Photo Recap: EL PERÙ VIENE A TI 7-25-11 photos by Renz De Madrugada

BARETO (Cumbia Psicodelica Amazonica Limeña)

http://www.bareto.net/home

Peruvian Folklore showcase

the traditional ice-cream of Perù

and the traditional game…

ready for Eva.

Carlos & Marco

Hector Chumpitas & Marco Campos

Eva Ayllon band

Rich Spirit & Hector Chumpitas

CAITRO SOTO DE LA COLINA, De Cajòn Lp (download), photo by Lorry Salcedo Mitrani

Caitro Soto photo by Lorry Salcedo Mitrani

DE CAJON by CAITRO SOTO (download LP) < link

Pedro Carlos Soto de la Colina, popularly known as Caitro Soto (born in San Luis, Cañete Province, Peru, October 23, 1934 – Lima, July 19, 2004) was an Afro-Peruvian musician and composer. He was known for his version of the Peruvian folk song, “Toro Mata” and as part of the Afro-Peruvian artist’s collective Peru Negro.

Flamenco fans may have seen legendary guitarist Paco de Lucia with a cajon player in his ensemble. When Paco de Lucia visited Peru nearly 20 years ago, the Spanish ambassador threw a party. Among those present was Caitro Soto, one of Peru’s top percussionists. Soto gave de Lucia a cajon as a present. He also gave the guitarist basic tips on the instrument, which has now become a standard part de Lucia’s flamenco ensemble. Ironically, today, many people think that the instrument is Spanish. It is 100% Peruvian.

Ronaldo Campos De la Colina, Nicomedes Santa Cruz, Caitro Soto De la Colina (playin’ the Mule’s Jaw)

Garcia Bernal & Caitro Soto, film “Motocicly Diaries”

CAITRO SOTO, Toro Mata (writer/composer/performer) Afroperuvian Legend.

Pedro Carlos Soto de la Colina, popularly known as Caitro Soto (born in San Luis, Cañete Province, Peru, October 23, 1934 – Lima, July 19, 2004) was an Afro-Peruvian musician and composer. He was known for his version of the Peruvian folk song, “Toro Mata” and as part of the Afro-Peruvian artist’s collective Peru Negro.
Soto appeared in The Motorcycle Diaries as “Papá Carlito”, a resident of the leper colony at San Pablo, Peru. There is a Caitro Soto CD entitled “De Cajon.”

NICOMEDES SANTA CRUZ, Afroperuvian Legend. “Marinera, Festejo Y Lando” (Videos)

ANDRES SOTO (Peruvian Folk composer & guitarist) Bio.

Andrés Soto Mena, born on April 29, 1949 in Lima, Peru. He attended school at the National College of Our Lady of Guadalupe and finished college in 1972 as a BA in Social Sciences, specializing in Sociology at the Pontificia Universidad Catolica del Peru. In 1975 he studied at the National School of Music (Conservatory) with teachers Celso Garrido Lecca, Enrique Iturriaga, Nelly Suarez, among others.

Black ballads, urban issues and juglería trova songs, show creative veins of Andres representing a different way of expressing the feelings of the city and its surroundings. More intense emotions evoked by local customs reasons, romantic and existential testimony, all this is his base and predicament.

In 1968, he founded the vocal quartet “Manos Duras” in conjunction with Paco Guzmán, Daniel (Kiri) Escobar and Hugo Castillo. Years later, in the seventies, his songs run through areas student art work and up to the radio and television programs devoted exclusively to the social and popular song. Granda Chabuca called it one of the most important songwriters in the Spanish-speaking and Mario Vargas Llosa gives the best compliments on their work of rescue and distribution of Peru’s urban feeling deep in his television tuned to “The Tower of Babel.”

