For The Sake Of Art

What is the origin of the term “Creole Pena?. Many remember the ’70s, when he participated in a musical group playing guitar music were interpretabamos Peruvian rhythms of cumbia, salsa, and some Santana. On weekends, they had to go to play, I liked watching the television program “Songs and Dances of Peru”, transmitting a local broadcaster, grab my acoustic guitar, and I started to follow the musical notes for musicians who performed in television; imagined I was playing with them, that helped me to know many folk songs. Upon completion of the program, I was going to play. This program lasted a long time, and I was always this way.

In the 75 years or so I started playing guitar work in a place that was in the block 17 of Av Arenales in Lince, as I lived in Rimac, had to go through the bus around the block 3 of Arenales, and in that place there was a local show that featured criollo, “Charles and his rock,” what watched from the bus, and thought (as I like to work in this “club”). Fortunately for me, one of the guitarists who worked there, lived in Rimac, we met through another musician, and soon led me to work there. Working at the local, I had the opportunity to accompany the musical framework, all the artists I saw on television, the program that always followed. Many are the stories, anecdotes and circumstances that lived in those premises. Alternating with artists and people older than me in age, I know that the term “Pena Criolla” came in 1940. In the constitutional province of Callao, native groups were formed to play guitar and sing folk music, and being near the sea, took the nickname “Rock.” Then the music centers appear, which also could participate, singing, playing guitar, cajon and castanets, all shifts involved, no one was paid anything. No questions, no I wanted to find out what time the thing went shopping, because somehow I was part of that trade, (as one colleague remarked graciously, “we prostituting musically) The true sense of” creole Pena “was that, to meet in a fraternity, where everyone involved singing, playing guitar, playing cajon, castanets, and why not taking some type of liquor, and suddenly who knows, Creole prepare meats, but all would like to say “for art’s sake” I have understood that in some districts of our large metropolitan Lima, continues with this tradition because hopefully, this will linger, and especially not degenerate into other aspects, so that folk music, have the presence it deserves.