Videos Of Jawbone Musical Instrument (Quijada) Performances In Peru

Edited by Azizi Powell

This pancocojams post showcases five examples of Afro-Peruvian Quijada (jawbone; donkey rattle) music.

The content of this post is provided for cultural, entertainment, and aesthetic reasons.

All copyright remains with their owners.

Thanks to all those who are featured in these videos. Thanks also to all those who are quoted in this post, and thanks to the publishers of these videos on YouTube.

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INFORMATION ABOUT THE (JAWBONE MUSICAL INSTRUMENT)
From http://en.wikipedia.org/wiki/Jawbone_(instrument)
"The Quijada [Charrasga, or Jawbone in English] is a traditional Latin percussion instrument that is cleaned of tissue and dried so the teeth can loosen and act as a rattle. They are traditionally made from the jawbone of either a mule, horse, or donkey.[1] To play, a musician holds one half in one hand and strikes the other with either a stick or their hand; this causes the teeth to rattle against the bone creating a loud, untuned sound, original to this instrument.[2] It is used in music throughout most of Latin America, including Mexico, Peru, El Salvador, Ecuador, and Cuba.

Historical and Cultural Content
While it is used in most Latin American countries, the quijada gets it origin from the Africans that were brought to the Americas during the colonial era.[2] It is also believed that it was first introduced in Peru, making it an Afro-Peruvian instrument.[3] It is used in traditional and contemporary Latin music; an example is a song being played in Oaxaca, Mexico, using the Quijada to keep the beat for the "cancion". The quijada de burro is most commonly used at carnivals and religious festivals.[4] This instrument is one example of a mix of two different cultures, African and Indigenous, that created an instrument that gained value for the people of Latin America."

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FEATURED VIDEOS
These examples are presented in chronological order based on their posting date on YouTube with the oldest dated examples given first.

Example #1: Quijada de Burro



Leonardo Santiago Uploaded on Dec 2, 2008

En una fiesta, en Ojitlán, Oaxaca, unos músicos veracruzanos tocaban unos sones veracruzanos, me llamó la atención el uso de la quijada de burro como "carraca" par acompañar la pieza. Grabado en 2007.

Google translate from Spanish to English, with my corrections to standard American English in brackets:
At a party in Ojitlán, Oaxaca, Veracruz musicians played a few Veracruz sones, I was struck using the jawbone of a donkey as [the percussive accompaniment] for that piece.. Recorded in 2007.

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Example #2: GABRIEL ALEGRIA AFRO-PERUVIAN SEXTET - EL NORTE



Samuel Su, Uploaded on Oct 15, 2009

TOUR PERÚ 2009 - CONCIERTO EN "EL CARMEN" - CHINCHA - PERÚ - 2. DE AGOSTO 2009.

-snip-
Selected comments from that video's discussion thread:
Bongo Maniac, 2010
"Como se llama el instrumento que parece una caja?"

What is the name of the instrument that looks like a box?

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Samuel Su, 2010
"El instrumento es peruano y se llama "cajita"

The instrument is Peruvian and is called [little box]

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Milosnivok, 2011
"esa caja es instrumento basico del flamenco, resultado del sincretismo musical de la colonia; los españoles lo llaman "cajonete"o "cajón peruano", es una maravilla!"

that box is basic instrument of flamenco result of musical syncretism of the colony; Spaniards call "cajonete" or "cajon" is wonderful!

**
Mariano Laos, 2012
"El cajón peruano llego a España gracias a Paco de Lucia. Cuando el estuvo de gira en el Perú se quedo enamorado de la percusión del instrumento, conoció a Caitro Soto (uno de los mejores cajoneros peruano que ha tenido el Perú ademas de un gran compositor de música Afro-Peruana) , Caitro le regalo un cajón y Paco de Lucia lo adopto como instrumento de percusión para el Flamenco."

The Peruvian cajon came to Spain thanks to Paco de Lucia. When he toured Peru he [fell in love with that] percussion instrument, he met Caitro Soto (one of the best Peruvian drawers that Peru has had besides a great composer of Afro-Peruvian music), Caitro gave [him] a box [from] Paco de Lucia and [it was] adopted as a percussion instrument for Flamenco.

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FrancoManna, 2013
"Una hermosura de música. Aguante la quijada de mula y la cajita. Aguante la musica del Perú!

[Beautiful] music. Keep alive the tradition of the quijada and the cajita. Keep the traditional music of Peru alive!

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Example #3: La Quijada - Danza - Pinotepa de Don Luis.flv



Lingüinotas Uploaded on Mar 5, 2011

En el municipio de Pinotepa de Don Luis se representan diferentes danzas durante el carnaval, como La Quijada. El Centro de Estudios y Desarrollo de las Lenguas Indígenas documentó esta representación.

