Recreative event that there allows to evoke the customs Of. The people (village) plainsman Of. A playful way with the spontaneous participation Of. the assistants (attendees), recapturing the cultural traditions Of. the zoneAcross romantic songs, Venezuelan national dance, passages (tickets) plainsmen and the traditional ONE I compete, we ilústrate to feel and the folklore plainsman. All that at the expense Of. a quartet plainsman for musicians Of. the región llanera.
GENERAL AIM (LENS)TO FOMENT AND TO PROMOTE THE CULTURE LLANERA OF OUR MUNICIPALITY IN ORDER THAT THEY KNOW HER AND I KNOW POSECIONE EVERY TIME WITH MORE HEIGHT.
SPECIFIC AIMS (LENSES)PLAINSMAN PROMOTING OUR CULTURE TO INTERMUNICIPAL LEVEL AND DEPARTAMENTALRESALTAR THE NEW VALUES OF THE FOLKLORE THE POPULATION TO INTEGRATE (REPAY) IN ORDER THAT ENJOYMENT AND IT (HE, SHE) TAKES DELIGHT ENJOYING OUR FOLKLORE.REGULATION AND BASES OF THE CONTEST WHO CAN TAKE PART?FOND PLAINSMEN AND MAJOR PROFESSIONALS CAN INFORM ALL THE FOLCLORISTAS GIVE 15 YEARS IN FORWARD.
EXCEPT THE INFANTILE AND JUVENILE CATEGORY IN THE MODALITY DANCE OF THE VENEZUELAN NATIONAL DANCE THAT GOES FROM 8 YEARS UP TO 12 YEARS (INFANTILE) AND THE JUVENILE CATEGORY GIVES 13 To 18 YEARS. GIVE THE MODALITIESMODALITY CREOLE PASSAGE(TICKET) SILVADO THIS MODALITY IS NEW CREATED BY THE GENTLEMAN: JIMMY RUIZ VILLALOBOS, IN ORDER STANDS OUT SOMETHING AUTOCHTHONOUS AND TRDICIONAL OF THE CREOLE OF THE SHEET; THAT ONE THAT FORESTALLS TO MILKING, THE FACT THAT SABANEA, WHICH BA ADVANCES IN CABRESTERO's RANCHING(CATTLE), WHICH HURRIES ALONG, THE CHOCOTERO, THOSE WHO WATCH(VEIL) IN THE NIGHT A RANCHING(CATTLE) IN ORDER THAT I DO NOT KNOW EXTRVÍE. IT IS THE EXPRESSION AND THE CULTURAL MADE IDENTITY FOLKLORE, IS AN ANCIENT ROOT OF EVERYTHING THAT ONE THAT IS A PLAINSMAN I SILVO CREOLE PASSAGES(TICKETS) ¡ and I AM SURE THAT YOU ALSO.IN THIS MODALITY THE COMPETITOR WILL BE ABLE TO INTERPRET ANY PASSAGE (TICKET) WITH THE SILVO, HE (SHE) CAN BE INNEDITO BUT THAT HIS (HER, YOUR) MELODY CREOLE, SINCE ONE OF THE REQUIREMENTS IS ESCENCIALES TO DEFINE THIS MODALITY.
THE GROUP BASED WILL INTERPRET THE SONG AND THE PARTICIPANT SILVARA INSTEAD OF SINGING ITASPECTS TO CLIFICARFLAVOR CRIOLO 20 %
CLEAR (BRIGHT) SILVIDO 25 %
CREOLE MELODY 25 %
I HANDLE OF BREATHING 15 %
ACCEPTANCE OF THE PUBLIC 10 %
TYPICAL SUIT 5 %
MODALITY DANCE PARTNERIN THIS MODALITY I KNOW TENDRAN TWO CATEGORIES WHICH DIVIDE OF THE FOLLOWING FORM:INFANTILE CATEGORY (GIVE 8 To... 12 YEARS)
JUVENILE CATEGORY (GIVES 13 To 18 YEARS)
IN THE MODALITY DANCE PARTNER WILL QUALIFY IN THIS SECOND VERSION THE DANCE OF SPECTACLE WITHOUT SALIRCE OF THE PARAMETERS AND ROOTS OF THE VENEZUELAN NATIONAL DANCE ASPECTS TO QUALIFY
CREATIVITY 25%
ACOPLAMIENTO 20 %
SPECTACLE 25 %
TAPPING AND ESCUBILLEO 15 %
MOVEMENT 10 %
WARDROBE 5 %
martes, 23 de marzo de 2010
The Best Of Instruments Llaneros!
THE BEST OF INSTRUMENTS LLANERA. INSTRUMENTS
Typical instruments used in the interpretation of llanera music is the harp, the cuatro and maracas, like the mandolin and mandolin that has gradually been displaced by the harp as well as others like this again furruco rebirth and the cirrampla which is no longer used.
