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The Ship: the mark left by criollismo
Ximena Arévalo Paz, Arquitecta
"At first, on the first floor, there's like a room, more or less 10x10 like that." That's where the party would get started. And on the stairs, it was like a stage, there was the orchestra, which wasn't really an orchestra; a Creole band; first guitar, cajón, and it was a big party, but there was definitely drinks. José Francisco, a resident of Barrios Altos.
ArchitectThis article will focus on how the loss of a property is not only the material disappearance of the property itself but also a loss of social identity. To this end, the importance of Creole culture in Barrios Altos will be analyzed, and the significance a property can have for the development of this tradition will be investigated. The Buque will be the one to help us understand this architectural and social importance.
Barrios Altos, currently known for its countless mansions, country houses, alleys, churches, and mills, not only has significant architectural wealth but also cultural wealth. It was there that the first Indian settlement was created near what is now called the Pizarro grid. This reduction, also called the Indian Enclosure, was surrounded by walls approximately three meters high, which allowed for better control of this population at that time. A mark left by this reduction was the small Church of Cercado. With the population growth, the new wealthy began to settle in what is now called Barrios Altos, which is why we can find important courtyard houses and villas, one of them being La Quinta Heeren. But not only the wealthy families grew, but also the working-class population, who settled in the alleys, located in the place closest to the old Indian reduction. These were made up of small one-story houses connected by a passage, which directly connected to the main entrance of the alley. These places shared basic services like the water pipe, hence the name "single-pipe alley." It was an important social aspect for the coexistence of the people since there was a constant dialog between neighbors.
In addition to what has been previously mentioned, it is said that Barrios Altos is the cradle of criollismo. The criollo waltz originated in Lima between 1900 and 1910 and became the main trend in the music of the urban working class. (Steve Stein, Lima obrera min 8:54). But it wasn't until the 40s and 50s that it reached its peak, the rise of Creole music, as even at that time there wasn't much influence from foreign music and the number of radio stations was approximately 10. It was in the mid-1940s that the Day of Creole Song was proclaimed, which showed the importance this musical genre was gaining at the national level, especially in Lima. Great musicians and composers were born in Barrios Altos, and there were even competitions to see who sang better or which alley had the best jaranas. One of the anecdotes told by the president of the "Centro Social Musical" is that initially, the Day of the Creole Song was going to be on October 18, but it coincided with the processions of the Lord of Miracles. The only musical center that remains standing is the: Social and Musical Center "Barrios Altos" (see image 1), located half a block from the old Carlos Saco.
Imagen 1 Arévalo, X. (2019). El Buque: la huella que dejó el criollismo [Imagen]
One of the most important exponents of Creole music was Felipe Pinglo Alva, who was the author of great songs such as "El plebeyo," "El huerto de mi amada," "El espejo de mi amada," among others. Pinglo's friends say that he used to sit at the door of his house with his guitar to play and compose, and he also frequented a place called "5 corners." The particularity of the composers at that time was that the songs were inspired by the present, meaning they talked about activities that were happening at the time or were inspired by the people of Barrio Alto; they were personal experiences, from day to day. As clearly shown in the song by Luis Dean:
I am from Barrios Altos, the popular Payador,
Bohemian and Creole, ask if there's another like him.
And when I go out partying, I have my own style.
I sing them the suicide waltz and applause I earn
El payador de Barrios Altos
Otherwise, they are now inspired by experiences lived by others, ancient ones, which can be traced back to the era of slavery. It is thanks to these clues that we can notice that Creole music was purely popular, as they say: from the neighborhood.
Imagen 2 Google Earth (2015). Street View [Imagen]. Recuperado de programa de Google Earth
Along with other exponents of the criollo genre, Pinglo founded the Social Musical Center of Barrios Altos. The first musical center was Carlos Saco, located right next to Plaza Buenos Aires, half a block from the current Centro Social Musical de Barrios Altos. These musical centers were an excuse to get together with friends; in other neighborhoods like La Victoria, Rimac, or Breña, friends would gather and establish musical centers. During the height of criollismo, Carlos Saco had an inscription with his name, some verses from Felipe Pinglo's songs, and even a collage with the most important faces of criollismo (see image 2); today, any trace of these has been erased. It was in that very establishment that the Day of the Creole Song was declared. This two-story building has three balconies, one of which is located right on the corner, and some residents of Barrio Alto call it: the balcony of criollismo. The peñas were not what they are now, nor the quantity they are now. You could find peñas everyplace in Barrios Altos. As Cesar Santa Cruz mentions:
"Musical centers turn out to be authentic 'peñas' where musical tradition is preserved, increasingly influenced by foreign currents; singers and guitarists, nite after nite, give free rein to their inspiration in the welcoming atmosphere of the musical center."
