This is the sort of manifesto written by people of the Aloardí peruvian label included in the disc released in 2007 by the english organization Sonic Arts Network, Periférico: sounds from beyond the bubble.
CHOLOS / NOISES THAT INVADE LIMA
In Peru, expressing oneself is an act of sincere vitality. In a place where showing ones appreciation is influenced by different ways of perceiving the world: by cultural circles, political repression or induced by the media’s means of bulk communication, this vital ability has an ancestral character, which doesn’t start with experimental music or mass production of digital technology.
Syncretism, as means of survival, is present in various Peruvian customs. What we call “popular” or “folk” music (a category named by those in power) is a clear example of this. Over time, musical expressions recreate themselves in a constant manner, to remind us, not of the latest breakthroughs in musical technology or electronics, but the incessant struggle to make heard that which doesn’t want to be heard. Popular expressions exhibit a constant struggle against exploitation and highlighting their bond with nature (these challenges have ancestral roots in both natural and urban phenomenon – not wanting to make a separation between the two – and in their relation with those who live there). These characteristics are not necessarily manifested in the lyrics, or in the quality of interpretation, but in the atmosphere, texture, idiosyncrasy and precision of these expressions.
These sonorous expressions have also been created as part of a migratory phenomenon, as in the case with Chicha and other marginal expressions. Popular music in general, the underground scene, noise, markets and circles of parallel diffusion, etc. are the result of a reality where music and sounds have reproduced themselves as a way out. Peru’s collective consciousness is populated more with disorder, migration, discrimination, re-appropriation, fires, car bombs, and corruption than any other form of vanguard aesthetics when it comes to creating sounds or presenting a “fashionably” decadent image of the World’s chaotic cities, which for sometime has been a cliché of the media.
(to be continued...)
Gabriel Castillo / Christian Galarreta