ARPA
Llanera harp is a typical musical instrument of the Colombo-Venezuelan eastern region, has 32 or 33 nylon strings of different sizes and arranged in a musical scale depending on thickness. It is usually constructed from cedar. Llanera harp is closely related to artistic and musical expressions of eastern Colombia, from its incio acquiring a value of "property" regional on the instrument. According to Margarita Aristizabal in Arauca craft book, the legend of the instrument, "explains the appearance of the harp by a hunter to shoot an arrow with his bow saw a musical sound. So I repeated the procedure and to obtain a new sound added more strings to the bow, and as the movement impressed on his fingers, the length and fit
FOUR
Many call it the Four guitar, but the fourth is far from being one, since it has four strings and is smaller. Another difference between the guitar and the four, is that the first, most widely in technique, is sounded by tapping the strings with the fingertips (tapping), while the second, run mainly by strumming or charrasqueo.
The baskets
The Bucket, Maracas and Chucho totumitos Made to fit well in hand, in some regions a maraca was bigger and the sound was more severe and was told: Macho, the other was said to him rattle or cascabelina.Se calyx seeds deposited him and then being told the maracas mats or baskets. Also called them dogs. The maracas could be scraped, drilled very small holes and Maraca pintadas.La Precolombino Instrument is the contribution to folklore Aboriginal Ranger.
Bandola
also brought by the colonizers of Spain and slightly modified. It consists of a sounding board, smaller than a guitar and has 4 strings. There are very few dishes and played with pen in Venezuela is not considered as a basic tool of llanera music, however here in Colombia's mandolin harp replaces some groups ... There are several modifications such as the mandolin that consists of 8 strings.
Furruco
The furruco indigenous instrument used to mark the low of the tunes. This consists of a hollow wooden cylinder at both ends, one lined with leather. Has at its heart a stick. To play the instrument, join the palms of the hand with the wand between two and slides down, causing a vibration which sounds very much like a bass.
THE CIRRAMPLA
The instrument that Cirrampla cost of a wooden stick which has tied a rope along, and as a sounding board using the mouth, vibrating the string with the fingers. Today may be considered "extinct" folklore, because no one teaches their execution and was used only here in Colombia.
Typical instruments used in the interpretation of llanera music is the harp, the cuatro and maracas, like the mandolin and mandolin that has gradually been displaced by the harp as well as others like this again furruco rebirth and the cirrampla which is no longer used.
ARPA
Llanera harp is a typical musical instrument of the Colombo-Venezuelan eastern region, has 32 or 33 nylon strings of different sizes and arranged in a musical scale depending on thickness. It is usually constructed from cedar. Llanera harp is closely related to artistic and musical expressions of eastern Colombia, from its incio acquiring a value of "property" regional on the instrument. According to Margarita Aristizabal in Arauca craft book, the legend of the instrument, "explains the appearance of the harp by a hunter to shoot an arrow with his bow saw a musical sound. So I repeated the procedure and to obtain a new sound added more strings to the bow, and as the movement impressed on his fingers, the length and fit
FOUR
Many call it the Four guitar, but the fourth is far from being one, since it has four strings and is smaller. Another difference between the guitar and the four, is that the first, most widely in technique, is sounded by tapping the strings with the fingertips (tapping), while the second, run mainly by strumming or charrasqueo.
The baskets
The Bucket, Maracas and Chucho totumitos Made to fit well in hand, in some regions a maraca was bigger and the sound was more severe and was told: Macho, the other was said to him rattle or cascabelina.Se calyx seeds deposited him and then being told the maracas mats or baskets. Also called them dogs. The maracas could be scraped, drilled very small holes and Maraca pintadas.La Precolombino Instrument is the contribution to folklore Aboriginal Ranger.
Bandola
also brought by the colonizers of Spain and slightly modified. It consists of a sounding board, smaller than a guitar and has 4 strings. There are very few dishes and played with pen in Venezuela is not considered as a basic tool of llanera music, however here in Colombia's mandolin harp replaces some groups ... There are several modifications such as the mandolin that consists of 8 strings.
Furruco
The furruco indigenous instrument used to mark the low of the tunes. This consists of a hollow wooden cylinder at both ends, one lined with leather. Has at its heart a stick. To play the instrument, join the palms of the hand with the wand between two and slides down, causing a vibration which sounds very much like a bass.
THE CIRRAMPLA
The instrument that Cirrampla cost of a wooden stick which has tied a rope along, and as a sounding board using the mouth, vibrating the string with the fingers. Today may be considered "extinct" folklore, because no one teaches their execution and was used only here in Colombia.
Lengends
LENGENDS!!
Welcome to the page of legends llaneras! We wait amuse yourself with these spectacular readings! Enjoy it!
THE WEEPING WOMAN
The weeping woman turned into the vagabond spirit of a woman that a child takes in the haunch, does allusion to her, name because layabout crying for the ways. It is said that one never sees the face and cries of shame and repentance for what she did to her family.Those who have seen him say that she is an in a mess and covered with mud woman, reddish eyes, dirty garments and deshilachados. She takes between her arms a bultico as of child newborn child. she does not do badly the people, but they cause terror her, complaints and screams shouting her,your son.She says the tradition that the weeping woman claims of the persons helps to load the child; on having received it she gets away itself from the punishment turning into the weeping woman the person who has received it. Other eversiones say that it is the spirit of a woman who killed for jealousies the mom and lit fire to the house with her progenitora inside, receiving of this one, in the moment to bother the curse that her was condemning: " You Will Walk without God and without holy Maria, chasing the men for the ways of the plain".
