Danza Ingles

8/2/2019 Danza Ingles

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Las danzas afroperuanas 1

Afro-Peruvian dances are those created by people of African descent in Peru.In the colonial era, were slowly adapting to new customs even tried topreserve their cultural heritage, mainly musical, the same asslowly and develop aculture acriollndose Afro-Peruvian own.In this original mixture of indigenous cultures, European and African is born blackexpressive dances in Peru.

The best expression of joy or sadness of this Afro-Peruvian

cultureis dancing to the drums of their African ancestors.

1) water and snowStomping dance competition between independent dancers of bothsexes accompanied by guitar, with clear drawings of Spanish origin.Practiced in the small north central coast province of Huaral.The main exponent of this genre was Don Porfirio Vasquez, alongwith guitar master Don Vicente Vasquez. Don Porfirio did recordthis tune, whichwas recorded on the disc "Cumanana" whichaddressed Nicomedes SantaCruz in 1970.

a.alcatraz

Gender Dance Celebration, effective especially in Lima and Ica.

It is an erotic dance festival, couple loose. Man and woman are in the back of the waist, arag, a piece of paper or something similar, the man with a lighted candle is to light cone

while the women dance moving hips. Currently in the choreography she attempts to burn

the man.

The music is performed by soloists and chorus of singers, guitars and percussion, the

most known belonging to Don Porfirio Vasquez and his son Abelard as "To the sound of

the drum" and "Bold are" respectively.

3)ZamuecaPrevious to the seafaring musical genre, was apparently a dance widespread from the capital of the Peru,

Bolivia, Argentina and Chile. Don Fernando Romero (l939) shows that it is this same dance which gives rise to

the seafood, as well as gives an etymological approach in his work on Afronegrismos. (Romero, l988:274). Shedanced at the festival of Amancaes to late 19th century and early 20th

It is a dance of ertico-festivo Court which was censored by their "bold" moves (Toledo, 1990s). Victoria SantaCruz her reconstructed in the Decade of the 70s, taking as a model the clothing that appears in the watercolorsof Pancho Fierro and references of the Argentine musicologist Carlos Vega. Some Zamacuecas createdspecially for the show, but you are not the spontaneous popular practice are currently known.

4) Celebration
http://www.amigosdevilla.it/musica/musica_peruana2.htm


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Genre and dancstico erotic and festive type of independent or interdependent

partners. Effective in Lima and Ica, Caete and Chincha especially.

William Durand, says, is a dance for couples based on loose pelvic-ventral

movements. Seems to be the oldest of the manifestations of blackness, which led to a

series of dances choreographed own (such as Alcatraz, the Inca, etc.).

The instrumental accompaniment, originally due to be exclusively rhythmic, drums patchon wood or clay jars, gourds of various sizes, wooden cowbells and

clapping. Subsequently enriched with stringed instruments like the guitar and later the

guitar.

5) bunch of darkies

Gang, or group dance troupe that organizes popular male to adore the Child at

Christmas. Is effective especially in the Ica department, practiced by children and young

people led by a Leader. He sings and dances to the accompaniment of violin and bells

worn by dancers in their hands.

The Negritos Dance consists of a large number of parts or moving-between 30 and 40 -

each of which has a text, music and choreography specific.

The musical structure reveals the synthesis of elements from the three cultures that make

up the coastal identity: the pentatonic scales with clear indigenous, African, with the

footwork in rhythmic syncopated counterpoint, and the violin and the verses of Spanish

origin.

Although it is an eminently religious dance, its contents refer the theme of love, social and

historical.

The choreography evokes movements of farm work and the lyrics evoke slavery at various

times, although most are Spanish carols for Christmas. (Text from www.salsapaca.com)

6). IngaOnomatopoeic voice of a crying child, is a collective dance genre that is aligned

Celebration, as it shows a similar rhythm.

It's probably the same rate but with "choreography": a chorus of dancers and singers

around one of them at the center who is in her arms a-dummy simulating a child-while

dancing. Then pass the doll to another dancer of the dance arena who turn to the center.

Although body movement of the dance can speak of an erotic dance holiday, the act of

passing the doll also indicates a practice to order a game.

7). Toro mataSong collected in Caete and El Guayabo (Chincha) (see: Tompkins, specific). Widespread commercially as

belonging to the genus land (although Caete is considered as its own genus). There are several versions ofthe Toro Mata, compiled by Tompkins between l975 and l976. This researcher devotes a chapter of his thesis

(chap. 10) to this musical genre, entering five versions, and an analytical commentary on them.

8). Tondero

Independent couples dance force in Tumbes, Piura and Lambayeque. Morropn (Piura)

and Sana (Lambayeque) are competing to be the original source of Tondero. Both places


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are important settlement of blacks. In Sana is said that the voice comes Tondero

"Lundero" which would be to nominate those who played or practiced Lundu, since one of

the most important songs-Sana, or Zana has repeatedly and as the refrain "When

lundero given ", or" lundero gives "to lundero given, Sana!, to give lundero"

Thus, a first-hand slowly sings this song ironically various facets of daily life in Sana - this

part call-Sana then comes in with the fast pace and syncopated beat Tondero-in drawer oron the Czech- Tondero called. Some scholars relate the choreography of tondero with an

indigenous dance movements mimicking pairing of pre-Hispanic White-winged

Guan. Tondero definitely has rhythm, melody and choreography that has little to do with

fishing. The tondero is merely sensual and you have to see them dance to peasants in the

call altopiuranos hot coast located in the large and populous plains of the province where it

originated Morropn, as everything indicates, although it is cultivated along the

coast North.

