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La Comunidad como forma de integración y organización entre los sicuris en Buenos Aires
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-07-17) Padin, Esteban Ariel
This article explores a series practices and narratives in order to analyze the forms in which an Andean musical group is configured as community in the Autonomous City of Buenos Aires, Argentina. The fieldwork consisted of making music together with the group, trying to generate an intersubjective practice that questions the division of traditional empiricism. The community is expressed in values, defined as Andean, that model the types of interaction and organization of the group. These aspects are problematized through the link that the Arco Iris Sicuris Community engages with social organizations. Studying the type of links that the group generates and how the sicuris are organized allows me the reflection about the identity construction of the group and its members in a city historically defined as European and non-indigenous. I arrive at the conclusion that the community allows to build identifications that transform the daily practices of the sicuris, through the combination of ethnicized elements in and from the Buenos Aires City, with visions that establish Arco Iris as a different way of being in the world.
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Sacrificios sensacionales deleitando los sentidos en los Andes bolivianos
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-07-17) Stobart, Henry
Through extensive ethnographic work, Stobart reviews the links between food production and material and intangible culture production. This article is a good example of the theoretical and empirical strength on which his work is based. In it, very suggestively, Stobart examines the multisensory implications of musical reception in the Macha region, north of Potosí, during the holiday periods. With pleasant and acute prose, Stobart reviews the cultural links between music, sexuality and food, as well as between visual and auditory perceptions to finally focus on the relationships between musical practices, religious offerings and the climate of the Potosian region. Taking the notion of synesthesia in anthropology, Stobart analyzes a rich ethnographic material and brings us closer to indigenous conceptions of the Andes hitherto unheard of for us. A text that, without a doubt, will promote similar approaches to the indigenous music of the Peruvian Andes.
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Presentación de la Sección
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-07-26) Rivera, Cecilia
No presenta resumen
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¿Eso es tradicional? Contexto, geografías y trayectorias musicales en la construcción de una noción sobre lo “tradicional”. El caso del Trío Los Cholos en Lima Metropolitana
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-07-17) Molina Palomino, Pablo Alberto
The present article exposes the results of a research project developed between 2011, 2012 and 2016 with Trío Los Cholos in the city of Lima, in which I sought to problematize the sense and use given to the notion of «traditional» within the musical practice of the ensemble, in interaction with its performance contexts. Our departure point was not to consider such term as an objective trait, characteristic of a variety of cultural artifacts according to authenticity rhetorics or academic folklore theories, but as an abstract principle constructed based on a set of meanings, perceptions or valuations defined by the ensemble’s performers. In this sense, it is not sought to determine what is «traditional» but which processes operate to determine the applicability of that category and the actors involved in them. To do this, we reconstructed the life histories of the members of the ensemble and conducted controlled sessions of musical exposition. This allowed us to observe that what we understand as «traditional» responds to a process that starts from the identification of sonorities and styles, which in turn activates representations of place associated to musical geographies and abstract performance contexts.
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Entre las distorsiones de las guitarras eléctricas y el charango: Sónica, cuerpo y performance en las prácticas sonoro-musicales de los jóvenes músicos emberá chamí (Colombia).
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-07-17) Molano Zuluaga, Juan Carlos
This article is framed in the ethnomusicological interpretations deducted in my field work, in the Emberá Chamí indigenous resguardo in San Lorenzo; in this, the main objective was referring my work in an ethnography of the musical groups of indigenous youths. In this sense, this work evidences musical performance though a punk-rock event made in one of the most encumbered communities in San Lorenzo resguardo and it was denote certain political resistances, corporal and sonic behaviors in the territory. The intention is showing the socio-musical and socio-political meanings that these young musicians attribute to their sound-performance practices, privileging in this case, the tensions generated between: musicians, social actors, residents and the governors of the territory, by the sonic position that these young people attributes to their soundmusical practices.The Emberá Chamí indigenous youth are making different ways of fighting and resistance in order to their voices would be listening, they promulgate them with their sonorous performance practices. With these interpretations just concluding that the Emberá indigenous way of being / stay in San Lorenzo, is evidenced of through certain interpretations so that have been consolidated by the appropriation, listening and practice of punk-rock and Peruvian-Bolivian Andina music.
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Presentación: "Sacrificios sensacionales Deleitando los sentidos en los Andes bolivianos"
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-07-17) Mendívil, Julio
Anthropologica starts the "Translations" section with an article by British ethnomusicologist Henry Stobart, one of the most important specialists in Bolivian indigenous music, particularly from the Potosí region.
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Lima andina. Tras las huellas musicales andinas en Lima (1880-1930)
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-07-17) Rohner, Fred
On the basis of a set of musical and sound tracks, the following article aims to discuss if Lima was Andean before the migratory processes of the mid-twentieth century. It looks for the existence of musical evidences that would reveal a set of Andean traces in the Peruvian capital before the modern migration. Therefore, it seeks to understand the place of musical and performative genres, such as the yaraví and the danza de las pallas, in the cultural constructions that have been drawing Lima as a city detached from the Andean culture.
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La música fusión, ¿verdadera inclusión? Una exploración de la escena fusión en Lima
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-07-17) Montero-Diaz, Fiorella
In recent years, intercultural popular fusion music in Lima has grown into a representative «national» genre where intersocial and interethnic interactions take place challenging the established segregation of Peruvian society. This music seems to provide a space where youths contest their historical antagonistic role in Lima looking for cultural transcendence and spiritual meaning, searching for their own popular tradition, their own sacred, themselves.Based on diverse case studies, this article explores the sometimes contradictory discourses of fusion musicians when describing their music, as well as the issues they highlight as important to address through their intercultural projects. Moreover, it will examine the potential of fusion music as a means to enable interclass and interethnic interactions, in which the young white upper classes seek to recreate «the self» and include themselves in their own country. Finally, it will document how fusion musicians challenge normalized perceptions and social class imaginaries through the creation of music dialogues. It will explore how the understanding of difference through musicking enables them to search for their own political and spiritual self, which in turn allows them to transcend music and subvert their own class identity in order to experience the «real» Lima, the «New Peru».
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Prácticas musicales andinas a comienzos del siglo XXI
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-07-17) Mendívil, Julio; Romero, Raúl R.
Presentation of the dossier on Andean musical practices at the beginning of the 21st century
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Vigencia de la «banda típica» de la provincia de Chumbivilcas, departamento de Cuzco, Perú
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-07-17) Cárdenas Coavoy, Hubert Ramiro
This text is an ethnographic and sound approach to the «banda típica» (traditional band), one of the traditional musical groups with the greatest presence in the festivities of the districts and peasant communities of the province of Chumbivilcas, department of Cuzco, Peru. It is a descriptive work that examines the places where the band participates, the manner of dressing of its members, its instrumental composition and organization, the subject of the musical themes they interpret and their characteristic toques, exemplified by sound files recorded during field work and stored on the Internet to accompany this article.The field work began in March 2015 and gathers information obtained through participant observation, informal conversations, as well as individual and group interviews with traditional and popular musicians in the framework of the anniversary of the province of Chumbivilcas, (June 21, district de Santo Tomás); festivity of the of the Virgin of the Nativity, (September 8, district of Santo Tomás) and festivity of the of the Señor Justo Juez de Patapampa, (day of «compadres”, peasant community of Pfuisa, district of Llusco). Among the main findings is that the typical band has managed to adapt to the vertiginous changes of time due to the close link that it keeps with the turupukllay or «game of bulls», custom that is celebrated in the main festivities of the province of Chumbivilcas.

Anthropologica. Vol. 36 Núm. 40 (2018)

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