THE SINGLE LEG
Related monsters with women living in the jungle, who appear to hunters or loggers men in the middle of the woods when his thoughts are concentrated on women.The single leg is presented as an extremely beautiful and seductive woman, often in search of a mate. However it is a being esciápodo that resembles the trunk of a tree that ends in a claw or a bear claw, with rapidly advancing. Only has a heart in the chest and long arms with hands like claws. Their appearance is frightening: shaggy hair, big eyes of a tigress, big mouth, big teeth.He said that his true nature, is a kind of vicious vampire with an appetite for human flesh and blood, capable of attacking and devouring the flesh or suck the blood of their victims. They are common in the folklore of Colombia, are similar to Sayona of Venezuela, Colombia Tunda area of the Pacific Ocean and Marimonda Madremonte or Colombia. They are often depicted as protective of nature and the forest animals and do not forgive people who dare enter their domain to alter or destroy them.
THE GOBLIN
It is a mocking spirit that chases the women, specially to the nice girls. Only he, is left to see of the women whom he, chases and one presents them in the shape of a child who does all kinds of grimaces, throws small objects to him and proposes loves him. To that they accede, he, takes fruits to them.To the goblin it is necessary to say all kinds to him of groserías and in this form he will move back definitively. Also he, goes away if music of rope touches itself because it is said that like that he remembers the celestial music.They live the forests where the persons have little or no access; every 100 years take for yes a wife of between the human beings, the beautiful mas of the girls, then to kidnap her and to disfigure her up to the point of which he, looks like them, because between the goblins there is no feminine kind.To avoid the presence of the mocking spirit, it is necessary to to him to say all kinds of groserías. The music of rope also prevents the presence of the goblin. When this one listens, he remembers the music to that he was listening in the sky when he, concerned to the angels that rebelled with "Luzbel", which continued strolling around for the world, some with material form as the monkeys and others turned into spirits as the goblins.
THE GOLDEN CHILD
To go out to go fishing by night in canoe for the river Arauca has his risks. To whom they dare them one appears a golden child, who leads a canoe of the same golden metal.The child attracts deceitfully with his weeping the attention of the fishermen and on having raised it for curiosity or for the desires of it helping, there is such his weight that sinks, taking to him grasped in his heavy hands the innocent fishermen towards the bottom of the river. It is said, that this history is one of the explanations of for what experienced and tanned fishermen of the river Arauca they disappear or suffocate in the nights of fishing.
THE WITCHES
Of that they are it them is but it is not necessary to believe in them.They assure, that the witches take the skin from themselves before demolishing, that they put it in soaking in a vat, and that then they take off saying without God or Holy Maria! To accede to the forces mas dark. Count the people that when they fly, they express laughs and incomprehensible singings, when there do not breath heavily to the wind clear fo-fo-fo, which they use also to banish those who discover them.Say the peasants who when the witches do not fly in the nights, rest under the bushes of banana of the conucos. The witches suck the blood of the children, and extract it directly from the navel or from the big toe, across the hollow petiole of a leaf of higuereta Castors communes, or from that of a leaf of lechoza, Papaya Carina.It is believed that the witches do not attack the children of her, godfathers, not to twin or twin. In all the rural communities there are witches' histories that were discovered in full flight. The process of catching a witch knows like " to knock down a witch ", and the "tumbadores" are persons with certain power, which the prayers and the special rituals know for this end. They say that when a witch is caught it is necessary to wait for the dawn, since when the Sun goes out the enchantment breaks and it is possible to discover the identity of the malignant woman. They assure that when it rains and is sunny, in some hidden place marrying this one a witch …
RIDER WITHOUT HEAD
It is said that in a people very isolated of any civilization one was counting the history of a rider who was accustomed to do his tour in the nights in a very beautiful horse, the very surprised people were wondering that so rare man for whom he, does it?, since he, was not very usual that anybody was going out and less in the nights, to doing these tours.During one very dark night and with strong lightnings he, disappeared of the place, without giving signs of his disappearance. The years happened and the people already had forgotten this person, and he, went during an equal night to the one that disappeared, that listened again to the cavalcade of that horse. Of the curiosity many persons looked out, and saw a rider to ride for the streets, he, was when a lightning fell down and illuminated the rider and what they saw was that this rider did not have head. The terrified people got to his houses and was not explained what they had seen...
Welcome to the page of legends llaneras! We wait amuse yourself with these spectacular readings! Enjoy it!
THE WEEPING WOMAN
The weeping woman turned into the vagabond spirit of a woman that a child takes in the haunch, does allusion to her, name because layabout crying for the ways. It is said that one never sees the face and cries of shame and repentance for what she did to her family.Those who have seen him say that she is an in a mess and covered with mud woman, reddish eyes, dirty garments and deshilachados. She takes between her arms a bultico as of child newborn child. she does not do badly the people, but they cause terror her, complaints and screams shouting her,your son.She says the tradition that the weeping woman claims of the persons helps to load the child; on having received it she gets away itself from the punishment turning into the weeping woman the person who has received it. Other eversiones say that it is the spirit of a woman who killed for jealousies the mom and lit fire to the house with her progenitora inside, receiving of this one, in the moment to bother the curse that her was condemning: " You Will Walk without God and without holy Maria, chasing the men for the ways of the plain".
