4 YEAR Annvr. CAÑETE ARTE NEGRO blog

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” THE MUSICAL PRACTICE OF THE BLACK POPULATION IN PERU by Chalena Vasquez (English version)

Chalena Rosa Elena Rodriguez Vasquez is one of the most renowned musicologists in Peru. His text “Musical Practice of the Black Population in Peru” was published in 1982 and won the prestigious House of Musicology of the Americas Cuban organization reports, investigates, promotes, recognizes and publishes the work of scholars of literature and arts.

Chalena interest lies in the study of Afro-Peruvian holiday traditions found in El Carmen and other nearby areas in the provinces of Cañete and Chincha, areas where the black population has a significant percentage in our country. These traditions are studied from field surveys and documented with historical and sociological analysis that supports the first part of the book. In its first pages the author also reflects on the impact it has had on these artistic process of cultural commodification and corporate image.

The introduction of the book shows the clear line that she draws between the spontaneous and commercial:

“… We encounter many difficulties to see that we had left a false hypothesis. The intense activity of many folk music groups of so-called black, Negro or Afro, Black … as Peru had made us think that this music scenario was also presented in a spontaneous and intense practice at the grassroots level … From the first interviews we could see that at spontaneous, this practice rarely performed musical. Understanding spontaneity as an activity outside the framework of official parastatal or commercial. But the musical practice we found it was mostly within that framework: the commercial.
Then … we headed south, Cañete and Chincha, where the percentage of black population is higher … toured villages and farms, whose residents highlighted that “it hardly makes the music”, “that was old days” or “no money for holidays.” However, we note that extinction is not total, but the musical practice is so sporadic that it is necessary to stay and the place of many months at least … While in this search, we found in El Carmen, Chincha near town and in other towns in the same area … a demonstration that has great effect that is made for Christmas time: the Dance of Negritos (pack of Negritos) “(p. 9-10)

The first part of the book shows a brief history of African slavery with demographic data, we highlight that Peru is not ethnically African populations became established (different cultures) and therefore have brought musical expertise of various kinds. It shows how the Spanish banned the musical practices of African and regrettable that means having only purely literary data without a reference to the “sound phenomenon” of this music, it then would enter a stage of near disappearance.

The text that we detailed the nineteenth century, dance and music were often a tool to achieve social advancement and recognition, because sometimes people of African descent came to be masters of dance of the ruling class. However, the musical practice was separate parties: the ruling class dance in the “grand salon”, the waltz, mazurka, Jack, minuet, etc.., While dancing classes in villages and alleyways, musical forms such as zamacueca, INGA, the panalivios, the gannet, etc. (p. 24) concludes this section stating that black musical forms in Peru, are the product resulting from a social practice in which a battle being waged between social classes. Notes also emerges years later the so-called criollismo, new cultural product that would not be entirely black groups, but the lower classes of the Peruvian coast.

Chalena also discusses the current state of music, since 1956, when it appears the Company PANCHO FIERRO (first organized group to present a show of black music) and in which there was no difference between the “afro” and “native”, since in the social practice of the twentieth century there is no difference between black and Creole, and mentioned that the music called “Negro” was not only of blacks but of the lower classes of society. The author then shows how to use the term born “Afro” in the 1960s.

Chalena After we made notes as the professionalization of black folklore, where it notes that participants in the groups of “black art” learning to dance in them, in the trials, which shows little or no musical practice with spontaneously. “The same applies to people coming from south of Lima (Cañete, Chincha). Many of the groups that make up Lima, are people in those places … We emphasize this because we consider important to note the lack of spontaneous social practice of music-of the people, even those with high percentage of black population. ” (P. 43)

The author describes a general way of structuring music shows “black”:

– First is the need for the product is “folk”, present to some extent “the most authentic black folk” of those events that oral tradition and continuity did not reach total extinction as is the case of native stomping practiced in various communities of Chincha and Cañete, as well as others that were not intense practice at the grassroots level: alcatraz, Inga, bull kills, etc.

