"Life is not measured by the number of breaths we take, but by the moments that take our breath away."

Thursday, 21 June 2012

...::: Diego Laverde : Arpa Llanera :::...

La Musica tiene la magia de transmitir sentimientos que a veces no se pueden explicar con Palabras

El pasado sabado 16 de Junio, tuve el placer de precenciar la magia de sentimientos que transmite El musico Colombiano Diego Laverde a travez de su arte, musica, talento,sencillez y porsupuesto... el Arpa.

En un evento organizado para festejar el festival del Joropo, en un ambiente llamado The Latin Corner, cerca de Camden Town en el centro de Londres, se encontraba y descataba el talento del musico colombiano.

Mucho escuche del musico Diego Laverde, pero no habia tenido la oportunidad de ir a una de sus presentaciones, y despues de haber asistido el sabado pasado, estoy segura que no sera la primera ni la ultima vez que lo haga.

Y es que la musica, en todo sus generos, es una manera de expresarse, una manera de transmitir aquello que talvez no se puede decir con palabras. y mediante el arpa Diego Laverde aparte de transmitir esas emociones, destaca la la musica y su pasion mediante el Arpa, tambien nos deleito con su canto, un talento unico que recien tuve el placer de escuchar y conocer el sabado pasado.

Espero con ansias volver a una de sus presentaciones :)

Algunas de sus canciones de la noche :) 

Saturday, 16 June 2012

Miss Obleas: Events

Upcoming Events/ performances :

Event                                  Month                     Place
Dance / Performance          23rd June             Camden Town ( details to be announced)

Dance/ Workshop              30th June                East London ( details to be announced)

Group presentation :           14th July                  Trafalgar Square 
Contemporary Dance

Latin/Belly dance :               22nd July                 Central London ( to be announced)

Dance/ Solo performance
To be confirmed  :               2nd September                London

Wednesday, 13 June 2012

Roots of Colombian music


In the 1500s, the Atlantic region was an entrance port of the slave trafficking
heading towards South America. Some of these slaves escaped, building isolated
communities in scrublands called Palenques. Between 1529 and 1799, twenty-six
palenques were formed. San Basilio Palenque was the most famous, formed by the king
of an African tribe. Cumbia owes to this Palenque, its dance structure, inherited from its
ceremonial dances. (Cardenas, 1992).

Cumbia resemblances the Taino-Caribe’s Areito, a circle of dance practiced in the
Caribbean. Their influence is rooted through kinship relations between Caribbean and
Colombian tribes. An early expression of cumbia; was played in the early 1800s as
Gaitero instrumental music, an ensemble consisting of gaitas, playing with the steady
beat of drums, and the embellished with maracas. (Morales, 2003)

During the 1700’s, the nationalist Colombians re-arranged European dance genres
like the English country-dance, creating the first songs and dances with a tri-cultural
feeling. Colombian people envisioned a territorial unity and the possibility to sustain
capitalist relations with the rest of the world. Education became a priority, to find a
cultural identity. During the struggle for Colombian’s independence, cumbia a dance for
African and indigenous laborers, became the dance of national resistance.

Toto la Momposina, believes that cumbia originates as a courting dance between
energetic African men and reserved indigenous women, oppressed communities who
were prohibited to intermarry; this makes the cumbia a subversive act of mixture. Music
involved socializing; it mediated contexts of social relations, which were highly charged
with tension. (Wade, 2000)

In the 20th century, many young Colombians were educated in Europe, and
brought back patriotic and revolutionary ideas, represented as new musical ideas that
evolved from the basic rhythm of European dances. (Cardenas, 1992). The Andean
region, was home to the social elites and valued only their creolized-European traditions;
this shaped Colombian early national identity. Inhabitants of the Atlantic coast, were
marginalized and perceived as immoral, because of their African and native cultural
background. With the Big Band craze, the Cumbia was stylized
with similar instrument configuration of the swing bands, and gain national popularity.
Cumbia was described then as:

A rolling, infectious 2/4 beat that seems like a fusion between merengue
and reggae, with a similar backbeat that sends it surging forward. The
cumbia dance is based on hip rocking…

In the 1950’s, Cumbia was modernized with recording techniques becoming
faster and stylized. Lucho Bermudez, the orchestra leader of La Sonora Dinamita,
combined cumbia with other forms of Afro Cuban music. Today, cumbia has a
significant influence in Latin American tropical pop music. (Morales, 2003).