Gentleman Troubadours and Andean Pop Stars

Huayno Music, Media Work, and Ethnic Imaginaries in Urban Peru

Joshua Tucker

• Publisher: University of Chicago Press
• Year: 2013
• ISBN:
  9780226923970
• Topic: Médias et arts de la scène
• Subtopic: Musique

Exploring Peru's lively music industry and the studio producers, radio DJs, and program directors that drive it, Gentleman Troubadours and Andean Pop Stars is a fascinating account of the deliberate development of artistic taste. Focusing on popular huayno music and the ways it has been promoted to Peru's emerging middle class, Joshua Tucker tells a complex story of identity making and the marketing forces entangled with it, providing crucial insights into the dynamics among art, class, and ethnicity that reach far beyond the Andes. Tucker focuses on the music of Ayacucho, Peru, examining how media workers and intellectuals there transformed the city's huayno music into the country's most popular style. By marketing contemporary huayno against its traditional counterpart, these agents, Tucker argues, have paradoxically reinforced ethnic hierarchies at the same time that they have challenged them. Navigating between a burgeoning Andean bourgeoisie and a music industry eager to sell them symbols of newfound sophistication, Gentleman Troubadours and Andean Pop Stars is a deep account of the real people behind cultural change.

INDEX

Page numbers in italics indicate musical examples.

Abu-Lughod, Lila, 15

“Adíos pueblo de Ayacucho” (huayno), 56, 77, 88, 139

Afro-Bolivian music, 66, 128, 200n31

Afro-Peruvian music, 52

Ahlkvist, Jarl A., 171–72

Alatrista, Juan (apocryphal figure), 100, 103

Alkoholika, 191n19

“Almendras, ciruelas” (huayno), 87

Almonacid, Saturnino, 106, 122

Alomía Robles, Daniel, 40; “El condor pasa,” 45

Alvarado, Taca, 90, 100

Alvizuri, Lúcio, 196n23; “El neoindianismo en Ayacucho,” 97–98, 99, 196n32

“Amor, Amor” (huayno), 129–30, 130

Amor, amor (Hermanos Gaitán Castro album), 129–31

“Amor herido” (huayno), 173

Amor Serrano (telenovela), 177, 178

Áncash, huayno from, 55, 72, 191n23

Anchorena, Carlos Alberto: as composer, 103, 107–8, 196n34, 196–97n39; “Disertación sobre música peruana,” 105; musical interests, 81–82, 83, 84, 94, 106, 195n21; tradiciones written by, 102

Andean cadence, 189n5, 200n32

Andean identity: categories used, 22–24, 187n18, 194nn6–7; class and, 79–80, 82–84, 94–96, 182–84; competing narratives, 184; competing visions, 5, 19, 23–24, 51–52; cumbia as element in, 178–79; dress and, 115–16, 182–83; in Ecuador and Bolivia, 185n2 (intro.); huayno as marker, 12, 70–71, 89, 93–94, 178–79; indigenismo movement and, 6, 30–33, 49–50, 79–80, 96–99, 106–7; local music genres, 189n3; micropolitics of, 187n13; modernity and, 15–17, 114; pan-Andean music and, 50–51, 131–32; racialization of, 20–21, 79–80, 82–84, 106–7, 110, 183, 187n16, 194n3; second-generation migrants’ taste shifts, 157; taste distinctions and, 12; telurismo and, 104–5

Andean pent...

Table of contents

• Cover
• Copyright
• Title Page
• Series Page
• Contents
• Acknowledgments
• Introduction. Cities, Sounds, and Circulation in Twenty-First-Century Peru
• One. The Distributed Society
• Two. The Andean Music Scene
• Three. Bohemians, Poets, and Troubadours
• Four. The Commercial Huayno Business
• Five. Finding the Huayno People
• Epilogue. Folkloric Frames and Mass Culture
• Notes
• Bibliography
• Index