Music

The Creole and Afro-Peruvian musical culture begins with the arrival of the Spanish and

losesclavos Africans who were brought by them. Musical culture in Lima Creole steadily

built its own identity, transforming musical genres and aesthetic standards imported. Since

the presence of the Viennese waltzes, mazurkas, jotasespaolas, continuing the influence

of French and Italian music, popular culture shaping Lima went through the transformation

and separation of genres, so that, even assuming the trends for each period, were born

and developed some musical forms that reach the late twentieth century and identify what

Lima. Each moment in history, from colonial times until now, was shaping itself in different

ways music culture through musical instruments used, the forms and contents of singing,

dancing.

Among the more important, grown in the twentieth century are the Peruvian waltz,

lamarinera Lima or song of revelry, tondero and celebration.

Ensembles and duets

The birth of the twentieth century Lima met in the middle of an arduous grind music. The

singers then sought to turn the page of the old Viennese waltz, and in agony. Ferreyros

Francisco, bohemian and popular soloist then sang a clean lung in the Alameda of the

Barefoot critical issues: "Luis Pardo", "Celaje", "China Heretic" or "Idol." It was not unusual

that happened. The public band concerts and musical theater had created an audience

that heard her fervent interpreters with no little passion.That made it possible for a duo of

singers in the district of Rimac, Eduardo Montes and Cesar Manrique, were brought to

New York in 1911 by the House Holtig and Company. The aim was to record albums for

Columbia Phonograph & Company. That duo produced a total of ninety-one 78 rpm, with

182 subjects, all of the so-called Old Guard, usually anonymous authors who never

thought of that luxury quirky copyright. Discs recorded in Lima were sold immediately. It

was the first duo to embrace fame.

Musicians

The success of these sets lies in the musical quality, which was refined style, guitar

technique and special arrangements for each subject was recorded. So that the versions


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of these songs, not only in the memories of the lyrics and melody, but also the

introductions, intermediate forms of strumming companion drones on bass, trills and

ornaments in the "score" of the first guitar, making the Peruvian valscriollo a genre unique

character and rich repertoire.

The Zamacueca

Peruvian researcher Nue Castro has addressed the origin of certain dances, and arguesthat the Marinera has its origin in the Zamacuecaomozamala. This folkloric dance partner

probably originating in the North Coast of Peru La Libertad. Originally derived from African

dances danced in the Peruvian coast. The northern version is more cheerful, lively and

played on trumpets too, though enLima the most influence Zamacueca African style guitar

playing is sweet and rhythmic, that is, contrasted with the northern version is more gypsy

and mestizo (with Andean influence). As in the Tondero Piura, the dance represents the

persecution of the cock to the hen, the crush of birds and cockfighting, themes so popular

in the central and northern coast of Peru. For clothing the woman wears a gown called

anaco protruding blouse on the way to skirt attached to the waist. They are also very

showy the famous "Stud", artistic earrings (earrings) worked in filigree, the work of the

goldsmiths of the town. The male uses fine straw hat, striped shirt and white belt and

northern white or black pants.

The Sailor Song Lima or binge

The songs, music and dance of the seafood comes from the Zamacueca Lima, dance

danced extensively in the nineteenth century. However, esAbelardoGamarra, Rogue, who

proposed after the war with Chile, a change in name, as he was known as "Chile". The

results zamacueca samba Argentina, the cueca and northern Cuyo (Argentina), the

Bolivian and Chilean cueca, and seafood Lima. The song of revelry, cultivated by popular

groups Lima half of the twentieth century declines in their original practice since, disc

recordings, because of technical limitations (disks not admit more than three minutes of

recording) could not record the song of revelry as was in party environments in which theygrew.

A sailor Lima consists of five parts: three sailor, a slippery and leaking. Therefore it is said

about her: "seafaring binge: five, three." In this musical form and coregrfica, the farmers

can compete in a singing counterpoint variable time, according to the enthusiasm and the

circumstances of the encounter.

The Tondero

Dance also known as sailor's Alto Piura, Piura yunga or (Morropon). It predates the

Zamacueca. Drift msicagitana and Spanish dance and song. The main feature that

differentiates it from the Marinera is its repetitive guitar tundete related banda music and

gypsy trumpet. It inflencia African or black in its choir (choir) and sometimes the use of

Czech, dried gourd instrument constructed using black rhythm to give me. It has an

Andean influnecia later, as melodically chillonade run the guitar too. Unlike Zamacueca

and due to the location of the province as a region Morropn pre-Andean, this dance takes

the mestizje Creole (hispanogitano-African origin) and Andean. Cities like Morropn,

Chulucanas, San Juan de Moustache, La Matanza, and were populated by farms

Salitralarrozeras and soap where many black slaves lived, and due to the proximity to the

mountains, Andean migrants also brought the Yarav from Arequipa,


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meltingwithCumanana, as Hispanic-African, also creating the famous northern terminus

Tondero Sad to leak, which is very popular in the Lambayeque yunga (Chongoyapana).

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