¡Asi Baila Mi Perú!

Perou 

Huayno, Valse Créole Et Marinera

1994

Tracks:

01. Pot-Pourri De Huaynos
02. Lo Cholito
03. Hermitana
04. Le Charangiste Solitaire
05. Adios Pueblo De Ayacucho
06. Tocucha
07. Inti Raymi
08. Bajo El Cielo De Los Incas
09. Huayno De La Merced
10. Mi Peru
11. Como Quisiera Tenerte En Mis Brazos
12. Cantenito De Mis Amores
13. Villancicos De Ayacucho
14. Nube Gris
15. Festejo
16. Marinera
17. Danzas Andinas
18. Las Virgenes Del Sol

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 Field recordings by Gérard Krémer in "Black" Peru.

Huayno - The Fingerprint of the Incas

Since Huayno lyrics are sung in Quechua, many consider it to be one of the most authentic Peruvian dances. Huayno has been a vessel carrying the essence of Inca culture throughout various generations.

The first references of Huayno appeared in 1586. The book “Vocabulary of the Indians of Peru” mentioned the “Huayñucuni”, a music indigenous people danced behind closed doors. “Huayñucuni” translates as “dancing with a partner, with arms folded.” Under colonial rule, Huayñucuni was rarely danced in public. Its successor, the Huayno, is the root of most Andean dances.

Huaynos are danced in most Andean festivities. They could be classified by the region of origin. Northern Huayno is characterized by joyful steps. Southern Huayno, instead, has cadent rhythms. Central Huayno has animated swings but very tragic lyrics. Why tragic lyrics? Quechuas lived under the despotic rule of mining corporations. Quechuas sang to vent off their sorrows and seek consolation through Huayno.

Vals - The Symbol of Peruvian Criollismo

Vals is the most valuable cultural expression of Peruvian criollismo. Due to its multiple cultural influences, Vals is an iconic dance encompassing our vast Peruvian diversity.

Dancing is not an activity disassociated with the world. Every dance is a living entity shaped by both historical and daily events. A minor change in the flow of events can provoke repercussions in the fate of any particular dance. This is how dances are developed, grow or simply decay.

In the late 1890’s, the fusion of African tunes, the French Minuet, the Polish Mazurka, the Viennese waltz and the Spanish jota produced the Peruvian Vals. Most Limeños, who loved Opera, didn’t pay attention to it. Gradually, fabulous performers as Felipe Pinglo and Chabuca Granda brought Vals to great acclaim. If a Limeño from Colonial times would materialize today, he would be astonished to see that Vals, a music generally despised then, is now the main symbol of Peruvian criollismo.

Vals, with slight steps and cadent tempo, is the most conventional of Peruvian dances.

Marinera Norteña - A Romantic Coastal Dance

Hands down, Marinera is the most iconic of Peruvian coastal dances. Along with Vals, Marinera also imbibed a manifold of cultural currents. Therefore, any serious exhibition of Peruvian dances would be incomplete without Marinera.

Despite multiple theories, Marinera probably arose from Zamacueca. There is a striking resemblance in the steps of both typical dances.

While men danced Marinera wearing shoes, women did so barefooted. Proud of their fortitude, women even sought coarser grounds to dance on. Hence, they created the motto: “the coarser the ground, the greater the dancer.” Women then exhibited their calloused soles to earn the respect of skillful dancers. Some women also danced Marinera holding a Chicha bottle on their heads.

Although we also have ‘Marinera Limeña’, ‘Marinera Norteña’ surpassed the former in popularity. The Norteño dance exudes joy, energy and speed. “La Concheperla” is the most popular Marinera song.

