Focusing on three case studies of Peruvian fusionists performing for the white upper classes, this article documents a shift in racialised notions of Andeanness and marginality among the white upper classes from 1960 to 2014, linking the changes in perception to the political and social context of those years. Popular fusion music in Peru's capital Lima has in recent years grown into a representative genre challenging existing segregation of Limeño society through interethnic and interclass interaction.
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Please contact me directly for a PDF version of this article. They make music a technology of self-transformation, a means for the white upper classes to counteract the underlying causes of the violence, which persist. They do so by turning exclusive upper-class concert spaces into political spaces of attempted social reconciliation, liminal spaces to renegotiate identities and political attitudes by musicking and empathetically acknowledging and listening to those historically silenced by hegemony and racism. It argues that a sector of white upper-class fusion musicians and audiences link their wishes and dreams to their daily music life, enabling them to change normalised hierarchical worldviews and act accordingly, to move beyond apathy, privilege and delusion. The article explores the ravages of war as one of the main factors fuelling an apparent Limeño white upper-class desire to integrate with the broader Peruvian population through popular intercultural fusion music. This article is informed by interviews conducted during fieldwork in Lima during 2010–11. In the aftermath, violence was replaced by silence along with distrust, disunity and distance between the Andes and Lima, which reinforced social segregation by class, race and ethnicity. Between 19, Peru was engulfed in an internal war confronting the state and two armed groups, the Shining Path and the Tupac Amaru Revolutionary Movement.
How, it is asked, are the processes of mixing, creating and performing ‘someone else’s music’ negotiated? Does fusion music simply propagate a naïve, chauvinist delusion of social progress and equality in the context of a post-war macroeconomic boom, as some Lima critics have argued? This study would appear to challenge them, as it documents how a segment of the young white upper class Lima population interpret and attempt to use fusion music as an anti-hegemonic instrument that seeks to convey a political message of inclusion, integration, social justice and peace. These recent developments in fusion music are placed within a broad historical frame and the context of Peru’s fraught racial and class relations, to examine how discourses of integration are juxtaposed with those of appropriation, theft, exoticisation and acculturation. In particular, since 2005 fusion music has crystallised into a distinct genre and received a notable boom in popularity. This study charts how certain aspects of this re-negotiation of identity and social position, and a desire for integration with wider Peruvian society, has been articulated through the medium of fusions musics. However, in the aftermath of the trauma and mass displacements of the twenty-year internal armed conflict (1980-2000) between the State and terrorist groups, certain sectors among the young upper classes have come to question their own social dominance.
Often antagonised, essentialised and understudied, Lima’s white upper classes have historically distanced themselves from the city’s migrant Andean/Amazonian population, whilst maintaining a relationship of hegemony. This thesis examines Peruvian popular intercultural music fusions and their impact among the white upper classes of Lima, Peru.
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