Everything for the Music Enthusiast.
Music CDs and DVDs, books, musical instruments, music gear, music software, recording gear, audio equipment, music accessories, and more. Music promotion.
Promote Your Music | Subscribe | Advertise | Music Webmasters
Register/Login
Search OW
VIRTUAL CD - Listen          MUSIC REVIEWS        MUSIC RECOMMENDATIONS        NEW MUSIC RELEASES       CD ARCHIVES        ARCHIVES
Cover Stories | Features | Spotlights | Rising Stars | Launchpad | Kaleidoscope | New DVDs | New Soundtracks | Music Books | Music Software | Audio Equipment

Cirque Du Soleil
“Someone”
Delirium
(Cirque Du Soleil)
[listen] [buy] [download]

Patricia Barber
“Whiteworld/Oedipus”
Mythologies
(Blue Note)
[listen] [buy]

Cirque Du Soleil
“Someone”
Delirium
(Cirque Du Soleil)
[listen] [buy] [download]

Jim Pearce
“Why I Haven't Got You”
Prairie Dog Ballet
(Oak Avenue Publishing)
[listen] [buy]

Andy Timmons Band
“Gone (9/11/01)”
Resolution
(Favored Nations)
[listen] [buy]

Ralph Towner
“If”
Time Line
(ECM Records)
[listen] [buy]

Anoushka Shankar
"Beloved"
Rise
(Angel)
[listen]

Amos Lee
"Arms Of A Woman"
Amos Lee
(Blue Note)
[listen]

Julius Curcio
"American Pie"
Alligator Shoes
(Electric Roots)
[listen] [buy]

Lemon
"Come Alive"
Changing Into Me
[listen] [buy]

Feature [Issue #20]
Peru Negro: Live at UCLA, Feb 24
By Pilar and Douglas Patzkowski
Jolgorio (CD Times Square)


With this one word, Perú Negro transformed the stage into a rhythmic pageant of percussion and song, satire, and sensuality at UCLA’s Royce Hall on February 24.
When the Spanish arrived in Perú nearly 500 years ago, they brought African slaves to work the coastal plantations. The Spaniards attempted to crush the culture of their servants, including their music. Drums were prohibited because of the sexual rhythms that they inspired.

So the slaves took to tapping their rhythms on crates used to carry fruit to market, and the principal instrument of Afro-Peruvian music, the cajón, was born. Small offering boxes were borrowed from the Catholic churches after the mass for the same purpose, and the cajita began to sound. Most creative of all was the quijada, a donkey’s jaw left to bleach in the sun until the teeth loosened in their sockets and rattled along with the beat.

Spanish influence was strong enough to include a guitar in the mix, which brought a strain of melody to the gyrations of the African music. Eventually, the modern versions of the Afro-Peruvian dances that have been popular since the 1950s made use of congas, bongos, and other drums borrowed from the Caribbean. The addition of the flute to support some tunes is a bow to Andean music, which many people outside Perú still think of as that nation’s only major contribution to world music, at least until they hear Susana Baca, Eva Ayllón, or see Perú Negro perform.

Perú Negro got its start in 1969, when the late Ronaldo Campos, who had been playing the cajón in a tourist restaurant, formed the group in Lima. This was at the time of the resurgence of black pride in African roots throughout the Americas. Since that time, Perú Negro has been on the road introducing the world to a strain of Peruvian music that most had never imagined.

The wealthy colonial masters in Perú gathered to celebrate their holidays with dignified minuets in the 1700s. When the party was over, they changed their clothes and went to bed, leaving all their finery with the slaves who would wash them the next morning. Then the fiesta really began. The slaves would dress up just like their masters and the classical minuet would be transformed into a West African fertility dance with the distinctively Spanish title of “Toro mata,” originally a bullfighting song. Batting their shoulders like wings to the beat, the lithe torsos of the dancers pulsate to the rhythm of the cajón in an ancient mating ritual. The irony is that they made do with makeshift instruments and the sweaty silk of their masters to create a spectacular parody of the stiff European dance.

One of the most striking dances is the Son de los Diablos, using the religious concept of the Devil, which the Spanish had introduced, to create a full-blown carnival dance. Elaborate masks are accompanied by the wild chant, “Devil, Devil, booooooo!” The band of “devils” would move down the streets of Lima to the sound of the cajita and the quijada, shoulders and hips synchronized to the beat, shouting at whomever passed by.

All of Perú Negro’s songs are moved by the percussion instruments, but the Creole guitar and the lead singer, Mónica Dueñas Avalos, bring the poetic melody of Spanish songs to the music. Nevertheless, the beat is by no means in the background; it is the driving force of this music, and it brings out the very alluring undulations that the Spanish masters had so much feared in the past. The Africans seemed to have the beat within them, and when they were restricted from expressing it, they took on the musical forms of their captors and gradually transformed them until they came to be the Afro-Peruvian music of today. What began as a parody became a new music form that outflanked Peruvian Creole songs with an intensity of sensual motion that won’t let the dancer stop until she reaches the ecstasy known as jolgorio.

Perú Negro has long been at the forefront of reviving and reinterpreting Afro-Peruvian music. Since the release of their latest CD, Jolgorio, in 2004, they continue to blend old and new to create a distinctively Peruvian music style with African, Iberian and Andean influences. But what characterizes the music most of all is still the beat. It is impossible to listen to Afro-Peruvian music without swaying the hips and at least trying to get those shoulders going, too.

Jolgorio
Times Square

Live at UCLA, Feb 24 Peru Negro Jolgorio


buy issue order article copy printer friendly email

print license web license buy music Peru Negro tickets


More OW Feature articles on
NAMM Show 2007: What's Next In Music? Montreal Jazz Festival The New Feeling of Jazz:Setting The New Standards
The Playboy Jazz Festival: Hef Brings The Jazz Giants The James Moody Scholarship Jazz Art Community
SXSX 2006: A Week Of Magical, Musical Moments NAMM Show 2006 Buyer's Guide: Jazz Christmas CDs
Complete Library of Congress Recordings Reinventing The Beatle SXSW: Music's Meeting Ground
Exclusive Interview With Tommy Ramone Alan Lomax: Ambassador To The Ages Part II A Personal Note on Nirvana: With The Lights Out
Alan Lomax: Ambassador To The Ages Part I Ray Charles: An American Genius Southern Culture In Southern California: An Interview With Mark Neill, Soil Of The South Music Production
Coachella Valley Music Festival Turntablism: Not For DJs Only SXSW Music Conference 2004
Behind The Names Of Rock Jazz Present
How To Buy Speakers (Or How I Learned to Stop Worrying and Listen for the Music) Give The Gift Of Music Give The Gift Of Music
Coming Up? Shall We Dance? Hi-Fi Lives
Timeless Blues Latin Music: Where Is It Headed Anyway? Hail To The Thief
And On The Eighth Day, Punk Was Born!: Part II Music Therapy Music Therapy
A Blues Powerhouse And On The Eight Day, Punk Was Born: Punk I Teaching You The Four R's: Readin', Ritin', Rithmetic, Rock!
Ready For The Four Rs? Readin', Ritin', Rithmetic, Rock!
 



About
| Contact | Jobs | Privacy Policy | Advertisers | Archives | Advertise | Subscribe
Listen To ONE WAY Virtual CD Music Online | New Releases | Upcoming Shows
| Music Webmaster Affiliate Program | Music Link Exchange | Music Bands, Links, Info

Find out more about music promotion through ONE WAY Magazine

   Copyright © 2006 ONE WAY Online. All rights reserved.


 


 


  Internet Links: