Dances associated with Afro-Peruvian music include lively and sensual festejo dances, in which participants respond to the striking of the cajón, one of the Afro-Peruvian music's essential instruments. The alcatraz is an extremely erotic dance. Females enter the dance floor with tissue on their posteriors. The men, meanwhile, dance with lit candles. The not-so-subtle goal on the dance floor is for the man to light the woman's tissue (and thus become her partner).
Peruvian tourism authorities produce a guide to festivities, music, and folk art, and it features a diagram of native dances in Peru. Especially up and down the coast, and in the central corridor of the Andes, the map is a bewildering maze of numbers indicating the indigenous dances practiced in given regions. Two dances, though, have become synonymous with Peru, the huayno and marinera.
The huayno is the essential dance in the Andes, with pre-Columbian origins fused with Western influences. Couples dancing the huayno perform sharp turns, hops, and taplike zapateos to keep time. Huayno music is played on quena, charango, harp, and violin. The marinera, a sleek, sexy, and complex dance of highly coordinated choreography, is derivative of other folkloric dances in Peru, dating back to the 19th century. There are regional variations of the dance, which differ most from the south coast to the northern highlands. Dancers keep time with a handkerchief in one hand. Marinera music in Lima is performed by guitar and cajón, while a marching band is de rigueur in the north. Marinera festivals are held across Peru, but the most celebrated one is in Trujillo in January.
One of the most attention-getting dances in Peru, though, is that performed by scissors dancers. Their danza de las tijeras is an exercise in athleticism and balance. Dancers perform gymnastic leaps and daring stunts to the sounds of harp and violin. The main instrument played to accompany the dance is the pair of scissors, made up of two independent sheets of metal around 25 centimeters long. The best places to see scissors dancers are Ayacucho, Arequipa, and Lima.
There is evidence of music in Peru dating back 10,000 years, and musical historians have identified more than 1,000 genres of music in the country. Traditional instruments include pututos (trumpets made from seashells) and many other wind instruments crafted from cane, bone, horns, and precious metals, as well as a wide range of percussion instruments. Exposure to Western cultures has introduced new instruments such as the harp, violin, and guitar to Peruvian music. But Peruvian music can still be identified by its distinctive instruments, and there are many besides the basics of highland music.
The cajón is a classic percussion instrument, typical in música criolla and música negra, as well as marinera. A simple wooden box with a sound hole in the back, the cajón is played by a musician who sits on top and pounds the front like a bongo. The cajón has been introduced into flamenco music by none other than the legendary flamenco guitarist Paco de Lucía. Another popular instrument is the zampoña, which belongs to the panpipe family and varies greatly in size. The zampoña is never absent at festivals in southern Peru, particularly Puno.
Woven textiles have to be considered among the great traditional arts of Peru. Peru has one of the most ancient and richest weaving traditions in the world; for more than 5,000 years, Peruvian artisans have used fine natural fibers for hand weaving, and the wool produced by alpacas, llamas, and vicuñas is some of the finest in the world, rarer even than cashmere. The most ancient textiles that have been found in Peru come from the Huaca Prieta temple in Chicama and are more than 4,000 years old. In pre-Columbian times, hand-woven textiles, which required extraordinary patience and skill, were prized and extremely valuable; distinctive textiles were indicators of social status and power. They were traded as commodities. Paracas, Huari, and Inca weavings are among the most sophisticated and artful ever produced in Peru. The Paracas designs were stunningly intricate, with detailed animals, human figures, and deities against dark backgrounds. Huari weaving features abstract figures and bold graphics. The Incas favored more minimalist designs, without embroidery. The finest Inca textiles were typically part of ritualistic ceremonies -- many were burned as offerings to spirits.
Whereas pre-Columbian civilizations in Peru had no written language, textiles were loaded with symbolic images that serve as indelible clues to the cultures and beliefs of textile artists. Worship of nature and spiritual clues are frequently represented by motifs in textiles. Many of the finest textiles unearthed were sacred and elaborately embroidered blankets that enveloped mummies in burial sites. Found in tombs in the arid coastal desert, one of the world's driest climates, the textiles are remarkably preserved in many cases.
Contemporary Peruvian artisans continue the traditions, sophisticated designs, and techniques of intricate weaving inherited from pre-Columbian civilizations, often employing the very same instruments used hundreds of years ago and still favoring natural dyes. The drop spindle (weaving done with a stick and spinning wooden wheel), for example, is still used in many regions, and it's not uncommon to see women and young girls spinning the wheel as they tend to animals in the fields. Excellent-quality woven items, the best of which are much more than mere souvenirs, include typical Andean chullo wool or alpaca hats with earflaps, ponchos, scarves, sweaters, and blankets.
Chakana, the Inca Cross
The ever-present Inca cross, the Chakana (consisting of four symmetrical sides of three steps each and a hole in the middle) is the very symbol of Inca civilization and its complex cosmology. Represented in it are three levels of existence or worlds (Hana Pacha, the higher world of the apus, or gods; Kay Pacha, the middle world of man's everyday existence; and Ucu Pacha, the lower world inhabited by spirits of the dead and ancestors). The hole in the center of the cross is both the axis through which a shaman might travel to other worlds and states of consciousness, and representative of Cusco, the center of the Incan empire. Some believe the chakana to be a compass or calendar. The familiar motif of three steps is seen repeatedly in Inca constructions, from Machu Picchu to the Temple of the Sun in Cusco.
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