Copyright by Kathryn Ann Metz 2010 - The University of Texas at ...

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The Dissertation Committee for Kathryn Ann Metz certifies that this is the approved version of the following dissertation: Music from Amazonia: Roots, Cosmopolitanism, and Regional Expression in Iquitos, Peru Committee: ____________________________________ Robin Moore, Supervisor ____________________________________ C. Joshua Tucker ____________________________________ Stephen Slawek ____________________________________ Veit Erlmann ____________________________________ Ward Keeler
Music from Amazonia: Roots, cosmopolitanism, and regional expression in Iquitos, Peru by Kathryn Ann Metz, B.M.; M.M. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2010
Page 1: Copyright by Kathryn Ann Metz 2010
Page 5 and 6: ACKNOWLEDGEMENTS I would like to th
Page 7 and 8: to Mary Agnew, Mehdi Boudra, Patric
Page 9 and 10: Music from Amazonia: Roots, Cosmopo
Page 11 and 12: TABLE OF CONTENTS ACKNOWLEDGEMENTS
Page 13 and 14: LIST OF FIGURES Figure 1: Map of Pe
Page 15 and 16: CETA: Centro de Estudios Teológico
Page 17 and 18: iquiteño/a: may be used as a noun
Page 19 and 20: edoblante: small snare drum indigen
Page 21 and 22: CHAPTER I: INTRODUCTION: THEORY AND
Page 23 and 24: negotiated and experienced. Indigen
Page 25 and 26: only within Iquitos. Los Solteritos
Page 27 and 28: musical style from chicha, attempti
Page 29 and 30: electricity is scarce as in several
Page 31 and 32: concerns through discourse and the
Page 33 and 34: group sentiments via rational-criti
Page 35 and 36: piracy‟s roles in Iquitos, mediat
Page 37 and 38: formatting and programming to captu
Page 39 and 40: Economic globalization always has c
Page 41 and 42: that “Modernization diminishes th
Page 43 and 44: of traditional, popular and often m
Page 45 and 46: Reception Musical performances elic
Page 47 and 48: years. Specifically, I draw attenti
Page 49 and 50: Introduction Iquitos, Peru, located
Page 51 and 52: “mythic personification of natura
Page 53 and 54:
mission and had returned to Quito.
Page 55 and 56:
Napo Rivers. 16 In the late ninetee
Page 57 and 58:
2000:139). 20 Economic activity in
Page 59 and 60:
esponsible for overseeing the spiri
Page 61 and 62:
On October 23, 1851, Peru and Brazi
Page 63 and 64:
detrimental than actual combat; Chi
Page 65 and 66:
throughout the city. Classical musi
Page 67 and 68:
urned her alive (Collier 1968; Hade
Page 69 and 70:
1942 until 1945, controlling rubber
Page 71 and 72:
enabled more frequent cultural exch
Page 73 and 74:
lood, cultural influences, or busin
Page 75 and 76:
Blurring the lines of this category
Page 77 and 78:
indigenous society in terms of a hy
Page 79 and 80:
Andean influence: Indigenism and mi
Page 81 and 82:
Shipibo and Bora peoples make up a
Page 83 and 84:
Many folkloric ensembles in Iquitos
Page 85 and 86:
and modes of performance that have
Page 87 and 88:
typically offering indigenous worke
Page 89 and 90:
Musical categories: Andean dominanc
Page 91 and 92:
Loreto has always been distanced fr
Page 93 and 94:
CHAPTER III: PANDILLANDO AT CARNIVA
Page 95 and 96:
throughout Latin America in which i
Page 97 and 98:
nation. They do this by adopting cu
Page 99 and 100:
Pandillando According to Iquitos mu
Page 101 and 102:
a more syncopated rhythm with short
Page 103 and 104:
El charapa buchisapa: Amazonian idi
Page 105 and 106:
“Mix Pandilla 2007” Nuevamente
Page 107 and 108:
The object is much greater and more
Page 109 and 110:
had the means to support this effor
Page 111 and 112:
Figures 9: Statue of Eliseo Reáteg
Page 113 and 114:
Reátegui and his wife eventually f
Page 115 and 116:
distribution in Iquitos and even in
Page 117 and 118:
Reátegui and his musicians. Judges
Page 119 and 120:
They set the rules and guidelines a
Page 121 and 122:
In 2004, residents in San Antonio d
Page 123 and 124:
Reátegui thrust both the pandilla
Page 125 and 126:
Introduction CHAPTER IV: CUMBIA EXP
Page 127 and 128:
From folklore to modern folklore Tr
Page 129 and 130:
Chicha‟s instrumentation commonly
Page 131 and 132:
province, toadas and tecno-cumbia b
Page 133 and 134:
common man. To emphasize his love f
Page 135 and 136:
I asked a number of working-class a
Page 137 and 138:
A few concerned mumblings erupted a
Page 139 and 140:
Explosión‟s operation contains a
Page 141 and 142:
from the 1970‟s and his uncle wit
Page 143 and 144:
Explosión often performs outside o
Page 145 and 146:
tighter with some really good horns
Page 147 and 148:
with holiday bonuses. This system h
Page 149 and 150:
Explosión videos of pandilla conti
Page 151 and 152:
fans. A number of factors undoubted
Page 153 and 154:
on the idea that a „new culture,
Page 155 and 156:
135
Page 157 and 158:
Figure 18 Transcription of “Mix P
Page 159 and 160:
Núñez: The pandilla. It‟s our o
Page 161 and 162:
foreign music in its repertoire. Ev
Page 163 and 164:
whether the tecno-cumbiaized pandil
Page 165 and 166:
tall palm post, also purchased with
Page 167 and 168:
The celebration I attended took pla
Page 169 and 170:
Pandillando across the nation: Expl
Page 171 and 172:
ceiling. Elevated tables littered w
Page 173 and 174:
show, and most acknowledged their d
Page 175 and 176:
Conclusion: Pandillando While tecno
Page 177 and 178:
CHAPTER V: PUBLIC CULTURE IN URBAN
Page 179 and 180:
media and recorded or live sound pe
Page 181 and 182:
The city‟s physical isolation pre
Page 183 and 184:
according to their social positions
Page 185 and 186:
ock. In one sitting, as an example,
Page 187 and 188:
dwelling may project a particular s
Page 189 and 190:
The chichódromo: Predictable space
Page 191 and 192:
Finally, the Navy marina in Punchan
Page 193 and 194:
midnight. The crowd is thickest at
Page 195 and 196:
such as “buchisapa” (an individ
Page 197 and 198:
Peru, and those from other regions
Page 199 and 200:
Audiences at the Complejo often cla
Page 201 and 202:
more connected if the music they li
Page 203 and 204:
esponded that, “It‟s who we are
Page 205 and 206:
Verónica, my “host” sister, wh
Page 207 and 208:
visited the capital everyone asked
Page 209 and 210:
is designed to facilitate the excha
Page 211 and 212:
from tracks recorded during live pe
Page 213 and 214:
The local seller thus seems to be a
Page 215 and 216:
well as a metropolitan stage” (Va
Page 217 and 218:
CHAPTER VI: CONCLUSION: ANALYTICAL
Page 219 and 220:
institutions of higher learning and
Page 221 and 222:
could reveal alternate articulation
Page 223 and 224:
The conservatory itself is highly r
Page 225 and 226:
internet sites and podcasts are inc
Page 227 and 228:
As Iquitos continues to develop, it
Page 229 and 230:
Amazonian sound demonstrates their
Page 231 and 232:
Bullen, Margaret. “Chicha in the
Page 233 and 234:
Handler, Richard and Jocelyn Linnek
Page 235 and 236:
McAlister, Lyle N. Spain and Portug
Page 237 and 238:
-----. “Intento de aproximación
Page 239 and 240:
Villarejo, Avencio. Así es la selv
Page 241:
VITA Kathryn Ann Metz attended Wood
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