El Waltz y el valse criollo
"Musical centers turn out to be authentic 'peñas' where musical tradition is preserved, increasingly influenced by foreign currents; singers and guitarists, nite after nite, give free rein to their inspiration in the welcoming atmosphere of the musical center." Previously, musical genres also separated social classes, but criollismo did the exact opposite. The reason was that in Barrios Altos, not only the working population lived but also great entrepreneurs. This allowed the upper class to also get involved in these great cajón parties, which is how the renowned singer and composer Chabuca Granda, belonging to the upper class of Lima, became interested in and developed Creole music.
As mentioned in the newspaper El Peruano, criollismo was a blend of European customs brought to America with Peruvian indigenous culture. Before, this mix was almost impossible among the upper class, as they sought to resemble European culture as much as possible. The new genre, which had been developing since the 1910s, was part of popular culture, which in a way allowed the working and upper classes to come together through music.
The so-called "jaranas" were large parties accompanied by guitar and cajón that could last from two to three days. They were the perfect excuse to gather with friends and family. In Barrios Altos, there wasn't a day without a criolla party, especially celebrated in the late afternoon, of course, the beer crates were a must to toast among friends. Any occasion was worthy of celebration, from the christening of a new sewing machine to a funeral. For important dates like birthdays, a serenade was usually held the nite before at midnight. As Goyita, a neighbor from Barrio Alto, tells us, "It was a very beautiful thing, the drumming and all, you didn't even know, you were in your bed sound asleep when the celebration started." That means your day is starting because the serenade is coming. It was a very splendid thing.
As mentioned earlier, the creole genre was not only listened to by the working class but also by the upper class, which is why parties were held both in alleys and in country houses. Some even went out into the streets, where groups of people could be seen playing and singing in the squares or at the doors of their houses. You could see the importance of the common area in the alleys, as it was precisely in that space where the jaranas among the neighbors were held and where great singers like Manuel Donayre were formed. Other important artists held their jaranas inside their homes, such is the case of María Chamorro, whose melodious voice captivated great composers like Augusto Polo Campos or Edith Barr's composer; she also accompanied duets with Jesús Vasquez, Lucha Reyes, Eloisa Angulo, el Zambo Cavero, and many more. She tells us that the jaranas were held at her house because her father didn't want her to go out and sing, but of course, people could come and listen to her; the doors were open to anyone who wanted to listen. Later on, she began to frequent the musical venues where Lucha Reyes performed, and she also went to Cajamarquino.
The important Quintas were characterized by their grand parties, among them Quinta Heeren and Quinta Baselli. They held "rompe y raja" parties, with great singers and neighborhood friends. It is worth noting that the jaranas at Quinta Heeren were more exclusive, meaning that only the upper class of Lima attended, whereas at other quintas, the social class of the attendees did not matter. You could see competitions between Quinta Heeren and El Buque. In these places, the parties weren't as frequent, but that made them more special. Great exponents of Creole music performed, such as Zambo Cavero, Oscar Avilés, Polo Campos, among others.
