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 :)
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).
