Just follow the river...

 

Huayno

Music Of Peru

Vol. 1

1989

Tracks:

01. Río de Paria - Jilguero Del HuascaraN - 3:03
02. Chonginada - Los Romanticos De Sicay - 2:55
03. Quisiera Olvídarte - Pastorita Huaracina - 2:33
04. Señor Diputado - El Cholo Chanka - 2:28
05. Carnaval Cristalchay - Conjunto Musical Amauta - 3:09
06. Neblina Blanca - La Huaricinita - 2:48
07. Misti Gallo - El Cholo Chanka - 2:04
08. Señor Diputado 2 - La Pallasquinita - 3:07
09. Cholo Orgulloso - La Pallasquinita - 2:40
10. Vengo del Prado - Rio Lira Paucina - 2:42
11. Vaca Ratay - Duo Las Perlas De Huancavalica - 3:07
12. Urpichalláy - Conjunto Los Chankas Apurimac - 2:09
13. Mis Quejas - Conjunto Los Chankas Apurimac - 3:06
14. Chall Huaschalláy - Conjunto Condemayta De Alcomayo - 2:42
15. Perlas Challáy - Perlas Challay - 3:26
16. Tostando Cancha - FabiaN Ochoa - 2:50
17. Engaños del Mundo - Enganos Del Mundo - 2:35
18. Pio, Pio - Amanda Portales - 3:29
19. Inti Sol - Manuel Silva - 3:38
20. Adiós Caminito - Julia Illanes - 4:02
21. El Hombre - Manuel Silva - 3:43
22. Licor Maldito - Julia Illanes - 4:05

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 Music from the Peruvian Andean heritage by popular commercial recording artists who came from the high mountains to Lima in search of better economic opportunities. 

Edited by John Cohen. 

Originally released on 45s by Discos IEMPSA 1948-89.

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 “Except for a few cuts on anthologies, this is the first U.S. release of what album editor John Cohen calls the `popular music of the Andean people,' played by the region's `hillbilly musicians.' Like American `country' music, Huayno (pronounced `wino') is the result of the meeting of traditional mountain music with its high-pitched vocals, insistent beat, and breathy flutes - and more commercial, urban sounds, including those of Colonial music from Spain. Like contemporary North American musical hybrids, moreover, the kinds and combinations of instruments are often surprising: harps and harmonicas, mandolins and saxophones, panpipes and accordions, as well as guitars, violins and charangas. While many of the album's twenty-two cuts are highly arranged, none exhibits the self-conscious eclecticism of much of today's `new' music. Nor, though the sound is often ethereal and spacey, does this music display the directionlessness of the New Agers. What it does reveal is an emotional intensity, most clearly evident in the high sometimes strident, femaIe vocals and slippery violins, and an exuberence bordering in places on the boisterous, with lots of whooping, clapping and shouting. In short, it is both weird and wonderful. John Cohen's notes place the music in its cultural-social context and point out the distinctions among the various regional Huayno styles. Translations for most of the songs are also included.”

-Mark Greenberg — Sing Out!

“Huayno (pronounced `wino' ) is the everyday music of the Peruvian Andean people. Dating back to the Incas, Huaynos have evolved but keep a particular rhythm (a stressed 1st beat followed by two short beats) tunes cover a broad canvas, instrumentals and songs instruments include fiddle, harp, mandolin, accordion, saxophone, guitar, and lute. Even when the playing is exuberant and accompanied by cries of joys, there remains the profound sadness that is such a distinctive feature of Andean music.”

-Paul Lashmar — Folk Roots

Huayno 

(Wayñu in Aymara and Quechua) is a genre of popular Andean Music and dance originally from Serrania, Peru. It is especially common in Peru, but also present in Chile, Bolivia, Argentina and Ecuador, and is practiced by a variety of ethnic groups, including the Quechua and Aymara people. The history of huayno dates back to the colonial Peru as a combination of traditional rural folk music and popular urban dance music. High-pitched vocals are accompanied by a variety of instruments, including quena (flute), harp, siku (panpipe), accordion, saxophone, charango, lute, violin, guitar, and mandolin. Some elements of huayno originate in the music of the pre-Columbian Andes, especially on the territory of former Inca Empire. Huayno utilizes a distinctive rhythm in which the first beat is stressed and followed by two short beats.

Dance

The dance begins with the man offering his right arm to the women as an invitation for her to dance (there is even a special word for this action, Quechua: wayñukuy "to invite woman to dance a wayñu"). Alternatively, he puts his handkerchief on the shoulder of the woman. Next, the partners walk along an enclosure, and finally they dance. The dance consists of an agile and vigorous stamping of the feet during which the man follows the woman, opposite to front, touching her with his shoulders after having turned around, and only occasionally he touches his right arm to the left hand of his partner while both swing to the rhythm of the music. His movements are happy and roguish.

