ARPA Y ARPISTAS CRIOLLOS DE GUAYAQUIL: UNA REALIDAD EN EXTINCIÓN

Abstract

The purpose of this work is to demonstrate the unfamiliarity of the creole harp in Guayaquil, music and performers included, which means the lack of an important cultural right with historical origins. For this reason, it is intended to raise the awareness of the general public, the Academy and involved Institutions within the cultural field, about the importance of rescuing and preserving this legacy in benefit of the Guayaquilian and Ecuadorian community. Although it is true that this instrument has had very distinct historical origins and which plays and important role between de mestizo cultures and quichua speakers from certain parts of the country, it isn‟t less true that it has been actually in the city, in despite of not having been part of the Guayaquilian tradition, as is the case of the guitar and requinto. It is known the existence of recordings and artistic activities in the city, which were made by the players that settled on it, since the midtwentieth century and whose earlier generations listened and enjoyed, which it is supported by testimonies from people involved in the issue. These works are, pitifully, unknown today by the music students. Nowadays, the promotion and diffusion spaces of the instrument are scarce which this is why this work shows strategies to contribute its preservation and rescue. The methodology used in the collecting of the information was the survey and the interview. The first ones were applied to students of higher grades from the Antonio Neumane National Conservatory of music of this city; while surveys were made to representative people and involved in the issue. The result of the work gave rise to clearly defined conclusions regarding the lack of knowledge of the instrument and the urgent creation and development of strategies for the rescue and preservation thereof, which would bring as result the opening of spaces for promotion, diffusion, teaching, learning and construction, and this would gave place to an evolution of a captive audience and could increase the interest of musicians, researchers and general public. A benefit would be achieved, being relevant to the musical culture and identity.