This article examines the processes by which a transnational community of Andean music revivalists transfers, modifies, and appropriates certain indigenous knowledge. The sikuris (interpreters of Aymara pan flutes) claim to reproduce Andean musical practices and rituals that promote values emphasizing solidarity but perceived as threatened by globalization. In the process of transferring such practices from agricultural villages in the Andes to cosmopolitan Latin American capitals, they transform them both consciously and involuntarily. In addition to aesthetic modifications, the transformations involve changes in the meanings and uses that indigenous peasants originally attribute to the music. This article updates Thomas Turino’s analysis of the first generations of non-Puneño sikuris in Lima. I examine the continuities and especially the differences between that pioneer scene and the contemporary sikuri scenes.