- wiki

pic source

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Down in the Valley...

Huaynos y Danzas
Religious and secular music 

of the Callejón de Huaylas, Peru

1999

Tracks:

01. Shaqshas - Group of Men from Carhuaz - 4:38
02. Huanquillas - Group of Men from Huauya - 2:51
03. Antihuanquillas - Processional Band From Carhuaz - 2:18
04. Ñustas - Processional Band From Carhuaz - 4:10
05. Caballeros De Huari - Processional Band From Carhuaz - 2:25
06. Negritos (Little Negroes) - Negritos - 3:43
07. Atahuallpas - Hijos Del Sol - 2:50
08. Cajas and Huanquillas - Processional Band From Caraz - 3:24
09. Cajas and Roncadoras - Processional Band From Huaylas - 2:47
10. El Condor Pasa - Banda Musical Estrella Andina - 4:09 ♥
11. Rio Santa - Lorenzo Piscoche & Victor Mejia - 1:53
12. A Los Filos De Un Cuchillo (To the Edges of a Knife) - Eloy Cano - 2:56
13. Tomando Cerveza (Drinking Beer) - Pastor Aguilar & Remigio Rojas - 2:37
14. En El Cielo Las Estrellas (Stars Are in Heaven) - Feliciano Oliveira, Lucio León & Alberto Oliveira - 2:42
15. Huaraz Cuculi (Dove from Huaraz) - Los Aventureros de Tumpa - 2:36
16. Hay Noches (There Are Nights) - Juventud de Yungay - 2:23
17. Hoy Estoy Aqui (Today I Am Here) - Banda Orquesta Hijos de Shupluy - 2:20
18. Ayer Te Vi (I Saw You Yesterday) - Los Hermanos del Ande - 2:51
19. Contamenina - Pedro Espinoza - 3:14
20. Yungay - Los Jilgueros de Matacoto - 2:51
21. La Resbalosa (The Slippery One) / Pichichanka Maliciosa (Naughty Sparrow) - Juventud de Yungay - 4:36
22. Muchachita No Seas Celosa (Little Girl, Don't Be Jealous) - Pedro Espinoza - 3:20
23. Kiswar Punta [On Top of Kiswar Hill) - Pedro Espinoza & Lorenzo Piscoche - 2:24

The recordings were made in 1980-1981, during an 18 month stay in the valley by Elisabeth den Otter.

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.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  The Callejón de Huaylas is a 150 km. long valley in the Department of Ancash, in the north-central Peruvian highlands, 400 km. north of Lima. It is bordered by two mountain ranges, the Cordillera Negra (Black Range) to the West and the Cordillera Blanca (White Range) to the East. As the name indicates, there is no snow on the peaks of the Black Range; the glaciers of the White Range, like the Huascarán, reach over 6,000 meters above sea level. In 1970, an earthquake loosened a piece of this glacier, causing a mud avalanche which destroyed a number of villages. The Santa river runs all along the valley, into the Pacific Ocean near Chimbote.

The population of the Callejón consists of Quechua-speaking indians, mostly peasants who live in the mountain villages, and Spanish-speaking Mestizos (people of mixed indian and Spanish origin) who live in the small towns along the Santa river. The Mestizos dominate the indians, economically and politically, but changes in the life of the indians are brought about by (temporal) migration, education, military service and tourism.

The beauty of the valley, the horror of the earthquake, and the difficult everyday life of the inhabitants are the subjects of many songs.

Secular music & Religious music

 
Secular forms of music and dance in the Callejón de Huaylas are the huayno, the marinera and the waltz.

Religious music is played mostly during processions, at the occasion of patron saint festivals, Holy Week and Corpus Christi. Flute and drum ensembles and brass bands play special music, and traditional dance groups are accompanied by flutes and drums, harps and violins, or brass band instruments such as clarinets. During patron saint festivals, secular music - mostly huaynos - is played in the homes of the sponsors or in small bars...

 

read it all here : )

  

pic source

 

The population of the Callejón de Huaylas is primarily Quechua and Spanish-speaking Andeans, most of them small-scale and subsistence-farmers living in mountain villages, mixed with Spanish-speaking Mestizos in the small towns and cities along the Santa river. The richer Mestizos dominate politically and economically, but migration, education and tourism have brought changes in the population in recent decades.

Most Quechua families adhere to traditional forms of food, music, and dress, yet still have cell phones and typically raise Guinea Pigs and other farm animals in their farms. Although men have typically adopted modern pants, collared shirts and sweaters, Quechua women continue to wear llikllas and layered colored skirts called polleras in Spanish. Both men and women wear llanq'is, rudimentary sandals in the traditional style, although they are now made from recycled rubber from car tires. One can buy them in any size from the various markets in the region, for around 5 soles a pair.

wiki

  

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