Sometimes it’s amazing how things happen. When our discussion about language, identity and their implications is still fresh, today in the New York Times there is an article about Palenquero.
Palenquero is a language spoken in a small town in Colombia that could be, according to the article, “the last remnant of a Spanish-based lingua franca once used widely by slaves throughout Latin America.”
Talking about his community, a local schoolteacher says:
“We are the strongest of the strongest,” he continued. “No matter what happens, our language will live on within us.”
I can think of many connotations of having a lingua franca of this nature, both during the colonial period and surviving until our time. What do you think about it?
Here is the link to the original article in the NYT.
http://www.nytimes.com/2007/10/18/world/americas/18colombia.html?ex=13
Óscar
Thursday, October 18, 2007
Friday, October 12, 2007
Ecuadorian bomba
More music, as I promised. This is bomba from the Valle de Chota, about two hours north of Quito, in the Sierra. The Afro-Ecuadorian population there began when Jesuit priests brought African slaves to work the haciendas. The indigenous presence there is much stronger than on the coast - Chota is near Otavalo. The Quichua of Otavalo have been extremely successful in marketing their crafts and culture to tourists in Otavalo and throughout Ecuador and the world, while maintaining a strong ethnic identity. If you've been to the Farmers' Market here in Madison or craft shows even throughout Wisconsin (at least Monroe and Appleton, from personal experience), you've probably seen them either playing music or selling sweaters and jewelry. The group playing here is Marabu, and if I remember correctly, the concert was in rememberance of Jaime Hurtado, a leftist Afro-Esmeraldeno politician who was murdered in the late 90s and whose killers have never been aprehended.
Wednesday, October 10, 2007
Bibliographical references
For Afro-Mexican music
Aguirre Beltrán, Gonzalo. 1971. “Baile de negros.” Heterofonía 3/17: 4-9, 18.
Béhague, Gerard H. 1994. “Introduction.” In Music and Black Ethnicity: The Caribbean and
South America, ed. Gerar H. Béhague. University of Miami: North-South Center Press:
v-xii.
Chamorro, Arturo. 1951. La herencia africana en la música tradicional de las costas y las
tierras calientes. Zamora, Michoacán: El Colegio de Michoacán.
Kubik, Gerhard. 1995. “Ethnicity, Cultural Identity, and the Psychology of Culture Contact.”
In Music and Black Ethnicity: The Caribbean and South America, ed. Gerar H. Béhague.
University of Miami: North-South Center Press: 17-46
Lemmon, Alfred E. 1997. “Los jesuítas y la musica de los negros.” In Heterofonía 10/6: 5-9.
Martínez Ayala, Jorge Amós. 2001. “¡Voy polla! El fandango en el Balsas.” In La Tierra
Caliente de Michoacán, ed. José Eduardo Zárate Hernández. Zamora, Michoacán: El
Colegio de Michoacán: Gobierno del Estado de Michoacán: 363-85.
Moedano Navarro, Gabriel, notes. 2002. Soy el negro de la costa: Música y poesía
afromestiza de la Costa Chica. Various artists. México City, Mexico: Conaculta, Instituto
Nacional de Antropología e Historia. Ediciones Pentagrama 33. CD. 2nd ed. 1st ed. 1996.
Nketia, Kwabena. 1979. The Music of Africa. New York: Norton & Norton Co.
Ochoa Serrano, Álvaro. 1997. Afrodescendientes sobre piel canela. Zamora, Michoacán: El
Colegio de Michoacán, A.C.
------. 2000. Mitote, fandando y maricheros. Zamora, Michoacán: El Colegio de Michoacán.
2nd. ed. 1st ed. 1994.
Pérez Fernández, Rolando Antonio. 1990. La música afromestiza mexicana. Xalapa, Veracruz,
Mexico: Universidad Veracruzana.
Reuter, Jas. 1981. La música popular de México: origen e historia de la música que canta y
toca el pueblo mexicano. México D.F, Mexico: Panorama Editorial, S.A.
Roberts, John Storm. 1998. Black music of two worlds: African, Caribbean, Latin, and
African-American traditions. New York: Schirmer Books.
Ruiz Rodríguez, Carlos. 2001. “Apuntes sobre la música y baile de artesa de San Nicolás
Tolentino, Guerrero.” In Lenguajes de la tradición popular: fiesta, canto, música y
representación, ed. Yvette Jiménez de Báez. México D.F., Mexico: El Colegio de México:
167-78.
Saldívar, Gabriel. 1987. Historia de la música en México. Toluca, Mexico: Ediciones del
Gobierno del Estado de México. Facsimil of 2nd ed. 1980. 1st ed. 1934.
Serna, Juan Manuel de la. 2002. “Slavery.” In The Oxford Encyclopedia of Mesoamerican
Cultures. The civilizations of Mexico and Central America. Oxford: University Press.
Vol.3: 150-52.
Sheehy, Daniel E. 1979. “The Son Jarocho: Style and Repertory of a Changing Regional Mexican
Musical Tradition.” Ph.D. Dissertation, Ethnomusicology, University of California at Los
Angeles.
------. 1998. “Mexico.” In The Garland Encyclopedia of World Music. Volume 2: South
America, Mexico, Central America, and the Caribbean, ed. Dale A. Olsen and Daniel E.
Sheehy. New York and London: Garland Publishing, Inc.: 600-25.
------. 1999. “Popular Mexican Musical Traditions: The Mariachi of West Mexico and the
Conjunto Jarocho of Veracruz.” In Music in Latin American Culture: Regional Traditions,
ed. John M. Schechter. New York: Schirmer Books: 34-79.
Stanford, Thomas. 1972. “The Mexican Son.” Yearbook of the International Folk Music Council
4: 66-86.
------. 2001a. “Mexico, United States of (Sp. Estados Unidos Mexicanos): II. Traditional Music,
2. Mestizo forms.” In The New Grove Dictionary of Music and Musicians, ed. Stanley
Sadie. London: Macmillan Publishers Limited, Vol.16: 548-52.
Stanford, E. Thomas, notes. 2001b. El son mexicano: grabaciones de campo de E. Thomas
Stanford. México City, Mexico: Urtext S.A. de C.V. UL 3011/13. 3 CDs.
------. 2002. Música de la Costa Chica de Guerrero y Oaxaca. Various artists. México City,
Mexico: Conaculta, Instituto Nacional de Antropología e Historia. Ediciones Pentagrama
21. CD. 5th ed. 1st ed. 1977.
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