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MUSIC PROCESSIONS DANCES AND CUMANANAS


We enumerate the employer main parties next, as well as you dance and dances of the department of Piura.

THE SHEPHERDESSES

The old shepherd and the puppet, dance cast composed by girls and young ladies who from the first days of December, they are invited to the tests in the attorney's house or of the churchwarden (Included two young boys). This dance is headed by the "old shepherd" the same one that with its he/she stick-cane-dances for the streets singing this way: "I eat old shepherd, / I bring my sheep / some sheared / and others without ears." (He/she moves slow of right to left hitting the floor). Then the shepherds (8 o12) in two lines dance and they sing: we "go shepherdesses, / we go to Nativity / to see María / and to Jesús.

Also.../ Pretty Manuelito / that make in the cradle / the face in the moon / and the feet in the sun."..And, at the end, threatening their whip to the spectators in farcical form, the "puppet" advances and with its mask with a mixture of crossed meek fox with deer and feline looks at us. He/she comes closer and suddenly, he/she goes away and it travels the two lines of shepherdesses. Now he/she sings: " Me as Mister puppet / I ate up a whole pig / if I ate up it, but it was / with my money. This way exquisite and happily with this dance they make the step of having traveled by the streets from the eve of Christmas Eve while waiting for Boy-God to greet him/her with song, dance and violin music or band. Drum and flute... Years behind used harp and vigüela. This dance is prolonged up to January 8, since the shepherdesses will attend another party "Reyes Magicians."

These folkloric festejos is owed thanks to the enthusiasm and traditional born dedication from the colony for a group of residents that from years behind, they have conformed their "Brotherhood" in the following way: The receiver or 1° Churchwarden; the smallest Churchwardens: The Secretary, The attorney, The Second lieutenants and the Devote (they are abundant the foods and drinks) ones.

NEGRITOS DE NARI-WALAC

This procession begins from January 5 in the village from "Ñari-Walac" to scarce meters of the city of Catacaos. There they are the remains of the temple and strength of the culture Tallán. In front of her, a scenario is built where you escenifican biblical passages. January 6 take place Reyes'" "Slope. It is starting from three in the afternoon in that he/she begins from the main church of Catacaos it is it celebrates cavalcade of Reyes and processions of "Negritos" - with their masks, tutiriteros or musicians of hooters, drums, flutes, bells, etc., they make journey steps beside bears, bulls, etc. the native ones that pass something are Also inadvertent, since the bustling, picturesque and cheerful procession of the "negritos" steals them the I publish euphoric... without caring him/her that the journey is on foot until Ñari-Walac, passing trade of Catacaos down the street, Mount Sullón, Corner... After one hour they arrive to "Palacio of Herodes." He/she opens Ángel's cavalcade, followed by "The Ambassador" mounted in having upset and white energetic steed, luxuriously adorned it advances and he/she goes back as the faithful guard of the kings who dresses go with tunics, layers, crowns and made up, all have more than enough horses in passing and elegant print. Wonderful this show.

Already in the scenario front al-today hill strength - and sanctuary (Buried and semidestruido for the exits of the river Piura), beginning is given this way to the teatralización: The Ambassador: "Great gentleman is very...". This way, this work begins of almost two hours of duration, where it is necessary to point out that the characters are fond actors that take its paper very seriously. Reyes' party, also takes place in Sechura and Sullana...but it is Ñari-Walac where the traditional and tourist attractiveness is - cultural.

ÑO CARNAVALON: THE WIDOWS

It is in the towns of Bernal, The Sand, The Union, Sechura and Catacaos - district of the first floor Piura -, where they have their scenarios and cultores the god "MOMO ÑO CARNAVALON." This party of processions, each one with their flag and color like the green, the celestial one and the red one, they compete and they are disputed the primacy of being the better group made up of musicians' band, jesters and the "harlequin" or unique dancer with their artistic and expensive they chewed on their head until the shoulders... Party of Water, ether squirts, perfumed powder, serpentine and the adorned "yunce" fruits, candies and several decorations and the best carnavalón with their bar of widows and multimillionaire testament and for their satirical supposition..to the dozens of children, heirs. Let us see a fragment: "...And so that all my citizens find out and give fé testimony that although philanderer, don Juan, blue and drunk Beard, I consider myself exemplary father... therefore the fortune kneaded during all my honorable one and dog life with the perspiration of my front, the accent to my children that are the legitimate heirs although they are illegitimate so that they administer my goods... To my children Juan Baltasar Yarlequé the quantity of 300 pesos so that it sends to be built a chalet and so that he/she buys 100 cans of shortening and don't make cachangas of thin chancho.