Google translate from Spanish to English with my changes in brakets:
In the town of Pinotepa de Don Luis different dances [are performed during] the Jawbone carnival. The Center For The Study and Development of the Indigenous Languages documented this representation.
-snip-
Here's a comment written in this video's discussion thread in response to a question about the names of these dances:
Lingüinotas, 2011 in reply to Miguel Maldonado
"Las piezas que se interpretan en esta danza no tienen un nombre específico; al menos eso expresaron los músicos durante la entrevista. Gracias."

[Google translate from Spanish to English, with my changes to standard American English]
According to the musicians, these dances don't have any specific names.

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Example #4: LALO IZQUIERDO: Toque de la Quijada



Luciano Bertoluzzi, Uploaded on Mar 30, 2011

LALO IZQUIERDO en el Museo Afro Peruano de Lima, Perú.
Demostrando el toque de La QUIJADA.
-snip-
From http://listverse.com/2011/06/17/another-10-untranslatable-words/
“10 Words That Can’t Be Translated Into English”
luisomem, 2012
"dar un toque" means "to give a ring". "toque" means "touch", but also "to play [a song, an instrument]", or simply "a ring, a sound".

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Example #5: Pablo La Porta plays quijada de burro ,tama and d 'jembe



Pablo La Porta, Published on May 18, 2013

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RELATED LINK
Click http://pancocojams.blogspot.com/2013/09/jawbone-walk-jawbone-talk-information.html for Part I of a three part series about songs that include the verse "jawbone walk, jawbone talk/jawbone eat with a knife and fork."

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Thanks for visiting pancocojams.

Viewer comments are welcome.

Afro-Peruvian Classic Song "Toro Mata" (videos)

Edited by Azizi Powell

This is Part II of a two part series on the Afro-Peruvian classic song "Toro Mata" ("The Bull Kills").

Part II of this series showcases seven videos of vocal, musical, and dance performances of "Toro Mata". Brief biographical quotes about most of the featured vocalists are also included in this post.

Click http://pancocojams.blogspot.com/2015/03/afro-peruvian-classic-song-toro-mata.html for Part I of this series.

Part I provides information and comments about the song "Toro Mata" as well as its dance. Part I also features one version of the song's Spanish lyrics and one version of the song's English lyrics.

The content of this post is provided for cultural, entertainment, and aesthetic reasons.

All copyrights remains with their owners.

Thanks to Caitro Soto for this composition, and thanks to all those who are featured in these videos. Thanks also to those who produced these videos and those who published them on YouTube. Thanks also to all those who are quoted in this post.

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FEATURED VIDEOS
With the exception of the video of Caito Soto, these videos are presented in chronological order based on their publishing dates on YouTube with the examples with the oldest dates presented first.

Example #1: Toro Mata [Caitro Soto]



Daniel Proleón, Uploaded on Apr 20, 2008

Chabuca me llamaba Hijo, contó Caitro Soto en una oportunidad, quien con su cajón acompañó a Chabuca Granda por muchos escenarios del Perú y el mundo. Su nombre completo era Pedro Carlos Soto de La Colina, pero todos lo conocían como Caitro Soto, gran compositor, músico y un virtuoso del cajón, tan peruano como él.

Vive eternamente Caitro Soto en el corazón de los peruanos!!!
-snip-
Google translation from Spanish to English
"Chabuca called me son, had an opportunity Caitro Soto, who with his drawer Chabuca Granda accompanied by many scenarios of Peru and the world. His full name was Pedro Carlos Soto La Colina, but everyone knew him as Caitro Soto, great composer, musician and virtuoso drawer, as Peruvian like him."

Soto Caitro live forever in the heart of the Peruvian !!!
-snip-
My guess is that the word "drawer” in this comment means “something which or someone who attracts a lot of attention", i.e. "hit song", "best selling song", very popular virtuoso.
-snip-
Information about Caitro Soto from http://en.wikipedia.org/wiki/Caitro_Soto
"Pedro Carlos Soto de la Colina (23 October 1934, Cañete Province, Peru – 19 July 2004, Lima, Peru), popularly known as Caitro Soto, was an Afro-Peruvian musician and composer.[1]
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. Peru Negro, located in Lima, is one of the most important organizations dedicated to preserving Afro-Peruvian music, dance and culture."...

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Example #2: EVA AYLLON - TORO MATA



Javier Neciosup Uploaded on Mar 15, 2007

From Eva Ayllon's "Live From Hollywood" out on DVD

www.evaayllon.net
-snip-
Information about Eva Ayllon from http://en.wikipedia.org/wiki/Eva_Ayll%C3%B3n
"Eva Ayllón (born February 6, 1956 as María Angélica Ayllón Urbina), a composer and singer, is one of Peru's foremost Afro-Peruvian musicians, and one of the country's most enduring living legends."

