Edited by Azizi Powell
This pancocojams post showcases the official YouTube video of the French Guiana dancehall song "Real Wifey" by Bamby and Jahyanai King.
English lyrics to this song are included in this post.
Selected comments from the discussion thread for this official video are also included in this post.
****
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Bamby and Jahyanai King for their musical legacies and thanks to all those quoted in this post.
****
LYRICS: REAL WIFEY [English translation] *
(composed by Jahyanai King and performed by Bamby & Jahyanai King)
Bamby:
Real women do not fight for a man.
I will not fight with you just for a man.
You can do all your cinema, get upset.
As long as you do not touch me.
Real women do not fight for a man.
I will not fight with you just for a man.
You can do all your cinema, get upset.
As long as you do not touch me bad gyal.
[Verse 1]
Jahyanai King & Bambi:
This girl is only a bi&ch!** You are an official woman.
Do not worry ! I know there are plenty who do not like me.
They speak, they speak, they do not know how to do that ...
But if it gets too close, I will not talk too much.
They are not afraid of hitch, you are an official woman.
They sway when I go down like a lightning.
You'll come to yell, yell at my door.
But I already told you that I would not fight for any man.
[Refrain]
Bamby:
Real women do not fight for a man.
I will not fight with you just for a man.
You can do all your cinema, get upset.
As long as you do not touch me.
Real women do not fight for a man.
I will not fight with you just for a man.
You can do all your cinema, get upset.
As long as you do not touch me bad gyal.
[Verse 2]
Jahyanai King & Bambi:
These girls are crazy or what ?!
They want to make me a killer.
There are too many women on earth for you to take my head with your nonsense! Lord!
I already said: there is only one man in my life, but he must respect ...
If he does not want to have problems!
Because…
[Refrain]
Bamby:
Real women do not fight for a man.
I will not fight with you just for a man.
You can do all your cinema, get upset.
As long as you do not touch me.
Real women do not fight for a man.
I will not fight with you just for a man.
You can do all your cinema, get upset.
As long as you do not touch me bad gyal.
[Verse 1]
Jahyanai King & Bambi:
This girl is only a bi&ch! You are an official woman.
Do not worry ! I know there are plenty who do not like me.
They speak, they speak, they do not know how to do that ...
But if it gets too close, I will not talk too much.
They are not afraid of hitch, you are an official woman.
They sway when I go down like a lightning.
You'll come to yell, yell at my door.
But I already told you that I would not fight for any man.
[Refrain]
Bamby:
Real women do not fight for a man.
I will not fight with you just for a man.
You can do all your cinema, get upset.
As long as you do not touch me.
Real women do not fight for a man.
I will not fight with you just for a man.
You can do all your cinema, get upset.
As long as you do not touch me bad gyal.
[Verse 2]
Jahyanai King & Bambi:
These girls are crazy or what ?!
They want to make me a killer.
There are too many women on earth for you to take my head with your nonsense! Lord!
I already said: there is only one man in my life, but he must respect ...
If he does not want to have problems!
Because...
[Outro]
Bamby:
Real women do not fight for a man.
-snip-
*These lyrics are translated from French Guyanese Creole to French by http://www.westindian-lyrics.fr/bamby-x-jahyanai-king-real-wifey-paroles-traduction-511/. That page includes the original Creole words, and options for a French translation and a French/Creole translation.
I used the Google translate option to translate the French to English.
**The word given as "bi&ch" is fully spelled out in these lyrics.
In African American Vernacular English, the lyrics "You can do all your cinema" can be given as "You can get all dramatic."
****
SHOWCASE VIDEO: BAMBY X JAHYANAI KING - REAL WIFEY - ( CLIP OFFICIEL )
Jahyanai King, Published on Sep 18, 2015
-snip-
Selected comments from this video's discussion thread, with numbers assigned for referencing purposes only. Results for Google translate from French to English is given under some of these comments.
2016
1. JAZZY BEBE
"My first time hearing French guyana's creole, love it 😍😍"
**
2. flora villeneuve
"je comprends pas trop leur language! c'est du creole guyanais?"
-snip-
"I do not understand their language! is it Guyanese creole?"
**
REPLY
3. Lili Lamin
"Oui"
-snip-
"yes"
**
4. neskila sandy
"J'aime bien c'est la première fois que je fais attention au créole guyanais même si il y a de l'anglais je trouve ça très bien,d'habitude on n'entend pas le créole guyanais. Je suis du 971 continuez à chanter en créole guyanais ça donne un plus à la chanson et c'est ce qui fait le succès de cette chanson."
-snip-
"I like it is the first time that I pay attention to Creole Guyanese even if there is English I find it very well, usually we do not hear Creole Guyanese. I'm from 971 continue to sing in Creole Guyanese it gives a plus to the song and that's what makes the success of this song"
-snip-
"971" is the country (telephone) code for United Arab Emirates.
**
5. BabyL
"j avoue mais bon.
sinon etant guadeloupéenne martiniquaise le creole guyanais se comprend vraiment très bien. y a juste quelques differences mais tres simple.
pas besoin de modifications pour que les gens comprennent surtt les antillais"
-snip-
"I confess but good.
otherwise being Guadeloupian Martinique the Guyanese creole really understands very well. there are just a few differences but very simple.
no need for changes so that people understand surtt the West Indians."
**
6. Eka Tadulala
"Omg this song is fire!!! On replay!"
**
7. Vayann973
"Pourquoi nous massacrons notre propre créole comme ça... "Nou là Maintenant"?!!! 😭"
-snip-
"Why do we slaughter our own creole like this ... "Nou there Now"? !!! 😭"
**
REPLY
8. Général Holas
"+Drey GAS 973 Moi je préfère comme cela .....Le son peut voyager si tu comprend et c'est pas une mauvaise idée 972 971"
-snip-
"+ Drey GAS 973 I prefer it like that ..... The sound can travel if you understand and it's not a bad idea 972 971"
973- country code for French Guiana
972- country code for Israel
971- country code for United Arab Emirates
**
REPLY
9. Moriane MORDICÉ
"+flora villeneuve .. ils ne parle pas uniquement le créole Guyanais .. Ils utilisent beaucoup de mots en Anglais .. Ils mélangent"
-snip-
"+ flora villeneuve .. they do not speak only Creole Guyanese .. They use a lot of English words .. They mix"
**
REPLY
10. Hitsu Film
"+Moriane Mordice C'est la nouvelle génération de créole Guyanais on parle comme ça en Guyane sauf si on parle à un adulte ou on retournera au créole guyanais classique voila !"
-snip-
"+ Moriane Mordice This is the new generation of Guyanese Creole we speak like that in French Guiana unless we talk to an adult or we will return to the classical French Guyanese Creole!"
****
2017
11. Djat Minah
"I want yes yes"
**
REPLY
12. Cécé !
"Djat Minah En fait dans le refrain elle dit une vraie dame ne vais pas me battre juste pour un l'homme, tu peux faire tout ton cinéma et envoyer tes commentaires mais depuis que tu ne me touches pas ça me va."
-snip-
"Djat Minah In fact in the chorus she says a real lady will not fight just for a man, you can do all your cinema and send your comments but since you do not touch me it suits me."
**
13. Wendy Cordette
"c a lesson to remember for girls who will try to provoke me or volley my guy i will not talk much and i will act bravo bamby"
-snip-
I think a standard American English "translation" for this sentence is "This is a lesson to remember for girls who try to provoke me or try to steal my guy- I will not talk much but I will act. Bravo [Congratulations], bamby!"
**
14. Vanessa Glave
"they doing good with the patois and dancehall.where r they from"
**
REPLY
15. Laura Smith
"Vanessa Glave it's creole from French Guiana"
**
16. Mercedes Raye
"Girl wifey paka fight over man🎶🎶🎶"
-snip-
I think that in colloquial American English this sentence is "Girl, wives don't fight over men."
Is "paka" Haitian Creole for "don't"?
**
17. titi boz
"This song should be sing in English not in guyanese Creole u will make so much money right now"
-snip-
I think the commenter may have meant that if this song were in English it would make more money.
**
REPLY
18. Nocking
"that's true girl"
**
REPLY
19. petit prolo
"they don't speak english in guyana they speak french and creole"
**
REPLY
20. guyanese empress
"petit prolo im guyanese and we do speak English"
-snip-
I don't know whether this commenter meant the South American nation of "French Guiana" or the South American nation of
Guyana" (formerly known as British Guiana).
Are people from French Guiana called "Guyanese" or "French Guyanese"?
**
21. Bwalewoz A
"Désolée mais cette chanson est magnifique parcequ'elle est en créole guyanais . ça décoiffe !!"
-snip-
"Sorry but this song is beautiful because it is in Creole Guyanese. Hat's Off !!"
**
REPLY
22. Nysa Marester
"+Bwalewoz A Wow j'adore le flow de cette chanson, mais moi aussi étant du 971 je n'comprend pas trop . Qui peut me faire une petite traduction svp ? ^^"
-snip-
"+ Bwalewoz A Wow I love the flow of this song, but me too being 971 I do not understand too much. Who can make me a little translation" please?
