Nuestro Folklore
A visual follow-up (of sorts) to Puro Tayta Shanti, and more.
Having arrived to Huancayo early Friday morning October 18 on a bus that left Lima late Thursday night, I would say I was in pretty good shape.
The journey takes about 8 hours, the highway passes some very high points, some of the highest to be more accurate, but the bus is relatively comfortable, and the route is well traveled. I tried to sleep as much as I could, knowing the days (and nights) ahead would be demanding. Tried as I did, I had only moderate success. Thankfully I had a set of keys to my cousin Wari’s apartment, as well as a ride arranged to get there from the bus station (that would explain a good amount of the reason why I was in good shape). I had been to Wari’s apartment before, was instructed on which room to sleep in, and made myself at home. The altitude is high enough in Huancayo to feel the effects, and I was sure to take a little nap before starting my day. Late morning, I headed out to the center, to get some food, and try and find some of the musicians I was searching for.
Parque Inmaculada in Huancayo is an easy walk from the city center.
It is a lively place, surrounded by small shops and markets, restaurants, and of course, offices to some of the region’s best orquestas and bandas. Sounds come from all directions on most days, and this area can be really bustling at times. I have never seen it quiet or desolate.
First on my list was to find Agustin Gaspar Unsihuay of Los Solitarios del Ande, or as most folks know him, director of the prestigious orquesta Ases de Huancayo. Quickly surveying the park and its surroundings, I noticed offices for many of the most esteemed musical outfits of the area. It could mistakenly feel like a cool throwback to the old-fashioned ways of doing business, except it isn’t a throwback, the most lucrative and well-respected orquestas and bandas have held offices here for decades. One doorway, in particular, boasted quite a few names-of-interest-to-me, but most importantly, it had an office for Ases de Huancayo, and I knew that was how I would find the director. Señor Unsihuay was expecting me to get in touch, as we had been in contact before I left the States, but we had not chatted with more details, so I knew it would be a long shot to find him there without notice. With excellent luck, he was not there, but actually en campo and I was given an address. I jumped in a taxi and headed out to find him.
After some confusion, we arrived at the address. It was not easy, the taxi driver pulled over numerous times to ask for directions from pedestrians. The driver was a bit frustrated and we were parked outside our destination and haggling a bit because he felt he should raise the price after our mini-adventure. Before we could really even get into it, or have it get awkward, a voice came through my open window asking how much was needed. And then an arm reached in and paid. My door was opened for me, and outside stood the man I was looking for.
He was remarkably cool, with a friendly smile, and immediately shook my hand and made me feel quite at home. Señor Unsihuay led me around a wall, into a compound the size of a small futbol field, and there was a large orquesta rehearsing. As we walked to a covered area, he mentioned Ases de Huancayo were working out newer material in preparation for upcoming rural celebrations happening in and around Huancayo.
We sat in a covered area that had a small bar, and he ordered a bottle of cola for us to share, as we re-introduced ourselves and chatted for a bit, trying to get to know each other. He was very happy to receive his copy of Puro Tayta Shanti. He also asked how I discovered the group and was very proud to learn that his music had reached as far as the US, and beyond, and was re-released into the world. Polite and professional, but very welcoming, we talked for a while, as the orquesta played through arrangements in front of us. Occasionally he would try to share some snacks with me. When I got up to leave, we made sure to have a photo or two taken. I had a hunch I knew where I was, so I decided to walk.
With luck, I was in Chilca, where I have family, and I found my tía ’s house. The remainder of the afternoon was spent hanging out with my beloved cousins. The night was mellow, and I was sure to take it easy, knowing the next day would be full.
Saturday morning,
I returned to Parque Inmaculada, to once again search for an orquesta’s director. Señor Macedonio Rojas of Orquesta Huracan del Mantaro was expecting me and gave me an address of an office on the park to meet him. I walked up the stairs to snoop around and followed the sound of a trumpet warming up. Brightly colored hand-painted signs led the way to many offices and rehearsal rooms. As I returned to street level, I soon found the director. .