Why was it named Marinera (Sea dance)? Nobody knows. The swings and swirls of ‘Marinera’ assimilate those of sea waves. And some say Trujillano seamen may have baptized it so. Others assert that Trujillano writer Abelardo Gamarra picked that term in 1879.

source & more

wiki

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Canto Kaiowá

  

Canto Kaiowá

História e cultura indígena
gravado por índios: Guarani-Kaiowá
local: Mato Grosso do Sul
 2000

 
Tracks:

01. Mensagem do Cacique Getúlio: Yvyraija xe mbojeroky
02. Oje rokýivetei katu ra'e
03. Gwyra rupa gwyra rupapy-mo jaju
04. O gwahe jevy-ma niko gwyra
05. Xe mbojeroky-ta tipo ra'e
06. Jaju apyka rupa jaju apyka rupa-py jaju   
07. No'ã nhane rembipapa ra'e he gwyra gwahu katu ra'e
08. Háta xe ave
09. Ndopo ijeroky
10. Nhambojegwa jevy-ma gwyra
11. Xe mbojeroky-ko marakanã

  

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“Canto Kaiowá - História e cultura indígena” (Kaiowá Chant - Indigenous history and culture) is an album featuring indigenous chants of the Kaiowá people made and recorded by the anthropologist Pierre Clastres, in the village Jaguapiru, part of the Indigenous Reservation of Dourados. It was recorded and released in 2000.

Pierre Clastres said about the Kaiowá: “…in few peoples is witnessed a religion so intensely lived: ‘we want to be gods’, they say; ‘but we are only men’”.

 ***

Introduction

Three aspects of Guarani life express an identity that gives them a specificity among other indigenous peoples, shaping and creating a “Guarani way of being": a) the ava ñe'ë (ava: Guarani person, man; ñe'ë: a word that is confused with "soul") or speech, language, that defines identity in verbal communication; b) the tamõi (grandfather) or common mythical ancestors and c) the ava reko (teko: "being/essence, state of life, condition, custom, law, habit") or behavior in society, which is sustained through a mythological and ideological framework. These aspects inform the ava (Guarani Man) how to understand experienced situations and the world that surrounds him/her, providing guidelines and reference points for his/her social conduct (Susnik, 1980:12).

There are, however, differences among the Guarani subgroups living in Brazil – the Ñandeva, Kaiowa and Mbya, differences in the linguistic forms, customs, ritual practices, social and political organization, religious orientation, as well as specific forms for interpreting the reality they experience and for interacting according to situations in their history and their present-day circumstances. This entry provides information specifically on the Ñandeva and Kaiowa groups. There is a specific entry on the Mbya Guarani.

read it all here

 

The ceremony in itself, guided by a religious leader, begins at sundown and ends at dawn on the following day. This shaman must know the mborahéi puku or “long song”, the verses of which, not repeated, cannot be interrupted after the ceremony has begun. Each verse chanted by the ñanderu is repeated by the community, always accompanied by the mbaraka made and used by the men and the takuapu used by women. At dawn, having finished the mborahéi puku (long song), there is the baptism of the harvest (manioc, sugar cane, pumpkin, sweet potato, corn etc.), which has remained on the altar. On the following night the ceremony of avati kyry continues with songs and secular dances, the kotyhu and the guahu, performed by the whole community and by many visitors who participate in the ceremony.

source

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Hai Nai Hai

  

Marlui Miranda
IHU, Todos os Sons
1995

Tracks:

1. Tchori Tchori (Índios Jaboti de Rondônia)
2. Pamé Daworo (Índios Jaboti de Rondônia)
3. Tche Nane (Índios Jaboti de Rondônia)
4. Ñaumu (Índios Yanomami de Roraima)
5. Awina - Ijain Je E' (Índios Pakaa Nova de Rondônia)
6. Araruna (Índios Parakanã do Pará)
7. Mena Barsáa (Índios Tukano do Amazonas)
8. Bep (Índios Kayapó do Pará)
9. Festa Da Flauta (Índios Nambikwara do Guaporé - MN)
10. Yny Maj Hyrynh (Índios Karitiana de Rondônia / José Pereira Karitiana)
11. Hirigo (Índios Tupari de Rondônia)
12. Wine Merewá (Índios Suruí de Rondônia)
13. Mekô Merewá (Índios Suruí de Rondônia)
14. Ju Parana (Índios Juruna do Mato Grosso do Norte)
15. Kworo Kango (Índios Kayapó do Pará)
16. Mito - Mitumji Iarén (Índios Suyá do Mato Grosso do Norte)
17. 15 Variações De Hai Nai Hai (Índios Nambikwara do Guaporé - MN)

Marlui Miranda: voice, indigenous recorders, percussion, Brazilian guitars, research

and others...

