Perou
Huayno, Valse Créole Et Marinera
1994
Tracks:
01. Pot-Pourri De Huaynos
02. Lo Cholito
03. Hermitana
04. Le Charangiste Solitaire
05. Adios Pueblo De Ayacucho
06. Tocucha
07. Inti Raymi
08. Bajo El Cielo De Los Incas
09. Huayno De La Merced
10. Mi Peru
11. Como Quisiera Tenerte En Mis Brazos
12. Cantenito De Mis Amores
13. Villancicos De Ayacucho
14. Nube Gris
15. Festejo
16. Marinera
17. Danzas Andinas
18. Las Virgenes Del Sol
Field recordings by Gérard Krémer in "Black" Peru.
Huayno - The Fingerprint of the Incas
Since Huayno lyrics are sung in Quechua, many consider it to be one of the most authentic Peruvian dances. Huayno has been a vessel carrying the essence of Inca culture throughout various generations.
The first references of Huayno appeared in 1586. The book “Vocabulary of the Indians of Peru” mentioned the “Huayñucuni”, a music indigenous people danced behind closed doors. “Huayñucuni” translates as “dancing with a partner, with arms folded.” Under colonial rule, Huayñucuni was rarely danced in public. Its successor, the Huayno, is the root of most Andean dances.
Huaynos are danced in most Andean festivities. They could be classified by the region of origin. Northern Huayno is characterized by joyful steps. Southern Huayno, instead, has cadent rhythms. Central Huayno has animated swings but very tragic lyrics. Why tragic lyrics? Quechuas lived under the despotic rule of mining corporations. Quechuas sang to vent off their sorrows and seek consolation through Huayno.
Vals - The Symbol of Peruvian Criollismo
Vals is the most valuable cultural expression of Peruvian criollismo. Due to its multiple cultural influences, Vals is an iconic dance encompassing our vast Peruvian diversity.
Dancing is not an activity disassociated with the world. Every dance is a living entity shaped by both historical and daily events. A minor change in the flow of events can provoke repercussions in the fate of any particular dance. This is how dances are developed, grow or simply decay.
In the late 1890’s, the fusion of African tunes, the French Minuet, the Polish Mazurka, the Viennese waltz and the Spanish jota produced the Peruvian Vals. Most Limeños, who loved Opera, didn’t pay attention to it. Gradually, fabulous performers as Felipe Pinglo and Chabuca Granda brought Vals to great acclaim. If a Limeño from Colonial times would materialize today, he would be astonished to see that Vals, a music generally despised then, is now the main symbol of Peruvian criollismo.
Vals, with slight steps and cadent tempo, is the most conventional of Peruvian dances.
Marinera Norteña - A Romantic Coastal Dance
Hands down, Marinera is the most iconic of Peruvian coastal dances. Along with Vals, Marinera also imbibed a manifold of cultural currents. Therefore, any serious exhibition of Peruvian dances would be incomplete without Marinera.
Despite multiple theories, Marinera probably arose from Zamacueca. There is a striking resemblance in the steps of both typical dances.
While men danced Marinera wearing shoes, women did so barefooted. Proud of their fortitude, women even sought coarser grounds to dance on. Hence, they created the motto: “the coarser the ground, the greater the dancer.” Women then exhibited their calloused soles to earn the respect of skillful dancers. Some women also danced Marinera holding a Chicha bottle on their heads.
Although we also have ‘Marinera Limeña’, ‘Marinera Norteña’ surpassed the former in popularity. The Norteño dance exudes joy, energy and speed. “La Concheperla” is the most popular Marinera song.
Why was it named Marinera (Sea dance)? Nobody knows. The swings and swirls of ‘Marinera’ assimilate those of sea waves. And some say Trujillano seamen may have baptized it so. Others assert that Trujillano writer Abelardo Gamarra picked that term in 1879.
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