TRUNK DRUM Afroperuano, REVIVE ancestral sounds (translated to english)

The long trunk drum, former percussion instrument that had been extinguished, was rescued by the Afro-Peruvian Museum of Zana and can now be shocking to hear your sounds, thus overcoming the silence. The work was completed in 2010 Fiestas Patrias. In this way the museum from the plains of northern Peru continues with the work of revaluation of ancient musical instruments that were forgotten. The drum was used stem from the colonial era in most settlements of Afro Peruvians. Gradually disappearing. Peru was losing its African roots drums like a long agony. Among other factors, modernity destroyed a significant part of our traditions. The vast majority of peoples of African descent in the Americas retained their old drums. Peru and had forgotten.
From November 2009 to date, the research team of Afro-Peruvian Museum has conducted an intensive work of re-evaluation and dissemination of percussion instruments such as the “Czech”, the “Angara”, the “jug drum” and the “scratch scratch” or “oak” guayaquil cane.
The long trunk drum, single patch, rebuilt by the Afro-Peruvian Museum of Zana is one meter long with a diameter of 38 centimeters. It is made of a eucalyptus tree, which has a hardwood. The drum was made in a rustic way of Zana Valley countryside. The main job of making the opening or “hollow” and shape the drum was the work of Rodolfo Zevallos Oliva 72-year-old African-American to consider an experienced rural artisan Zana Valley. The task was arduous. It began on June 15 and ended the first phase on 25 July 2010. For the large size of the trunk and its hardness, Mr Zevallos was long iron tools (new type of chisels) to hollow out the wood and used a wooden mallet as a hammer sapote. Used five old rustic tools. He left around the trunk hollowed out and ready for the final phase.

The finish long trunk drum included tightening the leather. This work was carried out by young Zaner Emmanuel Briones Carlos Urbina and experience working with rural and traditional music afrocosteña practice. They were responsible for putting on a goat leather, rings, the halter and wedges to temper. They joined two generations and to revive their ancestral art. The work was culminated precisely the July 28, 2010.
The two young men all participated in the month of May this year in a previous valuable experience to rebuild the earthen jar drum.
Various specialists and Caitro Soto, “Pititi” Nicomedes Santa Cruz, Santa Cruz Fernando Rafael Romero, Tompkins, and “Chalena” Vasquez confirmed the old drum musical use Afro trunk. Their extinction was in the first half of the twentieth century. William Tompkins gathered in Chincha testimony from people who remembered having seen the last drum trunk around the year 1950 stating that there was placed vertically to be tapping.
The African traditional drums that came to Peru from the time of the Spanish conquest had a variety of shapes, sizes and were made from a variety of logs. In the ancient guilds, in the sheds of farms in the Palenque and in the groups festive drums sounded the ancient art and strength.
To recreate the ancient musical instruments, Afro-Peruvian Museum of Zana has used written sources, oral and iconography (paintings and drawings old). One of the most symbolic images has been a watercolor of Francisco “Pancho” Fierro, entitled “Follow the 1821 civic procession, in commemoration of the National Independence Day. At that time Afro-Peruvians took to the streets with their musical instruments also struggling for their own freedom. Just at this painting you can see the drum long trunk, which is loaded on the shoulders of two African descent. With that image references and other specialists in the field we have already concluded this new task.

There are three main objectives of rebuilding these valuable ancient musical instruments. First show and exhibit at the Museum of Afro-Peruvian cultural wealth Zaña of African descent with pieces of great historical value, second re-introduce these musical instruments in the contemporary art world and third Afro integrate with our drums to beat of feelings and sounds of the African Diaspora in the Americas. The drums unite the people from the continent of ebony.

In Africa it is traditional to use the drums with religious and artistic messages. Spirituality and feelings are transmitted through the percussion instruments, singing and dancing. In Peru in the nineteenth century were gradually disappearing, and disseminating religious rituals of African origin. For various reasons were disappearing rustic drums of African origin in Peru. Supposedly it had all ended in the first half of the twentieth century. The old Afro-Peruvian drum rustic trunk, had already passed into oblivion.

Just log drum returns and is reborn in the countryside where Zana lived and worked by men and women enslaved. The new generations are making great efforts to recover their ancient traditions of music, sounds and musical force of their ancestors. And so gradually returning the old drums that unite us with the ancient Africa and the descendants of enslaved 30 million Africans were forcibly transported to the Americas for four centuries. So now recovered joy. Rescuing ancient musical instruments of our ancestors could make a musical revolution in our country, because returning the spirits of the African diaspora with their drums and ancient sounds. Now with our clay jug drum and drum long trunk we meet with our great-grandparents who came from Africa. These musical pieces are available to each and everyone who wants to revive our ancient arts.