THE SINGLE LEG
Related monsters with women living in the jungle, who appear to hunters or loggers men in the middle of the woods when his thoughts are concentrated on women.The single leg is presented as an extremely beautiful and seductive woman, often in search of a mate. However it is a being esciápodo that resembles the trunk of a tree that ends in a claw or a bear claw, with rapidly advancing. Only has a heart in the chest and long arms with hands like claws. Their appearance is frightening: shaggy hair, big eyes of a tigress, big mouth, big teeth.He said that his true nature, is a kind of vicious vampire with an appetite for human flesh and blood, capable of attacking and devouring the flesh or suck the blood of their victims. They are common in the folklore of Colombia, are similar to Sayona of Venezuela, Colombia Tunda area of the Pacific Ocean and Marimonda Madremonte or Colombia. They are often depicted as protective of nature and the forest animals and do not forgive people who dare enter their domain to alter or destroy them.
THE GOBLIN
It is a mocking spirit that chases the women, specially to the nice girls. Only he, is left to see of the women whom he, chases and one presents them in the shape of a child who does all kinds of grimaces, throws small objects to him and proposes loves him. To that they accede, he, takes fruits to them.To the goblin it is necessary to say all kinds to him of groserías and in this form he will move back definitively. Also he, goes away if music of rope touches itself because it is said that like that he remembers the celestial music.They live the forests where the persons have little or no access; every 100 years take for yes a wife of between the human beings, the beautiful mas of the girls, then to kidnap her and to disfigure her up to the point of which he, looks like them, because between the goblins there is no feminine kind.To avoid the presence of the mocking spirit, it is necessary to to him to say all kinds of groserías. The music of rope also prevents the presence of the goblin. When this one listens, he remembers the music to that he was listening in the sky when he, concerned to the angels that rebelled with "Luzbel", which continued strolling around for the world, some with material form as the monkeys and others turned into spirits as the goblins.
THE GOLDEN CHILD
To go out to go fishing by night in canoe for the river Arauca has his risks. To whom they dare them one appears a golden child, who leads a canoe of the same golden metal.The child attracts deceitfully with his weeping the attention of the fishermen and on having raised it for curiosity or for the desires of it helping, there is such his weight that sinks, taking to him grasped in his heavy hands the innocent fishermen towards the bottom of the river. It is said, that this history is one of the explanations of for what experienced and tanned fishermen of the river Arauca they disappear or suffocate in the nights of fishing.
THE WITCHES
Of that they are it them is but it is not necessary to believe in them.They assure, that the witches take the skin from themselves before demolishing, that they put it in soaking in a vat, and that then they take off saying without God or Holy Maria! To accede to the forces mas dark. Count the people that when they fly, they express laughs and incomprehensible singings, when there do not breath heavily to the wind clear fo-fo-fo, which they use also to banish those who discover them.Say the peasants who when the witches do not fly in the nights, rest under the bushes of banana of the conucos. The witches suck the blood of the children, and extract it directly from the navel or from the big toe, across the hollow petiole of a leaf of higuereta Castors communes, or from that of a leaf of lechoza, Papaya Carina.It is believed that the witches do not attack the children of her, godfathers, not to twin or twin. In all the rural communities there are witches' histories that were discovered in full flight. The process of catching a witch knows like " to knock down a witch ", and the "tumbadores" are persons with certain power, which the prayers and the special rituals know for this end. They say that when a witch is caught it is necessary to wait for the dawn, since when the Sun goes out the enchantment breaks and it is possible to discover the identity of the malignant woman. They assure that when it rains and is sunny, in some hidden place marrying this one a witch …
RIDER WITHOUT HEAD
It is said that in a people very isolated of any civilization one was counting the history of a rider who was accustomed to do his tour in the nights in a very beautiful horse, the very surprised people were wondering that so rare man for whom he, does it?, since he, was not very usual that anybody was going out and less in the nights, to doing these tours.During one very dark night and with strong lightnings he, disappeared of the place, without giving signs of his disappearance. The years happened and the people already had forgotten this person, and he, went during an equal night to the one that disappeared, that listened again to the cavalcade of that horse. Of the curiosity many persons looked out, and saw a rider to ride for the streets, he, was when a lightning fell down and illuminated the rider and what they saw was that this rider did not have head. The terrified people got to his houses and was not explained what they had seen...
Joropo History
JOROPO HISTORY
The evolutionary process that has lived llanera harp music in Venezuela dates from the eighteenth century, when the harp came with the Spanish and passed into the hands of Creoles, Indians and blacks. From this period we have some historical and ethnographic references which basically put us in the social context in which this music was performed. By reference to historians such as Benjamin Yepez *, we know that in te eighteenth century various types of dances performed in Spanish and European origin and is now running passages hit and run. But only from te moment that begins te realization of recordings and discography have a palpable sound document on which to develop a historical study of musical evolution llanera harp and differentiation of styles and trends from that time until today .- Importance of te recordings to establish te history of Joropo as a form of writing, te way of jazz.