**
REPLY
23. Vayann973
"+Nysa Marester en somme : " les vrais femmes ne se battent pas pour des hommes, je ne me battrai pas avec toi juste pour un homme. Tu peux faire tout tes simagrees, tant que tu ne me touches pas... " Jayhanai "tu es l'officielle, c'est une ***, il y a trop de femmes sur terre pour que vous me preniez la tête avec des âneries" bamby: la seule chose qu'elles savent faire c'est parler mais si elles s'approchent trop de moi, moi je ne parlerai pas autant". (bien évidemment ce n'est pas une traduction littérale mais en français ça donnerait quelque chose comme ça)"
-snip-
"+ Nysa Marester: "Real women do not fight for men, I will not fight with you just for a man, you can do all your simagrees, as long as you do not touch me ..." Jayhanai " you're the official, it's a ***, there are too many women on earth for you to take my head with nonsense "bamby: the only thing they know how to do is talk but if they approach too much of me, I will not speak so much. "(Of course it's not a literal translation but in French it would give something like this)"
**
REPLY
24. Barbiiee360
"I don't speak the language but i like the song, can someone please tell me where in the Caribbean they from?"
**
REPLY
25. lnanters
"They're from French Guyana in South America"
**
26. Peter John Dumas
"I am Haitian, I understand a little your Creole, looks like mine. viv kreyòl"
**
27. Cemelus Tesner
"kreyol yo a vreman diferan wi. Mais c'est tres beau, i like."
-snip-
Google translate from Haitian Creole to English: "kreyol yo a vreman diferan wi" = "Creoles are really different".
-snip-
Google translate from French to English: "Mais c'est tres beau" = "But it's very beautiful"
**
2018
28. La kawaii Lolie
"Bambuy parle à la meuf l'autre elle fait des gestes mais elle viens mm pas chui morte xD"
-snip-
Bambuy speaks to the girl the other she makes gestures but she come mm not dead chi xD
-snip-
Here's an African American Vernacular English "translation" for this comment:
Bamby is talking to one girl but the other girl who came with her just stands there making gestures... I’m dead”.
["I'm dead" means "That’s hilarious"; That’s too funny, I'm dying laughing.]
****
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Visitor comments are welcome.
Showing posts with label South American music and dance. Show all posts
Showing posts with label South American music and dance. Show all posts
Monday, May 14, 2018
Tuesday, May 2, 2017
Five Videos Of Afro-Venezuelan Quitiplás (Bamboo Sticks Used As Musical Instruments)
Edited by Azizi Powell
This pancocojams post provides information about and five videos of Afro-Venezuelan Quitiplás (Bamboo Sticks Used As Musical Instruments).
Selected comments about and partial lyrics for versions of that song are also included in this post.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post. Thanks also to the publishers of these examples on YouTube.
****
INFORMATION ABOUT QUITIPLAS (CHITIPLAS, KITIPLAS etc)
Pancocojams Editor: This translation from Spanish to English is given "as is".
From https://translate.google.com/translate?hl=en&sl=es&u=http://www.tubabel.com/definicion/75025-quitipl-s&prev=search
" Mini_cantarrana Cumanes says Posted since 2015: The "chitiplás" is a musical instrument of the Venezuelan folklore of African origin, brought by the slaves in the Colony, used in the typical music of the Barlovento region, in the Center North of Venezuela, an area with great influence of African American culture ; Is a bamboo tube cut to different lengths and thicknesses, the length and thickness vary the tone, are several forming a battery, interpreted by several performers who sit or crouch to the ground forming a wheel, are hit against the ground and is varied The tone applying the hand on the open mouth of the bamboo pipe. They have been observed in Ghana, in Africa, from there 'must come."
-snip-
Other descriptions of "Quitiplas" is given in some of the summeries or comments for the showcase videos that are found below.
****
SHOWCASE VIDEOS
These videos are presented in chronological order with the video with the oldest publishing date given first.
Example #1: El quitiplá de Belén María
L Silva Uploaded on Aug 29, 2007
-snip-
Selected comments from this video's discussion thread: [numbers assigned for referencing purposes only]
1. Hanief Saterfield, 2015
"Could somebody please translate the main chorus for me. I want to know what they are saying so bad! especially the chorus part so I get an understanding of what the song is about"
**
Reply
2.DHRRRA, 2016
"IS SOUNDING, COME TO SEE, THE QUITIPLAS OF COSTA BELEN
(IS SOUNDING, COME TO SEE, THE QUITIPLAS OF COSTA BELEN)
BELEN MARIA, A WORTH EXAMPLE OF THE CULTIST OF MY BARLOVENTO x 2
(IS SOUNDING, COME TO SEE, THE QUITIPLAS OF COSTA BELEN) x 2
THEY SOUND TASTY, WITH EMOTION, BELEN PALACIA IS A INSTITUTION x 2
(IS SOUNDING, COME TO SEE, THE QUITIPLAS OF COSTA BELEN) x 2
BELEN MARIA IS PLAYING, IN BARLOVENTO KEEPS SOUNDING x 2
(IS SOUNDING, COME TO SEE, THE QUITIPLAS OF COSTA BELEN) x 2
--
IS A ROUGH TRANSLATION, BECAUSE THEY SING IN A NATIVE ACCENT.
I HOPE IT WORKS FOR YOU, HAVE A NICE DAY! :)
-snip-
This comment is given "as is". A better translation for "It's sounding" is "I can hear them."
**
Reply
3 Hanief Saterfield, 2015
"Thanks!"
****
Example #2: Quitiplas Prima
Javier Porras Published on Aug 28, 2012
Quitiplá, Qitiplás, Kitipla or Kitiplas: A set of percussion instruments Afro-Venezuelan, used for cultural celebrations and rituals relating to "San Juan". Its main source is Africa, with a battery consisting of four bamboos. Mainly and sometimes six. They are played by alternations closed sound and open sound impacting the floor, so it is left open lid or top of the bamboo mouth. Its base is relitavemente simple, but the complexity of its essence is when you play all the instruments at once. Its main source is embodied in populations windward in Miranda in Venezuela.
-snip-
“battery” here means “a group that works together”
Relitavemente = “relatively”
****
Example #3: KITIPLA BOCON " (di donna cover version)
Hector di donna, Published on Mar 18, 2013
"KITIPLA BOCON " es un tema musica versionado po DI DONNA provenientel de la costa del Estado Miranda en Venezuela..., en este video vemos celebraciones con danzas y tambores como el KITIPLA de la zona. La pieza KITIPLA BOCON la intervine con SINTETIZADORES, BAJO ELCTRICO, BATERIA ELECTRONICA para lograr una ONDA DE ETNO-FUSION entre lo popular y la musica contemporanea....
https://youtu.be/89Iu9xQoOlU
Quitiplás: instrumento musical mirandino
Se emplea en las poblaciones del estado Miranda, con este instrumento los nativos forman una batería para acompañar los bailes o danzas de origen africano. Está compuesto por un conjunto de cuatro tubos de bambú, cortados junto a un nudo para que éste sirva de base y no se desflequen.
Pertenece al grupo de los idiófonos de golpe directo. El mayor de los tubos se distingue con el nombre de Macho o Pujao y uno menor con el nombre de Hembra o Prima. Cada uno de ellos requiere de un ejecutante que proceda a golpearlo rítmicamente contra el suelo cubriendo y destapando a la vez, alternativamente, la boca del tubo con la palma de la mano para variar así la altura del sonido. Los otros dos tubos más pequeños, son ejecutados por una sola persona, pues éstos son golpeados entre sí. El nombre de este instrumento es tomado del sonido característico del mismo, el cual al ser ejecutado repite onomatopéyicamente la palabra Qui-Ti-Plas.
-snip-
(Google translate from Spanish to English):
"KITIPLA BOCON" is a version song song by DI DONNA from the coast of Miranda State in Venezuela ..., in this video we see celebrations with dances and drums as the KITIPLA of the area. The piece KITIPLA BOCON intervened with SYNTHESIZERS, LOW ELECTRIC, ELECTRONIC BATTERY to achieve a WAVE OF ETNO-FUSION between popular and contemporary music ....
Https://youtu.be/89Iu9xQoOlU
Quitiplás: Mirandino musical instrument
It is used in the towns of Miranda state, with this instrument the natives form a battery to accompany the dances or dances of African origin. It is composed of a set of four tubes of bamboo, cut next to a knot so that it serves as a base and does not deflate.
It belongs to the group of idiofonos of direct hit. The largest of the tubes is distinguished by the name of Macho or Pujao and a smaller one with the name of Female or Prima. Each of them requires a performer to proceed to beat it rhythmically against the floor covering and uncovering at the same time alternatively the mouth of the tube with the palm of the hand to vary the height of the sound. The other two smaller tubes are executed by a single person, as these are hit each other. The name of this instrument is taken from the characteristic sound of it, which when executed repeats onomatopéyicamente the word Qui-Ti-Plas.
****
Example #4: Quitiplás de Arenita, en San José, Barlovento
Guillaume Caplain, Published on Sep 17, 2014
****
Example #5: Tambores (cover) Quitiplas de Venezuela
Solaries E.E Published on Jun 30, 2016
-snip-
"Tambores" = Spanish word for "drums"
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post provides information about and five videos of Afro-Venezuelan Quitiplás (Bamboo Sticks Used As Musical Instruments).
