Projekt: "Structural inequalities in the transculturation of the European waltz in Lima, Peru: The Vals Criollo and the case of guitarist Óscar Avilés"

Emerging in the late 19th century among marginalized communities of Lima, the was initially rejected by the elite but later appropriated as a symbol of national identity, revealing deep social hierarchies and exclusions. In that context, Avilés, a middle-class man, developed a distinctive guitar style that combined technical sophistication with artistic sensitivity, enabling him to gain unprecedented influence in the music scene through radio, recordings, and collaborations with prominent artists. By examining Avilés’ artistic career in comparison with that of other guitarists of his time, this project explores how social positioning influenced artistic success and opportunities for upward mobility within Lima’s music scene.

The research project combines archival analysis of recordings, fieldwork in music venues and cultural spaces in Lima, and interviews with musicians and community members. Drawing on theories of coloniality of power, creolization, race, and gender, it explores how the vals criollo reflects broader societal inequalities while also illuminating the cultural dynamics that have preserved and transformed the genre over time.

Ultimately, this project provides an interdisciplinary perspective on the social, cultural, and musical forces that shaped one of Peru’s most iconic musical traditions. It aims to contribute to ethnomusicological knowledge while sparking discussions on the complex interplay between traditional music and structural inequalities in both Peruvian and global contexts.