#Afro-Latin Music

[dustedmagazine]

Montañera — A Flor de Piel (Western Vinyl)

María Mónica Gutiérrez, who goes by the stage name of Montañera, sings softly, blurrily against a minimalist background of electronic and organic sounds. Obliquely, she considers the immigrant experience and her own journey from Colombia to London in pensive, Spanish-language lyrics and, sometimes fragmentary bits of Afro-Latin sound.

Her opening salvo, “A Flor de Piel,” makes a metaphor out of the Columbian adage, “a flor de piel” which describes the sudden rush to the surface of feelings, so that emotion, like the blush that can come from it, seems to erupt directly from the skin. It starts with just her voice, clear but somehow also remote, as she stretches the title phrase into a blues-y slide. Keyboards burble softly in the background, then some string plucks (she plays the kora). She finds her way through the melody tentatively, seeming, in the chorus, about to rear up into a crescendo, but aside from some doubled harmonies, the tune remains subded. The song feels spare—and it definitely gives her singing room to breathe—but there’s a lot going on in the details, a smattering of sharp and smooth sounds.  

There’s very little of her South American roots in the way that song sounds, nor will you find much in “Vestigios,” which follows. This one starts with an oscillating synth sound, long squiggly notes in alternation. Some keyboard chords land at critical moments for emphasis and skitter of perussion rattles to life. But despite these elements, the track is eerie and disembodied. Gutiérrez’s voice is very quiet but cuts right through to the center, like a whisper in one of those caves that directs the sound.

It is only with “Santa Mar” that we begin to feel centered, geographically. The cut is criss-crossed with the chants and cries of Las Cantadoras de Yerba Buena, an all-female vocal group from Colombia and punctuated by the gently syncopated melodies of marimba player Cankita. Even Gutiérrez’s own voice sounds rougher, warmer and more grounded in this cut, less the disembodied spirit more a member of a specific world that has shaped her musically and otherwise. “Como Una Rama,” later on, has the same kind of visceral impact, though its yearning vocals fray at intervals into electronic bleeps and squiggles. It’s also the most uplifting and buoyant of these songs, with lush, multi-voiced intervals that sweep you up in emotion. Which emotion? It’s hard to say. All these tracks have a tinge of melancholy, but also a wide-eyed ecstatic wonder, hurt and spiritual epiphany in uneasy balance.

Gutiérrez’s music traces the remarkable journey she’s made from a traditional, African-influenced, Latin culture to the digital age melting pot that is contemporary London. You might like the warmer, groovier, world-tinged cuts the best (I do) as they filter memory through a space-age skrim, but the electronics are just as real as the call-and-response and just as much a part of Gutiérrez’s art.

Jennifer Kelly

[sonicandvisualsurprises]

1948

[iloveethnicities]

The Festival de la Tercera Raíz (Third Root Festival) is a vibrant celebration in Mexico that honors Afro-Mexican heritage, recognizing and elevating the unique cultural, historical, and social contributions of Afro-descendant communities in the country. Primarily celebrated in the coastal regions of Guerrero, Oaxaca, and Veracruz, the festival brings together traditional music, dance, food, art, and spiritual practices in a rich tapestry of Afro-Mexican identity and resilience. It underscores the legacy of African influence in Mexico—often overlooked in mainstream historical narratives—paying homage to the "third root" of Mexican heritage, alongside the Spanish and Indigenous influences.

The name "Tercera Raíz" (Third Root) reflects the recognition of African roots as an essential component of Mexican heritage. While Indigenous and European (Spanish) roots are well-known, the African heritage that arrived with the transatlantic slave trade in the 16th century has often been overlooked. During this era, enslaved Africans were brought to New Spain (now Mexico), predominantly working in the sugarcane plantations, mines, and alongside Indigenous laborers in various regions. Over time, African, Indigenous, and Spanish cultures intermingled, forming a rich and unique cultural synthesis that shaped the identity of Afro-Mexican communities.

