“COQUETEO Y PICARDÍA” by Katherine Martínez

Notes from the Artist: “Tondero” is a traditional Peruvian couple’s dance and musical genre, characterized by playful, coquettish exchanges between men and women, originating in the province of Morropón in the region of Piura over three hundred years ago. While the dance originated in haciendas on the northern coast of Peru and consists of different styles based on region, Tondero was recognized as part of the Cultural Heritage of the Peruvian Nation in 1993, solidifying its influence throughout the country. The roots of Tondero can be found in the colonial era when African slaves were brought to Peru by Spanish colonists. Over time, the dance evolved as a form of self-expression in haciendas among indigenous people and enslaved Africans, who found brief moments to celebrate their cultures and traditions, and to express their emotions despite the constraints of colonial rule. While the dance has adapted to changing times, the essence of Tondero as a vibrant expression of Peru’s multicultural heritage—telling stories of romance and courtship, while addressing issues of cultural identity, social struggle, and everyday life—remains unchanged, making it a cherished tradition throughout the country. Commonly, male dancers wear a long sleeve button down shirt, trousers, a sombrero, handkerchief, and an “alforja,” a decorative stretch of fabric with two large pockets on both ends, designed to be worn over the shoulder or carried over the arm. The female dancers often carry either a “cántaro” (ceramic jug) typical to Piura, reminiscent of the dance’s origins in local “chicharias,” or a shawl typical to the Lambayeque region, always carry a handkerchief, and wear a “Bata” or “Camisón,” a one-piece, lightweight fabric garment resembling a dress, and a “falda,” a decorative skirt worn above the bata. The footwork, or zapateo, is intricate and lively, and dancers use hand movements in conjunction with their handkerchiefs or scarves to gesture, twirl, and beckon, emphasizing the playful communication between partners. Dance movements include the partners circling around each other or moving parallel, communicating through eye contact and playful gestures, and coming together with the slightest breath of separation at climactic points. The music of Tonder is contains lively, syncopated rhythms and melodic lines, and consists of three main parts: the “glosa,” the “dulce,” and the “fuga.” Traditional and modern instruments are used, often in conjunction with “cumananas,” spoken or sung verses, often in a call-and-response format, which are typically improvised and often include poetry, songs, or stories that reflet the singer or community’s history, culture, and values. During a visit to Dpaso Mamacona in Lurin, Lima, I was lucky enough to see the Lambayeque style of Tondero, indicated by the woman’s use of a shawl. In this Tondero song, the horse rider—riding a Peruvian Paso horse, a special light-saddled horse known to have the smoothest ride—represented a landowner intervening in the courtship between the two fieldworkers. A love triangle formed, and I watched as each suitor tried to outdo the other to garner the woman’s attention. Can you guess who she chose?