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Example #3: Celia Cruz - Toro Mata



Jorge MeléndrezUploaded on Oct 12, 2007

Celia Cruz, La Reina de la Salsa, interpretando su tema Toro Matai del autor peruano Carlos Soto de la Colina, grabado por Celia Cruz con la Orquesta de Johnny Pacheco en 1974 bajo el sello Vaya Records, incluida en la produccion: "Celia & Johnny" (VS-31)
-snip-
Celia Cruz, Queen of Salsa, interpretes Peruvian composer Carlos Soto de la Colina's composition "Toro Mata", recorded by Celia Cruz in 1974 with the Johnny Pacheco Orchestra, Vaya Records, included in the album " "Celia & Johnny" (VS-31)"
-snip-
Information about Celia Cruz from http://en.wikipedia.org/wiki/Celia_Cruz
"Úrsula Hilaria Celia de la Caridad Cruz Alfonso also known by her stage name Celia Cruz (October 21, 1925 – July 16, 2003) was a Cuban-American salsa singer/performer... She was renowned internationally as the "Queen of Salsa", "La Guarachera de Cuba", as well as The Queen of Latin Music.[1][2]"

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Example #4: ToroMata - Perú Negro



lalitocy Uploaded on Dec 16, 2009

Intérprete: Perú Negro. Recopilación: Caitro Soto de la Colina
La tradición española de la corrida de toros, fue uno de los espectáculos más populares que se desarrollaron en la época de la colonia, y llegarían a ser parte integral de la cultura y folklore afroperuanos. Una muestra de la popularidad de esta actividad es el género musical conocido como Toro mata, género popular tanto en la ciudad de Lima, como en los valles de Cañete y Chincha. El ToroMata del video es la versión más conocida y que fuera grabada por Perú Negro en 1973, basada en fragmentos de un toro mata tradicional de San Luis de Cañete. Existen otras versiones en Lima, Cañete y Chincha. Lamentablemente no existe un estudio profundo sobre este género, solo el musicólogo William Tompkins dedica un capítulo de su tesis "The Musical Traditions of the Blacks of Coastal Peru" (1981), a este género musical.
-snip-
Google translation from Spanish to English:
The Spanish tradition of bullfighting, was one of the most popular shows that developed in colonial times and would become an integral part of the culture and folklore afroperuanos. A sample of the popularity of this activity is the musical genre known as Toro Mata, popular genre both in Lima and in the valleys of Cañete and Chincha. The Toromata the video is the best known version that was recorded by Black Peru in 1973, based on fragments of a traditional bull kills San Luis de Cañete. There are other versions in Lima, Cañete and Chincha. Unfortunately there is no comprehensive study of its kind, only the musicologist William Tompkins devotes a chapter of his thesis "The Musical Traditions of the Blacks of Coastal Peru" (1981), this musical genre.

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Example #5: Lucila Campos - Toro Mata



Tevo Piva, Uploaded on Dec 7, 2011
-snip-
Information about Lucila Campos from http://www.last.fm/music/Lucila+Campos/+wiki
"Born Lucila Campos Clara Martial in Lima, Peru on 16 August 1938.

Lucila Campos is a popular Peruvian singer, and was known as “The Brown Beauty”. She has also been called the “Reina de las Polladas’, the quintessential interpreter of Afro-Peruvian folk music. For 17 years, she was a prominent member of Black Peru, an Afro-Peruvian cultural association whose mission was to preserve the art and culture of Blacks in Peru."

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Example #6: Black Latino music: Toro Mata, an Afro-Peruvian classic



Palomino Productions/Eve A. Ma Published on Jun 11, 2012

Black Latino music: Toro Mata, an Afro-Peruvian classic. Like it? It´s on our CD, http://Afro-PeruvianRhythms.com

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Examble #7: Susana Baca - Toro Mata



LesterStone Published on May 5, 2013

Tema de la cantante peruana Susana Baca incluido en el álbum 'Espíritu Vivo' (Luaka Bop, 2002; reeditado en 2009 por Editora Pregón). Composición de Carlos Soto de La Colina ("Caitro").
-snip-
Google translation from Spanish to English:
Topic of the Peruvian singer Susana Baca from the album 'Spirit Live' (Luaka Bop, 2002; reissued in 2009 by Editora Proclamation). Composition of Carlos Soto La Colina ("Caitro").
-snip-
Information about Susana Baca from http://en.wikipedia.org/wiki/Susana_Baca
"Susana Esther Baca de la Colina (born Chorrillos, Lima Province, Peru, 24 May 1944) is a prominent Peruvian singer-songwriter; two-times Latin Grammy Award winner. She has been a key figure in the revival of Afro-Peruvian music."

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This is the end of Part II of this series.

Thanks for visiting pancocojams.

Viewer comments are welcome.

Afro-Peruvian Classic Song "Toro Mata" , Part I (information, comments, lyrics)

Edited by Azizi Powell

This is Part I of a two part series on the Afro-Peruvian classic song "Toro Mata" ("The Bull Kills").

Part I provides information and comments about the song "Toro Mata" as well as its dance. Part I also features one version of the song's Spanish lyrics and one version of the song's English lyrics.

Click http://pancocojams.blogspot.com/2015/03/afro-peruvian-classic-toro-mata-videos.html for Part II of this series.

Part II showcases seven videos of vocal, musical, and dance performances of "Toro Mata". Brief biographical quotes about most of the featured vocalists are also included in this post.