His songs have been committed to record: in Switzerland by The Jairas, in Argentina by Julia Elena Davalos, Mexico by Tania Libertad and Richard Villalón, in Italy by Marcela Perez Silva and the United States by Susana Baca. In Peru, Eva Ayllón do the same, Cecilia Barraza, the New Time group and Julie Freund. Currently interpret their creations: Cecilia Bracamonte, Patricia Saravia and as a promise latest Pamela Abanto. In February 1981, ODEON IEMPSA released his first and only length entitled Andrés Soto, dedicated to El Carmen, a town located south of Lima, the Chincha province, formerly inhabited by black slaves.

Andrés Soto has traveled to countries in Latin America, North America and Europe. In 1981 she participated along with Chabuca Granda on the television program “Chile invites you” by the Catholic University of Santiago where he was joined by the First Symphony of Chile and Peru by Alvaro Lagos prominent musicians on guitar and Chaitra Soto de la Colina in the drawer. The next year in Spain, gave two recitals in the auditorium of the Colegio Mayor “Our Lady of Guadalupe” under the sponsorship of ICI Iberoamerican Cooperation Institute and the Embassy of Peru in Madrid. The presentation and was greeting by none other than Nicomedes Santa Cruz. So too, has made known his work as composer in various artistic and cultural circles in Brussels, Belgium, Berlin, Germany, Sofia, Bulgaria, Moscow, Russia and the republic of Georgia today. Also, in the cities of New York-USA, Dorval and Montreal-Canada and the Republic of Argentina. For France has recorded a documentary that illustrates his work as composer with about a hundred songs and another of poetry edition that has been broadcast on all French-speaking countries and Germany.

In 1999, he won the Second National Festival of Popular Song “Chabuca Granda, with the theme” champion “as author and composer. For the event the song also earned first place in vocal performance by Elsa Palao.

In 2001 workers hired by the National School of Folklore “Jose ‘Maria Arguedas” as a consultant in research and mainly prints Advisory and choreographic works, from songs of his own to the Joint National Folk Music and Dance School.

In the News Andrés Soto is an active member of the Peruvian Association of Authors and Composers (APDAYC)

ANDRES SOTO writer to CHABUCA GRANDA, Perù (Afro-Peruvian Folklore)

ANDRES SOTO LP < download

If you read Spanish, click on the back of the sleeve to enlarge and read the liner notes from Chabuca Granda.

Soon we’ll add Andres Soto’s biography in English. Which is being translated… As you can see we decided to share the LP with you first.

We’ll get some time to chat about him… Andres Soto was a writer of the “Canciòn Simple Criolla”, a distinguish way of singing melodic Waltz from the Coastal region of Perù.  Andres was also the main song writer for Chabuca Granda.

More info coming soon…

Love!

LUCUMA, CHIRIMOYA & PACAY, Peruvian vinyl selection part II by Renz De Madrugada (56:24) recorded by June22

Every October in Lima, Perù we celebrate “Mes Morado”, the entire month is devoted to religion, music and food.  From the “Sñr. De Los Milagros” processions to the celebration of “musica criolla”, afro-peruvian, waltz & poetry.  This mix is dedicated to the tradition and faith of our people in Lima, Perù and all over the Andino nation, Puno, Juliaca, Chimbote, Cajamarca, Chiclayo, Tumbes, Iquitos, Ayacucho, Cuzco!!!. Viva el Señor de los Milagros y el turròn de doña pepa!

This one is dedicated to my uncle Johnny Davila, R.I.P. and in the memory and devotion to San Martin De Porres.

Renz De Madrugada

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

DE MADRUGADA “Musica Percudida”, Peruvian vynil selection (download mix 55:50 min.) Recorded by June 22

A selection of tracks from various LPs and Comps I found in Perù, from Andes Sampoñas & Quenas sounds to Amazonic Nostalgic guitars… I dusted a good stack to share with you some of my countries treasures during the 60’s and 70’s… hope you enjoy this one too…

This selection is dedicated to maestro Arturo “Zambo” Cabero

De Madrugada

mix recorded by June 22 from  XisTheWeapon.com

” 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/