My will is the one of feeling proud of having a good baker like son...The reading of these inheritances those toward a commissary with autoparlante in the hut of a destartalado truck, where Ño went Carnavalon sat down in a sallow "taurete."..a sack gentleman and tie and "ñao" hat to the very robust and smiling satisfied blow of their work, without caring him/her that he/she has the counted days neither wing legion of lovers and future widows that day after day continues him/her with an inconsolable cry - AND curious thing - All meetings, are hugged covered with skirts to the ankles, blouse long sleeve and mantel covering its beautiful face and its sadness...(disguised men)... While the processions with their flags, for the streets face and they make collide the horns of the flags, being about breaking them. On Tuesday February 19, eves of the tomb of the "yunce", the processions with their bands of musicians go to the field or wing rivera of the one he/she laughed to cut a sallow tree or of locust and in a wide land the reimplantan, they "dress" him with serpentine, gifts, fruits, etc.

On Ash Wednesday" afternoon all go to the yunce, they drink, they eat and... the dance of the yunce begins. The companies - men and women - they surround to the "yunce."..they take by the time hands in time and catching the axe that has been put, dances, they sing and one by one they take turns and they go giving "the blow "or "hachazo.".. that that finally demolishes it, it will be the one in charge of to organize and to "stop" the next yunce...All rush and they catch what you/they can. To a very alone side this Ño sat down Carnavalón. Somebody fastens him/her fire and they begin to explode for the "cohetones" and "torpedos" that "accommodated" him/her, it follows the party and in contrast the cry of the widows is listened.

THE SEAFARING ONE NORTHERN

This dance of influence African-American-Hispanic, had its appearance in 1710, when the children of Spaniards born in Peru, the black slaves and mestizos diffused and they danced the seafaring one that for then "SAGUARAYA" called herself, "KNOCK-KNEED-CUECA", "ZAMA-CUECA", "WAITRESS-BAD", in 1839 "CUECA" called herself to have been taken by the Chileans when Peru was committed in the confederation with Bolivia.

This "dance of the handkerchief." It arrived to Argentinean as Knock-kneed-Cueca, and in Chile the Araucanian soldiers modified it in rhythm and cadence... Before this serious lesion a specialist, don arises Abelardo Martingale "The Truant" and he says: "not but Chilean.".. it substituted the name... so much because in that time Marina Peruvian got the attention of the whole world in the town she was vividly concerned for the heroisms of "Huáscar.".. when because the balance, stern movement, etc., of a gallant ship, he/she says a lot with the waddle and smoothness of who knows how to dance like it owes himself, the national dance... The first seafaring it was "Conche-Perla", written by the "truant" in 1879 and it was played to the piano by Rosa Mercedes Ayarza when taenia 9 years of age. To the date it has turned 106 years of this inspiration.

SEAFARING PIURANA

Our northern one and seafaring piurana, don't memorize in academies neither it is I copy of strange choreographies of the competitions.

The seafaring chola or witty; the rustic one, that seafaring one that well can call him/her peasant, net it is spontaneous or "planted" of the "Chinese ferosa "and the "cholo lambido"; their turn to the right with "picao" or tip, their "brushing" ahead and behind and their "pounding of the heels" with check and tip. The happiness itched: insinuating voices and palm give grace and that flavor cholo with scent to chicha, clear and "pescao" with "court" to "finish off" with the "link" of the handkerchief in the "nape" that the daring cholo and gentleman makes accompanied by whistles... and he/she sometimes dances it of knees... typical prints that reflect the I authenticate folklore.

This dance was danced putting in the floor a chicha pitcher with its poto or "cojudito" and sometimes, a jar of "mud" or "callana"; other, a "botea" of it would "crack", he/she "mentions", "pócma", or he/she came.

It was very common to accompany and to play seafaring, waltz and tonderos with pianos of handles, harp, guitar, violin guitar with drawer, then the bands came.

