1-Triku Ukupi (Dentro Del Trigali)
2-Llaki Shunkulla (Pobre Corazon)
3-Sumak Uarmi (Verdadera Mujer)
4-Entrega De Ramas Al Capitan (Prioste) En Angochaua
5-Marimba Capaya (Rio Capaya)
6-Kampa Juishka (Carino De Vos)
8-San Pedro En Culibrillo
9-Rinimi Paipajman (Me Voy Donde Ella)
10-Ñaӣda Mañachi (Prestame El Camino)
12-Para Que Quiero La Vida Uambrito
13-Tu, Pobre Negro
14-Jakuiari Rishuniari (Vamos Todos Juntos15-De Cerro En Cerro Yo He Andado En Busca De Blancas Flores
KICHWA INDIGENOUS AND THEIR ARRIVAL TO BOGOTA. VOL 2 - MUSICAL EXPERSSION
Music represents one of the best forms of cultural expression in the indigenous communities of Latin America; Music in the Kichwa community established in the city of Bogotá is a way of being in touch with its native land: the province of Imbabura in Ecuador, but more than that, defining music as an expression of feelings counted through a Story, a poem or a simple narration, feelings that at the moment of being captured by the others, can evoke a collective empathy, a rootedness to the traditions, a desire for recreation, that extends among the own ones of the community, and is there , In Imbabura, where the expansion of indigenous music begins at the Latin American level.
Like every musical genre, the Andean music of the Kichwa community had a time when it went from locally sounding to being heard and interpreted in different latitudes, this was thanks to Chopin Thermes, anthropologist and French ethnomusicologist who toured almost the entire continent American in search of indigenous and Andean sounds, marching on horseback from Mexico to Guatemala and there to Costa Rica, exploring traditional musical samples, then sailing down to Colombia where he collected images and live sounds of indigenous native cultures, mainly the Emberá community And finally in 1969 he moved on foot to Ecuador, where he met Hermelinda Males, who would show Chopin all the Kichwa communities of Imbabura, and especially the traditional music of each one. Later Chopin cancels his trip to Brazil, because he falls in love with Hermelinda and decides to stay with her to get married and also to meet all musicians from different communities
In 1973, with the musicians Alfonso Cachiguango, Azucena Perugachi, Carlos Perugachi, Enrique Males, Juan Cayambe, Luis Enrique Pineda, Luz María Chuquín, Mariano Cachimuel, Rosa Sandoval and Zoila Saravino, Thermes begins to record produce, there begins the grouping of music Indigenous Ñanda Mañachi which means "lend me the way," Chopin says that this phrase reminds Hermelinda, as she said every time they climbed the hills. With the death of Hermelinda Males during the birth of her daughter Sayana, Chopin Thermes decides to take the first album of this musical meeting, Ñanda Mañachi 1 in 1977 and Ñanda Mañachi 2 in 1979.
Ñanda Mañachi 1 and 2
What highlights Ñanda Mañachi from other Kichwa and Andean groups is their sound; Initially played with a harp, a kicker (who rhythmically hits the harp box), the violin and who sings; Each of the communities of Imbabura as Zuleta, Caraboila, Quinchiquí, Peguche among others, interpret their traditional music in a different way, some more rustic, some more soft, some focus on the violin, others on the harp, but it is thanks Chopin Thermes and Ñanda Mañachi the same melody known by all members of the community, begins to sound different, also added the rhythm of the zampoña, guitar and mandolin. This album won the prize for Best classical music album of the Académie Charles Cros, in France.
Jatun Cayambe and Hermelinda Males
Since then, Ñanda Mañachi has been a great inspiration for traditional groups such as Centro Cultural Peguche, Walka and Ukumau. It even begins to be accepted by the rest of Ecuadorian society and a strong influence is seen in interpreters of the Ecuadorian Pasillo (traditional rhythm) as Luis Aníbal Granja and the duet Benítez and Valencia. The first members of Ñanda Mañachi were already older, like the violinist Alberto Chuquin Chilcañan, or the harpist Jatun Cayambe who played at the doors of the Church of the city of Otavalo in exchange for coins, did not know much of his family and suffered a Gangrene in the right leg; When Chopin Thermes found him, he gave him a place in Ñanda Mañachi. Cayambe had difficulty playing at the same rhythm as the other musicians, so he became a soloist and made small collaborations for the group, he released his songs to the audience with the help of Chopin Thermes.