Selected comments about and partial lyrics for versions of that song are also included in this post.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post. Thanks also to the publishers of these examples on YouTube.
****
INFORMATION ABOUT QUITIPLAS (CHITIPLAS, KITIPLAS etc)
Pancocojams Editor: This translation from Spanish to English is given "as is".
From https://translate.google.com/translate?hl=en&sl=es&u=http://www.tubabel.com/definicion/75025-quitipl-s&prev=search
" Mini_cantarrana Cumanes says Posted since 2015: The "chitiplás" is a musical instrument of the Venezuelan folklore of African origin, brought by the slaves in the Colony, used in the typical music of the Barlovento region, in the Center North of Venezuela, an area with great influence of African American culture ; Is a bamboo tube cut to different lengths and thicknesses, the length and thickness vary the tone, are several forming a battery, interpreted by several performers who sit or crouch to the ground forming a wheel, are hit against the ground and is varied The tone applying the hand on the open mouth of the bamboo pipe. They have been observed in Ghana, in Africa, from there 'must come."
-snip-
Other descriptions of "Quitiplas" is given in some of the summeries or comments for the showcase videos that are found below.
****
SHOWCASE VIDEOS
These videos are presented in chronological order with the video with the oldest publishing date given first.
Example #1: El quitiplá de Belén María
L Silva Uploaded on Aug 29, 2007
-snip-
Selected comments from this video's discussion thread: [numbers assigned for referencing purposes only]
1. Hanief Saterfield, 2015
"Could somebody please translate the main chorus for me. I want to know what they are saying so bad! especially the chorus part so I get an understanding of what the song is about"
**
Reply
2.DHRRRA, 2016
"IS SOUNDING, COME TO SEE, THE QUITIPLAS OF COSTA BELEN
(IS SOUNDING, COME TO SEE, THE QUITIPLAS OF COSTA BELEN)
BELEN MARIA, A WORTH EXAMPLE OF THE CULTIST OF MY BARLOVENTO x 2
(IS SOUNDING, COME TO SEE, THE QUITIPLAS OF COSTA BELEN) x 2
THEY SOUND TASTY, WITH EMOTION, BELEN PALACIA IS A INSTITUTION x 2
(IS SOUNDING, COME TO SEE, THE QUITIPLAS OF COSTA BELEN) x 2
BELEN MARIA IS PLAYING, IN BARLOVENTO KEEPS SOUNDING x 2
(IS SOUNDING, COME TO SEE, THE QUITIPLAS OF COSTA BELEN) x 2
--
IS A ROUGH TRANSLATION, BECAUSE THEY SING IN A NATIVE ACCENT.
I HOPE IT WORKS FOR YOU, HAVE A NICE DAY! :)
-snip-
This comment is given "as is". A better translation for "It's sounding" is "I can hear them."
**
Reply
3 Hanief Saterfield, 2015
"Thanks!"
****
Example #2: Quitiplas Prima
Javier Porras Published on Aug 28, 2012
Quitiplá, Qitiplás, Kitipla or Kitiplas: A set of percussion instruments Afro-Venezuelan, used for cultural celebrations and rituals relating to "San Juan". Its main source is Africa, with a battery consisting of four bamboos. Mainly and sometimes six. They are played by alternations closed sound and open sound impacting the floor, so it is left open lid or top of the bamboo mouth. Its base is relitavemente simple, but the complexity of its essence is when you play all the instruments at once. Its main source is embodied in populations windward in Miranda in Venezuela.
-snip-
“battery” here means “a group that works together”
Relitavemente = “relatively”
****
Example #3: KITIPLA BOCON " (di donna cover version)
Hector di donna, Published on Mar 18, 2013
"KITIPLA BOCON " es un tema musica versionado po DI DONNA provenientel de la costa del Estado Miranda en Venezuela..., en este video vemos celebraciones con danzas y tambores como el KITIPLA de la zona. La pieza KITIPLA BOCON la intervine con SINTETIZADORES, BAJO ELCTRICO, BATERIA ELECTRONICA para lograr una ONDA DE ETNO-FUSION entre lo popular y la musica contemporanea....
https://youtu.be/89Iu9xQoOlU
Quitiplás: instrumento musical mirandino
Se emplea en las poblaciones del estado Miranda, con este instrumento los nativos forman una batería para acompañar los bailes o danzas de origen africano. Está compuesto por un conjunto de cuatro tubos de bambú, cortados junto a un nudo para que éste sirva de base y no se desflequen.
Pertenece al grupo de los idiófonos de golpe directo. El mayor de los tubos se distingue con el nombre de Macho o Pujao y uno menor con el nombre de Hembra o Prima. Cada uno de ellos requiere de un ejecutante que proceda a golpearlo rítmicamente contra el suelo cubriendo y destapando a la vez, alternativamente, la boca del tubo con la palma de la mano para variar así la altura del sonido. Los otros dos tubos más pequeños, son ejecutados por una sola persona, pues éstos son golpeados entre sí. El nombre de este instrumento es tomado del sonido característico del mismo, el cual al ser ejecutado repite onomatopéyicamente la palabra Qui-Ti-Plas.
-snip-
(Google translate from Spanish to English):
"KITIPLA BOCON" is a version song song by DI DONNA from the coast of Miranda State in Venezuela ..., in this video we see celebrations with dances and drums as the KITIPLA of the area. The piece KITIPLA BOCON intervened with SYNTHESIZERS, LOW ELECTRIC, ELECTRONIC BATTERY to achieve a WAVE OF ETNO-FUSION between popular and contemporary music ....
Https://youtu.be/89Iu9xQoOlU
Quitiplás: Mirandino musical instrument
It is used in the towns of Miranda state, with this instrument the natives form a battery to accompany the dances or dances of African origin. It is composed of a set of four tubes of bamboo, cut next to a knot so that it serves as a base and does not deflate.
It belongs to the group of idiofonos of direct hit. The largest of the tubes is distinguished by the name of Macho or Pujao and a smaller one with the name of Female or Prima. Each of them requires a performer to proceed to beat it rhythmically against the floor covering and uncovering at the same time alternatively the mouth of the tube with the palm of the hand to vary the height of the sound. The other two smaller tubes are executed by a single person, as these are hit each other. The name of this instrument is taken from the characteristic sound of it, which when executed repeats onomatopéyicamente the word Qui-Ti-Plas.
****
Example #4: Quitiplás de Arenita, en San José, Barlovento
Guillaume Caplain, Published on Sep 17, 2014
****
Example #5: Tambores (cover) Quitiplas de Venezuela
Solaries E.E Published on Jun 30, 2016
-snip-
"Tambores" = Spanish word for "drums"
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Saturday, November 19, 2016
Examples Of Traditional (Kenyan) Kamba Dances & Traditional (Paraguayan) Kamba Cuá Dances
Edited by Azizi Powell
This post provides information about Kenya's Kamba (Akamba) ethnic group and information about the Kamba Cuá Cua population of Paraguay, South America.
Videos in this post highlight some traditional (Kenyan) Kamba dances and dances performed by Paraguay's Kamba Cuá dance tropes.
The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post and all those who are featured in these videos. Thanks also to the publishers of these videos on YouTube.
****
INFORMATION ABOUT KENYA'S KAMBA ETHNIC GROUP
From http://www.kenya-information-guide.com/kamba-tribe.html
"The Kamba tribe, also called the Akamba, is a Bantu ethnic group residing in the semi - arid Eastern Province of Kenya. Their homeland stretches east from Nairobi towards the Tsavo and Northeast to Embu...,
As the fifth largest tribe, Kambas make up about 11 percent of Kenya's total population. They speak the Kamba (or Kikamba) language...
The Kamba tribe is renowned for their exceptional woodcarving and basketry skills....
Kamba religion, faith and beliefs
Many Kamba people are Christians; however, some still practice the old traditional beliefs. The Akamba people believe in a monotheistic, invisible and transcendental god, Ngai or Mulungu, who lives in the sky (yayayani). This god is also referred to as Asa or the Father. He is perceived as the omnipotent creator of life on earth and as a merciful, if distant, entity.
Kamba music
The Akamba people's love of music and dance is evident in their impressive performances throughout their daily lives and during special occasions. In these dances, the Akamba display agility and athletic skill as they perform acrobatics and remarkable body movements. Dances are usually accompanied by songs composed for the occasion (marriage, birth, national holiday) and reflect the traditional structure of the Kikamba song, sung on a pentatonic scale. The singing is lively and melodic. Songs are composed satirizing deviant behavior, anti-social activity or love. The Akamba also have famous work songs, such as Ngulu Mwalala, sung while they are digging. Herdsmen and boys have different songs, as do the young and old."...
-snip-
The most comprehensive internet text and photographic source that I've found about Kenya's Kamba people is http://kwekudee-tripdownmemorylane.blogspot.com/2014/06/kamba-people-intelligent-brave-skillful.html
WARNING: All "Trip Down Memory Lane" pages that I've come across unfortunately have been spammed with explicit sexual text.