Joropo te History of Jazz te way, is written in te discography, from te first recordings and oral memories we have of him since 1942 when they move in te first records of Ignacio Indio Figueredo, Alfredo Penta, Omar Moreno, Armando Guerrero, Nerys Torrealba or instrumental parts accompanying singers as Angel Custodio Loyola, Eneas Perdomo, Jose "Catire" Carpio, Jesus Moreno, Francisco Montoya, Pedro Rodriguez, Juan del Campo, José Vicente Rojas, Pedro Emilio Sanchez, etc. Since then we can see both musically and business process that has been spent with this music. te Joropo much as te Jazz has been a music that was recorded and transformed in a rural to an urban form, te way te blues, which, being originally a peasant singing with ancestral roots in music and slave labor, then led to comment and a form of highly complex musical variation. te Joropo starts then as a country music, of peasant origin, performed and danced at family parties, picnics and parochial. te Joropo is an expression of popular art in constant evolution, involving poetry, song, music and dance in a language of creativity or improvisation on established structures and determining parameters of style. te Plainsman Joropo is circumscribed in his peasant origins primarily to te region between te Andean piedmont of Colombia, from Villavicencio and te plains of San Martín, covering te departments of Meta, Vichada, Arauca and Casanare in Colombia to te states of Apure, Guarico, Cojedes, Barinas and Portuguesa in Venezuela, that is, all te central basin of te Orinoco. However it is notable recent development and dissemination of this music to other regions. te usual basic instrumentation is classic trio of harp or mandolin (considered "major instruments"), four and maracas, plus te recent addition of electric bass to set Plainsman. te Joropo (or "Guafa" as they say in Llano), is characterized by a fixed system of formal structures, crystallized throughout history from traditional songs and dances that were erected in musical forms, to give their melodic space variants in te letter, or lose te letter to become purely instrumental forms. te constant development and improvisation of different figural or variations of melodic and accompanying material is an essential feature of Joropo. Both te instrumental record and te vocal, we can observe te continuing creativity of musicians te balladeers improvise verses in different rhymes on melodic patterns often preexisting telling historical events or customs, or referring to events and people at te party, te instrumentalists in turn provide significant variants to te established patterns, inventing new expressive gestures in a relentless pursuit of sounds that transcend te boundaries of what traditionally known.
We can say that te structural forms that set history as te basis for te development of a high art of improvisation and instrumental and vocal variation. This way of improvising is framed by stylistic parameters changing, but there are basic articulations of language that are unchanged since te backbone of te operation and definition of structures. te Blow octosyllabic carry letters which tends to highlight te ethos and warrior challenging llaneros: from te "mighty haughty, heroic, te patriotic, tradition, love of te soil and roots, te defense of identity, or regional folkloric elements such as names of animals or plants characteristics, to te epic and brotherhood Bolivarian colombo-venezolana. te theme of his letters refers to te country life, te duties of te Plainsman, te labors of te work, te vigor of men grappling with te elements of nature and te harshness llanera survival, landscapes, even te smells of field are topics of songs, but also highlights te regional element, pride and love for their land and their identity llanera, te desire to preserve their distinct and in some ballads, popular epic themes, from musical heroes (Quirpa ) to historical heroes (Dumar Aljure). In te passages are more frequent amorous or pastoral themes nostalgic spirit of te Plainsman.
This will cut illustrating folkloric music, regionalist, descriptive of te Llanos region and its inhabitants. With te advent of discography, te music arrives in Caracas, brought by Antonio Estevez, Freddy Espinoza Reynaldo Reyna and who "found" Ignacio Figueredo, recognized their value and spread. While he in turn learned from his father, Francisco Pancho Lopez, who probably came from an endless string of musicians and traditions, Figueredo Injun made te first recordings where they begin to establish and define te main Blows llaneros, such as te Chipola, te Kirpa, te Gabon, six right, six Numbering, te Bird, te Hawk, Carnival, Guacharaca te Periquera, San Rafael, Zumba and Zumba was also a composer of many passages, among te best known "Black Guava", "te Caujaritos", "La India Maria Laya", "Diamonds", etc.. te "Indio Figueredo" is so to speak, te "missing link" that connects us with that part of te musical history of llanera harp in Venezuela, which we have no sound or references written in musical notation, but mere historical data and ethnography.
The evolutionary process that has lived llanera harp music in Venezuela dates from the eighteenth century, when the harp came with the Spanish and passed into the hands of Creoles, Indians and blacks. From this period we have some historical and ethnographic references which basically put us in the social context in which this music was performed. By reference to historians such as Benjamin Yepez *, we know that in te eighteenth century various types of dances performed in Spanish and European origin and is now running passages hit and run. But only from te moment that begins te realization of recordings and discography have a palpable sound document on which to develop a historical study of musical evolution llanera harp and differentiation of styles and trends from that time until today .- Importance of te recordings to establish te history of Joropo as a form of writing, te way of jazz.