– On the other hand is the reconstruction of some dances that apparently were already obsolete and Land or Zamacueca. Another dance that was in disuse is the celebration, which originated in the part of the choreography is known today is credited to Don Porfirio Vasquez.

– A third aspect to consider would be innovation, aesthetic value is achieved by market needs. Chalena emphasizes “the performance of a pseudo rituals in which one notes the influence of the ballets of Senegal, Guinea and Cuba, that although he recognizes an undeniable aesthetic value, are quite questionable, because at present as folk are completely distorting reality and spreading a false image of the black in Peru “(p. 46)

– Finally, there is a type of recreation, innovating the instrumentalization or incorporating instruments fell into disuse. Such is the case of the reco-reco, according to Carlos Hayre instrument was brought to Brazil by Nicomedes Santa Cruz.

The second part of the book is devoted to a thorough musicological study of dance in their little black pack of butt shapes, such as spontaneous practice of that population.

Within the population cañetana interviewed for this book, we mention Angel Donayre (son), Guillermo Donayre, Carlos Donayre, RA Manzo, Francisco Timor, David Fernandez, Toribio Sánchez, Flora Ruiz, Adel Chumpitaz, Pancho Benavente, Benavente Augusta, Alberto Ruiz, Gregory Cubas, Jose Fernandez, Isabel Bravo, José Centeno and Cesareo Zegarra.

Eduardo Campos Yataco
lalitocy

(Spanish version from Cañeteartenegro blogspot)

http://caneteartenegro.blogspot.com/

CAÑETE ARTE NEGRO Blog

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CHABUCA GRANDA; Jose Antonio (song)

PETRONA MARTINEZ. San Cayetano, Bolivar. COLOMBIA (Rich Spirits next stop)

http://www.musicalafrolatino.com/pagina_nueva_4g1.htm

PETRONA MARTINEZ

Petrona Martinez is living proof that it can take a lifetime to become an overnight success. She..s also the embodiment of culture and history; one that has African roots and ancestry that penetrate deep into her Latin American home. That home is San Basilio de Palenque, Colombia, land of the slaves. A bus from there and then a journey along a path leads to her house, a place of perpetual feasting surrounded by chickens, donkeys, cats and dogs and children singing, dancing and playing flutes. Until recently, her source of income was gathering sand from the river to make bricks. It wasn..t until 2002, at age 63, that she was nominated for a Latin Grammy with the BONITO QUE CANTA album. Petrona Martinez inherited a strong singer..s tradition from Bullerengue, an Afro-Colombian dance rhythm born during the African fight for freedom from slavery and originally sung solely by pregnant women confined to their homes and thus unable to attend village dances. The melodies were passed down through the generations. She learned them from her grandmother and great-grandmother as they sang while doing daily tasks and attending Patron Saints Festivals. She is now passing them to her sons and daughters, some of whom are part of her eight-piece ensemble. Petrona..s performances are authentic, uninhibited and memorable. Whit her band pounding out rhythms and vocals venid her, she sings and alternates between dancing and sitting in a rocking chair. Her group incluyes daughters Joselina Llerena and Nilda Llerena. Appearing with them are percussionists Janer Amaris, Guillermo Valencia, Edwin Muñoz, Javier Ramirez and Stanley Montero. Her manager is Rafael Ramos.

UCLA LIVE and LISTEN RECOVERY present: OMARA PORTUONDO

http://www.uclalive.org/

http://www.omaraportuondo.com/

ARTURO ZAMBO CAVERO: R.I.P “Afro Peruvian Master”

El Comercio (Article about the passing of Arturo Zambo Cavero) Peruvian News Paper.