Imagen 3 Lima la Única (2012). El Buque [Imagen] Recuperado de http://www.limalaunica.pe/ 2012/11/el-buque.html
Imagen 4 Google Earth (2019). Mapa [Imagen]. Recuperado de programa de Google Earth
The Ship (see image 3) is located at the intersection of Jr Cangallo and Jr Junín, one block from Plaza Italia in Barrios Altos (see image 4). It was built in the mid-19th century, and it is known for being the first housing complex in America. It consists of 3 floors, made of adobe and quincha. Not much research has been done on this architectural monument, but what little is known is mainly from stories told by the neighbors. One of the stories that Mr. José Francisco told us was that at El Buque, Viceroy Amat used to take his friends who were arriving from their travels, and La Perricholi used to take her friends, which is why that place was once the pink zone of Lima and also the reason for the old name of Jr Cangallo, formerly Calle de los Suspiros. But this story could not have been true since in the year 1776, Viceroy Amat and Juniet returned to Spain, that date is prior to the construction of El Buque. What is true is that there was a time when this complex operated as a brothel, which is why the street was named the Street of Sighs, a truth less romantic than the previous one but nonetheless true. In its heyday, El Buque had bronze railings, marble floors, and marble stairs as well. This showed the social class to which the people who inhabited the complex belonged. As Architect Antonio Polo y Borda mentions, architecture not only serves the function of accommodating the inhabitants but also reflects social coexistence. The Buque consists of one or two-bedroom apartments, which shared sanitary facilities. Nowadays, there are apartments with two or three bathrooms, and some even have guest bathrooms so that visitors do not use the owners' bathrooms. This property was declared a Monumental Heritage Site in 1988 and is within the area declared a Cultural Heritage of Humanity by UNESCO in 1991. Despite its importance for understanding the society of Barrios Altos, there are not many published studies.
In addition to its architectural importance, part of the social significance of this property in Barrios Altos lies in its relevance to Creole culture. When El Buque was acquired by Valentina Barrionuevo, the "jaranas de rompe y raja" were not lacking; these used to be held in the main hall located on the first floor (see image 5). These parties were popular in Barrios Altos, as mentioned earlier, there were even competitions between the parties at Quinta Heeren and El Buque. The difference between these two spaces was the people who frequented them. Valentina didn't close the door on anyone; everyone was welcome, regardless of their social class. When someone arrived at the party, they would usually be given a box of beer as a token of appreciation for coming to the party. But the jaranas were not only held in the main hall, but also in the courtyard of this residential complex. The stairs and walkways leading to the courtyard were used so that the Creole band could play while people danced and drank their beers in the main courtyard. There, the parties also lasted from two to three days. It was a way to show the social importance of the owners of the complex, as food was prepared in abundance and there was also plenty of beer. The greatest exponents of criollismo used to attend these parties, such as Polo Campos, Zambo Cavero, Lucha Reyes, Eloisa Angulos, among others. It wouldn't be surprising if important songs were composed in this place or if great exponents of Creole music were born here. That is why El Buque was an important part of the history of criollismo.
Imagen 5 Eurovivienda (2012) EL BUQUE-BARRIOS ALTOS [Imagen]. Recuperado de http://eudora.vivienda.gob.pe/OBSERVATORIO/rurbana/CBBA_OU_10.pdf
Despite having changed hands multiple times, this property has withstood major earthquakes, one of which was in 1974. A devastating event for El Buque was the fire that occurred on November 4, 2012 (El Comercio 2012), the central part of the building completely collapsed, blocking access to the main areas. But before the fire, it was already being affected by the tenants of this complex. It had 65 rooms, but years before the fire, only 10 were occupied as the others were uninhabitable due to deterioration. Certain rooms came to be occupied by people of ill repute who did not take care of the property; on the contrary, they contributed to its collapse. Currently, two families live in the rooms on the first floor that face Jr Cangallo; these adjoin a courtyard. To the left of the main door, which faces Jr Junin, two families have their belongings in those two rooms; the reason is simple, they paid for the property and are afraid it will be taken from them, but it is very risky to stay inside. Neither on the second nor the third floor do people live, due to the risk of collapse. It is almost impossible to enter the main courtyard, let alone the main hall, which holds so many wild parties and countless anecdotes within its walls. The entrance doors are destroyed by all the debris found in the place (see image 6). These open doors allow a glimpse of a small part of the interior, but passage is blocked by the debris. Now it is like a pre-Hispanic piece placed in a museum, by which I mean that in a way, seeing the doors open, one can imagine those days when Valentina Barrionuevo left the doors open as an invitation to the grand celebrations, but like any museum piece, it can only be seen, not touched, and certainly not used. In this case, the glass that prevents you from passing is the dismantling, it is the same society that creates this urban museum. After the fire, the walls were left exposed, revealing some construction systems to the open air (see image 7). It's incredible how, after the great fire that occurred, this complex has not completely collapsed.
As seen throughout the entire article, criollismo was an important link for Peruvian society and especially for Lima, with large spaces to gather and practice this musical genre. Each alley, each Quinta, each mansion was important for its development. This is how we come to see the importance of these properties in Barrios Altos. Unfortunately, many of these are being lost due to the disproportionate construction of the famous warehouses.