The content of this post is provided for cultural, entertainment, and aesthetic reasons.

All copyrights remains with their owners.

Thanks to Caitro" Soto for composing this song from its folk roots. Thanks also to all those who are quoted in this post.

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INFORMATION ABOUT THE SONG "TORO MATA"
From http://en.wikipedia.org/wiki/Toro_Mata
"Toro Mata" ("The Bull Kills" in Spanish) is one of the most famous Afro-Peruvian songs in Peru, which has been recorded and developed by many different musical artists throughout its history. Toro Mata is a type of Peruvian music initially developed by black slaves in Cañete and Chincha.

History
"Toro Mata" is a song influenced by Afro-Peruvian musical styles (this song is classified as a landó), and over the years, has become a popular anthem for Peru. A dance of "Toro Mata" also developed, which mocks and parodies the stylized waltzes of European Conquistadores. This politically charged song and dance developed as a reaction to the conquest of Peru by Spain. By the beginning of the 20th century, "Toro Mata" was fading from popularity, but it has again become popular due the revival of musica criolla starting in the 1950s.

One of the most famous versions of "Toro Mata" was performed by Carlos Soto de la Colina (also known as Caitro Soto) in 1973. "Toro Mata" has also been performed by Peruvian musicians Susana Baca, Eva Ayllon, Peru Negro and Lucila Campos. There are many different versions of "Toro Mata" within Peru, with slight differences in content, though all center on a deadly bull. The song has gained popularity outside of Peru, with Cuban artist Celia Cruz recording a salsa version of the song."
-snip-
Italics added by me to highlight this sentence.

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From
http://afro-peruvian.blogspot.com/2012/08/toro-mata-afro-peruvian-classic.html Toro Mata," an Afro-Peruvian classic
"Toro Mata is one of those performance numbers that nearly disappeared forever from the world, but was saved from oblivion just in time. And I am so glad...

Caitro Soto, recently deceased, was a leading figure in reviving Afro-Peruvian music and dance, and bringing it to a wider public. He was able to do so in part because his grandmother and great-grandmother taught him many of the old, old songs when he was a boy. And he was a boy who loved to sing, loved to play the cajón, and was proud of his culture.

Toro Mata is one of the music and dance selections that he learned from his grandmother and great-grandmother. The great-grandmother in particular was only one generation away from the days of slavery, and knew many of the old songs dating from that time.

Toro Mata tells the story of two friends, both Afro-Peruvians at the time of slavery, who belonged to a man who raised bulls for bull-fights. One of the friends had been drinking, and decided in his slightly inebriated state, that he´d like to try his hand at bull-fighting.
The other people present agreed to this and gave him a bull, but his friend urged him to be cautious.

When he tried to fight the bull, the bull went after his black skin and not the red bull-fighter´s cape. He couldn´t get away from the bull. His friend tried to get him to stop, but it was no use.

We don´t hear the final outcome, but after all, the song´s title is Toro Mata, which means "the bull kills." I think it´s fair to assume that this is what happened to him."

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From https://listenrecovery.wordpress.com/2010/02/01/peru-negro-brief-story-ronaldo-campos-de-la-colina-bio-photography/
"After the late Celia Cruz recorded Toro Mata, the song turned into the most recognizable from the Afro Peruvian musical landscape. The Toro Mata is a landó and in its dance form becomes a mockery of the minuet and other stiff European dances observed by the slaves in the homes of their masters. The lyrics also offer double-entendre since the toro or bull embodies a significant symbol of Spanish culture."

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Comment from https://www.youtube.com/watch?v=4NY0FqpZ1jQ "ToroMata - Perú Negro" [This video is included in Part II of this pancocojams series.]
GriseldeHeineken, January 2014
"El toro es una metafora , se trata de los conquistadores que quieren arrancar la cultura incaica y la africana de sus raices pero sin conciencia hicieron una base de una cultura muy alta , la afro incaica que no existe ninguna parecida en el mundo !!!! gracias los espańoles que en vez de destruir las dos culturas , vos sin querer han creado una maravilla , gracias , toritos !!!"
-snip-
[My revision of the YouTube translation of this comment from Spanish to English]:
The bull is a metaphor, it is the conquerors who want to stop the Inca culture and its African roots but instead made it the foundation of a very high culture, African-Inca culture, there's nothing to compare it with in the world!!!! Thanks the Spanish instead of destroying the two cultures, you inadvertently created something wonderful. Thank you, bulls !!!

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SPANISH LYRICS FOR "TORO MATA" *
[Musical Genre] Landó
[composition credited to] Carlos Soto de la Colina

Toro mata, ahí, toro mata,
toro mata arrrumbambero
¡ay! toro mata.

La color no le permite
hacer el quite a Pititi
¡ay! toro mata.

Toro viejo se murió
mañana comemos caine,
¡ay! toro mata

¡Ay! la pondé, pondé, pondé,
este negro no es de aqui,
este negro es de Acarí.

