CUMANANA XXXVII-ENG

Page 1


Cumanana

E - Newsletter of Peruvian Culture for Africa

MINISTRY OF FOREIGN AFFAIRS

“In that quarter lived the marketwomen, the laborers, and the porters, who did the daily work of the city, the policemen, and the clerks from the few stores. Here also were found the inns where litigants from the country, mule drivers, and mestizo travelers stayed. It was the only quarter with chicha bars. On Saturdays and Sundays, they played harp and violin in the most popular ones and danced huaynos and marineras.

José María Arguedas, "Deep Rivers", 1958.

On the one hand, the Moroccan souks – the name given to the traditional street markets of Arab countries – since their origin in medieval times, have been the epicentre of trade and urban life in cities such as Marrakech, Fez and Tangier. As an anonymous author points out, "for the Moroccan, the Souk is as necessary as food: in it he gathers news, in it he solves family problems; in it he acquires commitments or makes contracts" (Azzuz, 1952, pp. 66). The structure – both spatial and social – of these street markets has been intrinsically linked to the guiding principles of the Islamic religion. While the Spanish occupation and French influence introduced a series of commercial reforms that challenged traditional dynamics, the recognition of the architectural, historical, and aesthetic values of the souks constituted the pillars of the tourism

Source: sciendo.com The souk in Rahba Kedima square, tourist area of the medina of Marrakech.

Unlike the colonial era, with the independence of Morocco in 1956, the objective of maintaining the authenticity and integrity of traditional street markets was left out of urban politics, through the adoption of bazaar-like characteristics and outsourcing – understood as the abandonment of the manufacture of products and the rise of the pure commercialization of these –, the adoption of boutique-like characteristics – or the sale of luxury goods at high prices and the marketing of fake or low-quality products that are attractive to tourists (Kania and Kalaska, 2018). Although these changes caused by the development of the tourism industry in a globalized context have deepened since the beginning of the twenty-first century, the inclusion of various Moroccan cities on UNESCO's World Heritage List allowed both traditions and local products to once again take on a central role in the dynamics of trade and

tourism in the souks.

In this context – although originating from the commercial practices of medieval souks and street markets – haggling was consolidated as a way of establishing relationships and ensuring justice in transactions, reflecting the art of negotiation that was essential in trans-Saharan trade. Although the informal rules of haggling have evolved, the ability to negotiate prices is still an integral part of the buying and selling experience in Morocco; to the point of becoming a central component of Moroccan economic life, reflecting not only the commercial dynamics, but rigen el intercambio

On the other hand, Peruvian commercial exchange during pre-Columbian times was based on the principles of barter and ayllu. The street markets of the villages or ccatus – an institution with pre-Inca origins that later had the supervision of the Inca authorities – followed a barter dynamic based on the productive surplus or retail exchange for products. Even practices such as yapa or adehala -which refers to asking for something extra- were part of the commercial exchanges of pre-Columbian Peru (Quiroz, 2020). However, with the arrival of the Spaniards in the sixteenth century, local trade and street markets underwent significant transformations. Both the introduction of European products and the imposition of new economic and political structures modified consumption patterns and the products available in Peruvian street markets. As a result, colonial street markets became centres of exchange not only of goods, but also of ideas and cultures, generating indigenous commercial practices to adapt to the new

los mercados locales
Source: southamericaexploor Mercado SAN PEDRO
colonial realities.

Amid the dynamics fostered by cultural exchange among street markets, haggling as a widespread practice in Peru – although no data is found on it from the pre-Columbian period –had an important influence on the part of Arab migrants. By the end of the nineteenth century and the beginning of the twentieth century, not only was the arrival of a wave of Arab, Palestinian and Turkish migrants experienced, but also their active participation in the southern and Andean commercial circuit, among the cities of Arequipa, Cuzco and Puno. Although Arab trade practices were itinerant – that is, they were not fully integrated into the street market –during this period, the culture of haggling and payment facilities as sales tools were introduced

by, especially, immigrants of Arab origin (Cosamalón, 2020).

On the other hand, similar to the Moroccan case, with Peru's independence in the nineteenth century, street markets continued to evolve, reflecting the tensions between tradition and modernity. Although there was a process of diversification of goods and production itself, traditional street markets remained an important pillar of daily life in many communities. However, the biggest transformation for Peru came hand in hand with the boom in tourism as a driving force of the economy. Although street markets saw a positive increase in the influx of tourists, vendors began to focus more on items that attract visitors than on traditional products. Although this adaptation has generated a kind of commercialization of traditions –with the creation of products specifically designed for the tourism market – the street markets have managed to reinvent themselves over time while continuing to be a vibrant reflection of

Peruvian culture and identity (Kani & Kalaska, 2018).