Here's a brief excerpt about the Kamba people from that blog:
Monday, June 9, 2014
"KAMBA PEOPLE: INTELLIGENT, BRAVE, SKILLFUL CRAFT MEN, DRUMMING AND DANCING PEOPLE OF KENYA WHO ALSO FOUNDED AFRICAN TOWNS IN PARAGUAY
The Kamba (Akamba in the plural) or Wakamba are agriculturalist, music and dance-loving as well as Kikamba-speaking people of Bantu extraction living in the semi-arid Eastern Province of Kenya stretching east from Nairobi to Tsavo and north up to Embu, Kenya. The Akamba refer to their land as Ukambani; which is currently constituted by Makueni County, Kitui County and Machakos County. The Maasai call the Akamba - Lungnu and the coastal people call the Akamba – Waumanguo due to their scanty dress.
The Akamba were originally Long distance traders s, but later adopted agriculture due to the arability of the new land that they came to occupy...
Over time, the Akamba extended their commercial activity and wielded economic control across the central part of the land that was later to be known as Kenya (from the Kikamba, 'Kiinyaa', meaning 'the Ostrich Country'), from the Indian Ocean in the east to Lake Victoria in the west, and all the way up to Lake Turkana on the northern frontier. The Akamba traded in locally-produced goods such as cane beer, ivory, brass amulets, tools and weapons, millet, and cattle. The food obtained from trading helped offset shortages caused by droughts and famines."...
-snip-
Welcome's House, a commenter in the discussion thread for the Kamba Cua given as Video #1 below, indicates that the Bakamba people who are found in Ethiopia, Uganda, Tanzania, and Congo Brazzaville are the same ethnic group as the Wakamba (Akamba) people of Kenya. Is this true?
****
INFORMATION ABOUT PARAGUAY'S KAMBA CUA PEOPLE
https://en.wikipedia.org/wiki/Afro-Paraguayan
"Afro-Paraguayan are Paraguayans of African descent. They can be found in Camba Cua outside Asuncion; Kamba Kokue outside of Paraguari, and the city of Emboscada. Currently, the Afro-Paraguayan population accounts for 2% of the total population.
History
The first African slaves arrived at Paraguay in 1556.[1] The majority of the slaves were of Nigerian and Angolan origin, like other black people from any South American country. Thus, according to Argentine historian José Ignacio Telesca, the slaves that entered legally came from the esclavistas ports of Buenos Aires, Montevideo and Córdoba, while those that entered illegally came from Brazil. Thus, the Spanish explorer Pedro de Mendoza - who reached the Rio de Plata in the 16th century and was appointed its viceroy - brought enslaved Africans to Paraguay to settle them in that place. According to the aforementioned Telesca, more than 4% of the population were slaves in colonial times, keeping the same percentage in the 19th century after independence.[2] However, according to the Kamba Cuá "Afro Paraguayan Association", in 1782, the black population represented 11.2 percent of the total population of the then Province of Paraguay.[1]
This population continued to increase, as already in 1811, according to Telesca, half of the Paraguayan population was of African descent,[3] whether slave or free. So, several towns like Aregua, Emboscada (in English: "Ambush"), and Guarambare were established as black communities.[4]
Also, with the arrival of Artigas' also arrived, curiously, people of Kamba ethnic, a Kenyan ethnic group, from Uruguay, who settled in Paraguay in the 1820s.[5] They arrived in a regiment of 250 spearmen, men and women, who accompanied General Jose Gervasio Artigas, the revolutionary leader of the now Uruguay, in his exile in Paraguay.[1] The Kamba Cua were dispossessed of their land by General Higinio Morinigo in the 1940s. Of his 100 hectares they stayed with 3 hectares.[6]
As already mentioned, there are three communities of Afro-Paraguayan: the Kamba Cuá, in the Central Department (outside Asuncion), Kamba Kokue, meaning "chacra de negros" (farm of blacks) in Guarani language, and is situated in the Paraguarí Department, and Emboscada, in the Cordillera Department. The three communities are in the eastern region. The origins of these settlements dates back to the Spanish colonial period.
Kamba Cuá is the place having the most important Afro Paraguayan community. This place, in the Central Department, is populated by so-called Artigas Cue -or "black of Kamba Cuá"-, which are descended from the Kamba people (a Kenyan ethnic group[5]). They arrived in Paraguay as members of a regiment of 250 spearmen, men and women, who accompanied General Jose Gervasio Artigas, the independence´s leading revolutionary of the Eastern Band (the current Uruguay) in his exile in Paraguay in 1820. After having arrived in Asunción, they settled in the Campamento Loma area, practising dairy and secondary agriculture. However, in the 1940s, they were dispossessed of their land by General Higinio Morinigo. Of his 100 hectares they stayed with 3 hectares.[6] However, the community survived, kept his chapel and dances, created a football club ("Jan Six-ro") and one school of drum and dance for children. His ballet is the only Afro-Paraguayan expression, and premiered at the Folk Festival peach "Uruguay Yi sings in" 1992, where it won the "Golden charrúa"....
Today, according official estimates, about 300 families (between 1,200 and 2,500 people) live in Kumba Cuá.[4] However, according censuses of the Afro Paraguayan Association Kamba Cuá, this community consists of only 422 people.[7] Religion is an integral part of daily life. Currently they are Catholic. His saint is San Benito of Palermo and King San Baltazar, who came from Uruguay. Their main festival is celebrated on 6 January each year at the community's social club named after the patron saint. The important ballet artistic expressions of the Kamba Kua and culinary arts of this community have been maintained for nearly 180 years. Their oral tradition recalls that many of them participated and died in the defensive war against the Triple Alliance (1865–69), which destroyed Paraguay. They keep memories of their history, passed down from generation to generation, hold dances like "candombe", dedicated to San Baltasar, and drumming.[4] So, this community is the best known of African descent in Paraguay for having preserved their identity and culture, promoted through its traditional festivals.[6]...
Notable Afro-Paraguayans
Lázaro Medina, Director of the Ballet Camba Cua
José Carlos Medina, General Secretary of the Kamba Kuá (“black people’s hollow,” or “cave,” in Guaraní) Afro-Paraguayan Association."...
****
VIDEOS OF KENYAN KAMBA DANCES
Example #1: The dancers in Kitui
MrMuasa Uploaded on Dec 9, 2010
This is traditional Kamba dancers from Kitui in Kenya. The show took place 22 nd of October 2010 at Park Side Villa in Kitui and the 23 rd of october 2010 at Katulani secondary School.
****
Example #2: Kilumi Dance
Tim Gregory Uploaded on Jan 6, 2011
Kithio Kya Wakaela performing the sacred Kilumi dance of the Kamba, as well as the Mboti dance (the climax of Kilumi). Recorded in Wamunyu, Kenya Nov. 26, 2010.
****
Example #3: Kamba cultural dance day
Henri RECH Published on Nov 10, 2012
Evènement célébrant des danses traditionnelles du pays Kamba à Yenzuva (district de Mwingi) au Kenya. 14 juillet 2012
Film réalisé par Victor MISSUD, Nicolas ENAUD et Charlotte ALIX
-snip-
The organizer of this dance day indicated during the interview that he organized this event to teach the children their culture because some of the children’s parents, some people who are thirty years and younger don’t know their culture. So it’s important for these people to come and see the children and learn their culture
-snip-
[That portion of the interview begins around 3:00 in this video]
****
Example #4: Kamba Traditional Dance Mbeni
ruthsheilafoundation, Published on Dec 24, 2014
At the Run with Team RSS 2014 Community Day event at Thatha Kithyoko in Machos County Kenya. Ndelekeni Dance Troupe performs "Mbeni" or "Ngulumangye"
****
VIDEOS OF PARAGUAYAN KAMBA CUA DANCES
Example #1: Kamba Cuá - Afro-Paraguayan
AfroPrideTV Uploaded on Dec 9, 2010
Director, editor, researcher: Jonathan Haase
Videographer, photographer, researcher, corespondent: Eben Haase Take a rare look at the largest Afro-Paraguayan community, Kamba Cua. Includes interviews and rare footage. (Documentary)
2006
This videos is not owned by me.
Jonathan Hasse is the creator of this Documentary.
-snip-
selected comments from this video's discussion thread:
unique5589, 2011
"This is an excellent video of Kamba Cuá. African descendants are nearly on every land on this earth! We need to wake up our fellow brothers and sisters and let them know how dispersed we really are. We're not just in the United States or Africa, again, we're nearly EVERYWHERE! I will definitely pass this on to my facebook page. Thank YOU!"
**
crusherjoe8519, 2012
"I'm not of Latin American or African heritage, but I have known since childhood that people of African descent - through slavery, migration, or immigration - live in virtually all countries and lands of Latin America, the Caribbean, and many other locations around the world outside Africa."
**
Dominic Brady, 2012
"Long Live Afro Latinos. Long Live Latin America.
Unfortunately, most of my fellow Americans (including my fellow Asian Americans) think that "black people" only live in the United States and Africa, and maybe in the English- and French-speaking Caribbean."
