Creating Our Own: Folklore, Performance, and Identity in Cuzco, Peru - Tapa dura

"[T]his book is a valuable contribution to the understanding of Peruvian cultural history in the past century, arising from an admirable methodological meeting between anthropology and musicology. Creating Our Own not only brings new ideas and knowledge, but the reader can enjoy the musical works studied here by purchasing recordings listed in the discography." -- Victor Peralta Ruiz * Hispanic American Historical Review * "[F]ascinating, well-written. . . . Mendoza illuminates a rich time of cultural production that continues to have an ongoing influence on hemispheric and even global indigenous identity formation. Recommended." -- K.S. Fine-Dare * Choice * "Creating Our Own provides much useful data for the study of folkloric canon formation." -- Sydney Hutchinson * Dance Research Journal * "Creating Our Own offers a detailed accounting of how folklore enters into processes of identity formation and projection in one exemplary setting, Cuzco, Peru, during the first half of the twentieth century. . . . Folklorists will find in this book a pliable and productive formulation of the domain of folklore." -- John H. McDowell * Journal of Folklore Research * "Creating Our Own lucidly reproduces the tensions, difficulties, and paradoxes of postcolonial identity-formation at the regional and national levels. Not only is Mendoza successful in showing how the artistic-folkloric productions of Cuzco were integral to the formation of both cuzqueno and Peruvian identities, but she also succeeds in humanizing and individualizing what are often seen as largely social and national processes. . . . Creating Our Own is a suitable resource for graduate students and scholars of anthropology, history, and musicology. Mendoza organizes her materials logically, elegantly, and clearly." -- Adam M. Pacton * Anthropology Review Database * "This innovative, impassioned book explores music and dance in the heartland of the Andes. Zoila S. Mendoza conveys the power and beauty of Cuzco's Andean culture, and yet, like some nimble village pan-pipe player, shows the complexities, contradictions, and struggle over that elusive, marketable commodity we call `folklore.' Her remarkable study allows us to see the Andes and the matter of tradition and heritage in new ways."-Orin Starn, coeditor of The Peru Reader: History, Culture, Politics "Revivals of local musical traditions are sometimes described as the creations of relatively wealthy groups and government policymakers. Zoila S. Mendoza's fascinating analysis of the roles of local actors in shaping folklore movements in Peru is highly relevant for studies in the rest of Latin America, the United States, and elsewhere."-Anthony Seeger, author of Why Suya Sing: A Musical Anthropology of an Amazonian People "[T]his book is a valuable contribution to the understanding of Peruvian cultural history in the past century, arising from an admirable methodological meeting between anthropology and musicology. Creating Our Own not only brings new ideas and knowledge, but the reader can enjoy the musical works studied here by purchasing recordings listed in the discography." - Victor Peralta Ruiz, Hispanic American Historical Review "[F]ascinating, well-written. . . . Mendoza illuminates a rich time of cultural production that continues to have an ongoing influence on hemispheric and even global indigenous identity formation. Recommended." - K.S. Fine-Dare, Choice "Creating Our Own offers a detailed accounting of how folklore enters into processes of identity formation and projection in one exemplary setting, Cuzco, Peru, during the first half of the twentieth century. . . . Folklorists will find in this book a pliable and productive formulation of the domain of folklore." - John H. McDowell, Journal of Folklore Research "Creating Our Own lucidly reproduces the tensions, difficulties, and paradoxes of postcolonial identity-formation at the regional and national levels. Not only is Mendoza successful in showing how the artistic-folkloric productions of Cuzco were integral to the formation of both cuzqueno and Peruvian identities, but she also succeeds in humanizing and individualizing what are often seen as largely social and national processes. . . . Creating Our Own is a suitable resource for graduate students and scholars of anthropology, history, and musicology. Mendoza organizes her materials logically, elegantly, and clearly." - Adam M. Pacton, Anthropology Review Database "Creating Our Own provides much useful data for the study of folkloric canon formation." - Sydney Hutchinson, Dance Research Journal

In Creating Our Own, anthropologist Zoila S. Mendoza explores the early-twentieth-century development of the "folkloric arts"-particularly music, dance, and drama-in Cuzco, Peru, revealing the central role that these expressive practices played in shaping ethnic and regional identities. Mendoza argues that the folkloric productions emerging in Cuzco in the early twentieth century were integral to, rather than only a reflection of, the social and political processes underlying the development of the indigenismo movement. By demonstrating how Cuzco's folklore emerged from complex interactions between artists and intellectuals of different social classes, she challenges the idea that indigenismo was a project of the elites.Mendoza draws on early-twentieth-century newspapers and other archival documents as well as interviews with key artistic and intellectual figures and their descendants. She offers vivid descriptions of the Peruvian Mission of Incaic Art, a tour undertaken by a group of artists from Cuzco, at their own expense, to represent Peru to Bolivia, Argentina, and Uruguay in 1923-24, as well as of the origins in the 1920s of the Qosqo Center of Native Art, the first cultural institution dedicated to regional and national folkloric art. She highlights other landmarks, including both The Charango Hour, a radio show that contributed to the broad acceptance of rural Andean music from its debut in 1937, and the rise in that same year of another major cultural institution, the American Art Institute of Cuzco. Throughout, she emphasizes the intricate local, regional, national, and international pressures that combined to produce folkloric art, especially the growing importance of national and international tourism in Cuzco. Please visit the Web site http://nas.ucdavis.edu/creatingbook for samples of the images and music discussed in this book.