Source: peru.travel pisac market CUSCO

Despite the differences in the temporal, cultural and religious contexts of Peru and Morocco, both countries exhibit remarkable similarities in their business practices to this day. In addition to the evident resistance of traditions in Peruvian and Moroccan street markets, there is a shared commercial dynamic: haggling, which ends up functioning as a mechanism to preserve and express local cultural identities. This custom is not only a way of negotiating prices, but also a social ritual that fosters the relationship between buyer and seller (Ogliastri & Salcedo, 2008). Between the bustle of the souks of Marrakech and Fez or the street markets of San Pedro in Cusco and San Camilo in Arequipa, haggling is almost an art: sellers expect customers to participate in the bargaining game, and buyers, in turn, seek to get a bargain through lively and insightful dialogue. This process – far from being a simple economic exchange – involves a series of codes and norms that allow both parties to show respect, cleverness, and a certain

shrewdness, three characteristics of both societies. contemporary world.

In conclusion, the common elements of Peruvian street markets and Moroccan souks – both in terms of shared history and similar practices – highlight the ability of cultural practices to adapt and survive through historical changes, evidencing the resilience of commercial traditions in an ever-evolving world. As much as external influences – whether religious, colonial or tourism dynamics – have influenced the development of street markets, the persistence of haggling and particular cultural practices highlights the richness of the historical legacies of Peru and Morocco and the importance of keeping the essence of their commercial traditions alive in the

References

Functional and spatial changes of souks in Morocco’s imperial cities in the context of tourism development. https://sciendo.com/article/10.2478/mgrsd-2019-0002

The Souq and the Foundouk. The Genesis of the Markets and Medinas of Morocco (Book Architecture and Urban Transformation of Historical Markets: Cases from the Middle East and North Africa). https://www.taylorfrancis.com/chapters/edit/10.4324/9781003143208-12/souq-foundouk-hassane-kharmich -khalid-el-harrouni

El zoco, centro de actividad comercial en marruecos. https://dialnet.unirioja.es/descarga/articulo/2494080.pdf

La moneda en el mercado interno peruano colonial. https://www.bcrp.gob.pe/docs/Publicaciones/libros/2020/historia-de-la-moneda-en-el-peru.pdf

Compendio de Historia Económica del Perú. https://www.bcrp.gob.pe/docs/Publicaciones/libros/historia/4-economia-de-la-primera-centuria-independient e.pdf

Article 2:

Interculturality between Peru and Morocco

through Gnawa music of African origin

Minister Counsellor Mohamed Akhouya

Music, as a universal language that transcends geographical and linguistic barriers, has the unique ability to weave links between different cultures, intertwining stories and creating bridges between continents. A living example of this cultural convergence is demonstrated by the "Gnawa" music, a musical genre of African origin that has taken root in Morocco and that, surprisingly, resonates with almost similar echoes in the rich Peruvian musical tradition.

This musical and artistic journey invites us to explore the cultural convergences between these two Nations: Peru and Morocco, revealing how history, migrations and artistic fusion have been able to create a common and similar musical genre between these two Nations.

Source: ritmosglobales.com ritmosglobales.com ritmos

In fact, Gnawa music, with deep roots in the African slave communities that arrived in Morocco in the sixteenth century, is a cultural expression rich in symbolism and spirituality. Their songs, accompanied by instruments such as the "krakeb" (made up of two pieces of metal joined together by a ring), the "guembri" (a three-stringed instrument with a deep and melancholic sound) and the "Tbel" (drums that mark the ancestral rhythm), invoke the spirits and ancestors, creating a unique musical experience that fuses tradition and ritual. In the Moroccan city of Essaouira, which hosts, once a year, Gnawa music festivals, the tradition is kept alive, attracting musicians and spectators from all over the world, who immerse themselves in the magic of this genre.

