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72 Cards in this Set
- Front
- Back
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“El gavilán”, |
CimarrónJoropo llanero: Orinico plains of Colombia and Venezuela |
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"La Tonada" |
CimarrónCow milking song, extension of music in the Orinoco plains |
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"A blanco y negro" |
Riquelme Carrillo and BandVallenato paseo, Northeastern valley |
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"Puya" |
Omar GelesVallentato puya, Northeastern valley |
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"Fidelina" |
Carlos Vives Vallenato pop |
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"Las cuatro palomas" |
Totó La momposina Traditional cumbia Mompox depression |
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"El millo de modernizó" |
Los Gaiteros de San JacintoTraditional cumbia with the flauta de millo (millo flute) as lead instrument" |
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"Cumbia sampuesana" |
Aniceto Molina y La Luz Roja de San MarcosModern cumbia with accordion as lead instrument |
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"Valicha" |
Inca (ensemble) Andean region |
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"Marinera con fuga de huayno" |
Andean marinera with huayno fugue |
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"La flor de canela" |
Chabuca Granda Vals criollo, Lima |
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"José Antonio" |
Julie Freundt Marinera, Lima |
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"Festejo de ritmo" |
Perú Negro (ensemble) Traditional Afro-Peruvian festejo rhythm |
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"María Landó" |
Susana Baca Afro-Peruvian landó, Lima |
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"Ingá" |
Eva Ayllón Popularized/commercialized festejo, Lima |
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"Sonido Amazonico" |
Los Mirlos Cumbia Chicha |
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mestizaje |
mixing generations and ancestry |
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mestizo/a |
mixed European and indigenous cultures |
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polyculturalism |
.. |
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patriarchy |
man world |
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feminism |
women are equal and stuff |
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synchronicity |
things happening at the same time? |
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Gran Colombia |
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Joropo Llanero |
-best-known of the many regional varieties of Venezuelan traditional music -Homegrown musical ensembles were superseded by the “standardized” instrumentation: harp or bandola llanera, cuatro, maracas, acoustic or electric bass -Songs also reflect rural life with subject matter like cow milking songs or herding songs |
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Arpa llanera |
combines elements of both baroque classical music and African elements |
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Maracas |
credited to be an indigenous instrument but they are also play away from the context of indigenous ritual |
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Cuatro |
4 strings, much like a jarana |
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Bandola |
much like the requinto from son Jarocho |
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Baby Bass |
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Cajón |
largely developed from the afro-disaporic coastal communities of Perú |
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Zapateo |
llanero style |
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Cotizas |
shoes worn when dancing zapateo, flat shoe that is meant to sound like a slap |
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Cimarrón |
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Ana Veydó |
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Carlos Rojas |
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Vallenato |
-from northeastern region -national music of Mexico -derives from "valle" and "nat" as in "someone from the valley" -includes festival competitions, large-scale concerts and studio recordings |
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Paseo |
most recognized form with a couples dance and often with romantic lyrics, most recorded form, a love song, less busy than puya |
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Puya |
fast-paced, brief lyrics (or none), triple meter, and meant to display viruosity of the accordion, battle form - meant to compete, too fast for dancing, some lyric battles |
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Sombrero Voltiao |
(symbol of the northeastern Valley of Colombia) |
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handbag |
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Accordion King Festival |
music that comes from stories, legends, proverbs, etc…, whole regions stop for the king festival to compete and be accordion king, symbol of national pride |
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Folklore: the devil and vallenato |
the story of Francisco Moscote, who defeated the devil by playing his accordion and singing the Apostle’s credo backwards (in Gabrial Garcia Marquez’s 100 years of Solitude via local folklore) → version of a legend, defeating the devil |
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Palenquero cumbia |
many palenqueros sprang up (autonomous sites for formerly enslaved Africans) - Gaitero, Oalenquero, Toto la Momposina, Cumbia (popularized) |
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Los Gaiteros de San Jacinto |
guíta (macha and hembra), group active since 1940’s, Tambor Alegre - base rhythm plus improvisationLlamador- plays base rhythm on off (up) beatsTambora - double-headed drum, deepest toneMaracón - round and slightly large maracasFlauta de Millo |
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Andean mestizo.indigenous music |
guitars, mandolins, charangos, violins, quenas, harps, bandurrias |
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Huayno |
1st section - somber story |
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Fuga |