TONDERO

In the parts of the cumananas, we indicate on the slaves; who in the XVIII century, December of 1854, 03 the Marshal Ramón Castile, abolished its slavery... This humiliating suffering and I fry with the whip those toward dying and some escaped to Chincha, Lima; Lambayeque and Piura until Morropón (XVI Century), others were bought to continue working - already in the coast-in the country properties. It was colonial Lima and in Chincha where secretly they met at night to make their orgies for that the clergy considers of very erotic its "lúndu" dances, I celebrate, I tap-dance, ballads and, as the desfogue, to the drawer compass, donkey jaw, guitar and guitar is born the negroid folklore and but it takes the discussed "tondero" like a reflection of you "beat" them and "shifts" of lashes that sometimes the master with whip in hand and mount on the energetic steed, praises them, making equestrian searches...what would come to be the "rebound" or "trot.".. stooping and elusive, he/she escapes in the persecution. This dance morropana is also given in the districts of the Sand, The Union, Catacaos, Sechura, etc. This dance of "air" for the rites, it is inclined. At the beginning it is sad and calmed down with their "tum-tum-tum-to-your-rhyme"; (instrumental Introduction) then the verses sung by the "forana" or soloist and the total and upset dance sensual mettlesome, cheerful and coquettish choreography, urgando the past, it can demonstrate himself with many dances and dances and the paintings rupestres that the man learned this art, of the animals to who he imitated in gratefulness. The literature of manners this in the tradition, reflecting the forms of the man's life, what is known as universal culture.

The tondero arises seafaring seconded wing as an imitation, but no longer dancing mestizos or cholos, if not black and that today there is you acriollado. In "Corral of the Mean" when "Pitingos" was beaten to machetes, guitar and cumanana seafaring atonderada it was already danced. Such an era the negroid mixture in the colony that settled down in the neighborhood north-Pachitea - they were baptized as "MANGACHES", when the local of the "tub", where Enrique López Albújar creó "Matalaché", "the culem" was danced rites among other.

Some say that the tondero is the rodeo that makes the rooster to "step" the hen. The professor and studious Suriel Mendoza, told us as born son of Morropón: "Not I agree when you if he/she says that the tondero of my earth is said that it is the rooster and the hen in the rodeo." In Lambayeque you accepted maybe, since the essence of ours, is happiness, demonstration of its to feel, competition...it is for natural you Go this way. TO Corral of the Mean, Pampas of the Treasury, Franco's (Zapotal) Pampas, The Marvel, Pilca... There the knock-kneed one and Pitingo, their long and wide "Cotón" shines to the ankles; its long nightwear with embroidered (according to the time and rengo) ribbons, and of sleeves until "the doll."The covered with the whiteness of their shirt and pant (Subject with belt of Leather-and it doesn't band as today -); their vivacious eyes and their teeth in whiteness... very amusing and picturesque. If Mr....150 years ago behind the morropanas didn't use, but buns and braids. The Corral of the Mean and other villages danced seafaring with resbalosa to guitar blow and drawer. Ah times those where she danced with suits yellow, garnet, lilac, that is to say with the homemade suit, according to the circumstance in that invited it to dance (The black one and the target was mourning), it was but typical and it conserved their flavor of manners when he/she danced with their newspaper suit.

CUMANANA
SOMETHING OF HISTORY

Data disseminated in magazines, newspapers and in mouth of our adults, they reveal us that this I generate literary, he/she appears in the XVI century in form of free verse and in sung rhyme and, later on accompanied by guitar, harp and guitar. It advances the time and they go transforming into protest, romance, pride and in what today is: ballads of challenge of agile improvisation and ingenious answers to any contendor and "decidor versador."

Contrary to the romantic stock of Bécquer's Spaniards rhymes and the poems "gauchescos" of mulatto Martin's Iron Argentinean pampas; the cumananas and tenth of our department of Piura, in the counties of Morropón-also their district chalaco-Ayabaca, they charge peak, when the anonymous letters and spontaneous versadores with their "machete and sword to the belt" braid their poncho in the left arm and to the bereavement, when another "male" steps them the poncho or he responded them with his scream "Ñija-Ñaja.".. He/she had to have blood and death so that the party is good.

Source: http://www.piuravirtual.com/pag_4.htm



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