**
Francis Muia, 2015
"great to learn we have brothers and sisters in Paraguay"
**
bosco h,2015
"We are proud of you as fellow kamba people from Kenya. That is our culture"
**
Dorothy Nduku, 2016
"I'm a kenyan and kamba by tribe, I just learned I have brothers and sister in Paraguayan."
**
mango juice, 2016
"holy molly I am kamba kenyan too brother we have brothers in uganda tanzania too ngai nimuseo"
**
Reply
Welcome's House, 2016
"Dorothy Nduku man we also have a big family in Ethiopia, some part in uganda and tanzania, we re plenty in congo Brazzaville. I m a bakamba/ kamba from congo Brazzaville."
**
Reply
Willy Mutua, 2016
"We are pround of you am kamba too from eastern kenya welcome back home"
Rey Avalos, 2016
"Kamba Cua - where the Kamba stay - Cua, means a hole or deep place and 'kamba' I think is an African word and is related to a tribe. So, we can say that "Kamba Cua", means a place where the Kamba stay or live. I am a Paraguayan and I know very little about the existence and lives of the Kamba in Paraguay. I heard about them very seldom. But year by year the Festivals make them known more and more... Congrats to the organizers and we look forward for more festivals in the future. Long Live the Kamba in Paraguay!"
**
Reply
Welcome's House, 2016
"Rey Avalos it s not just an african word it s a tribe in africa, i m a bakamba/ kamba from congo Brazzaville, there are also kambas in ethiopia, kenya, part of uganda and tanzania"
**
Reply
Rey Avalos, 2016
"Hi Welcome's House - and thanks for the reply, 'kamba Cua' is now a mixed word Kamba to signify the tribe of Africa and Cua is a Guarani word meaning 'cave or hole' it is located in Paraguay (South America). I am glad that some people from Africa is getting to know that some of your tribe are living in Paraguay."
**
wanzueni, 2016
"come back to kenya we are still drumming the akamba are known for this"
**
Reply
Welcome's House, 2016
"I am a kamba from congo Brazzaville i m so amazed that you guys know your tribe, origin"
**
Reply
Welcome's House, 2016
"May God bless me i will visit my family in South america, Ethiopia and do some charity work there. I m a bakamba from congo"
**
****
Example #2: KAMBA CUA
Jorge Benitez, Published on Jan 8, 2014
Festival
****
Example #3: Gramo / Lourdes Díaz / Kamba Kua: Mas Allá de las Polleras y los Tambores
Gramo Conversaciones, Published on May 16, 2015
"Kambá Kuá" es el nombre utilizado para referirnos a la única comunidad afroparaguaya formada por un aproximado de 2.500 personas, asentada a unos pocos kilometros de la capital de nuestro país. La historia de los “Kambá Kuá” se remonta a tiempos de la colonia, anteriores inclusive a la independencia paraguaya en 1811.
Lourdes es miembro de la comunidad, y como tal, nos transmite animadamente a través de esta charla que combina baile y reflexión, todas las actividades que contribuyen al desarrollo de la comunidad a través del “Grupo Tradicional San Baltazar de Kambá Kuá", mucho mas allá de las polleras y los tambores que tradicionalmente vemos en las festividades de San Baltazar cada 6 de enero.
-snip-
Google translate from Spanish to English:
Kamba Kua "is the name used to refer to the only afroparaguaya community of approximately 2,500 people, seated a few kilometers from the capital of our country. The history of the" Kamba Kua "dates back to colonial times, even before the Paraguayan independence in 1811.
Lourdes is a member of the community, and as such conveys animatedly through this talk that combines dance and reflection, all activities that contribute to community development through the "Traditional Grupo San Baltazar Kamba Kua", much more beyond skirts and drums traditionally we see in the festivities of San Baltazar every January 6th.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This post provides information about Kenya's Kamba (Akamba) ethnic group and information about the Kamba Cuá Cua population of Paraguay, South America.
Videos in this post highlight some traditional (Kenyan) Kamba dances and dances performed by Paraguay's Kamba Cuá dance tropes.
The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post and all those who are featured in these videos. Thanks also to the publishers of these videos on YouTube.
****
INFORMATION ABOUT KENYA'S KAMBA ETHNIC GROUP
From http://www.kenya-information-guide.com/kamba-tribe.html
"The Kamba tribe, also called the Akamba, is a Bantu ethnic group residing in the semi - arid Eastern Province of Kenya. Their homeland stretches east from Nairobi towards the Tsavo and Northeast to Embu...,
As the fifth largest tribe, Kambas make up about 11 percent of Kenya's total population. They speak the Kamba (or Kikamba) language...
The Kamba tribe is renowned for their exceptional woodcarving and basketry skills....
Kamba religion, faith and beliefs
Many Kamba people are Christians; however, some still practice the old traditional beliefs. The Akamba people believe in a monotheistic, invisible and transcendental god, Ngai or Mulungu, who lives in the sky (yayayani). This god is also referred to as Asa or the Father. He is perceived as the omnipotent creator of life on earth and as a merciful, if distant, entity.
Kamba music
The Akamba people's love of music and dance is evident in their impressive performances throughout their daily lives and during special occasions. In these dances, the Akamba display agility and athletic skill as they perform acrobatics and remarkable body movements. Dances are usually accompanied by songs composed for the occasion (marriage, birth, national holiday) and reflect the traditional structure of the Kikamba song, sung on a pentatonic scale. The singing is lively and melodic. Songs are composed satirizing deviant behavior, anti-social activity or love. The Akamba also have famous work songs, such as Ngulu Mwalala, sung while they are digging. Herdsmen and boys have different songs, as do the young and old."...
-snip-
The most comprehensive internet text and photographic source that I've found about Kenya's Kamba people is http://kwekudee-tripdownmemorylane.blogspot.com/2014/06/kamba-people-intelligent-brave-skillful.html
WARNING: All "Trip Down Memory Lane" pages that I've come across unfortunately have been spammed with explicit sexual text.
Here's a brief excerpt about the Kamba people from that blog:
Monday, June 9, 2014
"KAMBA PEOPLE: INTELLIGENT, BRAVE, SKILLFUL CRAFT MEN, DRUMMING AND DANCING PEOPLE OF KENYA WHO ALSO FOUNDED AFRICAN TOWNS IN PARAGUAY
The Kamba (Akamba in the plural) or Wakamba are agriculturalist, music and dance-loving as well as Kikamba-speaking people of Bantu extraction living in the semi-arid Eastern Province of Kenya stretching east from Nairobi to Tsavo and north up to Embu, Kenya. The Akamba refer to their land as Ukambani; which is currently constituted by Makueni County, Kitui County and Machakos County. The Maasai call the Akamba - Lungnu and the coastal people call the Akamba – Waumanguo due to their scanty dress.
The Akamba were originally Long distance traders s, but later adopted agriculture due to the arability of the new land that they came to occupy...
Over time, the Akamba extended their commercial activity and wielded economic control across the central part of the land that was later to be known as Kenya (from the Kikamba, 'Kiinyaa', meaning 'the Ostrich Country'), from the Indian Ocean in the east to Lake Victoria in the west, and all the way up to Lake Turkana on the northern frontier. The Akamba traded in locally-produced goods such as cane beer, ivory, brass amulets, tools and weapons, millet, and cattle. The food obtained from trading helped offset shortages caused by droughts and famines."...
-snip-
Welcome's House, a commenter in the discussion thread for the Kamba Cua given as Video #1 below, indicates that the Bakamba people who are found in Ethiopia, Uganda, Tanzania, and Congo Brazzaville are the same ethnic group as the Wakamba (Akamba) people of Kenya. Is this true?
****
INFORMATION ABOUT PARAGUAY'S KAMBA CUA PEOPLE
https://en.wikipedia.org/wiki/Afro-Paraguayan
"Afro-Paraguayan are Paraguayans of African descent. They can be found in Camba Cua outside Asuncion; Kamba Kokue outside of Paraguari, and the city of Emboscada. Currently, the Afro-Paraguayan population accounts for 2% of the total population.
History
The first African slaves arrived at Paraguay in 1556.[1] The majority of the slaves were of Nigerian and Angolan origin, like other black people from any South American country. Thus, according to Argentine historian José Ignacio Telesca, the slaves that entered legally came from the esclavistas ports of Buenos Aires, Montevideo and Córdoba, while those that entered illegally came from Brazil. Thus, the Spanish explorer Pedro de Mendoza - who reached the Rio de Plata in the 16th century and was appointed its viceroy - brought enslaved Africans to Paraguay to settle them in that place. According to the aforementioned Telesca, more than 4% of the population were slaves in colonial times, keeping the same percentage in the 19th century after independence.[2] However, according to the Kamba Cuá "Afro Paraguayan Association", in 1782, the black population represented 11.2 percent of the total population of the then Province of Paraguay.[1]
This population continued to increase, as already in 1811, according to Telesca, half of the Paraguayan population was of African descent,[3] whether slave or free. So, several towns like Aregua, Emboscada (in English: "Ambush"), and Guarambare were established as black communities.[4]
Also, with the arrival of Artigas' also arrived, curiously, people of Kamba ethnic, a Kenyan ethnic group, from Uruguay, who settled in Paraguay in the 1820s.[5] They arrived in a regiment of 250 spearmen, men and women, who accompanied General Jose Gervasio Artigas, the revolutionary leader of the now Uruguay, in his exile in Paraguay.[1] The Kamba Cua were dispossessed of their land by General Higinio Morinigo in the 1940s. Of his 100 hectares they stayed with 3 hectares.[6]
As already mentioned, there are three communities of Afro-Paraguayan: the Kamba Cuá, in the Central Department (outside Asuncion), Kamba Kokue, meaning "chacra de negros" (farm of blacks) in Guarani language, and is situated in the Paraguarí Department, and Emboscada, in the Cordillera Department. The three communities are in the eastern region. The origins of these settlements dates back to the Spanish colonial period.
