South and Central America

archeology to today

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Ecuador

In the 18th century, it is reported, an Indian played a flute and a small drum accompanying specially trained
dancers in the Corpus Christi procession in Andean Ecuador. The pipe and tabor is still played in processions.

1791 Quito ‘The Disposition of the Indians in the Province of Quito’

“…They are lively only in parties of pleasure, rejoicings, entertainments, and especially dancing
;… one plays on a pipe and tabor, while others dance…”

‘Universal geography formed into a new and entire system; describing Asia, Africa, Europe, and America; ... also giving a general account of ... the history of man, ... the state of arts, sciences, commerce by Payne, John

1870 - “ The masquerade at Machachi was evidently intended to keep alive the memory of the Incas.
Three Indians ... danced to music of the rudest kind, one individual pounding on a drum and blowing
on a pipe at the same time.” [source]

annual procession

1900 - 1950 playing for costumed dancers Latacunga, Ecuador

player

players

pipe from Quito
statue	statue	statuette	tile picture, Quito

Guatemala

2004

2005 photog.Stan Raucher

Panama

A.D.800–1540A gold figurine of a man playing what may be a duct flute and rattle.
Veraguas culture.
Photog by Dale A.Olsen

necklace, either Costa Rica or Panama, gold Veraguas/Diquis

11th-16th century, Chiriqui,
gold pendant; pipe and rattle

11th - 16th century, gold pendant
Western Panama, Veraguas-Gran Chiriquí Style,

Panama/Costa Rica figure
pipe or snake?

preColombian between 750 and 1400AD Panama
Detroit Institute of Arts

Peru

1470-1521 Aztec pipe
Between 1782 and 1785 the Spanish Bishop of Trujillo made a trip of several years around the northwest of Peru to discover the region of which he was in charge. When he was recalled he sent the king of Spain a series of more than 1,400 illustrations made during that trip. These images are the “Trujillo Codex of Peru” or “Codex Martínez Compañón”. Eighteen of the images from the Trujillo codex contain the scores of 20 musical pieces. pipe and tabor playing for dancing,

1794 General Description of Peru: “…one plays on a pipe and tabor, while others dance. Some of the best voices among the Indian women sing songs in their own language, and those who do not dance, squat down in the usual posture till it comes to their turn….” ‘An historical, geographical, commercial, and philosophical view of the American United States’ by Winterbotham, William
1805 “The reception was accompanied by all the splendour the wretched Panos could display. Alternating their songs, which were accompanied by the pipe and tabor, by dancings and clamorous rejoicings….” ‘The Present State of Peru: : comprising its geography, topography, natural history, mineralogy, commerce, the customs and manners of its inhabitants, the state of literature, philosophy, and the arts, the modern travels of the missionaries in the heretofore unexplored mountainous territories, &c. &c.’ by Skinner, Joseph
In 1825 William Bennet Stevenson wrote of his journeys in Peru: “Among the feasts which the indians of Huacho celebrate, that of Corpus Christi deserves to be spoken of. .... During the week the village is enlivened with different companies of dancers: one called huancos is composed of eight or ten men; ....They dance along the streets to the sound of a pipe and tabor, keeping pace to the tune, that the bells on their legs may beat time to the pipe and tabor.... The criollaos go by pairs, accompanied by a pipe and tabor.”
1865 Sarayacu print	1945 - 1965 player, Cajamarca, Peru
players	procession

playing for dancing

playing whilst building wall

2001 playing throughout communal harvest Performer of pincullo and tinya during the harvest of grains. Photo: Raúl R. Romero (courtesy Center for Andean Ethnomusicology, Catholic University of Peru).
“…linked to agricultural labor is the music called huauco, played with a tinya (small Andean drum) and pincullo (vertical flute) in a pipe and tabor fashion during the communal harvest of grains…. Communal labor in the fields is a special event reserved for specific occasions of the agricultural calendar that require total participation of the villagers: for the barbecho or volteo (turning of the soil), during the cultivo (first tillage of the land), and for the siega (harvest) of grain. Communal labor in the fields begins with a general meeting at the central plaza of the village, after which the workers walk to the field where they labor for the whole day. The musician plays during the whole faena and during the mishkipas (rest periods)” ‘Debating the Past’ by Raúl R Romero
Chirocos playing during planting, Chugay, Peru
two players	CD cover