The festival was developed as part of a broader movement to increase visibility and acknowledgment of Afro-Mexican culture, which had long been marginalized in Mexican society. Recognition of Afro-Mexican communities gained momentum especially in the late 20th and early 21st centuries, as these communities advocated for the preservation and acknowledgment of their heritage. The festival plays a crucial role in affirming Afro-Mexican identity, celebrating their unique cultural practices, and educating the broader public about the African presence in Mexican history.

Although not confined to a single location, the Third Root Festival is most prominently celebrated in the Costa Chica region, which spans parts of Guerrero and Oaxaca. This area has historically high populations of Afro-Mexican communities, who have preserved African-influenced customs and traditions over generations. Veracruz, another coastal state with a strong Afro-Mexican presence, also hosts the festival and events to honor Afro-Mexican heritage.

The festival generally takes place during special cultural and commemorative dates, often overlapping with Mexico’s national celebrations or other important Afro-diasporic celebrations. In recent years, it has often been held around the International Day of Afro-Latin, Afro-Caribbean, and Diaspora Women (July 25) and Black History Month (February). However, it is celebrated year-round in various forms in different communities, depending on local traditions and scheduling.

The Festival de la Tercera Raíz incorporates a multitude of cultural expressions, reflecting the African, Indigenous, and Spanish influences that define Afro-Mexican heritage. The festivities highlight music, dance, food, art, religious rituals, and oral traditions, showcasing the distinct cultural identity of Afro-Mexican communities.

— Music and Dance: Traditional Afro-Mexican music and dance are central to the festival. One of the most iconic forms is La Danza de los Diablos (The Dance of the Devils), performed in Guerrero and Oaxaca. In this dance, participants wear devil masks adorned with horns and often move to the beat of drums and marimbas, instruments with African origins. This dance, with its intense rhythms and symbolic masks, is thought to represent the struggles and resilience of African slaves who resisted and survived their conditions. It also includes son jarocho in Veracruz, a musical style characterized by the use of string instruments like the jarana, requinto, and marimbol that blend African, Indigenous, and Spanish influences.

— Cuisine: Afro-Mexican culinary traditions are celebrated through dishes that blend African, Indigenous, and Spanish ingredients and techniques. Dishes often feature plantains, yams, coconut, corn, and a variety of seafood, reflecting both African culinary heritage and local resources. Popular dishes include tostadas de camarón (shrimp tostadas) and pescado a la talla (a grilled fish dish) in coastal areas. Food not only serves as nourishment but also as a medium through which Afro-Mexican heritage is passed down, with recipes and cooking techniques often preserved within families for generations.

— Art and Handicrafts: Art forms are another vibrant component of the festival. Artisans showcase crafts such as woven goods, pottery, and sculpture that reflect Afro-Mexican aesthetics and iconography. Many pieces include symbols and imagery from African cosmologies, such as representations of animals or elements believed to carry spiritual significance. The visual arts in the Third Root Festival offer a means for Afro-Mexicans to celebrate their heritage, create connections to ancestral African lands, and express pride in their communities.

— Spiritual and Religious Practices: Spirituality also plays a significant role in the festival. While many Afro-Mexicans are Catholic, their religious practices often incorporate elements of African spirituality and local Indigenous customs. For instance, some communities maintain African-based spiritual practices such as honoring ancestors, engaging in ceremonial drumming, and participating in rituals connected to nature and spirits. These practices serve as acts of cultural preservation, emphasizing the importance of maintaining connections to African heritage within the framework of Mexican religious practices.

— Oral Traditions and Storytelling: Oral tradition is a key feature of the festival, with elders recounting stories, legends, and songs that have been passed down through generations. These stories often include themes of resilience, freedom, and identity, offering insight into the historical experiences of Afro-Mexicans and their ongoing fight for recognition. Storytelling sessions may involve tales of maroons (enslaved people who escaped and formed independent communities), the significance of particular rituals, and the influence of African deities or heroes in local lore.