Kamba Cuá is the place having the most important Afro Paraguayan community. This place, in the Central Department, is populated by so-called Artigas Cue -or "black of Kamba Cuá"-, which are descended from the Kamba people (a Kenyan ethnic group[5]). They arrived in Paraguay as members of a regiment of 250 spearmen, men and women, who accompanied General Jose Gervasio Artigas, the independence´s leading revolutionary of the Eastern Band (the current Uruguay) in his exile in Paraguay in 1820. After having arrived in Asunción, they settled in the Campamento Loma area, practising dairy and secondary agriculture. However, in the 1940s, they were dispossessed of their land by General Higinio Morinigo. Of his 100 hectares they stayed with 3 hectares.[6] However, the community survived, kept his chapel and dances, created a football club ("Jan Six-ro") and one school of drum and dance for children. His ballet is the only Afro-Paraguayan expression, and premiered at the Folk Festival peach "Uruguay Yi sings in" 1992, where it won the "Golden charrúa"....
Today, according official estimates, about 300 families (between 1,200 and 2,500 people) live in Kumba Cuá.[4] However, according censuses of the Afro Paraguayan Association Kamba Cuá, this community consists of only 422 people.[7] Religion is an integral part of daily life. Currently they are Catholic. His saint is San Benito of Palermo and King San Baltazar, who came from Uruguay. Their main festival is celebrated on 6 January each year at the community's social club named after the patron saint. The important ballet artistic expressions of the Kamba Kua and culinary arts of this community have been maintained for nearly 180 years. Their oral tradition recalls that many of them participated and died in the defensive war against the Triple Alliance (1865–69), which destroyed Paraguay. They keep memories of their history, passed down from generation to generation, hold dances like "candombe", dedicated to San Baltasar, and drumming.[4] So, this community is the best known of African descent in Paraguay for having preserved their identity and culture, promoted through its traditional festivals.[6]...
Notable Afro-Paraguayans
Lázaro Medina, Director of the Ballet Camba Cua
José Carlos Medina, General Secretary of the Kamba Kuá (“black people’s hollow,” or “cave,” in Guaraní) Afro-Paraguayan Association."...
****
VIDEOS OF KENYAN KAMBA DANCES
Example #1: The dancers in Kitui
MrMuasa Uploaded on Dec 9, 2010
This is traditional Kamba dancers from Kitui in Kenya. The show took place 22 nd of October 2010 at Park Side Villa in Kitui and the 23 rd of october 2010 at Katulani secondary School.
****
Example #2: Kilumi Dance
Tim Gregory Uploaded on Jan 6, 2011
Kithio Kya Wakaela performing the sacred Kilumi dance of the Kamba, as well as the Mboti dance (the climax of Kilumi). Recorded in Wamunyu, Kenya Nov. 26, 2010.
****
Example #3: Kamba cultural dance day
Henri RECH Published on Nov 10, 2012
Evènement célébrant des danses traditionnelles du pays Kamba à Yenzuva (district de Mwingi) au Kenya. 14 juillet 2012
Film réalisé par Victor MISSUD, Nicolas ENAUD et Charlotte ALIX
-snip-
The organizer of this dance day indicated during the interview that he organized this event to teach the children their culture because some of the children’s parents, some people who are thirty years and younger don’t know their culture. So it’s important for these people to come and see the children and learn their culture
-snip-
[That portion of the interview begins around 3:00 in this video]
****
Example #4: Kamba Traditional Dance Mbeni
ruthsheilafoundation, Published on Dec 24, 2014
At the Run with Team RSS 2014 Community Day event at Thatha Kithyoko in Machos County Kenya. Ndelekeni Dance Troupe performs "Mbeni" or "Ngulumangye"
****
VIDEOS OF PARAGUAYAN KAMBA CUA DANCES
Example #1: Kamba Cuá - Afro-Paraguayan
AfroPrideTV Uploaded on Dec 9, 2010
Director, editor, researcher: Jonathan Haase
Videographer, photographer, researcher, corespondent: Eben Haase Take a rare look at the largest Afro-Paraguayan community, Kamba Cua. Includes interviews and rare footage. (Documentary)
2006
This videos is not owned by me.
Jonathan Hasse is the creator of this Documentary.
-snip-
selected comments from this video's discussion thread:
unique5589, 2011
"This is an excellent video of Kamba Cuá. African descendants are nearly on every land on this earth! We need to wake up our fellow brothers and sisters and let them know how dispersed we really are. We're not just in the United States or Africa, again, we're nearly EVERYWHERE! I will definitely pass this on to my facebook page. Thank YOU!"
**
crusherjoe8519, 2012
"I'm not of Latin American or African heritage, but I have known since childhood that people of African descent - through slavery, migration, or immigration - live in virtually all countries and lands of Latin America, the Caribbean, and many other locations around the world outside Africa."
**
Dominic Brady, 2012
"Long Live Afro Latinos. Long Live Latin America.
Unfortunately, most of my fellow Americans (including my fellow Asian Americans) think that "black people" only live in the United States and Africa, and maybe in the English- and French-speaking Caribbean."
**
Francis Muia, 2015
"great to learn we have brothers and sisters in Paraguay"
**
bosco h,2015
"We are proud of you as fellow kamba people from Kenya. That is our culture"
**
Dorothy Nduku, 2016
"I'm a kenyan and kamba by tribe, I just learned I have brothers and sister in Paraguayan."
**
mango juice, 2016
"holy molly I am kamba kenyan too brother we have brothers in uganda tanzania too ngai nimuseo"
**
Reply
Welcome's House, 2016
"Dorothy Nduku man we also have a big family in Ethiopia, some part in uganda and tanzania, we re plenty in congo Brazzaville. I m a bakamba/ kamba from congo Brazzaville."
**
Reply
Willy Mutua, 2016
"We are pround of you am kamba too from eastern kenya welcome back home"
Rey Avalos, 2016
"Kamba Cua - where the Kamba stay - Cua, means a hole or deep place and 'kamba' I think is an African word and is related to a tribe. So, we can say that "Kamba Cua", means a place where the Kamba stay or live. I am a Paraguayan and I know very little about the existence and lives of the Kamba in Paraguay. I heard about them very seldom. But year by year the Festivals make them known more and more... Congrats to the organizers and we look forward for more festivals in the future. Long Live the Kamba in Paraguay!"
**
Reply
Welcome's House, 2016
"Rey Avalos it s not just an african word it s a tribe in africa, i m a bakamba/ kamba from congo Brazzaville, there are also kambas in ethiopia, kenya, part of uganda and tanzania"
**
Reply
Rey Avalos, 2016
"Hi Welcome's House - and thanks for the reply, 'kamba Cua' is now a mixed word Kamba to signify the tribe of Africa and Cua is a Guarani word meaning 'cave or hole' it is located in Paraguay (South America). I am glad that some people from Africa is getting to know that some of your tribe are living in Paraguay."
**
wanzueni, 2016
"come back to kenya we are still drumming the akamba are known for this"
**
Reply
Welcome's House, 2016
"I am a kamba from congo Brazzaville i m so amazed that you guys know your tribe, origin"
**
Reply
Welcome's House, 2016
"May God bless me i will visit my family in South america, Ethiopia and do some charity work there. I m a bakamba from congo"
**
****
Example #2: KAMBA CUA
Jorge Benitez, Published on Jan 8, 2014
Festival
****
Example #3: Gramo / Lourdes Díaz / Kamba Kua: Mas Allá de las Polleras y los Tambores
Gramo Conversaciones, Published on May 16, 2015
"Kambá Kuá" es el nombre utilizado para referirnos a la única comunidad afroparaguaya formada por un aproximado de 2.500 personas, asentada a unos pocos kilometros de la capital de nuestro país. La historia de los “Kambá Kuá” se remonta a tiempos de la colonia, anteriores inclusive a la independencia paraguaya en 1811.
Lourdes es miembro de la comunidad, y como tal, nos transmite animadamente a través de esta charla que combina baile y reflexión, todas las actividades que contribuyen al desarrollo de la comunidad a través del “Grupo Tradicional San Baltazar de Kambá Kuá", mucho mas allá de las polleras y los tambores que tradicionalmente vemos en las festividades de San Baltazar cada 6 de enero.
-snip-
Google translate from Spanish to English:
Kamba Kua "is the name used to refer to the only afroparaguaya community of approximately 2,500 people, seated a few kilometers from the capital of our country. The history of the" Kamba Kua "dates back to colonial times, even before the Paraguayan independence in 1811.