Joropo te History of Jazz te way, is written in te discography, from te first recordings and oral memories we have of him since 1942 when they move in te first records of Ignacio Indio Figueredo, Alfredo Penta, Omar Moreno, Armando Guerrero, Nerys Torrealba or instrumental parts accompanying singers as Angel Custodio Loyola, Eneas Perdomo, Jose "Catire" Carpio, Jesus Moreno, Francisco Montoya, Pedro Rodriguez, Juan del Campo, José Vicente Rojas, Pedro Emilio Sanchez, etc. Since then we can see both musically and business process that has been spent with this music. te Joropo much as te Jazz has been a music that was recorded and transformed in a rural to an urban form, te way te blues, which, being originally a peasant singing with ancestral roots in music and slave labor, then led to comment and a form of highly complex musical variation. te Joropo starts then as a country music, of peasant origin, performed and danced at family parties, picnics and parochial. te Joropo is an expression of popular art in constant evolution, involving poetry, song, music and dance in a language of creativity or improvisation on established structures and determining parameters of style. te Plainsman Joropo is circumscribed in his peasant origins primarily to te region between te Andean piedmont of Colombia, from Villavicencio and te plains of San Martín, covering te departments of Meta, Vichada, Arauca and Casanare in Colombia to te states of Apure, Guarico, Cojedes, Barinas and Portuguesa in Venezuela, that is, all te central basin of te Orinoco. However it is notable recent development and dissemination of this music to other regions. te usual basic instrumentation is classic trio of harp or mandolin (considered "major instruments"), four and maracas, plus te recent addition of electric bass to set Plainsman. te Joropo (or "Guafa" as they say in Llano), is characterized by a fixed system of formal structures, crystallized throughout history from traditional songs and dances that were erected in musical forms, to give their melodic space variants in te letter, or lose te letter to become purely instrumental forms. te constant development and improvisation of different figural or variations of melodic and accompanying material is an essential feature of Joropo. Both te instrumental record and te vocal, we can observe te continuing creativity of musicians te balladeers improvise verses in different rhymes on melodic patterns often preexisting telling historical events or customs, or referring to events and people at te party, te instrumentalists in turn provide significant variants to te established patterns, inventing new expressive gestures in a relentless pursuit of sounds that transcend te boundaries of what traditionally known.
We can say that te structural forms that set history as te basis for te development of a high art of improvisation and instrumental and vocal variation. This way of improvising is framed by stylistic parameters changing, but there are basic articulations of language that are unchanged since te backbone of te operation and definition of structures. te Blow octosyllabic carry letters which tends to highlight te ethos and warrior challenging llaneros: from te "mighty haughty, heroic, te patriotic, tradition, love of te soil and roots, te defense of identity, or regional folkloric elements such as names of animals or plants characteristics, to te epic and brotherhood Bolivarian colombo-venezolana. te theme of his letters refers to te country life, te duties of te Plainsman, te labors of te work, te vigor of men grappling with te elements of nature and te harshness llanera survival, landscapes, even te smells of field are topics of songs, but also highlights te regional element, pride and love for their land and their identity llanera, te desire to preserve their distinct and in some ballads, popular epic themes, from musical heroes (Quirpa ) to historical heroes (Dumar Aljure). In te passages are more frequent amorous or pastoral themes nostalgic spirit of te Plainsman.
This will cut illustrating folkloric music, regionalist, descriptive of te Llanos region and its inhabitants. With te advent of discography, te music arrives in Caracas, brought by Antonio Estevez, Freddy Espinoza Reynaldo Reyna and who "found" Ignacio Figueredo, recognized their value and spread. While he in turn learned from his father, Francisco Pancho Lopez, who probably came from an endless string of musicians and traditions, Figueredo Injun made te first recordings where they begin to establish and define te main Blows llaneros, such as te Chipola, te Kirpa, te Gabon, six right, six Numbering, te Bird, te Hawk, Carnival, Guacharaca te Periquera, San Rafael, Zumba and Zumba was also a composer of many passages, among te best known "Black Guava", "te Caujaritos", "La India Maria Laya", "Diamonds", etc.. te "Indio Figueredo" is so to speak, te "missing link" that connects us with that part of te musical history of llanera harp in Venezuela, which we have no sound or references written in musical notation, but mere historical data and ethnography.
Suits Of The Pija
Suit of the masculine dance
The man uses: hat to protect it from the climate and his(her,your) inclemencies.The shirt and the trousers that they are the articles(garments,securities) that cover his(her,your) body.Liquiliqui evolution of the trousers garrasí and the shirt cachicamita, can be made in colors whitly or dark blue.The woman takes his(her,your) hair brushed elegantly and adorned with tapes or some flowers.There uses a simple skirt of clear colors and a blouse neck tray with short sleeves.Both the man and the woman dance with you quote or barefooted.
