Revolutionary

Peruvian Punk (Greene)

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Peruvian punk is not something I thought I would come across but I am glad I did. Shane Greene, while publishing his article in an elitist and rather inaccessible form of publication, an academic journal, discusses the Marxist aspects associated with the distribution and production of Peruvian punk.

While reading the article, I noticed that the upper class brought punk to Peru, just like how our Galeano reading mentions how soccer was introduced to Latin America through the English, an elite class. Anyhow, the discussion about the monopolization of musical production with vinyl and its dissipation when cassettes became cheaper alternatives is an interesting aspect. Cassette Culture, as Greene refers to, allowed for the widespread circulation of cassettes, local production, and the de-monopolization of the music industry which, therefore, made musical recordings accessible to most people. Moreover, the pirating and the use or consumption of cassettes also tied in with the socio-political message of rejecting global capitalism and oppressive institutions as there were no limitations on the creative potential of punk ‘underproduction’. It is, however, a bit ironic that in later years following Peruvian punk’s humble beginnings in the early 1980s the iconic band Narcosis chose to release a limited production of vinyl of their music that criticized overproduction.

Another aspect that I drew a connection to were the similarities that Peruvian punk and the general concept of Indigeneity shared. For instance, both have faced criticism/racism as not being valid as their ‘informal’ transmission of culture is not standardized and is much more fluid. There is also the rejection of capitalism found in arguments for Indigenous sovereignty and Peruvian punk, as well as critiquing class conflict that plays on rigid binaries of race, gender, orientation and so forth. Their mere existence challenges colonial institutions because they offer an alternative to the existing social/political systems in place. The fetishization of musical formats such as vinyl and Indigenous artworks, clothing, and more for collecting cultural pieces also fits the ‘Marxist capitalist-produced commodities at large’ (Greene 297).

However, punk is much more provocative to promote a discourse that undercuts social norms by blatantly disrespecting them which does not seem to be the case for those defending their ancestral identity. Just existing in a colonized system is a revolutionary act. Ethnic cultural identity is also something that cannot be as widely related to such as an ideology shared in a music genre. My explanation here is obviously very generalized but worth exploring in greater detail in a more specific context.

Do you know of any other musical genres in Latin America that challenge the mainstream? How are they provocative?

 

The Fighting Cholitas

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I think this is my favourite reading so far. The Fighting Cholitas documents the ‘double life’ of traditional, Indigenous women in Bolivia who wrestle regularly. Really though they are challenging stereotypes on what it means to be a woman, as well as traditional to create a more fluid identity. Wrestling also helps as a cathartic release for everyday stresses and creates a sense of community in El Alto.

One of the more obvious features of the fighting Cholitas is that they choose to wear their traditional layered skirts when they fight, even if it seems unreasonable to an outsider. However, choosing to wear the layered skirts is to proudly express their identity not only as a woman but as an Indigenous woman as well. There is also the direct challenge to masculinity or machismo by 1) displaying aggression in the ring 2) wearing traditionally feminine attire 3) all while being wives, mothers, sisters and so forth, and they do it with confidence. These women could easily be scrutinized but choose to fight anyways as a testament to their strength and sense of self.

Moreover, being able to put the social norms aside to fight is reasonably a cathartic experience. To let your walls down and express yourself through wrestling is truly la Lucha libre. In addition, there is the aspect of being ‘idolized’ or cheered on by spectators that is also a confidence booster. People gather to see these women fight in an auditorium regularly, supporting their favourite Cholita wrestlers or booing the Rudas (the fighters who don’t obey the rules) because of its novelty and the show they put on. Children, little girls in particular, are seen in the documentary as well imitating the Cholitas fighting in the auditorium which is warming to see. The fights are usually a spectacle between good and evil or the Technicas (wrestlers who follow the rules) and the Rudas so they are also reinforcing values about justice for the young ones to emulate. 

Thinking about how this was filmed in 2006, the message about challenging social norms is even more potent since there was not a widespread movement of women’s rights just yet in Latin America. There is a quote by G.D Anderson that goes “Feminism isn’t about making women stronger. Women are already strong. It’s about changing the way the world perceives that strength” which resonated with me especially in context to the Fighting Cholitas. These women lead complex lives but chose to fight the good fight regardless of which side they fight on in the ring.

My question for the class: What do the Fighting Cholitas represent for you?

The Pongo’s Dream

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I thoroughly enjoyed this piece, although the ending was a bit disturbing to visualize haha.

The six-page chapter follows the story of an “hombre Quechua moderno”, or in this case a lowly house servant (Pongo), who was wildly obedient despite the abuses he faced on a regular basis. The pongo never spoke, which was one of the main reasons his landlord picked on him out of all the serfs, until one day when he recited a religious metaphor to his landlord that would reward the quiet serf for his suffering and punish his oppressor in a revolutionary call.

There are many elements in this short story that I would like to address but I will briefly address only two. I think one of the most obvious points is the hierarchy of power built on racism. Throughout Latin America, there was a social system “La Limpieza de Sangre” or the cleanliness of blood (and the legacy of this system is alive and well today) created by the Spanish that relied upon blood quantum to determine everyone’s role in society.

The Silent Bell piece also exemplified this concept a bit with the Indigenous nun being too poor to give jewellery so the clergy wanted to sacrifice her ‘golden’ eyes instead. However, in these two examples, the golden eyes and the golden honey that the Pongo licks off the landlord as angels in his metaphor signify a purity contrast to the traditional form set out in feudal LA. The endless sacrifices made by Indigenous people and their good nature challenges the status quo with a more meritocratic form of justice.

Religion also plays a large role in popular culture in Latin America, so it only makes sense that the Pongo’s Dream (and the Silent Bell) heavily references it in the story. Catholicism was used to assimilate Indigenous and African groups after the conquest in the new colonies and eradicate cultural pluralism to make the administration of the colonies much easier. Political context aside, when the Quechua house servant with no name spoke metaphorically in reference to Catholicism, such as using the name of Saint Francis for the landlord to understand, It was as if he was speaking on behalf of the whole peasantry that the erasure of Incan cultural autonomy had no basis despite what has been conditioned and forced for centuries. The Pongo was a modern man because he was no longer silent to place the feudal system as obsolete.

Question for the class: Do you think that there is any other idea or imagery that serves as a microcosm of what is taking place throughout this piece?