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| Encuentro de Música Andina | |
|---|---|
| Name | Encuentro de Música Andina |
| Location | Quito, Cuzco, La Paz, Bogotá |
| Years active | 1970s–present |
| Founded | 1970s |
| Genre | Andean music, folk, indigenous, world music |
Encuentro de Música Andina is a recurring festival dedicated to the performance, preservation, and innovation of Andean music traditions across the Andean region of South America. The event brings together musicians, scholars, instrument makers, and cultural institutions from countries such as Ecuador, Peru, Bolivia, Colombia, Chile, and Argentina for concerts, workshops, and symposia. It functions as a node connecting regional institutions, ensembles, and festivals, fostering exchanges among artists associated with universities, cultural centers, and recording labels.
The roots of the Encuentro trace to cultural revival movements linked to institutions like the National Conservatory of Music of Peru, Universidad Nacional Mayor de San Marcos, Escuela Nacional de Folklore "Héctor Alarcón", Escuela Superior de Música de Quito, Conservatorio Antonio Neumane, Conservatorio Nacional de Música de Bolivia and community organizations in Cusco and La Paz. Early manifestations were influenced by record labels and producers such as EGREM, Philips Records, CBS Records, Fania Records, and ethnomusicologists associated with Smithsonian Folkways, Instituto Nacional de Cultura (Peru), and Museo Nacional de Arqueología, Antropología e Historia del Perú. Key gatherings paralleled festivals like Festival de la Canción Boliviana, Festival de Viña del Mar, Cosquín Festival, Festival Internacional de Música Barroca Americana and artistic projects tied to the Movimiento Indigenista and the political currents around figures associated with Túpac Amaru Revolutionary Movement activism in broader cultural discourse.
During the 1970s and 1980s the Encuentro expanded alongside initiatives by municipal governments in Quito, provincial administrations in Cusco Region, and cultural ministries in Ecuador, Peru, and Bolivia. Collaborations involved archives at the Biblioteca Nacional del Perú, academic departments at Pontificia Universidad Católica del Perú, Universidad de San Andrés (Bolivia), and international programs at Universidad de Salamanca, Université de Montréal, and School of Oriental and African Studies. The 1990s and 2000s saw partnerships with festivals such as Womad, Festival Internacional Cervantino, Lollapalooza Chile, and networks around European World Music presenters, while recordings circulated on labels including Nonesuch Records, World Circuit, and Columbia Records.
The Encuentro typically operates through municipal cultural offices, nonprofit organizations like Fundación Pachamama and regional cultural institutes such as Instituto Nacional de Cultura (Ecuador), with programming input from university departments including Departamento de Etnomusicología (UNMSM). Programming committees have included representatives from orchestras like the Orquesta Sinfónica Nacional del Perú, choral groups from Coro Nacional de Bolivia, and ensembles contracted by promoters such as Live Nation-style presenters and smaller community promoters affiliated with Red de Festivales Culturales de los Andes. Formats include concert series, academic panels in partnership with Center for Latin American Studies programs, instrument-making workshops with luthiers linked to guilds in Puno and Huaraz, and pedagogical residencies modeled on conservatory exchanges with Conservatorio de Música de la Universidad de Chile.
Schedules alternate between open-air stages in plazas associated with municipalities like Plaza de Armas (Cusco), university recital halls at Universidad Nacional de San Antonio Abad del Cusco, and museum auditoria across sites such as Museo del Banco Central del Ecuador, Museo Nacional de Colombia, and Museo de la Memoria (Bolivia). Funding and sponsorship have involved national cultural funds like Fondo Nacional de las Artes (Argentina), intergovernmental programs such as UNESCO cultural heritage initiatives, and occasional grants from foundations similar to Ford Foundation and Rockefeller Foundation.
Repertoire centers on genres and forms traced to Andean repertoires preserved by communities in Altiplano, Valle de los Incas, and river valleys tied to the Amazon Basin, including traditional forms like huayno, yaraví, sanjuanito, marcha, and ritual repertoire linked to Inti Raymi and Carnaval de Oruro. Instrumentation foregrounds indigenous and mestizo instruments such as the quena, zampoña, charango, guitar, bombo legüero, and pan-Andean ensembles that incorporate bowed instruments from traditions related to mestizo violin practices. Contemporary commissions have blended Andean idioms with arrangements for string quartet, symphony orchestra, and collaborations with artists from jazz and electronic music scenes, producing cross-genre works performed alongside archival pieces held by institutions like Archivo Nacional del Ecuador.
Artists represented range from community-affiliated conjuntos and youth ensembles to internationally known performers and scholars associated with universities and cultural centers. Notable participants have included artists linked to groups and projects such as Los Kjarkas, Savia Andina, Inti-Illimani, Illapu, K'ala Marka, Siku Ensemble, and soloists trained at conservatories like Conservatorio Nacional de Música (Peru). Ethnomusicologists, instrument makers from Puno and Huarás, and guest conductors from institutions such as the Santiago Philharmonic and Lima Philharmonic often contribute. The Encuentro also commissions works from composers connected to Conservatorio Nacional de Música (Argentina), promoters from Cultura Capital (Bogotá), and recording artists contracted by labels like Universal Music Latin Entertainment.
The Encuentro has been discussed in academic journals and periodicals tied to departments and presses such as Revista de Música Latinoamericana, Latin American Music Review, Quitumbe Cultural Press, and university presses including Pontificia Universidad Católica del Perú Press. It has influenced pedagogy in conservatories across Andean universities, contributed to tourism programming promoted by municipal tourism boards in Cusco, Quito, and La Paz, and informed cultural policy debates within ministries like Ministerio de Cultura (Peru). Critics and commentators in daily newspapers such as El Comercio (Peru), La Razón (Bolivia), and El Universo have assessed its role in heritage preservation versus commercialization, while NGOs engaged in indigenous rights and cultural heritage—mirroring organizations like CIPCA and CONFENIAE—have partnered on community protocols.
Performances and events are staged in historic plazas and institutional venues associated with heritage sites like Plaza de Armas (Cusco), Quito Historic Center, and municipal theatres including Teatro Bolívar (Quito), Teatro Municipal (Lima), and Teatro Nacional (La Paz). Academic presentations occur at universities such as Universidad San Francisco de Quito, Universidad Nacional de Cuyo, and Universidad Nacional de Colombia (Bogotá), while museum collaborations take place at institutions like Museo de la Música Peruana, Museo de las Culturas Aborígenes, and regional cultural centers in Puno and Arequipa. Outdoor stages in mountain communities and rural plazas enable participation by community ensembles from regions including Ayacucho, Apurímac, Huancavelica, and Chimborazo.
Category:Music festivals in South America