Hay que matar a ese negro,
¿quién trajo a ese negro aquí?
¡Ay la pondé, pondé, pondé
¡Ay la pondé e e.

Source: http://www.criollosperuanos.com/letradecanciones/toromata.htm
-snip-
*This is one version of this song's lyrics. The English lyrics below are from another version.

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ENGLISH LYRICS - "TORO MATA"
[composition credited to] Carlos Soto de la Colina

Refrain:
Toro Mata, the bull kills
The bull kills, dancing bull, the bull kills

The old bull is dead
Tomorrow we’ll eat meat, the bull is dead
The old bull has died
Tomorrow we’ll feast, the bull is dead

His color doesn’t let him move out of the way quickly enough
and the bull might kill him
That man’s color doesn’t permit him to hide
and the bull might kill him

Don’t cut him with the rope
It’ll get too bloody
Don’t cut him with the rope
It’ll get too bloody

Here’s Pitité the drummer, the music’s kicking!
Ay, la ponde, la ponde, ponde, ponde
This black man is not from here
This black man is from Acari
Who brought this black man here?
We must kill this black man
Ay, la ponde, la ponde, ponde, ponde

Source: "Afro-Peruvian Classics: the Soul of Black Peru" album, sung by Lucila Campos. Lyrics and note taken from a website for that ablum and reposted on http://wesrunoff.blogspot.com/2008/05/bull-kills.html

Note from that website: "La ponde translated from the KiKôngo language means: I twist, I twist/I kill, I kill."
-snip-
From https://listenrecovery.wordpress.com/2010/02/01/peru-negro-brief-story-ronaldo-campos-de-la-colina-bio-photography/ [referring to a performance's inclusion of Kikongo chants into the song "Toro Mata":
"Kikongo [was] the dialect spoken by a significant number of the slaves who were eventually taken to Perú."
-snip-
This video is found in Part II of this series.
With regard to the song lyrics "This black man is not from here/This black man is from Acari/
Who brought this black man here?", Diego Martinez-a blogger writing in December 2014 on the viewer comment threads for one of the videos showcased in Part II of this series* notes that "Muchos no conocen Acari , es un pueblo bastante tranquilo :)" ("Many do not know Acari, it is a fairly quiet town :)"

However, given the statement quoted earlier that "["Toro Mata"] is a politically charged song and dance", I wonder if the referent to "Acari" means something more than or something other than a particular Peruvian town. Since "Toro Mata" was sung by enslaved people who were at least partially of African descent, could "Acari" be a coded way of referring to Africa? At the very least, people should remember that literal transcriptions of old songs- and particularly of folk songs of enslaved people- aren't always what those people meant when they sung those songs and when they heard those songs sung.

*Diego Martinez's comment is from the discussion thread for the video https://www.youtube.com/watch?v=HDaYqGB8CjU EVA AYLLON - TORO MATA

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This is the end of Part I of this series.

Thanks for visiting pancocojams.

Viewer comments are welcome.

"Lando" And Various Other Afro-Peruvian Dance & Music Forms

Edited by Azizi Powell

This post provides information about & seven videos of various Afro-Peruvian dance and music forms. Those dance and music forms include, but aren't limited to "Lando", "the Panalivio", tap dancing, and "ToroMata". Information about Peru is also included in this post.

Click http://pancocojams.blogspot.com/2014/04/afro-peruvian-dances-music-zamacueca.html "Afro-Peruvian Dances & Music : Zamacueca & Festejo" for more information & videos about two other Afro-Peruvian dance/music forms.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All content remain with their owners.

Thanks to all those who are featured in these videos, and thanks to the publishers of those videos on YouTube. Thanks also to all those who are quoted in this post.

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INFORMATION ABOUT PERU
From http://en.wikipedia.org/wiki/Peru
"Peru ... officially the Republic of Peru (Spanish: República del Perú, ... is a country in western South America. It is bordered in the north by Ecuador and Colombia, in the east by Brazil, in the southeast by Bolivia, in the south by Chile, and in the west by the Pacific Ocean...

The Peruvian population, estimated at 30.4 million, is multiethnic, including Amerindians, Europeans, Africans and Asians. The main spoken language is Spanish, although a significant number of Peruvians speak Quechua or other native languages. This mixture of cultural traditions has resulted in a wide diversity of expressions in fields such as art, cuisine, literature, and music...

[Peru is a] multiethnic country formed by different groups over five centuries. Amerindians inhabited Peruvian territory for several millennia before the Spanish Conquest of the 16th century;... Spaniards and Africans arrived in large numbers under colonial rule, mixing widely with each other and indigenous peoples. Gradual European immigration from Italy, Spain, France, Britain, and Germany followed independence.[74] Peru freed its black slaves in 1854.[75] Chinese arrived in the 1850s, replacing slave workers, and have since greatly influenced Peruvian society.[76]

...According to the CIA World Factbook, the majority of the people in Peru are Amerindians, mostly Quechua and Aymara, followed by mestizos.[60] Yet, in a 2006 survey from the Instituto Nacional de Estadística e Informática (INEI), the Peruvian population self-identified primarily as mestizo (59.5%), followed by Quechua (22.7%), Aymara (2.7%), Amazonian (1.8%), Black/Mulatto (1.6%), white (4.9%), and "Others" (6.7%).[72]

With about 29.5 million inhabitants, Peru is the fifth most populous country in South America....