Arturo Cavero Velásquez

(b. Peru-Lima, 29 November 1940 – † Peru-Lima, 9 October 2009),

Better known by his fans by the pseudonym of “Zambo Cavero”. He was a virtuoso Afro Peruvian singer, who enjoys international fame. He was considered by many Peruvians a symbol of the Afro Peruvian identity or Peruanidad because of his particular manner of singing that captivates his listeners, many of whom coincide that Cavero’s intensity makes then feel the melodies with a truly Peruvian taste, as a result in his long artistic trajectory, he was very popular, admired and loved, not only in Perú, but by many people from different parts of the world in which he sold his musical reproductions. “Zambo Cavero”  specialized in interpreting, with a unique talent and inimitable voice, traditional songs from authentic and original rhythms of Perú, some of his best interpretations are songs that were composed by the notable Peruvian composer Augusto Polo Campos, other comes from a profound Afro-Peruvian traditional Música criolla which is actually Afro Peruvian music.

In June 3, 1987 Cavero, was laureated together with also the remarkable Peruvian musicians: Luis Abanto Morales, Jesús Vásquez and Augusto Polo Campos in Washington by the Organization of American States also known as OEA, honoring his merits after that the Inter-American Council of Music (Consejo Interamericano de Música) had a thorough evaluation of his professional career and the contribution and strong presence of the Peruvian Music in the American continent and in the rest of the world.

Arturo Cavero died from complications of sepsis in Rebagliati Hospital in Lima on October 9, 2009.

“Wow!, Zambo Cavero, That guy is amazing, I can’t stop listening to “Cavero” since I discover him.”

” Tommy Trujillo” (Mandrill)

“As far as I can remember in Peru, Zambo’s voice and music was never absent from any gathering in a Peruvian (callejon), I love Zambo Cavero!”

“Renzo Revelli” (Listen Recovery)

“Besides being one of the Masters of Afro Peruvian Culture, he was also my friend, I will miss him dearly.”

“Alan Garcia Perez” (President of Peru)

“I was the one who recorded him first with Aviles on guitar, around the late 60’s, He’s voice was the voice of PERU”

“Agusto Polo Campos” (Peru Music Icon)

“Un Gran amigo con el que cante y hoy canto sus canciones… Me duele en el alma”

“Master Luthier Gino Gamboa” (Eva Ayllon/Peru Negro)

link to vintage video of Arturo Zambo Cavero

ARTURO ZAMBO Videos

Enemigos Intimos TV (Parte Un y Dos) Español. PERU

HOMENAJE “ARTURO ZAMBO CAVERO”

ARTURO’S Last Presentations in Peru w/ Peru Negro

EVA AYLLON canta a CHABUCA GRANDA (Peru) L.A. event

evaayllon.net

REMO DRUMS & LISTEN RECOVERY present MANDINGA a tribute to Amador Ballumbrosio

On July 31st, 3 days after the Independence day of Peru.  Rich Spirit from the Listen Recovery, got together with Master Luther Gino Gamboa and the Remo Percussion Center in North Hollywood.  To come together and pay tribute to one of the ‘Pilars’ of Afro Peruvian Folk music, ‘El Señor Amador Ballubrosio” from Chincha, Del Carmen. REMO Percussion Center open the doors to Listen Recovery and Mandinga “afro Peruvian tribute band” directed by Gino Gamboa.  The afternoon was filled with drums and enthusiastic of percussion.  People from various backgrounds, ethicities and age.

There was drums for everybody, including some of the new signature series tamba, congas and conguitas by Poncho Sanchez Collection.  Amazing abstract work on the skins.  But my favorite series was the ‘black stucco acrylic’ Congas.  Some very nice sounds coming out of this instruments.

The Remo Percussion Center is a large open area for drumming and networking with musicians and teachers of percussion.  Here are some of the flix we took during out session.  Which by the way was very fun… We played mostly afro peruvian tracks by Peru Negro and Eva Ayllon in between sessions with the band and the dance lessons by Milagros from Peru Negro.
We will continue the workshop with Mandinga and Master Luthier Gino Gamboa, who also by the way, manufactures 90% of the instruments for Eva Ayllon and Peru Negro, including his latest invention “La Batea”, a wooden bucket with a cajon whole on the botton and the wooden skin on top.  Kinda hard to explain. Got some photos… enjoy!

MANDINGA

FESTEJO

MANDINGA at REMO Percussion Center w/Listen Recovery’s RICH SPIRIT

http://www.remo.com/