  

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By Josef Woodard

With IHU, Todos os Sons ..., Brazilian singer and musicologist Marlui Miranda brings the world of the rainforest, the still-esoteric culture of the Brazilian Indians, into musical settings which could be called modern. But the term is deceptive: the reality of Brazil's indigenous peoples, even if cut off from the world of wires and info glut, is as real and "contemporary" to the touch as anything else extant in the late '90s. This is a fascinating project, celebrating music of organic, rootsy appeal from a country which is as much a crossroads as anywhere in the world. Miranda, who has composed music for various media and performed with Egberto Gismonti, Gilberto Gil and Milton Nascimento in addition to her many years of studying the indigenous Brazilian Indians, has brought together the native and urban cultures with a rare degree of success. The album, supplemented by guest appearances by Gil, Uakti, keyboardist Bugge Wesseltoft and others, has native chants and songs as a foundation, arranged with an eclectic sensibility.

The album starts with the festive fire of "Tchori Tchori," from the Jaboti Indians, and closes with the fairly epic, 13 minute piece "15 Variacoes de Hai Nai Hai," based on festival rituals of the Nambikwara Indians. "Ihu" translates to a broad definition of the word "sound" from the Kamayura Indians, referring to the fabric of being. To this end, Miranda has created a respectful tapestry that is modern in more ways than one.

 

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This extraordinary CD is everything the other reviewers had noted but more. The arrangements are all varied and invocative of other musical idioms while remaining Amazonian at its heart: Steve Reich's pulses, Terry Riley's syncopations, Mississippi blues, Navajo slow dances, Aleut mouth music, tropical forest ambiance and bird sounds, Bulgarian women's chorus. Each bend of the river provides surprises of new sounds, feelings, rhythms, patterns. Neither ethnographic field recordings nor cheesy pop tropical impressions, Miranda's music captures the wide scope of the native populations. And as the CD progresses, we feel going deeper into the land, farther away from urban influences. In short, this recording is magical, modern in its inventiveness yet ancient, and important both for preserving the spirit of the native peoples but also for ourselves. This recording will refreshen your life.

 

~Dr. Debra Jan Bibel "World Music Explorer"

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Marlui Miranda nascimento 12/10/1949

Marlui Miranda, singer, composer and researcher recognized for performing, disseminating and valorizing the culture and music of indigenous peoples in Brazil. Award from the German Academy of Critics (SchallplattenKritik) for her CD IHU, Todos os Sons (1996); Chico Mendes Environment Awards from the Environment Ministry (2005); and the Education and Culture Ministry's Order of Cultural Merit (2002). Marlui Miranda directs the IHU Association for Indigenous Music and Art, a private non-profit organization. She has performed and recorded with leading figures in Brazilian music such as Egberto Gismonti, Gilberto Gil, Nana Vasconcellos, Rodolfo Stroeter, and for sessions and tours with Jack DeJohnette and John Surman. Work for films and documentaries: ...

 

 

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 this is one of these very very rare records get it, grab it, keep it...

 

Hai Nai Hai

 

:)

 

 

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Indians

Disinherited
Indians in Brazil
Survival, 2001– 2nd edition (pp 100)

This full colour book, illustrated by fabulous photographs, tells the history of Brazilian Indians from the time of the European invasion. It focuses on Brazil’s most vulnerable peoples, telling the stories of some of the most isolated tribes. It also explores more general themes, such as shamanism, first contact with outsiders, and land. The book contains many first hand testimonies told here for the first time.

 

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source 

 

The movement for tribal peoples. Survival is the only organization working for tribal peoples’ rights worldwide.

We work with hundreds of tribal communities and organizations. We are funded almost entirely by concerned members of the public and some foundations. We will not take national government money, because governments are the main violators of tribal peoples’ rights, nor will we take money from companies which might be abusing tribal peoples.

About 250,000 supporters from nearly 100 countries have helped us financially; millions now routinely seek our information, published in seven languages. We never restrict our information or materials only to those who can pay. We want everyone to know about tribal peoples.

