Generic, Andean word used to refer to a variety of vertical flutes. It applies especially to the Notched flute, a form of construction which dates back to at least the Chavin era (900–200 bce) in Peru. Notched flutes termed kena, as well as many other names, are found widely in Bolivia, Peru, northern Chile and northern Argentina, but less frequently in Ecuador, Colombia, Venezuela and the Guyanas. The name kena may derive from the kena-kena, a cane notched flute known since the 16th century and still played in Aymara rural communities on the Bolivian altiplano, especially around Lake Titicaca. It is 50–70 cm long, with six finger-holes, and is principally played during agrarian or patronal fesivals in the dry winter months, from Easter to All Saints, in monophonic consorts with drums.
The kena notched flute has been an important instrument in mestizo culture since at least the 19th century and is played during Carnival celebrations in many small rural towns of the southern Andes. For example, small brass kenas are played by young men on horseback in Vitichi, Potosí department, Bolivia. Today the word kena most often refers to a standardized cane or wooden notched flute, typically of six finger-holes and a rear thumb-hole played in urban mestizo traditions and pan-Andean popular styles. Instruments of similar construction have been played in mestizo contexts in Peru, in combination with guitar, mandolin or charango, since the early years of the 20th century. Since the 1960s the urban kena has surged in popularity in Andean and other Latin American cities, with many Latin American musicians playing the instrument in Europe. As a result its playing technique has been developed incorporating many aspects of Western aesthetics. As a fully chromatic solo instrument, with a compass of some three octaves, it is often played with great virtuosity and expressiveness.
H.C. Buechler: The Masked Media: Aymara Fiestas and Social Interaction in the Bolivian Highlands (The Hague, c1980)
G.W. Cespedes: ‘New Currents in música folklórica in La Paz, Bolivia’ Latin American Music Review, v/2 (1984), 217–42
Bolivia: Larecaja and Omasuyos: Anthology of the Music of the Andes, GREM/IFEA CD G 8901 (1989)
The Art of the Andean Flute: Los Calchakis, Arion CD ARN 60352 (1997)
HENRY STOBART