Archive for the AFRO LATINOS Category

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

Posted in AFRO LATINOS, Instruments ads, Peru Negro, Peru Treasures, Preserving Culture on September 25, 2010 by Listen Recovery

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


Posted in AFRO LATINOS, Nicomedes Santa Cruz, Peru Music Icon, Peru Negro on April 16, 2010 by Listen Recovery (English)


Posted in AFRO LATINOS, AFRO LATINOS DOC, Colombia, Colombia Music, Colombian Art, video archives on February 2, 2010 by Listen Recovery

CAÑETE artwork “Preserving Afro Peruvian Culture” 1977

Posted in AFRO LATINOS, arte universal / universal art, Graphics for Recovery Crew, Listen Clothing, Listen Recovery, Peru on February 1, 2010 by Listen Recovery


Posted in AFRO LATINOS, Arturo Zambo Cavero, Peru, Peru Music Icon, Peru Negro, photography on January 31, 2010 by Listen Recovery

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


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”


Link ^

AFRO LATINOS Film: Photos from Haiti. by Renzo Devia

Posted in AFRO LATINOS, AFRO LATINOS DOC, Haiti, photography on January 16, 2010 by Listen Recovery

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

Posted in AFRO LATINOS, Afro Sounds, Colombia, Colombia Music, Colombian Music Icon, Cumbias, documentary, video archives on January 11, 2010 by Listen Recovery


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.