The Afro-Peruvian Cajon

Rafael Santa Cruz Castillo

Presentation made by Raúl R. Romero Cevallos
Director of the Center for Andean Musicology
Catholic University, Peru

The study of musical instruments in Peru is still in its initial phases. This is the case with instruments such as the so-called cajón (literally: box), which, despite its relatively recent origin, has become a national symbol. As with the charango (small lute) and the zampoñas (pan pipes) at their moment, the afro-Peruvian cajón (as it is called by the author of this important book) crosses the borders of the musical genre it is linked to, and has become a cultural icon not only for the afro-Peruvian community or the community that is considered “criolla” (mixed), but reclaimed by all Peruvians as cultural patrimony.

As the author makes clear, the Peruvian cajón has even reached areas beyond Peru and this is where one might appreciate clearly the “nationalist” nature of the cajón. These past years, a sort of national debate has come about, similar to that regarding Peruvian pisco, where the Peruvian nature of the cajón is reclaimed in the context of its use in Spanish flamenco music—a usage that has led to the assumption by many amateurs that the cajón is Spanish (just as many consumers assume that pisco is Chilean). In this sense, it is dangerous for any student of this topic to get lost in the unsolvable problem of the true origin of cultural goods. In general, this is a question that does not have an answer. Almost all cultural objects and goods have been invented or discovered through parallel processes, or have been the subject of cultural additions since the beginning of time, transformed, mutilated or enriched through these processes, and thus impossible to trace at this point.

Rafael Santa Cruz Castillo has very aptly avoided to fall into this maze by recognizing the existence of the cajón in Cuba, Spain, and finally Peru, and by including in this valuable book respective chapters on these areas. That is to say, the author foregoes all cultural chauvinism to recognize clearly that the so-called cajón is not a Peruvian invention (since many variants are used in Cuba too), but he also clarifies that it is in Peru that the cajón sets deep roots in the afro-Peruvian and criolla communities, and that this is precisely the reason for its elevation to the status of a “national instrument.” Once this explanation is made, the book turns into an obligatory read for any reader interested in the history of the Peruvian cajón. It does not present a nationalist discourse, nor does it see the history of the cajón through local eyes. Even less does this book belong to the classic studies of folklore, where sentimental and romantic visions dominate. The objectivity of Santa Cruz’ oeuvre is commendable and this is its principal virtue. But it is not the only one, since The Afro-Peruvian Cajón is not only a well-documented history of the instrument but also includes a technical section on its interpretation with various musical scores by way of example.

This book is, thus, for everybody. The academic who is interested in the link between folk music and the history of Peruvian culture will find in this book the necessary data to contextualize the so-called Peruvian cajón. The amateur interested in the cultural and musical practices linked to the cajón will find not only exact historical information on the instrument, but also the necessary guidelines to initiate, perfect, and put into perspective his or her musical endeavors.
Finally, I must add that I consider it a privilege to write these short lines about The Afro-Peruvian Cajón, not only because it possesses the virtues I have laid out above, but also because it is the first study published on this topic. And in this sense, it is a book that sets the precedent for other researchers to find the enthusiasm to study and write about the Peruvian instruments and musical genres that so far remain “undocumented” because of the lack of interest displayed by national institutions with regard to serious and academic research into our folk culture. Rafael Santa Cruz has not only taken a commendable initiative, he has also had a vision of the future, that hopefully will open doors for other similar endeavors.

The Afro-Peruvian Cajón constitutes, without a doubt, a milestone in the studies of Peruvian music. For the first time, a book is published, including a multimedia CD, where the present of the cajón in Peru and other countries is accounted for and documented in a detailed manner.

Rafael Santa Cruz, heir of a family tradition of brilliant artists, presents a first class piece of work. Easy to read and free of technical jargon, fit for all publics, amateurs and professionals. The Afro-Peruvian Cajón includes history, photos, rhythmic patterns and musical scores, exercises, glossary, advice, etc. As if this were not enough, it is complemented by a multimedia CD which contains explanations, in audio and video, of how to play the instrument, its construction, basic rhythms, etc.

Santa Cruz has turned his research into a tribute to the Peruvian cajón. With this book he corroborates the notion that this instrument is a product of the cultural resistance of afro-descendent Peruvians, recognized as cultural patrimony of Peru, and today part of a global culture.