ending section of a song, exhibit feelings of marginalization, second-class citizenship communicated, challenging itself, feeling of pain |
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Trio de la Estudiantina Municipal de Ayacucho |
have an interesting vocal approach, one of most popular stylesmembers: Felicitas Inez Ascarza de Cuba (vocals), Estinislao Medina (guitar), Pedro Cconisilla (mandolin) |
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Sarawja |
“Let’s go” in Aymara language) - from the Moquegwa southern Andean highlands and Tixani Valley, performed around Christmas and EAster, emblematic of towns of Carumas, San Cristóbal, and Cuchumbaya, mix of Spanish and pre-Inca traditions, represent their own mestizaje cultural identity, verses are improvised and allude to love, locality, suffering, and disappointment, different types of charangos unique to region |
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Tradiciones Carumeñas |
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Música Criolla |
white, spanish heritage (or European) and born in the Americas, both European and African descent, Cajón is Afro-Peruvian tradition, singing and clapping is european tradition
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Vals Criollo |
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Chabuca Granda |
one of the first nationalized Marinera singers, something about a "Paso Horse"
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Marinera |
Perú’s national dance, roots in Spanish fandango, African zamacueca, and indigenous couple dances-dance protrays a couple’s flirtatious pursuit - heteronormative dance-forms: each region has its own style, punctuated by variatoins in teh tempo, key, clothing, and steps
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Lucy de Mantilla |
known as “La dama de la marinera” or “The First Lady of the Marinera”, from Cajamarca, Perú, resided in Trujillo, over 46 songs, made some of most interpreted and danced pieces in Perú
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Julie Freundt |
interpreter, singer, songwriter of popular Peruvian music, which includes the marinera, festejo
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Cusco |
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Afro-Peruvian music |
Marinera, festejo, landó, tondero, zamacueca, and contrapunto de zapateoInvolved elaborate dance and ritual traditions
- Atajo de negritos and yunsa dance forms are traditional expressions from the South-central coastal area of Ica
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Zapateo |
same as other above, percussive dance/foot stomp, Escobadilla - brushing movement
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Atajo de negritos |
a Christmas celebration, Boys and men dress as Magi to sing and dance in adoration of the infant Jesus to a violin, Parade down streets of El Carmen, Reference agrictultural labor and era of slavery, events that form an important aspect of collective memory, Clothing, Ornate crown, Band of bright red and blue
- Crown and band have tinkle bells, bright paper, bolts of cloth and tiny mirrorsCrossing diagonal bells
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Ballumbrosio Family |
Amador Ballumbrosio is called the “godfather of Afro-Peruvian music”
- Has taught zapateo dance and value of ancestry to family - Perform at events, festival, workshops - Sons Miguel and Jose are “global ambassadors” of these musical traditions - Currently reside in France
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Festejo |
type of music, like festival? specific rhythm
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Eva Ayllón |
Composer and prominent vocalist/performer of Musica Criolla and Afro-peruvian rooted music
-Took stage name Eva from her grandmother, first vocal instructor -Participated in “peñas criollas” in musical groups (like open mics) -Pursued solo career after Los Kipos and began touring internationally, international success by 1979Leader in landós and festejos -Over 20 records, nominated 6 times for Latin Grammy -Sold out Carnegie Hall -Judge on La Voz, Perú
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Susana Baca |
Influences: Cuban music, Mexican songs
-Global perspective, pan-African perspective on Afro-Peruvian music -At the forefront of the revival of this type of music -Fame didn’t come until late 1940’s -Landó rhythm and song -Cajón is consistent major -Became first black cabinet member and helped to create the National Observatory for Discrimination and Cultural, Ethnic Exclusion
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Cumbia chicha |
centered in Lima
-Psychedelic rock -Started during late 1960’s, included scales of Andean melodies, American sounds like from electric guitars, wah-wah pedals, Farfsa organs, Mong synthesizers -Style emerged from rural to urban shift and came to be known as chichi -Created space for Graphic Street Art and posters of the same name -Bright colours, vibrant sounds, allows marginalized communities to claim public space -Named after the “people’s drink” – Chicha morada, made from purple corn -Combines elements of huayno with cumbia -Utilizes Andean pentatonic scale but on electric guitar (lead instrument)
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Psychedelic influence |
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Los Wemblers de Iquitos |
- Formed in late 1960’s in Iquitos, largest city in Peruvian Amazono-Fusing together popoular dance music from South America and rock ‘n’ roll from N. America and coined term “Cumbia Amazónica”-Their contribution to Peruvian culture and the further diversification of cumbia was recognized at the 2015 Smithsonian Folklife Festicals’ “Perú: “Pachamama” program”- Written by Isaías Emerson Sánchez, “La danza del petrolero” refers to the oil boom that changed the physical and cultural environment of their city and the rest of the Amazon in the 1970’s
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"Sonido Amazonico" |
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Los Mirlos |
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Norteña |
Marinera dance from Trujillo – playfully flirtatious and accompanied by a brass band |
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Mochera |
Marinera also on the North coast, reflects rural origins in dress style |
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Limeña |
Marinera considered the oldest, elegantly dressed couples dance to the rhythms of the guitar and cajón |
