Beruflich Dokumente
Kultur Dokumente
Tradition
Anna Gruszczynska-Zikowska
Z U S A M M E N FA S S U N G
Viele wichtige Faktoren bestimmen den Einsatz
von Musikinstrumenten in der andinen Tradition.
So verpflichten Kontext und Anla zu einem musikalischen Ereignis berlieferungsgem die Musiker zur Wahl des richtigen Instruments. Das
heit, da unterschiedliche Instrumente den einzelnen Jahreszeiten oder bestimmten Festen zugeordnet sind. Hinzu kommt, da Musikinstrumente
je nach ihrer symbolischen Zuschreibung und
Funktion nur von Frauen oder von Mnnern
gespielt werden knnen. Alle Zeugnisse der musikbezogenen Tradition in den Anden, handle es sich
nun um archologische, historische und ethnographische Belege, laufen darauf hinaus, da alle Flten- und Trompetentypen nur von Mnnern zu
spielen sind. Abweichungen gibt es nur im Fall
volkstmlichen Musizierens.
Knnen wir, wenn wir alle Quellengruppen
hinterfragen, diese Phnomene erklren? Welche
Mglichkeiten und Grenzen ergeben sich aus dem
Vergleich (der verschiedenen Erscheinungsformen)
und bei der Interpretation?
The problem of the usefulness of historical and
ethnographic sources in music-archaeological
research assumes special significance within the
context of Andean studies. The mutual relation of
those three types of sources in this terrain is
shaped totally differently from, e. g. Europe or
Asia. This situation is determined by at least two
essential factors. First and foremost, mention
should be made of the rather sudden emergence of
significant changes within the range of Andean
traditions as a result of their confrontation with
European culture. The second factor is the relatively late appearance of written sources, which
did not take place until the 16th and 17th centuries.
A transformation affecting the instrumentarium is an example of a rapid, not to say revolutionary turn in Andean music, which occurred during
this breakthrough period; more concretely, it
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In Nasca art, the links between wind instruments, especially trumpets and flutes10, with typically male activity are evident. Numerous depictions show musicians whose head coverings (e. g.
turbans made of coiled slings), painted faces and
certain attributes (for instance, spears, arrows,
arrow projectors, nets) indicate their non-musical
professions11. Attention is due also to another category of depictions, whose characteristic feature is
a distinctive changeability of the attributes: the
weapons held by the men are replaced by a musical
instrument (pan-pipes)12.
The problem of the close association between
wind instruments and male activity is illustrated
even more conspicuously by the realistically decorated vessels of the Moche culture, which developed along the northern coast of Peru at a time
analogous to the Nasca culture. Here we come
across numerous depictions of individual musicians and whole orchestras, composed of trumpets, flutes and pan-pipes. Particularly significant
battle scenes portray extremely vividly the active
participation of wind instruments. The musicians
are frequently persons of high social status, as evidenced by their richly adorned helmets13.
Interesting comparative material is provided by
iconography from the colonial period, some one
and half thousand years later. Copious material is
to be found in the decorations of wooden ceremonial mugs (so-called kero), which, albeit frequently
dominated by a colonial style, refer to embellishments used during the Inca period and recall symbols from bygone days. One of the monuments
dated as 18th century14 provides an excellent example. The upper, figurative fragment of the decoration shows a group of five men, walking singlefile. Dressed in ceremonial unkus, with heads
bedecked with colourful plumes, they play panpipes, moving in the long strides of a dance. The
men are followed by five equally lavishly clothed
women, holding a rope made of shawls tied
together at the corners. This depiction produces
the impression of being an entity, since the figures
are displayed on the surface of the vessels as if they
were circumventing it. Actually, we are dealing
with two different musical contexts and totally
separate dances performed by men and women15.
The decoration also contains another noteworthy
detail, namely, the presence of pan-pipes only on
the male part of the mug16.
How does this problem appear in present-day
praxis? Contemporary popular music demonstrates the relatively considerable activity of
women playing various instruments. Growing
interest in local tradition, noticeable in recent
years, is also the reason why many young women
take part in assorted courses or attend school
lessons teaching them how to play traditional
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rather various types of drums: from small handheld ones to large instruments suspended on specially constructed stands.
It must be emphasised that women are not the
only musicians using drums. Certain situations
called for the presence of men playing these instruments whenever they served a special purpose, as
in the huarachico initiation ceremony, when four
large drums of the Sun18 were placed in the central square in Cuzco, or the Itu ceremony, in
which the performers of a suitable dance, which
required the use of small white drums19 were
young men from the Inca caste, who that year had
completed their initiation rites. Another special
situation was created by war, when the drum was
frequently deployed as a weapon, especially when
it was built out of the body of a fallen foe. Importance was attached to the skillful art of speaking
with the drum, befitting a concrete situation on
the battlefield, so that the enemy, hearing the voice
of its leader, would flee20. A rule binding during
wartime hostilities in accordance with the dispositions issued by the rulers21 forbade all Indian
women or other females [...] to play drums, tell
joyful or droll stories, or touch weapons or the
instruments of war22.
The chronicles recount an interesting legend
about the drum: at the time of a terrible deluge in
the distant past all forms of earthly life were
destroyed with the exception of a woman and a
man, who sought shelter inside a drum23, and were
carried by water and wind to the land of Huanaco
(in another version Tiahuanaco)24.
In this manner, thanks to its closed construction, the drum saved mankind from total extinction and rendered possible its revival. This could
be the reason why women, the founts of life, can
play this instrument. The protective role of the
drum, especially when held by women, is
expressed in the music-making documented by
chroniclers and realised in This World (Kay
Pacha), and refers both to events which take place
in the Upper World (Hanan Pacha), where, e. g.
atmospheric processes are determined, and in the
Lower World (Ukhu Pacha), the destination of the
dead25.
Inca Garcilaso de la Vega wrote: It is said that
the creator installed in the heavens a maiden, a
royal daughter, who holds a jug full of water so
that she may pour it whenever the Earth needs it;
one of her brothers sometimes shatters the jug,
and this blow produces lightning and thunder. It is
said that this deed is performed by a man since it is
more fitting for violent males and not tender
women. They say that the maiden sends hail, rain
and snow because such doings are more delicate,
milder and useful26. Hence the presence of
women playing drums in assorted agrarian cere-
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BIBLIOGRAPHY
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La msica en el antiguo Per. La msica en el
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Historia del Nuevo Mundo. Biblioteca de
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Fig. 1 Woman drumming in the field during the night to protect the
grown corn again thieves (Poma del Ayala fol. 11099).
Fig. 2 The sound of the pututu (shell trumpet) in war context, here used to
communicate the victory of Atahualpa (Poma del Ayala fol. 115).
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