La Peruvian Criolla music underground: Between localities and translocalities

The concept of music scene emerged in 1991, representing a new perspective that considered the linkages between daily life and music. This research field was started by Will Straw and followed by many other scholars, such as Shank (1994) and Bennett and Peterson (2004). The widely known work of the latter is our point of departure to explore the musical and social phenomena that characterize the underground criolla music scene in Lima, and its differences from the commercial scene. At the same time, we discuss this conceptual framework through an initial approach to a translocal scene that has flourished in cities like Santiago and Valparaíso in Chile, the Chilean scene of Peruvian criolla music.