However, the link between Gnawa art and some types of Peruvian music is not limited to a simple coincidence. The presence of African music in Peruvian culture is a tangible reality, deeply rooted in its history. The legacy of slavery, which also marked the historical evolution of Peru, left an indelible mark on the music of the South American country. The rhythm and fervor that we find, today, in Afro-Peruvian music, such as "zamacueca" or "landó", have clear parallels with the Gnawa music of Morocco. In both traditions, percussion plays a fundamental role, the lyrics are charged with emotions and music is used to celebrate, to heal and to connect with the spiritual world, creating a fluid dialogue between body and soul.

de marruecos

On the other hand, the influence of African music on Peruvian music is also evident in the presence of instruments such as "the cajon", a percussion instrument of African origin that has become a fundamental element of Afro-Peruvian music. The way in which "the cajon" is played, with its complex rhythms and its ability to express a wide range of emotions, is reminiscent of the "Tbel" or "Ganga", one of the main instruments of Gnawa music, establishing a musical interconnection between both instruments.

The intercultural link between Peru and Morocco becomes even deeper when considering the role of the African diaspora in the history of both countries. The forced migration of Africans to America and North Africa created an invisible connection that is manifested in music, traditions and gastronomy, among other fields.

Today, Gnawa music is not limited to the borders of Morocco. Indeed, musicians from various parts of the world have become interested in this genre, reinterpreting it and merging it with other musical styles. This global expansion of Gnawa music is a testament to the vitality of this tradition, as well as its ability to transcend borders and connect with different cultures, creating an intercultural dialogue through music.

Thus, the cultural convergence between Peru, Morocco, and Africa through Gnawa music is a living testament to the transformative power of music. This artistic exchange, which has been evolving for centuries, reminds us that cultures are not isolated islands, but are intertwined by invisible threads that are woven through history, migration and artistic expression. Gnawa music, with its African roots, its presence in Morocco and its different influences in Peru, is an inspiring example of how music can be a bridge between continents, a universal language that unites cultures, traditions and common history, creating a cultural fabric that connects us all.

Source: elperuano.com zamacueca
Source: Europeana.eu WIN INSTRUMENT

Exploring these connections therefore allows us to better understand the richness and complexity of cultures and invites us to look beyond geographical boundaries to discover the stories behind every rhythm, melody and song. Thus, Gnawa music, an art inscribed in 2019 on the Representative List of the Intangible Cultural Heritage of Humanity, aspires to become not only entertainment, but a powerful vehicle for intercultural communication and understanding, a universal language that allows us to understand and celebrate the world's cultural diversity.

In this way, African influences have been felt in Peruvian music in various ways, creating a cultural musical blending that enriches the country's culture. Percussion, emotional intensity and the use of music to celebrate life and to connect with the world of the spiritual are elements that Gnawa

music and Afro-Peruvian music share.

Source: ritmosglobales.com Gnawa, the spiritual music of Morocco

References

https://elperuano.pe/noticia/90771-zamacueca

https://www.europeana.eu/es/item/09102/_CM_0952423

https://ritmosglobales.com/gnawa-la-musica-espiritual-de-marruecos/

RECipe: Moroccan Pastilla

The Moroccan Pastilla is a traditional dish that combines sweet and savory, typical of celebrations in Morocco. It is made with thin layers of phyllo dough that wrap a juicy filling of poultry, spices and almonds. This dish, often decorated with powdered sugar and cinnamon, is an exquisite display of rich Moroccan cuisine.

Ingredients

500 g chicken breast or pigeon

1 onion, chopped

1 cup toasted and chopped almonds

4 eggs

1/2 cup powdered sugar

1 teaspoon ground cinnamon

1/4 cup chopped parsley

8 sheets of phyllo dough

1/2 cup melted butter

1/2 teaspoon ground ginger

1/2 teaspoon turmeric

Salt and pepper to taste

Preparation

Cook the chicken in a pot with the onion, ginger, turmeric, salt and pepper. Once cooked, shred the meat and set the stock aside. In the chicken broth, beat the eggs and simmer until thickened. Add the shredded chicken, almonds, parsley, sugar and cinnamon. Mix well.

Preheat the oven to 180°C. Grease a round baking pan with butter. Place a sheet of phyllo dough in the baking pan, letting the edges dangle. Brush with butter and repeat with 4 more sheets. Fill with the chicken mixture and fold the phyllo sheets over the filling. Top with remaining sheets, brushing with butter between each layer. Bake for 25-30 minutes or until golden and crispy. Sprinkle the pastilla with powdered sugar and cinnamon before serving.

PERUVIAN-AFRICAN

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