The buildings from that era are proof of the innovations and needs that began to emerge in the mid-19th century. Unfortunately, the state they are currently in is disastrous, with no intention from the government to stop it. This leads us to a loss of identity, as without places to develop genres like criollismo, where to showcase and pass them down from generation to generation, they will be lost over time. We still have time to reclaim these spaces; it is not essential to maintain the buildings exactly as they were constructed since societies change along with their needs. Moreover, one can see the traces of these changes in them. A living building is one in use, and this should not be lost over time. Without all these changes that the population has gone through, we would not be who we are now. We must not lose what unites us as a society, in this case, music.
Imagen 6 Arévalo, X. (2019). El Buque: la huella que dejó el criollismo [Imagen]
Imagen 7 Arévalo, X. (2019). El Buque: la huella que dejó el criollismo [Imagen]
Anexo
Fieldwork in Barrios Altos: February 23, 2019
Interview with José Francisco, a resident of Barrios Altos.
Interview with José Francisco, a resident of Barrios Altos. He lives on Jr Cangallo, next to the Buque. In the company of Gregoria Sarria Joya, Goyita.
What were the parties like at El Buque?
José Francisco:
José Francisco: At the beginning, on the first floor, there's a kind of living room, about 10x10 or so. At first, on the first floor, there's a kind of room, more or less 10x10 like that. That's where the party would get started. And on the stairs, it was like a stage, there was the orchestra, which wasn't really an orchestra; a criollo band; first guitar, cajón, and it was a big party, but there was definitely drinks.
And on the stairs, it was like a stage, there was the orchestra, which didn't quite reach the level of an orchestra; a folk ensemble; first guitar, cajón, and it was a big party, but there was indeed some drinking. What kind of people used to attend?
More or less, what kind of people attended?
José Francisco:
José Francisco: In the past, there was no distinction, let's say, if it was a party for black people, suddenly two white people would come and join the fun as if nothing was wrong, nothing happened. In the past, there was no distinction, for example, if it was a party for Black people, suddenly two white people would come and join the fun as if nothing was happening, nothing happened. But little by little, the working-class people began to push out the other people who lived here.
Do the criollo festivals in El Buque transcend?
José Francisco:
José Francisco: Of course, it transcends and quite a bit. Of course, it transcends and quite a bit. There was competition between El Buque and Quinta Heeren. The Quinta Heeren was also spacious, but the Quinta Heeren was indeed of class A, it was always from the town, Creole, it was more popular.
Goyita: But precisely, the people who had economic means liked to gather at that type of parties. But precisely the people who had economic means liked to gather at those kinds of parties.
José Francisco:
José Francisco: Because they got along well, and as I told you, they didn't force anyone to drink. Because they partied well, and as I told you, they didn't force anyone to drink. There were people who would bring a case of beer, the case was a long box.
Goyita: They would place the beer there, next to the person, as something of importance. Imagine when they put a box of beer next to me, it felt like an offense because I'm not a party girl. But for them at that time, it wasn't like that; the feeling was to be great.
But back then, it wasn't about that; the feeling was to be great.
José Francisco: It was a prize, a thank you, for the fact that you went to that party. It was a reward, a thank you, for the fact that you went to that party.
Goyita: That you came to visit, to share with them. That you came to visit, to share with them. The parties always lasted quite a long time.
José Francisco:
José Francisco: Yes, they were two days old, three days old. Yes, there were two-day ones, three-day ones. On Friday, well, Friday, Saturday, and Sunday. But how they lasted.
But how they lasted.
Goyita: And that party was so healthy. And how wholesome the party was. I mean, you had no qualms about attending one of those parties because it was really a party for adults, yes, you didn't see any kids there.
I mean, you had no qualms about attending one of those parties because it really was a party for adults, yes, you didn't see any kids there.
José Francisco: The only thing I have never understood is what Goya used to say, they pawned everything just to celebrate the festivals. The only thing I have never understood is what Goya used to say, they pawned everything just to throw parties. Yes, it's true, I know about that case. A relative of mine told me, if she were alive now she would be 120 years old. She was telling me that from the first day, I understand, but the party lasted three days, and three days of combo, drinks, everything.
