Introduction to the sikuris music
Sikuris bands do not release many albums and they are difficult to find in the music market today. It is not easy, therefore, to keep up to date with the latest releases, unless the band's has a long career as it happens with Chuma Q'hantati. Having said that, we would like to take advantage of this space to render tribute to a number of works which, despite not being "novelties" in the strict sense, do deserve a special mention for their ethnographic character.
A side comment is that in 2010, the Asociación Cultural de Sicuris Intercontinentales Aymaras de Huancané launched a CD under the title "Aymaras de Huancané – Vol. 12", which (as well as some previous ones) was accused of plagiarism by the Italian group "Trencito de los Andes". The album won't be included here, not because we take sides with the European group (which has been excessively acclaimed and naively defended by many commentators) but to avoid any kind of controversy. Also, the same year, the awarded Centro Cultural "Mojjsa Uma" released the album "Achachilanakasan chamapampi" (in Aymara, "With the strength of our fore-fathers"), including both sikuris pandilleros and sikuris de Italaque, as well as other musical expression from the Bolivian Altiplano. Regretfully, it has neither been possible to get this work, nor enough information on it as to elaborate a complete review.
Nuestros 25 años
1. 16 de julio – 2. Agüita de Putina – 3. Amanecer de fiesta – 4. Auqui auqui – 5. Añoranzas – 6. Celeste – 7. Chiquita italaqueña – 8. Despedida – 9. Diana – 10. Flor de kactus – 11. Flor de papa – 12. Flor de romero – 13. Flor del sur – 14. Huayno kallawaya – 15. Kallawaya – 16. Kullawa – 17. Llanto de Camilaca – 18. Moreno – 19. Natividad – 20. Noche silenciosa – 21. Nostalgias – 22. Pinquillos Chuma – 23. Poncho negro – 24. Profundo amor – 25. Pueblito de Camata – 26. Recuerdos del 2 de noviembre
Chuma Q'hantati (in Aymara, "Chuma dawn") is a band formed in 1981 by young people from the locality of Chuma (capital city of the Muñecas province, department of La Paz, Bolivia) with an appreciation for their homeland's music. The album, celebrating their 25th anniversary, features songs that are played on wind and percussion instruments according to the purest tradition. It focuses on the sikuris de Italaque, but also includes k'antus of Charazani ("16 de julio", a version of the huayno "Agüita de Putina", "Pueblito de Camata") and lawa sikus ("Llanto de Camilaca"). In addition, they perform some tunes for pinkillos and pífanos ("Flor de papa", a "huayno kallawaya", a version of "Auqui auqui" and a "reveille", among others). This work is a fantastic approach to some of the most authentic expressions of the Bolivian Altiplano music.
Perú: Ayarachi and Chiriguano
1. Ayar tinkachi – 2. Tono del cóndor – 3. Cacharpari – 4. Choqui champi – 5. Tono de la bandera – 6. Yapaykuy, bandera y cacharpari – 7. Kenas de Paratia – 8. Pill t'ika – 9. Chiriguano de Suaquello – 10. Enfrentamiento
This is a field recording done by French anthropologist Xavier Bellenger in 1981, based on eight months field research in various Quechua and Aymara-speaking communities located in southern Peru. The album explores two traditions of local sikuris: the ayarachis (tracks 1 to 8, with the exception of number 7) and the chiriguanos (tracks 9 and 10). It is an excellent sounding document and one of the few existing works on both genres recorded at that time. Despite a number of errors ranging from misspellings of names to incorrect information, the booklet accompanying the CD is an acceptable introduction to both styles of sikuris. Special attention deserves the last track, which features a traditional "confrontation" between two panpipers bands; in such "duels", each fighting party will use their sounding tricks to make the other lose the beat.
Quebrada de Humahuaca
1. Tonadas o cantos de coplas con caja – 2. a) Comparsa de sikus, bombos y matracas b) Toque de erkencho y caja c) Comparsa titulada “Pica-Pica” – 3. a) Sikus tocando un huayno b) Sikus tocando un carnavalito – 4. a) Charango tocando un bailecito b) Charango tocando un carnavalito – 5. Toque de minga con erke, bombo y redoble – 6. Toque de carnaval con erkencho y caja – 7. Tonada carnavalera con flautilla y caja – 8. Llamada de pastoreo con pinkullo – 9. Carnaval puneño con anata, bombo y redoblante – 10. Carnaval puneño con anata, bombo y redoblante – 11. Huayno de misa-chico con sikus y bombo – 12. Yaraví con quena – 13. Huayno de carnaval con quena y redoblante – 14. Carnavalito con charango, quena y bombo – 15. Huayno de velorio con charango y canto – 16. Carnavalito de Yavi con charango – 17. Carnavalito con canto y charango – 18. Yaraví con canto y charango – 19. Bailecito con canto y charango – 20. Cueca con canto y charango
This "folkloric documentary" is the first volume of the series "Mapa Musical de la República Argentina" (literally, "Musical map of the Argentine Republic"), an ethnographic sound recording collection by Argentine researcher Leda Valladares re-released with UNESCO's financial support. The first CD features Carnival music and rhythms from the villages of Maimará, La Quiaca and Purmamarca (Quebrada de Humahuaca, Jujuy province, north-western Argentina), including a "comparsa de sikus" (track 2), a panpipes player performing the huayno "Ojos azules" and the carnavalito "Tema de la Quebrada de Humahuaca" (track 3), and a "huayño de misachico" ("Casarjeta") played on a siku (panpipes) accompanied by a drum (track 11).