PART I HISTORY AND OVERVIEW OF AN ARGENTINE MUSICAL CULTURE The origins of folk music in Argentina are a result of three main cultural influences – Inca, Spanish and African. Combined in various ways, these cultures provided a varied folk music to Latin America in the mid-nineteenth century. These native sounds were the building blocks of many composers in Argentina of the late nineteenth and early twentieth centuries in their quest to establish a nationalist, musical language. The Incas inhabited the territory now known as Argentina well before the Spanish arrived in the early 1500s. Though no evidence through musical notation has survived, the Incas were believed to be a strong musical civilization.
Much of what flamenco is within society is a history passed down from generation to generation. Flamenco was dance form once known as an outlet for the poor and oppressed which at time, was not performed publicly. Flamenco is not just a form of dance alone. To the people of Andalusia, Flamenco is song; also known as cante, dance (baile) and guitar (guitarra). Andalusia, Spain, whose capital is Seville is often referred to as the “mother” of folklore.
Today in some dances it is sometimes performed with a glass of water on the head to show off the dancer’s incredible muscular control. Folklorico dances tell tales of Mexico’s past. The dances tell of the hard ship, the government and the love between two people. Although the roots of the Mariachi go back hundreds of years, there are no Bach’s or Beethoven’s in its early history because
Although, the day that I went to the play, Terrence Harris, who was known as Basja in the play, was sick, so the Assistant Director, Brittany Chandler played his role. The Mato pee was a social gathering and theatrical form practiced by the Maroons in Suriname. Traditionally the pee is a place for passing on culture from one generation to the next through the performing arts. A Mato Mosaic is a central story told by a stranger to the village at the pee. The Maroons were runaway slaves in the West Indies, Central America, South America, and North America, who formed independent settlements together, and survived by growing vegetables and hunting.
Adapted by the first set of conquistadors, encomiendas serve as a base to control natives in New Espanola. Nevertheless, natives in both Mesoamerica and the Andeans region have been already providing agricultural and labor tributes to their native lords. For example, aztecs would own slaves who could buy their freedom through labor. The Incas had their servers collect tributes around the ayllus to maintain a reciprocity system around the empire. After the conquest and through the declined of the natives surrounding their overworked and poorer conditions, Spaniards did but little to care at the expense of their wealth.
Performances are rarely public funded, if there is a performance then they are often given food and shelter instead of money. Throughout generations music has meant different things such as in the1980’s songs encouraged peasant revolt and talked of change. In 1790’s songs were based on freedom and work. Whatever hardship the people of Haiti were going through they sang and danced to rid their thoughts of the evil around
The singing is called; Cante and the guitar playing is called; Toque. These facets and the dance are the principal facets of Flamenco. Flamenco is a folk art because it is about 200 years old. Flamenco consists of three forms: Cante, the song, Baile, the dance, and Guitarra, guitar playing. Flamenco can have any imaginable theme, for example; politics, love, history or humor.
Radio light operas or music that has political and social significance in a changing world 1st visit fall of 1932 Conceived writing a piece based on Mexican themes Began working on it in 1933 – Completed in 1936 Popular dance hall called Salon Mexico Copland’s hope was to “reflect the Mexico of tourists Salon Mexico was a “…hot spot, one felt in a very natural and unaffected way, a close contact with the Mexican people. It wasn’t the music I heard, but the spirit that I felt there, which attracted me?” – Aaron Copland Most themes come from Cancionero Mexicano by Frances Toor El Folk-lore y la Musica Mexicana by Ruben M. Campos Titles included in the El Salon Mexico are: El Mosco (Campos) – El Palo Verde and La Jesusita STRUCTURAL / HARMONIC ISSUES: Divided into TWO large harmonic parts Short melodic themes Asymmetrical rhythms Primitive Orchestration using Mexican percussion – very nationalistic G major to E major then back to G Major Represents a series of moods and expressions which appear in this order: Lyrical
Pedro Rivera Puig March 19, 2012 Engl. 3229 Prof. Perez Osorio “The dragon can't dance” & Carnival The tradition of carnival was introduced to Trinidad around 1785, as the French settlers began to arrive. Elements like masquerades, costumes, vivid colors and percussion became some of the festive qualities of a carnival, but for African people, carnival became a way to express their power as individuals. Each character in the novel represent a different aspect of a carnival: calypso singers, steel bands, masks and people with different backgrounds. Culture, for individuals in most societies, is defined as the mixture of views, values and personal goals that characterize a group, or a nation, in a specific time frame.
In Puerto Rico, archeologists had for years debated the topic of pre-Columbian contacts among Native peoples of the Caribbean basin are. The Taino (Arawak) people that inhabited the Greater Antilles (the islands of Puerto Rico, Cuba, Jamaica and Hispaniola), exhibit some cultural traits that are not present among other Arawakian peoples in their South American homeland: ball courts/ ball game (batey / batu), similar to the Mesoamerican game; stone carving and stone building practices; The Taino word for their war club, macana; similar to the Aztec word for their swords: maquahiutl. some ritual/religious practices; social organization (structure of chief (cacike); sub-chiefs (nitainos); commoners (naborias). Among latter-day Mesoamericans (Toltecs, Aztecs, Post-Classic Maya) we also find possible Taino-Arawak traits, such as the cultivation of the yucca (manioc) plant; the use of the hammock (Taino hamaca); the use of the Taino word uracan for sea storms (hurricane), that in Taino mythology refers to the evil god who raises storms to injure people. Dr. Ricardo Alegria, the father of modern Puerto Rican archaeology, had stressed the lack of evidence for direct Mesoamerica-Taino contacts, indicating that similarities in words, practices and tools/artifacts can be explained as contacts that occurred after the Spanish conquest, or to information that was passed across land trade routes from nation to nation until it arrived , 3rd hand, to the Taino or Mesoamericans.