Zaña, Peru, July 28, 2010
Museum of Afro-Peruvian Directorate, Zaña  < link to site

NICOMEDES SANTA CRUZ site

www.nicomedessantacruz.com (English)

AFRO LATINOS TV @ VIMEO

http://vimeo.com/channels/afrolatinos

CAÑETE artwork “Preserving Afro Peruvian Culture” 1977

LA PEÑA “DEL CARAJO”, Barranco, LIMA PE

http://www.delcarajo.com.pe/

Is hard to miss the nightlife in LIMA, if you are a frequent visitor, tourist or business commuter that lands in Jorge Chaves International Airport in El Callao, port of Peru in Lima.  I got pretty specific there for a minute…  The night life in Lima is no stranger to its traditions like anywhere else, the only difference might be their drinks and ethnic group that surrounds the old city.

DEL CARAJO is by far “a tradition now in Lima”. Where you can meet friends for some drinks and traditional black Peruvian and Andino entertainment or experience the “Peña” (creole tavern) for the first time.  Del Carajo Peña, offers the Peru black music tradition experience. With guess from all over the country and its regions, Coast, Andes and Jungle.

My experience was a brief one, the few opportunities I had to go I couldn’t make it, because always something came up (We never did plan things on our prior trips to Peru). But never the less on my last trip with AFRO LATINOS.  Rich Spirit and I, along with our causin Miguel Angel Matheus and our friend from “el barrio” Diego “Pajita” Tortola, took a visit to check out the now late Maestro Arturo Zambo Cavero, to interview and record footage for the upcoming 2010 AFRO LATINOS TV Documentary.  Directed by Renzo Devia, COLOMBIA/NY.

Well, my experience at DEL CARAJO was a good one, brief one but good one… I got to see some of the kids from PERU NEGRO, Eder Campos (Son of Ronnie Campos, Director of PERU NEGRO), who also work and dance during the shows.

I didn’t mention much about the type of entertainment that goes there… They dance, perform traditional and original Afro Peruvian music, as well as some Marinera (costal Folklore of Peru) and Andino dances, Like the “Danza de las Tijeras”.  The time I was visiting, October 2008.  During the “Mes Morado festivities” which includes Oct 31st Day of Creole Music of Peru.

The Night I was there, Arturo Zambo Cavero did an amazing performance… It was something to see the heavy hitter of Afro Peruvian Music.  I still miss him. His music lives with us forever.  ARTURO ZAMBO CAVERO.

Del Carajo also involves the tourist into the show, making you laugh and dance for prices.  Involving the crowd and acknowledging our neighbors countries.  Famous from their yard beers and Pisco shots, their beautiful waitresses for the fellas and handsome bar tenders for the ladies.  All this forms part of the experience to an old tradition of “clean Peruvian fun” PEÑA has been around for decades and forms now an iconic pass time in the weekends for national and tourist attractions.  Here are some photos from DEL CARAJO.

ARTURO ZAMBO CAVERO ( In one of his many performances at DEL CARAJO )

OSCAR AVILES ( 1st guitar of PERU ) and partner in crime of Arturo Cavero

AVILES.

After Zambo Cavero’s passing, Del Carajo gave us a tribute night to the Great Maestro’s music by

sharing with us another great of Afro Peruvian Music Maestro OSCAR AVILES who assisted Arturo for the most part of his music career.

Eder Campos (PERU NEGRO)

CHIN CHIVI “Los Hemanos Ballumbrosio” (Sons of the late Amador Ballumbrosio)

Iconic Afro Peruvian Artist.

Our women of PERU!

Jose Duran (PERU NEGRO dancer)

CHIN CHIVI (Ballumbrosio)

approx translation:

“After a heated week of work, I go and live a Creole Party Life at Peña Del Carajo”

POST ABOUT PERU NEGRO, AMADOR BALLUMBROSIO, DEL CARAJO & AFRO LATINOS (PHOTOS)

Link ^

AFRO LATINOS Film: Photos from Haiti. by Renzo Devia

EL ACORDEON DEL DIABLO Documental, Colombia. (Francisco Rada Batista el Hombre – Pacho Rada)

http://www.acordeon.de/index_1.htm

THE MUSICIANS

Francisco Rada Batista “PACHO RADA”