Peruvian music has Andean, Spanish, and African roots.[99] In pre-Hispanic times, musical expressions varied widely in each region; the quena and the tinya were two common instruments.[100] Spaniards introduced new instruments, such as the guitar and the harp, which led to the development of crossbred instruments like the charango.[101] African contributions to Peruvian music include its rhythms and the cajón, a percussion instrument.[102] Peruvian folk dances include marinera, tondero, zamacueca, diablada and huayno.[103]"...
-snip-
Some of the summary statements to the videos found below contain information about that particular Afro-Peruvian music and dance form.

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FEATURED VIDEOS
These videos are presented in chronological order based on their YouTube posting date with the oldest dates are given first.

Example #1: Festejo Lando - AfroPeruano Blanco y Negro



HowlingEarth, Uploaded on Jan 31, 2008

Dance group from Chincha, Peru

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Example #2: Cajón Perú Miguel y José Ballumbrosio,"Chocolate" Algendones



Miguel Ballumbrosio, Uploaded on Oct 28, 2008

El Carmen-Chincha,Perú
casa de la familia Ballumbrosio
Un homenaje al maestro "Chocolate"
que dios lo tenga en la gloria....

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Example #3: Musica negra peruana



jairo diaz pedraza, Uploaded on Jan 6, 2009

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Example #4: Peru - Lando,"Las Lavanderas" Diaspora Negra 14 2009



Katia Sanchez, Uploaded on Sep 26, 2009

Lando is one the most popular musical/dance styles in Afro-Peruvian folklore. De Rompe y Raja's arrangement of "Las Lavanderas" is based on the works of Afro-Peruvian folklorist Victoria Santa Cruz & Peru Negro Cultural Association about the life of black women in the "callejon". De Rompe y Raja was founded in 1995, as a cultural organization dedicated to preserving and promoting traditions and culture from the coastal region of Peru, where the music and motifs of European, African and indigenous people intersect.

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Example #5: Afro-Peruvian Dance Competition Valentina de Oro 2009, CA (20-35 Year-Old Category)



margott1, Uploaded on Nov 9, 2009

A big THANK YOU to my trainer Rosagna Sanchez. Thanks to her, I was able to receive first place at the Afro-Peruvian dance competition Valentina de Oro 2009, California.

And thanks to my family for their support!! And also to the dance group Matalache Negro by Karen Menacho y Ashley Rivas and Gia Revelli's families for their support and cheers :)
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This is an example of "Festejo" dance/music.

Here's a comment from this video's viewer comment thread:
eKinematics, 2012
"Wow this is a typical Eastern Nigeria Traditional style of dance."

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Example #6: PERU NEGRO "Zapateo" - Estocolmo 1998



AcuarelaCriolla, Uploaded on Dec 27, 2009

Ballet Foklorico Peru Negro - Musikmuseeet, Estocolmo 1998. Zapateadores: Rony Campos, Lalo Izquierdo ^ Giberto Bramon; Guitarra: Roberto Castillo. Evento Producido por: Elena Gutarra
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The English translation of "zapateadores" is "tap-dancers".

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Example #7: Ritmos del Perú - panalivio



El Rincón de la Peruanidad, Published on Mar 27, 2012
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Here is my transcription into standard American English of Google Translate's English translation of this video's summary statement that was written in Spanish. (Additions & Corrections are welcome):

"The panalivio is an ancient Afro-Peruvian dance. It was created by black people, brought from Spain as slaves for agricultural work. Previously also known as “penalivio”, the several centuries old panalivio includes songs of irony or optimism to ease the pain [that people incurred during their enslavement].

It is said that these panalivios songs exposed abuses & punishments that slaves experienced. Two different categories of songs with the same name were performed by Afro-Peruvians.. One of those categories is uptempo songs that involves tap dance and other movements that are performed in counterpoint to violin music. The other version of panalivio is like a slow lament, such as the habanera dance to the song "A la Molina I'm not anymore."

That song is still sung presently. It hasn’t changed over time. In fact, no new panalivios, at least not “ "legitimate", traditional panalivios have been created [since these songs were created centuries ago]. The best known [panalivio] is the one that says - "A La Molina's because I'm not constantly being severely punished with a whip ..." - and this song itself already provides historical information.

Ballumbrosio Amador was a great promoter of this dance. Besides being an excellent tap dancer, Amador played the violin and the Peruvian cajon.
The month of December as part of the celebration of Christmas in the district of El Carmen in Ica, it is a traditional custom to find performances of people singing panalivios and stomping to the beat of a violin and bells, in what is known as “the Negritos Hatajos”.

