Mamiña Flower
(Saya andina) - O. Sepúlveda - Arr. E. Civallero
(Saya andina) - O. Sepúlveda - Arr. E. Civallero
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The Andean skirts, unlike eels, have similar cadences to wayñu . This issue was dedicated by its author to the Chilean town of Mamiña, in northern Chile, which was being looted, back in the early 90's - by an American company, was leaving the water. In honor of other similar people in our Latin America, still plundered by unscrupulous foreign hands, this item is included dialogues based on fast zampoñas malts and toyos the standard troops, and closes with a final rapid jach'a sikus . The charango strumming dry, vibrating the rec rec and percussion of African drums accent tinged composition, providing its distinctive taste.
As with morenadas many, some of the percussive elements currently included in skirts (and other genres) have a deep relationship with the dances that accompany. In fact, the addition of strings and winds is an Andean added: originally (and even today in certain villages in the Bolivian Yungas) the dark skirts interpreted only vocals and percussion.
African legacy in Bolivia has the highest representation in the towns of Coroico and Chicaloma, east of La Paz. They live the descendants of African slaves led by the English conquerors of the old Upper Peru to work in mines and crops. As in other parts of America, these men and women brought their cultural heritage, and merged their singing and drumming with the musical traditions of Quechua and Aymara peoples with whom they had to learn to live together. The candombe Plata, Peruvian coastal music, music Esmeraldas Ecuador, the Colombian cumbia and many Afro-Venezuelan (not to mention the Central America and Brazil) are just a small sample of the cultural legacy we have left .
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