Male suit
This was called Liqui liqui, liquidation or liquid derived a Casanareño Ranger costume shirt embroidered with gold which was called cachicamita, this name came from the animal called armadillo own wildlife llanera, whose shell seems to have been made of grooves as is the shirt folds that go in the chest. The pants are called Claws this was not ornamented at the seams and down a little more knee to vent the interior, called it a turkey, goose claw then, this dress was made of cotton and painted stripes. The man at first wore white pants rolled up to mid-calf or tuco (across the river) white or red shirt without a collar. Also black pants with white shirt. Sometimes wore dresses kaqui full color shirt that came down over loose trousers, completing her outfit quotes thread and leather soles. Characteristics of joropo Suit El Baile del Joropo is characterized by clinging couples where the man holds the woman by both hands. In its theme, the dance poses the dominance of men over women and nature in general, it is he who takes the initiative, which determines the models you make. She simply notes the moves he made against her and follow it with skill. At a dance there are two main positions joropo is tipped rope. They take both hands and keeping some distance Valseo position, the right-hand man passes by the woman's waist and her left hand holds the right of it, while the left rests on the shoulder. When man tap, brush women. The man just tap the ring when they occur on the harp and / or mandolin, that is when he calls the rope. Posted by Ranger at 07:42 0 kom comments plain costumes
Female attire
The Llanos adorn your outfit with lace, chain rings, is perfumed with natural flavors (jasmine, basil, mastranto) and others such as those available commercially; llanera She prefers to loose hair with a Cayenne; footwear, contributions of black wire, low-heeled shoes, women in trades dominated savanna that gives ease and grace to walk lately for all events are using the black miniskirt. The hat, poncho contributions and are essential elements in the costumes of the Llanos. The hat gives identity to the man of the plain, forming a team with your horse that allows you to be faithful exponent of a race that through hard work, sacrifice and work from the other Colombia builds a better future for coming generations. With his hat to greet friends, fight the res, scare the dog etc ... On the plains, the palm on the palm, the heavens on my horse, I, and I, my hat, "says the proud Ranger that runs through the savanna in daily tasks. On the plain but has been used hats of all sizes for wings and drinks and all equipment and method has dominated the wide brim and heavy equipment, such as beaver and pelueguama felt hat should be a little heavy for not fall with the breeze pushed or jumping horse. Ranger's Pride is seeking to bring a good hat, is said to be derived by the Ranger hat, some with embroidery it hanging on the neck, others with egret feathers or duck and some people will put ribbons on the feasts of coleus Because it is practiced in very warm areas, the male wardrobe is made up of hat, shirt and trousers, known as the Liqui liqui white or dark blue. A woman uses elegant hairstyle decorated with flowers or ribbons, also wears a simple skirt and a light colored short-sleeved shirt with collar bandeja.Definitivamente who travel to the Plains this vacation can not miss this cultural dance in actuality it is the most representative of the region.
The man uses: hat to protect it from the climate and his(her,your) inclemencies.The shirt and the trousers that they are the articles(garments,securities) that cover his(her,your) body.Liquiliqui evolution of the trousers garrasí and the shirt cachicamita, can be made in colors whitly or dark blue.The woman takes his(her,your) hair brushed elegantly and adorned with tapes or some flowers.There uses a simple skirt of clear colors and a blouse neck tray with short sleeves.Both the man and the woman dance with you quote or barefooted.
Male suit
This was called Liqui liqui, liquidation or liquid derived a Casanareño Ranger costume shirt embroidered with gold which was called cachicamita, this name came from the animal called armadillo own wildlife llanera, whose shell seems to have been made of grooves as is the shirt folds that go in the chest. The pants are called Claws this was not ornamented at the seams and down a little more knee to vent the interior, called it a turkey, goose claw then, this dress was made of cotton and painted stripes. The man at first wore white pants rolled up to mid-calf or tuco (across the river) white or red shirt without a collar. Also black pants with white shirt. Sometimes wore dresses kaqui full color shirt that came down over loose trousers, completing her outfit quotes thread and leather soles. Characteristics of joropo Suit El Baile del Joropo is characterized by clinging couples where the man holds the woman by both hands. In its theme, the dance poses the dominance of men over women and nature in general, it is he who takes the initiative, which determines the models you make. She simply notes the moves he made against her and follow it with skill. At a dance there are two main positions joropo is tipped rope. They take both hands and keeping some distance Valseo position, the right-hand man passes by the woman's waist and her left hand holds the right of it, while the left rests on the shoulder. When man tap, brush women. The man just tap the ring when they occur on the harp and / or mandolin, that is when he calls the rope. Posted by Ranger at 07:42 0 kom comments plain costumes
Female attire
The Llanos adorn your outfit with lace, chain rings, is perfumed with natural flavors (jasmine, basil, mastranto) and others such as those available commercially; llanera She prefers to loose hair with a Cayenne; footwear, contributions of black wire, low-heeled shoes, women in trades dominated savanna that gives ease and grace to walk lately for all events are using the black miniskirt. The hat, poncho contributions and are essential elements in the costumes of the Llanos. The hat gives identity to the man of the plain, forming a team with your horse that allows you to be faithful exponent of a race that through hard work, sacrifice and work from the other Colombia builds a better future for coming generations. With his hat to greet friends, fight the res, scare the dog etc ... On the plains, the palm on the palm, the heavens on my horse, I, and I, my hat, "says the proud Ranger that runs through the savanna in daily tasks. On the plain but has been used hats of all sizes for wings and drinks and all equipment and method has dominated the wide brim and heavy equipment, such as beaver and pelueguama felt hat should be a little heavy for not fall with the breeze pushed or jumping horse. Ranger's Pride is seeking to bring a good hat, is said to be derived by the Ranger hat, some with embroidery it hanging on the neck, others with egret feathers or duck and some people will put ribbons on the feasts of coleus Because it is practiced in very warm areas, the male wardrobe is made up of hat, shirt and trousers, known as the Liqui liqui white or dark blue. A woman uses elegant hairstyle decorated with flowers or ribbons, also wears a simple skirt and a light colored short-sleeved shirt with collar bandeja.Definitivamente who travel to the Plains this vacation can not miss this cultural dance in actuality it is the most representative of the region.
