century?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 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 of Afro-Peruvian musical traditions be considered controversial? How might modern interpretations reflect contemporary Afro-Peruvian identity?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 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?How might such questions help us to understand such concepts as “authenticity,” and “tradition,” and the nature of musical acculturation?