From dawn to dusk: This is how the day of creole song is celebrated
Music has always been a mark that shapes the cultural identity of a nation. Therefore, attending a Creole gathering in Peru not only amounts to a small journey through its history but is also a source of pride for its roots. That is why, after Independence Day, the Day of Creole Song is perhaps the most Peruvian of the celebrations in this South American country.
And it is celebrated to the rhythm of waltzes and the scent of mixtures every October 31st.
Day of Creole Song, on this date, Peruvians gather at gatherings or organize events at home to celebrate by dancing a polka, a marinera, or a tondero, with pisco and handkerchief in hand, displaying the grace characteristic of coastal dancers. This highly representative heritage of Peruvian culture is also practiced in schools and universities, passed down from generation to generation.
Music has always been a stamp that marks the cultural identity of a nation. For this reason, attending a ‘peña criolla’ in #Peru is not only equivalent to taking a short trip through its history, but it is also a source of pride for its roots. So the #CreoleSongDay, which takes place every October 31, is perhaps the most Peruvian among the festivals celebrated in this amazing country!
Origins
Historians recount that Creole music had its origins in the zamacueca and other Afro-Peruvian genres. Some claim it emerged as a result of the assimilation of the Viennese waltz, very popular in Peru in the mid-19th century. The truth is that, at that time, Creole waltz was already very popular, developing thanks to the contribution of other rhythms such as the polka and black music.
In the 1920s, foreign genres like rancheras and tango quickly made their way into Peru. However, Creole music, with its nostalgic and beloved themes evoking the past, never ceased to resonate at every festivity or family gathering. Figures like Felipe Pinglo Alva – a composer and one of the genre’s key figures – emerged, and peñas, places dedicated to the dissemination of this genre, were born.
An evolving genre
Around 1950, the Creole waltz gained a preferred place in the festivities and celebrations of Lima. Fueled by radio, record labels, and the resurgence of Peruvian football, the music industry of Creole genres advanced significantly. Who can forget the ensemble Fiesta Criolla, with Óscar Avilés on the guitar, Los embajadores criollos, or Los Dávalos de Arequipa?
Great composers like Chabuca Granda, Augusto Polo Campos, and Alicia Maguiña began to stand out. Songs like “Muñeca rota” by Serafina Quinteras and “Todos vuelven” by César Miró lit up the gatherings in Lima. Singers like Lucha Reyes, Cecilia Bracamonte, LucÃa de la Cruz, Arturo “Zambo” Cavero, Susana Baca, and Eva Ayllón emerged. Names that still resonate today and, thanks to their legacy, are part of the musical history of Peru.