The Plain And Their Gastronomy
Te topocho or banana (bread) and the rice completes the plate common of the savanna llanero. Te coffee or guarapón close the food.
Other foods are made with wild pigs, chigüiros, turtles, ducks and fish that are plentiful especially in the summer. He/she eats cheese and curd, it is not very vegetarian. He/she takes it dilutes since he/she gets up. Some accustom swigs of liquor before the breakfast that you/they call themselves mornings.
Te punch, the hayacas, the one parboils and the one boiled, they are foods, social. Te sucker is so much food of work as of social meeting. Te favorite fruits are the mango, the orange, the pineapple, the banana tree, the avocado, the joba, the papaya, the sideburn, the guanábana, the guava and the lemon; this it not intervenes alone in the food like sweet or lemonade, but rather it is used in the prevention and cure of illnesses. Clean the blood, avoids the influenzas and it drives away the pests
Other foods are made with wild pigs, chigüiros, turtles, ducks and fish that are plentiful especially in the summer. He/she eats cheese and curd, it is not very vegetarian. He/she takes it dilutes since he/she gets up. Some accustom swigs of liquor before the breakfast that you/they call themselves mornings.
Te punch, the hayacas, the one parboils and the one boiled, they are foods, social. Te sucker is so much food of work as of social meeting. Te favorite fruits are the mango, the orange, the pineapple, the banana tree, the avocado, the joba, the papaya, the sideburn, the guanábana, the guava and the lemon; this it not intervenes alone in the food like sweet or lemonade, but rather it is used in the prevention and cure of illnesses. Clean the blood, avoids the influenzas and it drives away the pests
The Trova And The One Disputes
THE TROVA
The trova was born of the songs that the medieval gentlemen diffused through the jugglers. The Iberian ones receive from the French the song of the jugglers up to 1400, when the bourgeoisie takes the cultural initiative, and music no longer composes but rather he/she adds different texts to the same melodies of: blue tone, hypersensitive tone, monkey tone with line and silver tone.In the current Plain it is happening something similar, because they put on letters to the old blows as: guacharaca, gaván, zumbaquezumba, San Rafael, kirpa and the other ones. These same blows that also called themselves sones, are those of the I dispute of our copleros or jugglers of the Plain.
THE ONE DISPUTES
I dispute it is the challenge song among copleros. Coplero is the singer that improvises ballads. Minstrels, trouveurs and copleros are the interpreters of the song repentista and traditional of the town.
coplero #1 Tell me you cantador With all their understanding as he/she could a candle to light two rooms. Coplero #2 I answer him the question because I have talent if I put it in the half
it lights out and inside.
SOME OF THE REPRESENTATIVES OF THE TROVA AND THE ONE DISPUTES THEY ARE:
CIRO BARRIER of the CASANARE.
VICTOR ESPINEL
JOAQUÍN RIVIERA.
HERMEZ ROSEMARY
YASMIN ENCINOZA of the VICHADA.
DIANA MARÍA GUAYABO of PEANUT-CASANARE.
YANETH VARGAS of the VICHADA.
SACRED DAHLIA of the one. VICHADA.
RICH ALBA of the CASANARE.
ANA BEYDOVER ORDÓÑEZ.
The trova was born of the songs that the medieval gentlemen diffused through the jugglers. The Iberian ones receive from the French the song of the jugglers up to 1400, when the bourgeoisie takes the cultural initiative, and music no longer composes but rather he/she adds different texts to the same melodies of: blue tone, hypersensitive tone, monkey tone with line and silver tone.In the current Plain it is happening something similar, because they put on letters to the old blows as: guacharaca, gaván, zumbaquezumba, San Rafael, kirpa and the other ones. These same blows that also called themselves sones, are those of the I dispute of our copleros or jugglers of the Plain.
THE ONE DISPUTES
I dispute it is the challenge song among copleros. Coplero is the singer that improvises ballads. Minstrels, trouveurs and copleros are the interpreters of the song repentista and traditional of the town.
coplero #1 Tell me you cantador With all their understanding as he/she could a candle to light two rooms. Coplero #2 I answer him the question because I have talent if I put it in the half
it lights out and inside.
SOME OF THE REPRESENTATIVES OF THE TROVA AND THE ONE DISPUTES THEY ARE:
CIRO BARRIER of the CASANARE.
VICTOR ESPINEL
JOAQUÍN RIVIERA.
HERMEZ ROSEMARY
YASMIN ENCINOZA of the VICHADA.
DIANA MARÍA GUAYABO of PEANUT-CASANARE.
YANETH VARGAS of the VICHADA.
SACRED DAHLIA of the one. VICHADA.
RICH ALBA of the CASANARE.
ANA BEYDOVER ORDÓÑEZ.
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