The park was very loud that day, so he led us back to Plaza Huamanmarca, one of the bigger plazas in Huancayo, where we could chat. Happy to meet in-person, I explained the project to him again, how the response to the project had been, and informed him that his orquesta’s song was quite popular. We talked for a while, he updated me on his very busy schedule, and we even managed to take a few photos. Knowing I was quite lucky to have met him, I also asked that he pass along a copy of the compilation to the singer/co-director of the group, his cousin Eludio Rojas. We parted ways and I decided to walk back to Chilca, to meet with my tía at her home.
Always a loving and gracious host, my Tía Yudy is also very tough, in the best way.
It is Tía Yudy that guided us to Lambras on that fateful day in 2012, to find the location featured on our compilation album’s covers, as well as Duo las Perlas de Huancavelica’s Costumbres de mi Tierra, and a handful of other folkloric records from the remote area. After catching up for a few hours, my tía again mentioned that our family knows Carmela Morales’ family (singer/bandleader of Duo Las Perlas de Huancavelica), and that she knows her son, the esteemed scholar, folklorist, writer, dancer, and theater artist José Oregón Morales. While they hadn’t been in contact recently, she was confident we could find him. As in, right then. And we were off. A quick cab ride down the road, and we were shouting up to a window to find José Oregón Morales. My tia confessed to me it had been a year or two since she saw him, but it would be ok. A young person appeared at the window and told us he was resting, but would meet with us, as he knew my tía for many years.
In his home, I presented to him the compilation, and explained, admittedly somewhat nervously, the details, inspiration, theories, and ideas of Tayta Shanti as I understood them. We looked at the liner notes, and I explained the work put into it. He was reserved, and quiet for much of the time. After explaining, I had the honor of gifting him a copy. It was at this moment that he began to chat and give some details and very crucial insight to the festival. Some incredible, new-to-me discoveries were made as he dropped heavy knowledge on the subject of which I based the compilation. He commended the liner notes and their accuracy, and I was humbled when he complimented the work contained within. He was also happy to see his mother on the cover of yet another LP. Among the amazing things he told me regarding the celebration, was how there was a time during the conquest when just owning a yungor (the instrument prominently featured on the album’s cover) was punishable by death. Señor José Oregón Morales also offered up Hatun Taky as the original, earliest known name of Tayta Shanti/Santiago/Tinacuy. With that, he stated that this festival was actually the oldest of all festivals in Peru.
José Oregón Morales insisted we return the following day and gave to us another very important name: Luis Cárdenas Raschio. Señor Cárdenas Raschio was the photographer his mother Carmela Morales consistently hired to document her artistic endeavors. He was the photographer behind the lens for the compilation’s cover, and the album that inspired it (Duo Las Perlas De Huancavelica’s Costumbres De Mi Tierra), as well as other classic folkloric album covers. With that, the maestro walked us out of his home, and after one quick visit to his school of arts, walked us to the home of the daughter of the deceased photographer. Unannounced, we knocked on her door, and the maestro explained who we were. Without hesitation, she allowed us to enter her home and see some of her father’s work. An archivist of Andean art, there are many masks and examples of traditional attire on display in her home. It was an amazing experience. After some time, we thanked her, and left. On the street, I said goodnight to Tía Yudy, and we agreed to meet the following day to join Señor José Oregón Morales once again.
My night was only just beginning and I met with a cousin, Geraldine, daughter of Martha Ravelo from Las Salcabambinitas. We had agreed to meet at Plaza De La Constitución, a popular plaza in the center of Huancayo. Geraldine arrived with a friend, and we all chatted over dinner at a restaurant nearby, where I was able to give her a copy of the compilation, as well as another copy to deliver to her mother. After our nice chat, Geraldine very kindly invited me out for an evening with friends, all of whom are very talented artists. The night was fantastic and inspiring, and much of it centered around their space La Munay. Geraldine maintains this very special place, along with some of the friends we met throughout the evening. And while that adventure began and ended at La Munay, there were some excursions to different places throughout Huancayo. A chicha band that was more Andean than tropical closed out our excursions in a restaurant that seemingly does not close. Perhaps in a different installment of Nuestro Folklore, an entire other follow-up could be dedicated to that special place, La Munay, and some of the fine people I met there, but that will be saved for the future. Geraldine was an amazing host, and I felt very lucky to be included. In the early hours of the morning, I returned to Wari’s apartment.