Was born on May 11th 1907 in Las Mulas, on the great Magdalena river. European ships from have travelled along the river since the mid-19th century and this is where Pacho’s father bought an accordion from German sailors, becoming one of Columbia’s first accordionists.
At a party in a village nearby, young Pacho picked up his father’s accordion while no-one was looking. After trying out a few notes he produced a recognisable rendition of the melody of “La Chencha”, a tune still familiar today. His father embraced him joyfully and a few days later he was given his first accordion.
Pacho Rada was one of the first troubadours to travel around the country playing unaccompanied, with just his voice and the accordion, bearing news and making music wherever someone had something to celebrate. He dreamt up hundreds of new songs on his travels, many of which have become classics.
He is known as the man who invented “son”, one of the four Vallenato rhythms. However, Pacho was already too old by the time that musicians could get rich playing Vallenato music, when it became popular outside the province due to the marihuana boom in the seventies. At the age of 72 he became homeless once again.
His children helped him to put up a simple house on the outskirts of Santa Maria, where he still lives.
Pacho Rada has 422 grandchildren, great-grandchildren and great-great-grandchildren. Women loved the young musician, but their parents despised him.

Pacho “Who would have wanted a penniless son-in-law, especially if he travelled around like a vagabond and spent his days enjoying music, rum and women. But they couldn’t do a thing about it. Who can stop a woman in love?”

Manuel Rada is Pacho Rada’s youngest son.

He travels around the country just like his father used to, together with his cousin, Rafael Valencia, living on whatever he can earn here and there for performing. There are no records of his music, he doesn’t appear on television but plays at parties and other festive occasions or throws an ad-hoc concert in his neighbourhood when the mood takes him.
While the means of transport that carry him may have changed since Pacho Rada’s day, Manuel has remained true to his father’s music. He plays traditional Vallenato music, with the European accordion accompanied only by the Indian guacharaca and the African caja drum. He composes original songs narrating episodes from his life.

Alfredo de Jesús Gutiérrez

Was born on April 17th 1944 in Paloquemao, Sucre. His work as a song-writer and composer gave a boost to the position of folk music in his country. He ranks among the country’s greatest musicians, thrice crowned Vallenato King, having won the competition and been voted best accordionist at the Vallenato festival held every year in Valledupar.
It was Alfredo Gutiérrez who first won international renown for his country’s music in the eighties. In the sixties he set up the legendary group “Los Corraleros de Majagual” with Calixto Ochoa and Daniel Montes, creating an international big band sound by adding electrical guitar, bass and a wind section to the traditional instruments. Over the decades Alfredo Gutiérrez honed and perfected the big band concept and has performed with his well-rehearsed team in the USA and Europe, as well as throughout Latin America.

AFRO LATINOS RADIO, ft. Roy Arroyo (COLOMBIA)

Afro Latinos Radio (COLOMBIA MUSIC) download

AFRO LATINOS TV by Creador Pictures

Afro-Latinos “The Untaught Story” is a documentary television series independently produced by Creador Pictures, LLC. The program will illustrate history and celebrate the rich culture of people in Latin America of African descent. From the story of how and when slaves came to Central and South America to identity issues that still exist in the Hispanic community today. There are an estimated 200 million Afro-descendants in Latin America but the majority of them do not have political or economic power. This documentary takes you on a journey to meet Afro-Latinos throughout Spanish and Portuguese speaking nations and an exploration and appreciation of their culture. It will also teach the uninformed and hopefully initiate social change throughout Latin America.

The documentary series will begin with the slave trade in the early 1500’s and touch on the Cimarron (Palenque) communities, as well as cover the controversial theory of the African presence in ancient America. The programs quest is to better understand the religious connections and distinctions between the Catholic Church and religious practices such as Yoruba and Voodoo. We learn about these religious and sacred ceremonies through dance and music. The drum is a very significant instrument used in Latin music today but do many people know its history? The documentary will have a segment on Afro-Latin gastronomy, which will show the many dishes with African influence as seen in Latino every day life.

Today, there still exists communities where African dialects were mixed with Spanish language found in places like San Basilio de Palenque and we’ve discovered a dictionary of Spanish words of African origin. Identity will be a special segment that affects millions of black Latinos worldwide.  Of all the issues that are affecting their way of life the main issue is the exclusion of a community of people based on the color of their skin.  We interview people from the U.S to Argentina about issues such as image (this idea of good hair, bad hair), interracial marriages, racism, oppression, exploitation and Afro-Latino consciousness plus much more.