Goyita:
Goyita: It's just that what happened, what I was able to observe in my childhood, was that they prepared in advance. What happened, what I was able to observe in my childhood, was that they prepared in advance. I mean, the owner of the saint, I saw that for months she had already bought all the things she needed to do. So, a month before, she already had her rice all cleaned and sorted, I mean, every afternoon the lady would sit down to clean her rice, there couldn't be a single seed or anything that would cause discomfort when eating it. The carapulcra in the same way, I mean, they cleaned everything. They would grind all the spices they were going to use, their pepper, everything, because they bought it in grains, so they would grind everything they were going to apply, what they were going to make. So they would buy all those kinds of things, they would prepare in advance. Their birthday was an unforgettable party to thank God for their existence, and they couldn't stop toasting that day. On your birthday, you must toast and not close the door to anyone because it's a date when people remember you, and you must make a toast. Even if you don't throw a party, it's not necessary to throw a big feast, but it's necessary to make a toast in your honor because it's your day. And then came the serenade, which for a birthday was the day before your birthday, so they would sing to you at midnight because it was already the next day, your birthday. "It's already 12, a new day" It was a very beautiful thing, the drumming and all, you didn't even know, you were in your bed sound asleep when the celebration began. That means your day is starting because the serenade is coming. It was a very splendid thing.
It was a truly splendid thing.
Excerpt from the interview with María Chamorro, a Creole singer and resident of Barrios Altos since her birth. In the company of Gregoria Sarria Joya, also known as Goyita.
"But I felt more in the Creole party, because of the people, my people" Chamorro
"But rather I felt in the criollo party, because of the people, my people," Chamorro
"But rather I felt in the criolla party, because of the people, my people" Chamorro "Unfortunately, these are people who are no longer with us, they no longer accompany us, but their children are here and in some way we can rescue something of what their parents did" Goyita
"Unfortunately, they are people who are no longer with us, they no longer accompany us, but their children are here and in some way we can rescue something of what their parents did." Goyita
Unfortunately, they are people who are no longer with us, they no longer accompany us, but their children are here and in some way, we can rescue something from what their parents did.
"Back then, the parties lasted 3 or 4 days."
"Back then, the parties lasted 3 or 4 days." "But there's nothing to be done, what is born is born, right?"
"But there's nothing to do about what is born, right?" In the end, you surrender to your music, right? - Chamorro
It seems you haven't provided the text you'd like me to translate. Could you please share the text?
"Criollo music, all our people who can talk to us about criollo music, about all this, are dying" Goyita
It seems you haven't provided the text you'd like me to translate. Could you please share the text?
"Margarita must have told them, because in her house they used to dance, people would gather to dance the black dances of that time, which they did with the door closed." Goyita
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"Margarita must have told them, because at her house they used to dance, people would gather to dance the black dances of that time, which they did with the door closed," Goyita
Bibliografía
BLOG DE MARCO GAMARRA GALINDO
La casona y su callejón. Consulta: 14 de febrero de 2019. http://blog.pucp.edu.pe/blog/labibliotecamarquense/2010/05/25/la-casona-el-buque-y-su-callejon/
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La caída de El Buque. Consulta: 14 de febrero de 2019. http://www.coherencia.pe/la-caida-de-el-buque/
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2016 “Cercado: incendio destruyó casona El Buque en Barrios Altos”. LIMA. Consulta: 23 de febrero de 2019.
https://elcomercio.pe/lima/cercado-incendio-destruyo-casona-buque-barrios- altos-244206
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EL BUQUE - BARRIOS ALTOS. Consulta: 14 de febrero de 2019. http://eudora.vivienda.gob.pe/OBSERVATORIO/rurbana/CBBA_OU_10.pdf
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LIMA LA UNICA
El Buque. Consulta:14 de febrero de 2019. http://www.limalaunica.pe/2012/11/el-buque.html
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“Callejón del Buque” en Barrios Altos colapsa después de incendio. Consulta: 14 de febrero de 2019.
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YOUTUBE
Barrios Altos: Música y Criollismo. Consulta: 23 de febrero de 2019. https://www.youtube.com/watch?v=8VYvHIPn8_g
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YOUTUBE
“El buque fantasma” de los Barrios Altos. Consulta: 14 de febrero de 2019. https://www.youtube.com/watch?v=-RxPzKT_KMo
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YOUTUBE
Recuperemos la Casona “El Buque” de los Barrios Altos (Lima, Perú). Consulta: 14 de febrero de 2019.