Afro-Peruvian Overview:
The coastal music of Perú evolved within a more Creole context, combining Spanish, African and indigenous elements through the centuries of colonial rule and after independence. While historically neglected until recently, Afro-Peruvian music contains a wealth of rhythms and dances that have seen a resurgence in popularity within the latter half of the 20th century to today and are quickly spreading to other areas of the Americas.
Black Peruvian music features a tri-cultural blending of instruments, including the Spanish guitar, the cajón (a wooden box drum that is sat upon and played with the hands on the front and sides) and the quijada (the jawbone of a mule or donkey that has been dried so that the loose teeth produce a rattling sound). In some areas, a gourd drum (called the checo or the angara) is also added, and contemporary groups have added the electric bass, Cuban conga drums and African-derived cowbells to their ensembles.
The styles range from more Spanish-derived forms, such as the jarana and socabón, to Creole styles such as the marinera and more African-derived styles such as the landó and the festejo (the latter two being the most popular for dancing). Song texts include the usual gamut of popular and social themes, but many songs chronicle the social and historical events of the era of slavery. The dances also reflect the cultural and ethnic mixture of the Peruvian coast, with the festejo being the most sensual and lively. Popular artists such as Susana Baca, Eva Ayllón and the group Perú Negro have popularized these forms in recent years and introduced international audiences to this rich tradition. Rebeca Mauleon