Lourdes is a member of the community, and as such conveys animatedly through this talk that combines dance and reflection, all activities that contribute to community development through the "Traditional Grupo San Baltazar Kamba Kua", much more beyond skirts and drums traditionally we see in the festivities of San Baltazar every January 6th.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Wednesday, April 2, 2014
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.
****
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."
-snip-
Some of the summary statements to the videos found below contain information about this particular Afro-Peruvian music and dance form.
****
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.
****
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
-snip-
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.
-snip-
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
****
Example #3: Jarana Nº 6 (Zamacueca / Marinera Limeña) - Manuel Quintana, Hermanos Ascuez y Luciano Huambachano
Amaruyacu, Published on June 24, 2012
-snip-
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.
****
Example #4: Zamacueca- Peruexpresion
Juan Carlos Urbina Sarzo, Published on May 26, 2013
****
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."
-snip-
Some of the summary statements to the videos found below contain information about this particular Afro-Peruvian music and dance form.
****
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.
****
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
****
Example #3: Ritmos del Perú - festejo
El Rincón de la Peruanidad, Uploaded on Dec 3, 2011
-snip-
[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..
****
Example #4: Festejo baile y musica afro peruana Un grupo de niñas bailando musica negra.mpg
losperuanos,Published on Apr 11, 2012
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
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.
****
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."
-snip-
Some of the summary statements to the videos found below contain information about this particular Afro-Peruvian music and dance form.
****
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.
****
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
-snip-
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.
-snip-
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
****
Example #3: Jarana Nº 6 (Zamacueca / Marinera Limeña) - Manuel Quintana, Hermanos Ascuez y Luciano Huambachano
Amaruyacu, Published on June 24, 2012
-snip-
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.
****
Example #4: Zamacueca- Peruexpresion
Juan Carlos Urbina Sarzo, Published on May 26, 2013
****
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."
-snip-
Some of the summary statements to the videos found below contain information about this particular Afro-Peruvian music and dance form.
****
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.
****
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
****
Example #3: Ritmos del Perú - festejo
El Rincón de la Peruanidad, Uploaded on Dec 3, 2011
-snip-
[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..
****
Example #4: Festejo baile y musica afro peruana Un grupo de niñas bailando musica negra.mpg
losperuanos,Published on Apr 11, 2012
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Tuesday, June 12, 2012
Five Videos Of Venezuelan Music & Dance
Edited by Azizi Powell
Latest revision - January 13,2026
[This post originally showcased seven videos. However, as of January 13, 2026 two of those videos are no longer available. I chose to retain this post as much as possible as it was in 2012 and therefore haven't added any other videos to this post.]
The content of this post is presented for historical, folkloric, entertainment, and aesthetic purposes. The copyrights remain with their owners.
My thanks to the composers, vocalists, and musicians who performed this music. My thanks also to the producers of these videos and the video uploaders.
****
FEATURED VIDEOS
[These videos are presented in no particular order of preference.]
Video #1:
Billo's Caracas Boys - Mosaico No. 1
[This video is no longer available]
Uploaded by crooner2007 on Feb 7, 2009
Lead Vocals: Felipe Pirela & Cheo Garcia
****
Video #2: Billo's Caracas Boys - Swing Con Son
Uploaded by crooner2007 on Jul 27, 2008
Original early 1940's recording.
****
Video #3: El Duque Del Llano en el Festival de Bandola Llanera "Anselmo López"
Uploaded by olillanero on Jan 31, 2010
The Duke of Llano represents his state of Anzoategui in the IV Festival of the Bandola "Anselmo López" in the auditorium of PDVSA Barinas. It may be noted his enthusiasm for the competition and skill in implementing the vernacular instrument
El Duque del Llano representa a su estado Anzoátegui en el IV Festival de la bandola "Anselmo López" en el auditorio de PDVSA en Barinas. Se puede notar su entusiasmo por la competición y destreza en la ejecución del vernáculo instrumento
****
Video #4: Tambores del Pueblo: San Millan
Uploaded by MaderaPresenta on Oct 28, 2008
Introducción a la Percusión y la cultura de las comunidades Afrovenezolanas.
Remigio "Memo" Piñate, Jhony Bueno.
Madera Presenta
****
Video #5: Tambor Urbano Venezuela
Uploaded by TamborUrbano1 on Jun 8, 2011
Tema Canto Al Pueblo De Chirimena Tambor Urbano 2011 Letra Y Musica Hector Silvera Producio Por Caja Negra Films www.tambor-urbano.com
****
Video #6: Tambor Urbano De Venezuela
[This video is no longer available.]
Uploaded by tamborurbano on Jul 17, 2006
Video Promocional "Tambores"
****
Video #7: Tambores en Cuyagua
Uploaded by videosvenezuelatuya on Feb 14, 2011
Jóvenes bailando tambores en la playa de Cuyagua, en el Estado Aragua de Venezuela
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
Latest revision - January 13,2026
[This post originally showcased seven videos. However, as of January 13, 2026 two of those videos are no longer available. I chose to retain this post as much as possible as it was in 2012 and therefore haven't added any other videos to this post.]
This pancocojams post showcases seven videos of music & dance from Venezuela, South America.
The content of this post is presented for historical, folkloric, entertainment, and aesthetic purposes. The copyrights remain with their owners.
My thanks to the composers, vocalists, and musicians who performed this music. My thanks also to the producers of these videos and the video uploaders.
****
FEATURED VIDEOS
[These videos are presented in no particular order of preference.]
Video #1:
Billo's Caracas Boys - Mosaico No. 1
[This video is no longer available]
Uploaded by crooner2007 on Feb 7, 2009
Lead Vocals: Felipe Pirela & Cheo Garcia
****
Video #2: Billo's Caracas Boys - Swing Con Son
Uploaded by crooner2007 on Jul 27, 2008
Original early 1940's recording.
****
Video #3: El Duque Del Llano en el Festival de Bandola Llanera "Anselmo López"
Uploaded by olillanero on Jan 31, 2010
The Duke of Llano represents his state of Anzoategui in the IV Festival of the Bandola "Anselmo López" in the auditorium of PDVSA Barinas. It may be noted his enthusiasm for the competition and skill in implementing the vernacular instrument
El Duque del Llano representa a su estado Anzoátegui en el IV Festival de la bandola "Anselmo López" en el auditorio de PDVSA en Barinas. Se puede notar su entusiasmo por la competición y destreza en la ejecución del vernáculo instrumento
****
Video #4: Tambores del Pueblo: San Millan
Uploaded by MaderaPresenta on Oct 28, 2008
Introducción a la Percusión y la cultura de las comunidades Afrovenezolanas.
Remigio "Memo" Piñate, Jhony Bueno.
Madera Presenta
****
Video #5: Tambor Urbano Venezuela
Uploaded by TamborUrbano1 on Jun 8, 2011
Tema Canto Al Pueblo De Chirimena Tambor Urbano 2011 Letra Y Musica Hector Silvera Producio Por Caja Negra Films www.tambor-urbano.com
****
Video #6: Tambor Urbano De Venezuela
[This video is no longer available.]
Uploaded by tamborurbano on Jul 17, 2006
Video Promocional "Tambores"
****
Video #7: Tambores en Cuyagua
Uploaded by videosvenezuelatuya on Feb 14, 2011
Jóvenes bailando tambores en la playa de Cuyagua, en el Estado Aragua de Venezuela
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
Wednesday, April 25, 2012
"Paranaue" - Videos, Lyrics, & Meaning
Edited by Azizi Powell
Capoeira Paranaue Only the Strong HD
raniel britto - Published on Aug 9, 2013
****
This pancocojams post showcases two videos of the Brazilian Capoeira song "Paranaue". Lyrics for that song, and information about the meaning of those lyrics are also provided in this post.
The content of this post is presented for educational, historical, folkloric, entertainment, and aesthetic purposes. The copyrights remain with their owners.
My thanks to the performers, musicians, and video producers of these featured videos. Thanks also to the uploaders of these videos, the authors of the comments that are quoted.
Axe* to all capoeristas!
*Axe = Portuguese for the Yoruba (Nigeria) word "ase" [ashay] meaning power & blessings.
BRIEF OVERVIEW OF CAPOEIRA
From http://en.wikipedia.org/wiki/Capoeira:
-snip-
Capoeira songs feature the berimbau musical instrument.
From http://en.wikipedia.org/wiki/Berimbau:
"The berimbau... is a single-string percussion instrument, a musical bow, from Brazil. The berimbau's origins are not entirely clear, but there is not much doubt about its African origin, as no Indigenous Brazilian or European people use musical bows, and very similar instruments are played in the southern parts of Africa."
Click http://www.jambalayah.com/node/1140 "Videos Of Traditional Musical Instruments A-C for videos of that instrument.
****
FEATURED VIDEOS
Editor: Both of these showcased videos include the version of "Paranaue" from the Capoeira movie "Only The Strong". That song was sung by Serapis Bey.
Video #1: Only the Strong - Capoeira - Paranaue
This video is presented at the top of this page.