When the music of the different traditional groups has a recognition, these groups give way to letters of protest and denunciation towards all the abuses and mistreatment that the indigenous community receives. Years later, at the end of the 80's, new generations were created in Ñanda Mañachi, adding younger interpreters and beginning their expansion to different countries, not only by this group, but other traditional groups are recognized in several places in Latin America , At the same time begin to appear groups here in Colombia, such as the group Ukumau or Walka who recently toured Japan, a situation that allows us to see how far Andean music has come.
Kichwa music is characterized by telling personal stories, who composes narrates their experiences and then expresses them in the songs, talk about stories of parties such as the Chuchaki that means hangover by Taita Alejandro Torán or love in the river Tahuando by the composer Rosita Sandoval. Andean music in general was socially linked to the poorer communities of Ecuador, the cultural imagery of those who listened to Andean music was related to low-resource subjects, primitive Indians, the rural and uncivilized, for this reason the indigenous communities limited their Presentations, meetings and celebrations, because they had no spaces outside to interpret their songs.
The conformation of a group of traditional Kichwa music has not changed much, was formed by a harpist, a kicker (subject who hits the lower case of the harp to the rhythm of the song), a violinist and the singer who could also play some instrument, These are the roles assigned to the men, while the women were in charge of the choir in a very keen tone. This musical formation was maintained for decades with these instruments, while each of the Kichwa communities specialized in an instrument and in a different way of playing, other instruments could be added there like the zampoña, the guitar or the mandolin.
1. Violin 2. Mandolin 3. Drum 4. Harp 5. Guitar 6. Quena 7. Zampoña
Currently Kichwa music has exhibitors of different types, we find those who use their talent for entertainment and commercial purposes, such as the Bogotan groups Walka and Ukumau; While traditional groups such as Ñanda Mañachi and Centro Cultural Peguche still retain the intention to revive Kichwa customs by means of the inheritance of the past generations to young people who are still interested in this ideal.
On the other hand, the musical situation of the Kichwa community of Bogotá is completely different. During a visit to the seventh avenue in the center of Bogota, to the National Park Enrique Olaya Herrera, to the Lourdes Park in the locality of Chapinero or to the Chorro de Quevedo in the locality of Candelaria is very common to be with some musical representation of any ethnic group, But these are measures that take those who have knowledge in some instrument to be able to earn some money. During these presentations it is very common to find that musicians are generally men, the presence of women is almost nil. These exhibits have elements that can vary depending on the groups they play, there are those who have sound tools like microphones, speakers and amplifiers for optimal exposure, they also have a typical community outfit, in the case of the Kichwa community their male suits are A ruana and a black hat, shirt, trousers and white espadrilles. These groups usually interpret songs composed by themselves in Spanish or only instrumental rhythms. On the other hand, other groups play without any electronic help, with the traditional dress and the songs can be instrumental, composed by themselves or some national rhythm like the bambuco, the torbellino or the guabina; It is usually the best-endowed groups who attract more people and collect more money, in some cases viewers take photos and record exhibits; While the other groups with fewer tools attract fewer viewers, collect less money and may not have the same support by those who operate in the sector as street traders and pedestrians.
Kichwa musical show in the Enrique Olaya Herrera National Park
The Bogota community witnesses expressions of Andean music in different parts of the city, traditional groups make concerts in places such as the half-cake, Quevedo stream or the national park, in each of these presentations the reception by the Public creates an atmosphere of celebration and joy, there are those who applaud, move the body, sing the newly learned verses and even get up to dance steps of music carranguera (musical rhythm of the department of Boyacá Colombia), people are captivated by the way Dress of the musicians, by the peculiarity of the sound of a certain instrument to which we are accustomed to listen in a different way, by the voices of the choir. Around these presentations do not predominate any group of people, where we will be a young man, an old man, a boy, a woman, an Indian, a peasant, anyone who is attracted by that music that we all recognize as ours but that many We do not frequent our cell phones.
Unfortunately these presentations, despite being very striking, are not the ones we are familiar to see, in areas such as the seventh avenue or the Plaza de la Mariposa in San Victorino it is common to see presentations of Kichwa or traditional music in exchange for coins or food, Some perhaps hoping to take the same fate as Jatun Cayambe and be found by some musician or businessman to bring him to fame with his lyrics and his instrument, but that is what makes it lose the essence of kichwa music composed decades ago where It was sought to revive the ancestral rhythms, to summon union and recreation, to celebrate with the infallible chicha (traditional drink fermented with maize) while telling anecdotes of which he could laugh, mourn or remember; That's why groups such as Ñanda Mañachi or Centro Cultural Peguche extend their music to places like Bogota by recruiting young people who want to learn from the heritage left by the first musical generations and at the same time revive our native indigenous culture.Thanks for your vote! See you in the dark side of the moon ☾