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Memoria Viva Guarani

  

Ñande Reko Arandu

Memoria Viva Guarani 

2000

Tracks:

01. Nhanerãmoi'i Karai Poty - Aldeia Jaexaá Porã, Aldeia Morro da Saudade, Aldeia Rio Silveria, Aldeia Sapucai
02. Gwyrá Mi - Aldeia Morro da Saudade
03. Mãduvi'ju'i - Aldeia Jaexaá Porã
04. Xekyvy'i - Aldeia Sapucai
05. Nhanderuvixa Tenondei - Aldeia Rio Silveria
06. Nhamandu - Aldeia Morro da Saudade
07. Mamo Tetã Guireju - Aldeia Jaexaá Porã
08. Oreru Orembo'e Katu - Aldeia Sapucai
09. Oreyvy Peraa Va'ekue - Aldeia Rio Silveria
10. Xondaro'i - Aldeia Morro da Saudade
11. Pave Jajerojy - Aldeia Jaexaá Porã
12. Nhamandu Miri - Aldeia Sapucai
13. Ka'aguy Nhanderu Ojapo Va'ekue - Aldeia Rio Silveria
14. Oreru Nhamandú Tupã - Aldeia Jaexaá Porã / Aldeia Morro da Saudade / Aldeia Rio Silveria / Aldeia Sapucai
15. Xondaro - Ñande Reko Arandu
  

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Para saber mais sobre as canções:
 
As músicas são cantadas por grupos de crianças de quatro aldeias Guarani: Sapucai, na cidade de Angra dos Reis; Rio Silveira, em São Sebastião; Morro da Saudade, na cidade de São Paulo e Jaexaá Porã, em Ubatuba. As gravações foram realizadas na aldeia Jaexaá Porã.
Todas as músicas têm por tema a espiritualidade. Os índios Guarani contam que as crianças são puras e seu Deus, Nosso Pai Nhanderu, envia esses cantos diretamente a elas.

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Contemporary composers take the music of the Guarani Indians into modern studios, combining a children's chorus with sleek instrumental backing. The music is kind of "simple," compared to other Brazilian styles, but there's a sweetness and sincerity to this project that makes it kind of nice. 

~Joe Sixpack

  

Música de los indios guaraníes Ñande Reko Arandu - Memoria Viva Guarani

This compilation features music and vocals from the jungle-dwelling Guarani culture of Brazil. Unlike the sophisticated sounds of Brazilian composer Antonio Carlos Jobim, or the tasteful explorations of such artists as Trio da Paz or bassist/composer Jorge Degas, this album is more of an ethnomusicological field recording, documenting authentic folk traditions in their purest forms. Children sing many of the songs, accompanied by sparse indigenous percussion and stringed instruments. The song forms are often simplistic, like much of the world's folk music, with unencumbered arrangements and vocals sung in unison. But this articulate recording goes far in capturing a peoples' authentic musical tradition, and hence is important at the very least, for its anthropological and cultural contributions. If only the label had included an English version of its extensive liner notes, (along with its quaint children's drawings), listeners would be even more enriched. 

~Robert Kaye
  

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MÚSICA -  Outra prova de que a cultura indígena está sendo preservada é a música. 
Em fevereiro de 1999, a Boa Vista, junto com outras três aldeias guaranis de 
São Paulo e do Rio de Janeiro, lançaram o CD Ñande Reko Arandu (Memória Viva Guarani), composto de canções infantis indígenas, algumas de temática religiosa.
Para manter a originalidade,  o CD foi gravado por um grupo de 120 coralistas e músicos das aldeias indígenas, em um  estúdio móvel. Todos os instrumentos utilizados também fazem parte da tradição guarani, como chocalho, violão de cinco cordas, rabeca de três cordas e tambor. O sucesso atingido com o CD rendeu aos guaranis apresentações por todo o país - e o reconhecimento internacional. Em julho, parte dos integrantes do grupo participa do Festival d'Eté de Nantes --na França -- , que este ano escolheu como tema Brasil e culturas lusófonas.
A primeira prensagem do CD saiu com 5.000 cópias e esgotou em dezembro de 1999. No início deste ano, outras 5.000 foram colocadas à venda. Uma segunda coletânea já  vem sendo preparada pelas aldeias.

Guarani people

Indigenous peoples in Brazil

 source 

Guarani 

 source

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