Sunday’s visit
with José Oregón Morales felt more relaxed. The maestro showed us scans of old photographs on his computer. He shared all of his mother’s musical output and I was gifted with a few books, one of which I had previously tried (without luck) to find on my own. Tía Yudy and I returned to her home for lunch. We chatted for hours, before I had to leave to meet with my cousin Wari, who had arrived earlier that morning (comically about only 30 minutes after I went to sleep). I left Huancayo the next day feeling grateful and a little bit sad. I love that place.
Back in Lima,
I arranged to meet Alberto Requena Rios, more commonly known as el Lucero del Huascarán. Aside from being an accomplished musician for many decades, he is also business manager to his wife, the lovely Yolanda de Carhuamayo. Together, they are still very much involved in the folkloric circuit, participating in concerts and releasing videos, as well as hosting radio programs. My early experiences with Lucero de Huascaran were via phonecalls, and he was immediately very friendly and helpful. When it was time to ask some questions for the liners, he was very accommodating, and gave plenty of information.
We had decided to meet at a big mall. It was easy to get to and not too far from where I stay in Lima with my cousins. Alberto Requena Rios was quick to find me and we sat down for an Inca cola. I happily explained the project again and handed him a copy to have for their archives. He gave me an incredible amount of insight to their early days, cutting 7 inch records at a young age. With a proud grin, he told me how he could not use his real name to perform when he was young, in fear of getting reprimanded by his mother. I had dug big in Lima centro earlier in the week and found a copy of one of his records, which I had him sign. It was great to hear the stories behind the songs, and even how he chose not to have himself on the cover of the record, again, to hide from his mother. There was a feeling that we could chat for hours. And in another spell of good luck, Señor Alberto Requena Rios also told me he was in contact with another musician I had been searching for. It was a great meeting and I was able to get some excellent photos. We parted ways but continued to chat via cellphone throughout the rest of my visit in Lima
The last meeting I had arranged for this trip was also my most anticipated: Esther Suarez.
Having had the amazing luck to do some work on her La Bolognesina reissue lp with Little Axe Records, she is the first Peruvian artist I contacted (emailed and called on the phone) for the purpose of reissuing/re-releasing music. When we first spoke, I was a bit star-struck and intimidated. Esther Suarez was always friendly, but very professional with a lot of attention to detail, and so every call or email we had was a highly anticipated event, speaking strictly from my perspective, and I would always make extra effort to have everything in order before we communicated. Having spent the last few weeks in Perú, meeting and chatting with different artists, I had a lot of time to anticipate this particular meeting.
A mall in Los Olivos was the chosen meeting place, and this added to the anticipation. Los Olivos is an amazing slice of Lima. I have been there a handful of times, usually to visit friends. The journey to get there has never been easy. Los Olivos is situated in the center of busy Lima. It is quick and if you are not used to a pace like that of Los Olivos, it can be overwhelming. Not touristic. Not flashy. Not trending. It is real. Every mode of transportation in and out of there seems to be very complicated if you are not from the area. A good amount of my morning was spent with my close cousins (in a different part of Lima) debating how I would get there. Normally I can take cabs and walk my way through much of the city, at least, the parts of it I visit. But with Los Olivos, it always seems more complicated. After much debate, we hired a car to take me there, roundtrip.
We arrived a bit early and waited near the entrance. Señora Esther Suarez arrived soon after with her daughter. The three of us went inside to sit at a table and chat. I soon realized that of all the artists I had been in contact with, I had spoken with Esther Suarez the most. It was a very humbling feeling. We chatted for a while and both confessed that we were happy to finally meet the person on the other side of the emails and phone calls. With great luck, I happened to find copies of her other records on vinyl while digging at Lima’s infamous Kilka. She was kind to sign them, and we all laughed as she told stories about being a very young folkloric singer. Esther Suarez seemed quite happy to hold original copies of her old records and was very pleased to receive copies of her reissue on Little Axe Records. Her daughter was polite and pleasant, smiling and laughing as we chatted. There was a very special feeling in the air. After a great talk, and taking some photos, Señora Esther Suarez gifted me with cds, and an amazing heart-shaped keychain. It was all too much, in the best way. Riding back to my cousin’s house was surreal, I found myself pinching my arm the entire way.
I can still hardly believe how lucky I am to live this dream.
This journey took place in October 2019.