"Paranaue" became known in the United States through the 1994 Capoeira movie "Only The Strong". Click http://en.wikipedia.org/wiki/Only_the_Strong for information that movie. The complete movie is posted on YouTube.
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Video #2: Capoeira - Paranaue
Uploaded by PemBe55 on Jul 11, 2008
Capoeira is a combination of dance, ritual and martial arts that developed out of the Portugese trade of African slaves to Brazil the 16th century.
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LYRICS & TEXTUAL ANALYSIS
From http://www.capsprings.com/Music/Lyrics.aspx:
Paranaue, paranaue, parana
Vou me embora enquanto e cedo
que a noite tenho medo!
Parana Paranaue, paranaue, parana
Mulher pra ser bonita, parana
Nao precisa se pintar, parana.
Paranaue, paranaue, parana
A pintura e do artista, parana,
A beleza e Deus que da, parana.
English translation:
Paranaue, paranaue, parana
I'm leaving while it's early
because at night I'm afraid!
Parana Paranaue, paranaue, parana
for a woman to be beautiful, parana
she doesn't need to paint herself, parana.
Paranaue, paranaue, parana
A painting is by an artist, parana,
Beauty is given by God, parana.
**
"Parana is the name of a state in Brazil. It has come to represent freedom and is used symbolically in many capoeira songs. Aruande and Luanda (the capital of Angola) are often used similarly representing freedom, or even heaven, and often carry a feeling of nostalgia. Of course this would be a common theme among slaves singing of desired freedoms. What types of freedom might modern capoeiristas be seeking?"
-snip-
Here's more information about why the Brazilian state of Paranaue symbolizes freedom:
From http://webpages.scu.edu/ftp/mmooney/music.htm:
"Songs are symbolic, calling on the gods of Candomble (an Afro-Brazilian religion) or elements of the natural world, citing historic locations and battles during slavery, or paying respect to famous mestres. Without an understanding of Portuguese and the history of capoeira and Brazil, it is difficult to understand the songs. One of the most beautiful songs is "Paranaue," a song commemorating the many capoeiristas who fought in the War of Paraguay to win their liberty from the Brazilian government."
****
From http://www.capoeira.com/community/forum/topic/Paranaue-song-lyrics...htm:
"Parana'e is one of these songs that are seen as a staple of trademark of Capoeira. Besides the usual chant (the one that says "E' Parana-e, parana, parana, parana-e, parana...", there are a few common verses used. Bear in mind, a lot of good capoeira singers also improvise during the song, based on what's happening in the roda or any particular situation related to capoeira.
Having said that, these are a few of the common verses (I used these a lot...):
Vou dizer minha mulher, Paraná
Capoeira me venceu, Paraná
Paraná ê, Paraná ê, Paraná
E bateu com o pé firme, Paraná
Isso não aconteceu, Paraná
Paraná ê, Paraná ê, Paraná
E Parana ê, Paraná
Paraná, Paranaguá, Paraná
Paraná ê, Paraná ê, Paraná
Vou me embora, vou me embora, Paraná
Como já disse que vou, Paraná
Paraná ê, Paraná ê, Paraná
Eu aqui não sou querido, Paraná
Mas na minha terra eu sou, Paraná
Paraná ê, Paraná ê, Paraná
Muito axe e salve!
...Verdugo."
- posted by pricansnowbrdr on 11/03/2005
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RELATED LINKS
Click http://pancocojams.blogspot.com/2012/04/zum-zum-zum-mata-um-videos-lyrics.html for another Capoiera song "Zum Zum Zum Mata Um". Video #2 of that post also includes a sound file of "Paranuae".
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Thanks for visiting pancocojams.
Viewer comments are welcome.
Capoeira Paranaue Only the Strong HD
raniel britto - Published on Aug 9, 2013
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This pancocojams post showcases two videos of the Brazilian Capoeira song "Paranaue". Lyrics for that song, and information about the meaning of those lyrics are also provided in this post.
The content of this post is presented for educational, historical, folkloric, entertainment, and aesthetic purposes. The copyrights remain with their owners.
My thanks to the performers, musicians, and video producers of these featured videos. Thanks also to the uploaders of these videos, the authors of the comments that are quoted.
Axe* to all capoeristas!
*Axe = Portuguese for the Yoruba (Nigeria) word "ase" [ashay] meaning power & blessings.
BRIEF OVERVIEW OF CAPOEIRA
From http://en.wikipedia.org/wiki/Capoeira:
Capoeira... is a Brazilian martial art that combines elements of dance and music. It was created in Brazil mainly by descendants of African slaves with Brazilian native influences , probably beginning in the 16th century. It is known by quick and complex moves, using mainly power, speed, and leverage for leg sweeps...
More than a fighting style, it was created as a hope of survival, a tool with which an escaped slave, completely unequipped, could survive in the hostile, unknown land and face the hunt of the capitães-do-mato, colonial agents armed and mounted in charge of finding escapees.
-snip-
Capoeira songs feature the berimbau musical instrument.
From http://en.wikipedia.org/wiki/Berimbau:
"The berimbau... is a single-string percussion instrument, a musical bow, from Brazil. The berimbau's origins are not entirely clear, but there is not much doubt about its African origin, as no Indigenous Brazilian or European people use musical bows, and very similar instruments are played in the southern parts of Africa."
Click http://www.jambalayah.com/node/1140 "Videos Of Traditional Musical Instruments A-C for videos of that instrument.
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FEATURED VIDEOS
Editor: Both of these showcased videos include the version of "Paranaue" from the Capoeira movie "Only The Strong". That song was sung by Serapis Bey.
Video #1: Only the Strong - Capoeira - Paranaue
This video is presented at the top of this page.
"Paranaue" became known in the United States through the 1994 Capoeira movie "Only The Strong". Click http://en.wikipedia.org/wiki/Only_the_Strong for information that movie. The complete movie is posted on YouTube.
****
Video #2: Capoeira - Paranaue
Uploaded by PemBe55 on Jul 11, 2008
Capoeira is a combination of dance, ritual and martial arts that developed out of the Portugese trade of African slaves to Brazil the 16th century.
****
LYRICS & TEXTUAL ANALYSIS
From http://www.capsprings.com/Music/Lyrics.aspx:
Paranaue, paranaue, parana
Vou me embora enquanto e cedo
que a noite tenho medo!
Parana Paranaue, paranaue, parana
Mulher pra ser bonita, parana
Nao precisa se pintar, parana.
Paranaue, paranaue, parana
A pintura e do artista, parana,
A beleza e Deus que da, parana.
English translation:
Paranaue, paranaue, parana
I'm leaving while it's early
because at night I'm afraid!
Parana Paranaue, paranaue, parana
for a woman to be beautiful, parana
she doesn't need to paint herself, parana.
Paranaue, paranaue, parana
A painting is by an artist, parana,
Beauty is given by God, parana.
**
"Parana is the name of a state in Brazil. It has come to represent freedom and is used symbolically in many capoeira songs. Aruande and Luanda (the capital of Angola) are often used similarly representing freedom, or even heaven, and often carry a feeling of nostalgia. Of course this would be a common theme among slaves singing of desired freedoms. What types of freedom might modern capoeiristas be seeking?"
-snip-
Here's more information about why the Brazilian state of Paranaue symbolizes freedom:
From http://webpages.scu.edu/ftp/mmooney/music.htm:
"Songs are symbolic, calling on the gods of Candomble (an Afro-Brazilian religion) or elements of the natural world, citing historic locations and battles during slavery, or paying respect to famous mestres. Without an understanding of Portuguese and the history of capoeira and Brazil, it is difficult to understand the songs. One of the most beautiful songs is "Paranaue," a song commemorating the many capoeiristas who fought in the War of Paraguay to win their liberty from the Brazilian government."
****
From http://www.capoeira.com/community/forum/topic/Paranaue-song-lyrics...htm:
"Parana'e is one of these songs that are seen as a staple of trademark of Capoeira. Besides the usual chant (the one that says "E' Parana-e, parana, parana, parana-e, parana...", there are a few common verses used. Bear in mind, a lot of good capoeira singers also improvise during the song, based on what's happening in the roda or any particular situation related to capoeira.
Having said that, these are a few of the common verses (I used these a lot...):
Vou dizer minha mulher, Paraná
Capoeira me venceu, Paraná
Paraná ê, Paraná ê, Paraná
E bateu com o pé firme, Paraná
Isso não aconteceu, Paraná
Paraná ê, Paraná ê, Paraná
E Parana ê, Paraná
Paraná, Paranaguá, Paraná
Paraná ê, Paraná ê, Paraná
Vou me embora, vou me embora, Paraná
Como já disse que vou, Paraná
Paraná ê, Paraná ê, Paraná
Eu aqui não sou querido, Paraná
Mas na minha terra eu sou, Paraná
Paraná ê, Paraná ê, Paraná
Muito axe e salve!
...Verdugo."
- posted by pricansnowbrdr on 11/03/2005
****
RELATED LINKS
Click http://pancocojams.blogspot.com/2012/04/zum-zum-zum-mata-um-videos-lyrics.html for another Capoiera song "Zum Zum Zum Mata Um". Video #2 of that post also includes a sound file of "Paranuae".
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
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