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Afro-Peruvian Dances & Music : Zamacueca & Festejo

Edited by Azizi Powell

This post provides information about & four videos of Zamacueca, an Afro-Peruvian dance and music form. This post also provides information about & four videos of "Festejos", another Afro-Peruvian dance and music form.

Click http://pancocojams.blogspot.com/2014/04/lando-and-various-other-afro-peruvian.html for a related pancoocjams post about other Afro-Peruvian music & dance forms. That post also includes information about the South American nation of Peru.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All content remain with their owners.

Thanks to all those who are featured in these videos, and thanks to the publishers of those videos on YouTube. Thanks also to all those who are quoted in this post.

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INFORMATION ABOUT THE ZAMACUECA DANCE & MUSIC
From http://en.wikipedia.org/wiki/Zamacueca
"The Zamacueca is an ancient colonial dance and music that originated in the Viceroyalty of Peru, taking its roots from African, Spanish, and Andean rhythms. Although currently the dance is not widely popular, several dance institutions in places such as Peru still dedicate part of their time to teaching Zamacueca.

Legacy
The popularity of the Zamacueca would eventually lead to it flowing out of its main region in modern-day Peru to other places in South America. The dance would slowly evolve as it took on new influences, but the basic steps and foundations of the dance remained almost the same.

In Peru, the dance would adjust itself to the post-revolutionary times and take a series of adaptations especially from the coast of the country. Early on, two new styles developed: The Marinera Norteña and the Marinera Limeña. Although the dance never so much as "left" Peru, due to cultural and political reasons this new version of the Zamacueca gained the nickname "la chilena" (in reference to the Chilean Cueca). During the War of the Pacific, the broken ties between these two countries forced this new Zamacueca to indefinitely change its name in honor of the Peruvian Navy to the name of "La Marinera."

The Cueca is the Chilean version of the Peruvian Zamacueca. In Argentina, Zamba (artform) is related to the Zamecueca."
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Some of the summary statements to the videos found below contain information about this particular Afro-Peruvian music and dance form.

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FEATURED VIDEOS OF THE ZAMECUECA
These videos are presented in chronological order based on their YouTube posting date with the oldest dates are given first.

Example #1: Zamacueca--an Afro-Peruvian music & dance



Palomino Productions/Eve A. Ma, Uploaded on Apr 9, 2010

An Afro-Peruvian Zamacueca. Learn more at http://PalominoProDVD-CD.com. This great dance is performed by the group "de Rompe y Raja," led by world-famous Lalo Izquierdo (artistic director, of Peru Negro) and Gabriela Shiroma (director of "de Rompe y Raja"), with Rosa los Santos singing. This performance is on our upcoming DVD, "A Zest for Life: Afro-Peruvian Rhythms, a Source of Latin Jazz," to be released on October 24, 2012. http://AZestforLifeDVD.com.

We learned from Lalo Izquierdo that the Zamacueca comes Angola and was brought to Peru by Africans kidnapped, enslaved and brought to Peru in the 18th and 19th centuries. It was part of a wedding rite, in which the bride´s family promised the bride was a virgin.

The original Zamacueca included movements that were seen in Peru as being obscene and for years, the dance was banned. Now, those movements have been eliminated from the dance, but it´s still pretty lively and, well, yes: sexy.

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Example #2: ZAMACUECA VICTORIA SANTA CRUZ II



eduAmarasAQP, Uploaded on Aug 22, 2011

no se que universidad es la que baila este danza con musica de VictoriaSanta Cruz
pero que lindo lo baylan espero que les guste
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The publisher of this video indicates that Santa Cruz isn't the university that this dance group comes from. He doesn't know the name of that university, but the dance is very beautiful and he hopes that we enjoy it.
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Here's my standard American English transcription of Google Translate's English translation of the Spanish text of this comment posted to this video's viewer comment thread:
Jorge Luís Medynah, 2012
Eduamaras ... I am the choreographer of this video: Jorge Luis Medynah ... These are the premiere members of the dance group of the coast: CREOLE UNALMA from the coastal Agrarian University La Molina, back in 2000. 12 years have passed since this was filmed and the group is still enjoying

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Example #3: Jarana Nº 6 (Zamacueca / Marinera Limeña) - Manuel Quintana, Hermanos Ascuez y Luciano Huambachano



Amaruyacu, Published on June 24, 2012
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This is Google Translate's English translation of the Spanish text in this video's summary statement:
Peruvian recording, produced in 1958 by the late historian of Latin American literature, Professor José Durand Flórez (Peru, 1925-1990) this production is the only one with the masterful execution of Manuel Quintana Olivares, Augusto Villanueva Ascuez Elias Villanueva and Ascuez Huambachano Temoche Luciano, known as "The Four Aces".

A 5-3 revelry zamacuecas composed of three (now called sailor) and a slippery escape.

Revel No. 6

Zamacueca: I'm the golden bell
Zamacueca: For your hair braids
Zamacueca: Send love like a king
Slippery & Fuga: Break the bluestocking - Chancaquita 'e court

The images that illustrate this piece of music works correspond to Pancho Fierro, José Sabogal, Vinatea Jorge Reinoso, José Effio and AA Bonnaffé.