One of the most important chapters in the documentary is the social issues segment as it is directly affecting ALL Afro-Latino communities. Our producers not only document the problems but also live and experience it firsthand. Consistent in most of the countries visited was the lack of local government support; from corruption to discrimination Afro-Latinos endear many tribulations. We hope this documentary will empower its Afro brothers and sisters and encourage people to help one family at a time, give voice to the invisible, create awareness, start a dialogue and promote change.

AMADOR BALLUMBROSIO: Peru, Afro Peruvian Icon 1934-2009 L.A. Times article by patrick.mcdonnell @latimes.com

El Carmen, PERU

For visiting musicians and artists, a stop at the modest home of Amador Ballumbrosio, the godfather of Afro-Peruvian music, has long been a rite of passage.

But the massive earthquake that hit Peru on Aug. 15 opened up cracks in the walls and ceilings of the adobe dwelling on a residential street here, almost forcing the family to evacuate.

Despite the damage, the septuagenarian patriarch refuses to leave the comfortably cramped haven where he and his wife raised more than a dozen children, many of whom are musicians and dancers.

Ballumbrosio, confined to a wheelchair for several years, said he sensed the nearness of death as his house shook like a boat tossed about at sea.

“It felt like the end of the world,” recalls the storied folk violinist and past master of the tap dance known as the zapateo. “I prayed to the Almighty.”

The damage to Peru’s black heartland, which gained international notice with the 1990s world music breakthrough of the Afro-Peruvian sound, has been widespread.

A few blocks from Ballumbrosio’s adobe home stands the battered hulk of Our Lady of El Carmen Roman Catholic Church, a cultural landmark that suffered a toppled bell tower, cracked facade and extensive interior breakage.

It is one of many colonial-era churches badly damaged in the quake, which killed more than 500 people and left tens of thousands homeless. Also in ruins is a nearby national monument, the Hacienda San Jose, a former plantation house.

But repairing historic sites is a secondary task in quake-battered Peru.

“We must first attend to the desperate needs of our parishioners,” notes Father Lorenzo Bergantin, an Italian Comboni missionary who is the parish priest of rural El Carmen.

Left without inhabitable dwellings were perhaps half or more of the 10,000 residents of El Carmen, which bills itself as Peru’s “capital of folklore and black art.”

The township is widely known for its evocative music, gleeful festivals, talented soccer players and gracious inhabitants.

El Carmen and the broad coastal zone devastated by the quake boast a singular fusion of cultures: The bloodlines of African slaves, indigenous Andean peoples, European settlers and Chinese laborers are evident here. Intermarriage over time has produced a vivid variety of skin hues and hair textures.

“We’re all mixed,” says a former mayor, Elias Rebata, 56, one of a family of 21 children born in this agricultural community.

Many carmelitanos, as residents are known, left after the quake to join relatives in Lima, the relatively unscathed capital 120 miles to the north; others now sleep in encampments hastily put up in plazas and pitches of grass, a ubiquitous scene in the vast earthquake-ravaged zone.

Even houses that appear undamaged on the outside have deep interior fissures, and may be poised to collapse.

“People are making do as best they can,” says Juan Roberto Flores, 64, leading visitors through dirt streets featuring toppled adobe homes and lines of residents queuing for donated food.

He and his wife now sleep in a tent pitched in the palm-shaded central plaza.

If there is any consolation, it is that no one was killed in El Carmen. Many attribute the paucity of casualties to the town’s beloved patron and protector, the Virgin of El Carmen, whose image is hoisted about the town on the feast days of July 16 and Dec. 27. Children, who practice for weeks, dance the steps of the zapateo during the religious processions.

“The Virgin saved us from an even worse fate,” says Pilar Joya, a 31-year-old mother of four living in a tent. “She watches over us.”

Word of the destruction has spread to aficionados of the sound that burst onto the world music scene with the release of the 1995 compilation “Afro-Peruvian Classics: The Soul of Black Peru,” co-produced by David Byrne, the ex-Talking Heads frontman.

“The earthquake has been a tremendous blow for the Afro-Peruvian community,” says Susana Baca, a well-known black chanteuse from Lima who has toured the U.S. and Europe and is a dedicated preserver of the cultural legacy. “Friends have called me from Boston, Barcelona, Switzerland, Berlin. They all want to know: ‘What can we do?’ I tell them their help will be needed to rebuild.”

Reconstruction seems likely to take years.

Even amid the current hardships, carmelitanos harbor no doubts: Neither the shaking of the earth nor the vast destruction will smother the melancholy and joyful sounds of Afro-Peru.

patrick.mcdonnell @latimes.com

PHOTOS OF THE BALLUMBROSIO ESTATES IN DEL CARMEN, CHINCHA. PERU by Listen Recovery: Renz Revelli