Carlos Falconí Aramburú

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Carlos Ernesto Falconí Aramburú (* 1937 in San Miguel , La Mar , Ayacucho , Peru) is a Peruvian poet , songwriter , singer , guitarist , composer and collector of traditional songs in Chanka-Quechua and Spanish .

Life

In his childhood, Carlos Falconí initially accompanied his father while making music by singing and playing the guitar. He attended primary school in Huanta and continued his education at the Gran Unidad Escolar “Mariscal Cáceres” secondary school in Huamanga (Ayacucho). He studied language and literature at the Universidad Nacional de San Cristóbal de Huamanga .

In Huamanga he founded the Trío Ayacucho in 1950 with Ernesto Camassi Pizarro and Carlos Flores León , whom he had met in secondary school . He sang and danced waltzes and bolero . In 1958 he composed his first waltz, Adiós . In the Trío Ayacucho he sang the second voice and played the third guitar, while Ernesto Camassi Pizarro sang the first voice and played the second guitar, while Carlos Flores played the first guitar. In 1964 Carlos Flores left the group and was replaced by Amílcar Gamarra Altamirano .

In 1966, the trio recorded its first single with the songs Vapor Brillante and Con el mayor cariño . Nine long-playing records and two CDs with traditional songs from the Ayacucho region followed .

Carlos Falconí has ​​also contributed to Quechua poetry with his own lyrics , and especially during the time of the armed conflict in Peru he wrote a number of lyrics with political explosive power - despite the Spanish titles mostly in Quechua or in both languages ​​and in the style of the traditional Waynu . His most famous songs include Huamanga (1958), Carolita (1966), Ingrata Mestiza (1973), Wakcha Masillay (1978), Ofrenda (1982), Viva la Patria (1986), Tanto amor, tanto infortunio (1987), Tierra que duele (1987), Aurora (1994), Lejanía (2000) and Justicia punkupi suyasaq (2002). In Ofrenda , which was sung by Manuelcha Prado , among others , and Viva la Patria , he describes in simple words the civil war from the point of view of the indigenous Quechua of his home region, who were abused and murdered by both sides , while in Tierra que duele he hopes for the return of the Inkarrí describes. In Justicia punkupi suyasaq (“In the door of justice I will wait”) he is dedicated to the remembrance and the reappraisal by the truth commission (Chiqap comisión) .

According to the American musicologist Jonathan Knight (2012) established Falconí hereby own style of " testimony integrate" or " reminder integrate" (canciones testimoniales) or "social songs of Ayacucho" (canciones sociales ayacuchanas) , a direct statement from the perspective of the victims of the conflict and provided a much-needed space for protest. The publication and performance of such songs was associated with great risks in Ayacucho at the time of the armed conflict, which is why most of the famous musicians left Ayacucho. Falconí remained as one of the few, but had to live in secret for over a year because the death squad Grupo Colina tried to kill him. On August 29, 2003, Carlos Falconí appeared again in public with the song Ofrenda , after the Truth Commission in Lima published its final report that morning . However, the idea was overshadowed by demonstrations and media campaigns directed against the work of the Truth Commission and justified by state violence in the armed conflict.

For his achievements in poetry, the collection of traditional music and its interpretation, he received the Urpicha de Plata (Silver Dove) Prize at the Second Festival of Andin Authors and Composers in Lima in 1988 . In 2016 he received the Order a la Libertad Americana from the Ayacucho Regional Council.

Discography

With the Trío Ayacucho (selection)

  • 1966: Con el mayor cariño (IEMPSA)
  • 1967: Trio Ayacucho
  • 1970: Aquí estamos mejor
  • 1971: Mi retorno
  • 1973: Remembranza Huamanguina

With Manuelcha Prado

  • 1996: Romance guitarrero

Own lyric texts (selection)

  • 1982: Ofrenda
  • 1986: Viva la patria
  • 1987: Tanto amor, tanto infortunio
  • 1987: Tierra que duele
  • 1994: Aurora
  • 2000: Lejanía
  • 2002: Justicia punkupi suyasaq

literature

  • Abilio Vergara: La tierra que duele de Carlos Falconí: Cultura, música, identidad y violencia en Ayacucho . Universidad Nacional de San Cristóbal de Huamanga, Ayacucho 2010.
  • Joshua Tucker: Gentleman Troubadours and Andean Pop Stars: Huayno Music, Media Work, and Ethnic Imaginaries in Urban Peru . University of Chicago Press, Chicago 2013.
  • Jonathan Ritter: Complementary Discourses of Truth and Memory. The Peruvian Truth Commission and the Canción Social Ayacuchana . Part III (Musical Memoralizations of Violent Pasts), 8 in: Susan Fast, Kip Pegley: Music, Politics, and Violence . Wesleyan University Press, Middletown (Connecticut) 2012. (see Google preview )

Web links

Individual evidence

  1. ↑ Abilio Vergara: La tierra que duele de Carlos Falconí: Cultura, musica, identidad y violencia en Ayacucho. Chapter 4 and 5, pp. 139-222. IV. La Tierra que duele de Carlos Falconí. La historia de la violencia en la canción popular , pp. 139–169. V. "Ofrenda" y las formaciones de la violencia en uns sociedad poscolonial , pp. 170-222. Universidad Nacional de San Cristóbal de Huamanga. Ayacucho, 2010.
  2. ↑ Arariwa 1 (1) , August 2003. Publicación coleccionable, Vocero de la Dirección de Investigación de la ENSF "José María Arguedas", p. 4: La Verdad en las Canciones. Carlos Falconí Aramburú: Justicia punkupi suyasaq.
  3. ↑ Jonathan Ritter: Complementary Discourses of Truth and Memory. The Peruvian Truth Commission and the Canción Social Ayacuchana . Part III (Musical Memoralizations of Violent Pasts), 8 in: Susan Fast, Kip Pegley: Music, Politics, and Violence . Wesleyan University Press, Middletown, Connecticut 2012.
personal data
SURNAME Falconí Aramburú, Carlos
ALTERNATIVE NAMES Falconí, Carlos
BRIEF DESCRIPTION Peruvian poet, songwriter, singer, guitarist, composer and collector of traditional songs
DATE OF BIRTH 1937
PLACE OF BIRTH San Miguel , La Mar Province , Ayacucho , Peru