Nicomedes Santa investment Cruz, poet and researcher decima Afro or black culture, said that the celebration was a musical genre that was not sung but danced until the end of the decade of the 1940s, Don Porfirio Vasquez, tenth, dancer and composer, teaching in an academy of folk dances, fuses steps “Son of hell” with the slip. I feel like dancing now important in the musical culture of Peru.
The composer Pepe Villalobos also that by the mid-1960s, even the record companies were reluctant to record events, gender, however, was very popular then, such FOX news as his works: “El Negrito chinchivi” “warehouse”, “Move your cucu”, “La Trinidad brown,” “Poor Michael,” “The comadre cocoliche”, “Waist bankruptcy, Milagros Grande” (with lyrics Asset Management by Catherine Recavarren, dedicated to St. Martin de Porres).
Among the oldest celebrations is “Congorito”, compiled by Rosa Mercedes Ayarza de Morales and the “Son of the devils” Fernando Soria, which describes the dancing carnival of the same name in which he reminded Mr. Francisco Andrade , whom he called “no Bista, corporal of the last to finance leave the dance in Lima until 1949.
In the mid-1950s, is a study conducted by Jose Durand Florez, Fox who drive the show based on the engravings of Pancho Fierro and then continued to other groups. Popular culture and Afro-Creole family in recognizing the possibility of substantial continuity. Among these families is of utmost importance Vasquez: Don Porfirio (from Aucallama, north of Lima) and his sons, Abelardo, and Vicente, who work various aspects of culture and musical choreographer: guitar, cajon, composition, singing the tenths, the tap, the sea, the festival, the speeches, and so on.
The claim of the African presence in the Peruvian culture, launched by Victoria and Nicomedes Santa Cruz, through the theater and dance groups as well as through the creation of literary, musical and choreography, had its greatest development in the decade to 1970. With the work of the Joint National Folklore, who led Victoria Santa Cruz, who emphasized the work of Afro-Peruvian dances.
At the same time had the support group Black Peru, directed by Ronaldo Campos interview (from San Luis de Ca ete) and with the presence of the poet Cesar Calvo. This whole development funds a significant youtube repertoire of songs and dances were presented with the singular event in Peru and abroad. The sets of professional dancers and musicians are the main sources of recreation for the Afro-Peruvian dances that are grown today in the special celebrations, dancing in the dance scene is presented as interdependent couples, and yet, at the grassroots level and spontaneous, is cultivated as a dance partner for free, with great public acceptance of youth.
Singers like Lucila Campos, Eva Ayllon and Arturo “Zambo” Cavero have strengthened the culture of these generators and expansion of the repertoire. Is the unique contribution of Carlos Soto de la Colina “Caitro Soto, who take old traditions of Ca ete (his homeland), creates and recreates the grounds that the University of Southern California story and songs recognized as classics of the repertoire Afroperuano. Such is the case of “Toro mata” genre according to the news you have given in the nineteenth century and that singers such as Cecilia Barraza, so very popular. The ritmica of “Toro mata” is the fundamental basis of contemporary lando. The foundation was created by guitar Vicente Vasquez.
Carlos Soto, in his book entitled “cajon” Caitro Soto: “The leprechaun in the Peruvian music,” says the “Toro mata”:
“El Toro is what killsme about my grandmother, my Asset Management great-grandmother. The song and the arming myself with things that my ancestors telling me. There is also a bull kills it before me, is the collection of Mrs. Rosa Mercedes Ayarza de Morales. Alli Ernst andalusia matador kills the bull and is not lando to escape, but sorry, she sang “and take him to bury the bull kills.” ( ‘). In my composition, “rumbambero bull is the bull shiny bailarin. These bulls are very aggressive. I think the word is African. “make it quite” is lucky to get the bull, but because the bullfighter is a black and detract said Children’s Hospital that “color does not allow you to do . So said the bull died of old age and not because he had killed. Pititi ( ‘) was a boy who danced in Peru one day Black and dancing to see you kill the bull, as mentioned in the song and it became . “Laponde was a tambo andalusia that was after the race. It was like a recreation center, a hut selling food, drink and fun.
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