Pachamama Peruvian Arts
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Pachamama Peruvian Arts
c/o Center for Traditional Music and Dance
32 Broadway, Suite 1314
New York, New York 10004-1626

Tel: 212.571.1555 ext. 27
Fax: 212.571.9052

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Pachamama Peruvian Arts is an initiative of the Center for Traditional Music and Dance: www.ctmd.org
Center for Traditional Music and Dance

The summer classes will take place every Wednesday in July (2, 9, 16, 23 and 30) at Queens Museum of Arts, located in Flushing Meadows, Corona Park, Queens. As always, these are review classes, and will be free for students who participated in regular classes from October 2007 to February 2008 and February to June 2008. 

      - Rosa Carhuallanqui, Marinera Norteño 3:30 to 5:00 pm
      - Luz Pereira, Marinera Limeña y Resbalosa and 3:30 to 5:00 pm
      - Patrick Paucar, Andean Music 5:00 to 6:30 pm
      - Marcos Napa, Cajon and other Percussion instruments 5:00 to 6:30 pm

For those who travel by the 7 Train, get off at Shea Stadium, Willets Point. On July 2, we will have the trolley bus service to transport students and parents from the Shea Stadium parking lot to the Museum, with return service after classes. If enough students and parents take the trolley, we will provide it every Wednesday.  If you drive, there is free parking; but it is very limited so please car pool (bring those students who live in your area).

Pachamama Peruvian Arts offers weekly instruction free of charge to children ages seven to fourteen in dance forms such as the marinera limeña and norteña, festejo, and huayno, as well as musical instruction on the cajón (box drum), antara (Andean panpipe), and charango (Andean guitar).  Our class schedule changes every semester to offer our students a chance to explore the vast cultural forms of Peru.  Some 1500 musical genres are performed throughout the country!

Class Descriptions

Now one of the most popular and representative Afro-Peruvian dances, today’s festejo probably began in Lima during the 19th century.  It is performed by couples who both insinuate and avoid physical contact.    Festejo is danced at social occasions especially among the Afro-Peruvian communities of Peru’s coast. 

Huayno is one of the most representative dances of the Andes.  Dating from pre-Colombian times, huayno blended early with Western influences and spread into dozens of regional variations.  Huayno is danced in couples, though little physical contact is made.  The dance culminates with an energetic tap dance to mark time.

Inspired by the Spanish dance zamacueca, marinera developed during Peru’s colonial period (1532-1821) and was later given the name marinera in honor of the Peruvian Marines victory over Chile in the war of 1879.  The two most common forms of marinera are marinera limeña (criollo and African influenced) and marinera norteña (Andean influenced).  Traditionally this couples dance is performed at home or at popular festivals and restaurants or at the end of any party.

A pre-Columbian wind instrument from the time before the Incas, the traditional antara  was tuned to different scales; at present antaras are tuned to the pentatonic scale (five-note scale). Modern panpipes offer the complete scale in order to accommodate just about any kind of music and to suit commercial interests. The antara is played mostly in the northern Peruvian Andes and in Ecuador. In the Andes, you will hear the antara played for farming activities, social events and to accompany regional dances.

A simple wooden box with a sound hole in the back, the cajón probably developed in the 1800s and became popular during the 1850s.  The cajón provides rhythmic accompaniment for all kinds of coastal music, including marinera limeña and the complex rhythmic structure of Afro-Peruvian festejo.  Today, the Afro-Peruvian sound is one of Peru’s most popular traditional forms following a 1950s revival launched by poet, composer and musicologist Nicómedes de Santa Cruz along with founding member of Peru Negro, Ronaldo Campos de la Colina.

Charango is a small Andean guitar featuring ten strings.  The charango’s resonance box is traditionally made from an armadillo shell, but it is also often made of wood. This instrument is very popular in the southern Andes, especially Puno, where it is used in ceremonies and other occasions. 

Carnaval de Canas
Carnaval de Canas is a cuzqueña dance from the province of Espinar, in the southern section of Cuzco. Also known as pucllay, Carnaval de Canas is characterized as very festive and picaresque.  It is danced at carnivals during the months of February and March.  Carnaval de Canas is danced in pairs (usually young couples) who use the dance, song and a charango to flirt with ultimately conquer their partner.

The tondero is a very expressive dance with joyful rhythms from the coast of the Departamento of Piura; (although each province has its distinct style).  This dance has three parts, each clearly defined and demonstrative of its roots in indigenous, black and Spanish culture.  In the first part the “lament” comes from the harawi (a poetic indigenous song), then a rhythm derived from the zamacueca (a mix of Spanish and Afro) and then the ground strike, an exclusively Afro contribution.   

The quena (or kena) is an open-ended notch flute and perhaps the most recognized wind instrument in Peru from pre-Hispanic times. Tones are made by blowing across the notch at the top and covering the five or six finger-holes in the front and/or a seventh thumb-hole in the back.  Originally this instrument was made of bamboo but many musicians now use a wooden version which is less likely to split. The quena originated in Peru and later spread throughout Andean region into Bolivia and Ecuador.  The Peruvian-style quena is tubular and completely open on the bottom.  Pachamama Peruvian Arts students use a Peruvian-style wooden flute tuned to 440 Hz. 

The Alcatraz is an Afro-Peruvian dance from Peru’s coast belonging to the festejo genre.  This festive and erotic couples’ dance is usually performed in the departments of Lima and Ica.  Alcatrazhistorically had its own proper choreography where the man and woman rhythmically danced from the waist, where a paper was attached.  The man, holding a lit candle, tried to light the cone of paper while the woman danced moving her hips.  In the choreography practiced today, the woman also tries to light the man’s paper on fire.