PUNO ¿Capital folklorica del Perú?
* Roberto Valencia Melgar, painter and Puno musician, was born on December 17, 1909, died on October 18, 2007. Famous puneño social figure who harshly criticized the disappearance of typical Puno dances by introducing Bolivian costumes and music in Virgen de la Candelaria festivities. A real conceptual problem affecting the music and dance of the region.
PULI PULIS (Puno Peru)
According to Roberto Valencia Melgar in his article: Puno Folkloric Capital of Peru ? (1968) He wrote: "Llameritos", "Chokelas", "Puli-Pulis" are some of the typical and traditional dances of Puno-Peru. Unfortunately, in recent years Puno has undergone a major influence of Bolivian music and dance, leaving aside the brilliance of the original wind instruments and costumes in our Peruvian festivities especially the Virgen de la Candelaria festival" In 1965 Puno was already the undisputed capital of Peruvian folklore, but imported dances transformed the very essence of the actual expressions of the people of Puno.
Puno the Folkloric Capital of Peru?
On the occasion of the celebration of the festivities Feb. 2 in honor of the Virgin of Candelaria, Puno expressed his fervor and joy through various dances. The concentration of sets in the now famous "Eight" is copious, transforming the city into a vast stage whose streets parading hundreds of dancers wearing lavish costumes. Those who were born in this fabled land, and lived their traditions and customs, today, we have to regret the absence of traditional dances, are the exquisite "They llameritos" are the dreaded "chokelas" are picturesque "polishing pulis" that his sincere devotion to the city rejoiced splendidly fostering a climate of authentic puneña party. Today has given way to expensive imported kitsch to present dances neighboring republic of Bolivia, with the shrillness of trumpets have hired off the sweet and harmonious sound of "pusas" which, with its low rumble tuba erased melodic wailing flutes and pinquillos. The millionaire attire of "hell" and "overseers" of Oruro has overshadowed the original and flamboyant party animal costume, transforming our beloved city of Puno, the Folkloric Capital of Peru voceada a "consulate" Bolivian folklore or agency, as to dance and music is concerned.
The proliferation of these dances from year to year is staggering: we refer to the irrefutable proof of the figures, whose singular eloquence we show reality without passion or sophistical accommodations.
The Departmental IV Folkloric Competition held on February 4, considered the most important of the Department, convincing evidence of the absorber volume of foreign dances, then, of the 33 dances have been presented 21 undoubtedly Bolivian confrontation accusing 63.6 percent or is the 7/11 of the whole which is about twice the Puno dances; high rate, especially, yes to the city of Puno is considered as the National Folk representative. Yes we add that, groups of dancers who fill the streets and squares of the city to the days that follow the festival, are wholly alien nature, the situation is alarming, because it is not just a momentary manifestation motivated by a desire to shine in competition, but that is taking root in the soul of the people, apasionándolo dangerously disregard the legitimate end of melodic and rhythmic expressions of our environment. No other explanation can be catcalls and uncomfortable situations that national assemblies have suffered in the aforementioned contest Feb. 4, despite its development in every way was correct. On the other hand, the drop is attributed Jury late in the contest when precisely some regional assemblies should act? And finally, it must be that some local stations, orders for birthday cards by 80 percent are music from the neighboring Republic East? The answer flows without hesitation: Puno is extranjerizando.
Three years ago on the feast of February 2, there was not a single "diablada" Oruro (Bolivia). At present there are more than two luxury of acting with bands from the source is given. This dance is not more attractive than their attire; otherwise, it is a monotonous dance movement, whose scenic shift is unbalanced. Where the female group is for others and the complement of the band tries to show prints a circus aspect entirely.
We ubérrimo beautiful dances in our folklore that can be adjusted to the traditional rites of religious holidays; however, rebuff and displaced by foreign dances. Is that representative of the sponsoring institutions, form and capitalize these matters terrigenous lack emotion and, what's more, know our cultural heritage. The truth is that Puno, the legendary, traditional, urgently needs revitalize their intimate spiritual structures in a deeply nationalistic sense. Therefore turn to cultural institutions, yes they exist, will fly, guide, lead the collective soul of the people, causing their psychic manifestations represent what our and their psychological expressions exalt the will of our own beloved land values.
Otherwise the title "Puno, Folkloric Capital of Peru", will be out of focus. "