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OVERVIEW
This section consists of an exploration of the idiom or musical language of Afro-Peruvian music. First, general characteristics of the Afro-Peruvian music sound are described along with audiovisual examples that represent common and essential rhythmic, harmonic, and lyrical features. Second, an in-depth review of the various Afro-Peruvian music subgenres such as festejo, landó, panalivio, zamacueca, zapateo, amongst others, is presented to further explore the stylistic elements of the Afro-Peruvian sound.
13 min (reading)
1 hour 20 min (videos)
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overview
music
Afro-Peruvian music combines stylistic elements of two musical traditions. First, West African derived music, evident in the use of polyrhythms, layered percussion, call-and-response vocals, and, metric ambiguity (Feldman, 2010). Second, Peruvian música criolla, evident in the vocal timbres, guitar styles, stemming patterns, language, triple meter, and hemiola. Música criolla contains influences from European and Andean music, evident in the Peruvian waltz (famously known as Vals Criollo) and the Peruvian polka. Hence, most Afro-Peruvian music is played using various percussion instruments and the Spanish-sounding criollo guitar.
The Afro-Peruvian All Stars Band perform "Estoy Aquí" by Roberto Bolaños.
RHYTHM: NOTABLE EXAMPLES
rhythm
1. Afro-Peruvian Percussion Performance with Congas, Bongos, and Cajón
This video features MEINL Peruvian Artists Marquitos Mosquera, Marco Oliveros, Makarito Nicasio, and Edu Campos Dueñas.
HARMONY: NOTABLE EXAMPLES
hamony
1. "Mal Paso" by Arturo Cavero.
An example of música criolla, evident in the vocal timbres, guitar styles, stemming patterns, language, and triple meter (European and Andean music influences).
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SUBGENRES
Afro-Peruvian is divided into sub-genres based on music, instrumental, and lyrical differences. Afro-Peruvian historians make a distinction between sub-genres that disappeared over time (such as mozamala, conga, amorfino, maicito, etc), and sub-genres that were constructed during the 50’s revival and remain popular to this day (such as festejo, landó, zamacueca, etc) (Paredes, 2019).
The most essential Afro-Peruvian genres are festejo and landó. These epitomize Afro-Peruvian music in such a profound way that some musicians assert that all sub-genres associated with Afro-Peruvian folklore are derived from them (Susnjar, 2013). Although some differences can be observed among sub-genres (particularly in choreography), most musical qualities are similar and derived from festejo and landó.
subgenres
FESTEJO
festejo
Festejo, which means celebration, is one of the most representative forms of Afro-Peruvian music. It involves music and dance and is distinguished by its festive character. It is traditionally practiced on the central and southern coast of Peru, mainly in the Lima and Ica regions. Most musicologists agree that festejo is the root of other Afro-Peruvian musical forms such as alcatraz, inga, or son de los diablos (Chocano, 2016).
Ensemble performance of "El Alcatraz", one of the most famous festejo songs.
2.LANDÓ
lando
Landó is one of the most popular sub-genres of Afro-Peruvian music. Some historians, such as Nicomedes Santa Cruz argue that landó is derived from lundú, an Angolan dance brought by slaves that was used in wedding ceremonies. Landó is perhaps one of the most sensual and rhythmic forms of Afro-Peruvian music expression (Tompkins, 2011).
"Samba Malató" performed by Perú Negro, one of the most famous landó songs.
3.PANALIVIO
panalivio
In the same way that black slaves in the southern states of the United States had plantation work songs in which they expressed sorrow, Afro-Peruvian slaves had their songs of lament, known as panalivio (Tompkins, 2011) which means "relief of sorrow". Due to the hardships of slavery work, Afro-Peruvians performed songs of revolt in which they denounced abuses and penalties by their Spanish owners.
A traditional panalivio music and dance performance led by Afro-Peruvian renowned artist Caitro Soto.
4.ZAMACUECA
zamacueca
The zamacueca originated in the Viceroyalty of Peru and became the most popular dance form in the 19th century (Tompkins, 2011). It was performed by all races and classes, and combined musical characteristics of Afro-Peruvian, Spanish, and Indigenous traditions, which often varied according to regional styles.
Zamacueca music and dance performance.
5.ZAPATEO
zapateo
Many expressions of Afro-Peruvian music include the presence of various forms of foot-stomping, known as zapateo. In these musical pieces, the zapateo is both a choreographic and instrumental component. Tompkins (2011) notes that the zapateo was derived from the Spanish zapateo used in flamenco.
Zapateo duel by Caitro Soto and Eusebio Sitio
6.SON DE LOS DIABLOS
son
Son de los diablos (which means dance of the devils) is one of the oldest Afro-Peruvian dances and forms of music. It was introduced in Catholic festivals to represent the victory of Christian divinity over demonic forces (Chocano, 2016). This tradition came from Europe during colonialism and was assigned to the Afro-Peruvian slaves, who created new meanings, costumes, masks, and musical forms.
Son de los diablos by Peru Negro
7.FUSION
fusion
As Afro-Peruvian music has become more popular globally in the last 20 years, jazz musicians have become interested in using its rhythms to explore new areas of sound and texture. These include Gabriel Algeria, Ingrid Jensen, Geoffrey Keezer, Donny McCaslin, and Maria Schneide (Susnjar, 2013).
"Pucusana" by Gabriel Alegría.
REFERENCES
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Carazas, M. M. (2018). El testimonio Afroperuano. [Doctoral dissertation, Universidad Nacional Mayor de San Marcos]. https://es.scribd.com/document/442207359/CARAZAS-2018-El-testimonio-afroperuano
Chocano, R. (2016). Patrimonio cultural inmaterial Afroperuano. Ministerio de Cultura. https://centroderecursos.cultura.pe/sites/default/files/rb/pdf/PATRIMONIO%20CULTURAL%20INMATERIAL%20AFROPERUANO%20MINCU.pdf
Feldman, H. C. (2010). Translation acts: Afro-peruvian music in the united states. Journal of Popular Music Studies, 22(2), 139-165. https://doi.org/10.1111/j.1533-1598.2010.01233.x
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Paredes, K. S. (2019). La música Afroperuana de la región Lambayeque [Thesis, Universidad Nacional Pedro Ruiz Gallo]. https://repositorio.unprg.edu.pe/handle/20.500.12893/8615
Susnjar, D. S. (2013). A methodology for the application of Afro-Peruvian rhythms to the drum set for use in a contemporary jazz setting [Doctoral dissertation, University of Miami]. https://scholarship.miami.edu/esploro/outputs/doctoral/A-Methodology-for-the-Application-of/991031447363802976
Tompkins, W. D. (2011). Las tradiciones musicales de los negros de la costa del Perú (1. en español. ed.). CEMDUC.
references
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