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Example #4: Zamacueca- Peruexpresion



Juan Carlos Urbina Sarzo, Published on May 26, 2013

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INFORMATION ABOUT FESTEJO
From http://en.wikipedia.org/wiki/Festejo

"Festejo (from Spanish 'fiesta') is a festive form of Peruvian music. It can be seen as a celebration of Perú's independence and the emancipation of slaves, or as an attempt to reinvent diaspora African music without reference to slavery. Composers of all races have contributed to the development of festejo repertoire. Its origins are in a competitive circle dance performed by men playing cajóns. Nowadays, people of all ages and races participate in a witty dance accompanying the festejo."
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Some of the summary statements to the videos found below contain information about this particular Afro-Peruvian music and dance form.

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FEATURED VIDEOS OF FESTEJO
These videos are presented in chronological order based on their YouTube posting date with the oldest dates are given first.

Example #1: Festejo, Wonders and Traditions of Peru



Katia Sanchez, Uploaded on Jun 22, 2010

As its name suggests, this is a festive dance. The festejo is the most joyous of Afro-Peruvian dance styles from the coastal region of Peru. Its music has African roots, indigenous and European influence bringing you as a result of Array of complex and upbeat music. The dancers follows each strike of the Cajon, donkey jawbone, wooden box among other instruments, with extremely sensual body movements, synchronize taps making this a unique and extraordinary expression of the black rhythm of Peru.

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Example #2: Kambalache Negro performs Festejo el Ritmo



Martincongahead, Uploaded on May 16, 2011

Kamalache Negro led by Roberto "Chino" Bolaños performs the song, Festejo el Ritmo accompanied by the multi award winning Afro Peruvian dancer, Vania Castillo

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Example #3: Ritmos del Perú - festejo



El Rincón de la Peruanidad, Uploaded on Dec 3, 2011

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[This is my transcription into standard American English of the Google Translate's English translation of the Spanish text of this video summary. Additions & Corrections are welcome.]

“Festejo” is an Afro-Peruvian dance that comes from the central coast, Lima and Ica in particular, and especially in Cañete and Chincha. It is danced during festivals and social gatherings, has an erotic and festive rhythm linked to the rite of love as an act of manhood, youth, vigor and fertility.

The celebration was created by black people who were brought to Lima as slaves from Africa (Congo, Angola and Mozambique) during the seventeenth century by Spanish conquistadors to do farm work, although it should be noted that the original goal was for them to work in mines due to their robust physique, but during cold weather they were relegated to do field work and house work. Those the dance’s lyrics tell the customs, joys, sorrows and sufferings of the black race back then.

The original musical accompaniment for this dance were Afro-Peruvian drums made out of a wooden crate. The musician sits on this crate and beats upon it with his fingers and his palm. Other o as originally wooden box drums, or jars of clay pumpkins,. Over the years other musical instruments were added such as clay pumpkin jars, wooden platters that served as cowbells , jawbones, and spectators clapping. More recently guitars, congas and bongos have also been used as musical accompaniment for this music. The music is in 4/4 time with a continual sensual beat that is maintained by hitting the cowbell or the jawbone .
The choreography is free style. The dancer’s creativity plays an important role in determining what is danced. The agile and dynamic dance steps combine in place and movement steps, dancing on their toes, and doing small jumps.

No standard clothing is used for this dance. Some dance groups wear clothing typical of that which was worn by enslaved African s in Peru while other dance groups wear costumes consisting of the nineteenth century in shirt and pants with a lace in botapié and a scarf around his waist, wide sleeve tops and vest with bare feet.
In many groups women wear a tied head scarf, and old fashioned wide, colorful dresses or skirt sand wide, long white petticoats. Like the men, women typically don’t wear any shoes while doing this dance.

“Festejo” is the oldest representation of black culture in Peru and has given to a series of dances with their own choreography such as “Alcatraz”, “the Inga”, among others.

In 1978 the " Gold Valentina " competition was created in honor of Doña Valentina Barrionuevo Arteaga a highly regarded dancer of Creole/mixed ancestry. This event has promoted beautiful black folklore dancers who later captured attention in the professional dance field.

"La Valentina" was officially founded on 14 April 1977. However, as early as 1950 , people recognized the symbology of the rock called the old "dead ship " on the av 3era.cuadra . La Victoria Luna Pizarro. That rock, known as “La Valentina”, was then moved to Iquitos 984 Avenue. La Valentina was the meeting place where Creoles featured artists gathered (and performed) . In 1978 a group of Creoles decide to create this rhythmic celebration called " La Valentina Gold " in honor of Doña Valentina . The well known group "Black Peru" was formed as a result of the " Valentina".

Through the years, Valentina Gold has been gaining importance in our country , making it the most important Afro-Peruvian music competition in Peru..

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Example #4: Festejo baile y musica afro peruana Un grupo de niñas bailando musica negra.mpg



losperuanos,Published on Apr 11, 2012

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