{"id":5420,"date":"2012-10-31T15:58:00","date_gmt":"2012-10-31T20:58:00","guid":{"rendered":"http:\/\/www.fertur-travel.com\/blog\/?p=5420"},"modified":"2017-03-15T15:14:42","modified_gmt":"2017-03-15T20:14:42","slug":"happy-musica-criolla-day","status":"publish","type":"post","link":"https:\/\/www.fertur-travel.com\/blog\/2012\/happy-musica-criolla-day\/5420\/","title":{"rendered":"Happy M\u00fasica Criolla Day!"},"content":{"rendered":"

On October 18, 1944, then-President of Per\u00fa Manuel Prado declared October 31 a national day to celebrate M\u00fasica Criolla.<\/p>\n

\"EvaThe designation was the culmination of a prolonged effort led by Peru’s most influential newspaper El Comercio. In part, the campaign was motivated by a reaction on the part of Peru’s national government and ruling elite against a mass migration by Quechua-speaking highland Indians to the coastal capital city.<\/p>\n

Ironically, in rejecting the cultural contributions of Andean migrants, the government was in essence showing its preference for the musical traditions of the descendants of Peru’s African slaves.<\/p>\n

\"OscarThe acceptance of criolla music by the middle- and upper-classes was an idealized expression of nostalgia for Lima’s colonial past, wrote Peruvian musicologist Jose Llor\u00e9ns, mythologizing its aristocratic character, public spaces and architectural monuments.<\/p>\n

For decades, Afro-Peruvians<\/a> had provided the backbone to Peru’s national (coastal) musical heritage with complex 12\/8 rhythmic structures, like Festejo and Land\u00f3.<\/p>\n

By the 1940s, Criolla music had basically developed into an urban genre, an assimilation of various coastal musical traditions, from folk ballads known as Vals, to Afro-Peruvian “jaranas” dance music, and Marinera.<\/p>\n

\"ArturoThe signature instruments of\u00a0 m\u00fasica criolla were firmly established: guitar and the caj\u00f3n (a percussive instrument made from a large wooden box, invented centuries earlier by black slaves who were prohibited from playing drums, for fear they would use them to signal violent revolts against their Spanish colonial<\/a> masters).<\/p>\n

In the 1950s and 1960s, Criolla musicians had incorporated other Afro-Peruvian traditions, like “D\u00e9cima Verse” and bass became a common accompanying instrument.<\/p>\n

Today, Criolla music is one of Peru’s most popular artistic forms, identified with, and beloved by, Peruvians of all backgrounds.<\/p>\n

Happy M\u00fasica Criolla\u00a0 Day!<\/p>\n

 <\/p>\n

Bibliography:
\nIntroducci\u00f3n al estudio de la m\u00fasica popular criolla en Lima, Per\u00fa, by Jos\u00e9 A. Llor\u00e9ns
\nM\u0161SICA CRIOLLA: Cultural Practices and National Issues in Modern Peru, The case of Lima (1920-1960) by Luis Gomez<\/p>\n

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