— Workshops and Educational Programs: The festival also includes educational components, such as workshops, panels, and seminars, where scholars, activists, and community leaders discuss Afro-Mexican history, identity, and contemporary issues. These events serve as an opportunity to learn about Afro-Mexican contributions to Mexican society, confront issues of racism, and advocate for greater political and social recognition. For young people, the festival offers a space to explore their identity and connect with their heritage through art, music, and dance workshops.

The Festival de la Tercera Raíz plays a crucial role in challenging historical narratives that have minimized or erased Afro-Mexican contributions to Mexican culture. It fosters pride within Afro-Mexican communities and brings awareness to their struggles for cultural, social, and political inclusion. The festival is a moment of collective celebration but also a call to action against systemic discrimination and the invisibility that Afro-Mexican communities have faced for centuries.

In recent years, Mexico has taken strides to recognize Afro-Mexican communities, with the 2020 census marking the first time Afro-Mexicans were included as a distinct ethnic group. The Third Root Festival has contributed to such achievements by spotlighting the lived experiences and cultural wealth of Afro-Mexicans, drawing national and international attention to their contributions and challenges.

Through its vibrant expression of art, spirituality, and communal solidarity, the Festival de la Tercera Raíz reminds all Mexicans and the wider world of the depth and beauty of Afro-Mexican culture. It underscores the ongoing importance of preserving and celebrating Mexico’s African heritage, ensuring that the legacy of the "third root" continues to grow and flourish as an integral part of Mexico’s cultural mosaic.

[voxvc]

Made a playlist that gives me Tuliyollal night life vibes

Consists of Latin Jazz & Afro-Cuban music.

[odinsblog]

Willie Bobo • Fried Neckbones and Some Home Fries

[katiajewelbox]

Some music I've been enjoying lately.

[importantwomensbirthdays]

Eva Ayllón

Eva Ayllón was born in 1956 in Lima, Peru. Ayllón is sometimes called the "Queen of Afro-Peruvian Soul", and "Peru's Tina Turner". She has had a remarkable five-decade musical career and has released more than 30 albums. Allyón's achievements include 4 platinum records, a sold out Carnegie Hall performance, and a Latin Grammy Lifetime Achievement Award.

[dankalbumart]

Soul Sauce: Memories of Cal Tjader by Poncho Sanchez Concord Jazz 1995 Latin Jazz / Jazz / Cuban Jazz / Global Jazz / Afro-Cuban Jazz / Chachachá / Boogaloo

[cinnamoncee]

[timmurleyart]

Mambo trio. 🎹🎻🥁🎺🪘(mixed media collage)🎵

[burlveneer-music]

Bosq & Kaleta - No Be Today - 12 blasts of Afro-Latin disco from Colombia

After 10 years of globally celebrated but only occasional collaborations, Bosq & Kaleta have their first full length album together. On No Be Today the duo is finally able to stretch out and explore their wide range of influences and musical histories. The album seamlessly melds styles from West Africa & it’s diaspora, Caribbean & South American sounds most prominently, with Disco, Funk, Soul, Hip Hop & House. Live Horn sections mix with a blend of acoustic and electronic drums, Kaleta’s effortlessly funky guitar, Bosq’s layers of keyboards, bass & synthesizers, and heavily layered percussion sections that tug at your waistline. Kaleta’s virtuosic melody writing ties the pieces together with infectious chants and socially conscious lyrics that span Yoruba, French, Goun, Fon & English. Kaleta, having played in the bands of both Juju music great King Sunny Ade & Afrobeat pioneer Fela Kuti, brings the first hand experience and authenticity seldom found in todays West African influenced fusions. Bosq, now on his 6th full length album, brings a 20 year run experimenting with updating vintage sounds in the most tasteful way possible, melding Disco & Funk with styles from around the globe. In that time he’s worked on adding his touch to records by Ray Barretto, Orchestre Poly Rhythmo de Cotonou, Toure Kunda, Poolside, Rawayana & more. The record is an ode to these musical histories, with the title No Be Today coming from a Nigerian saying, which explains that this did not just start and this did not happen by chance, there’s lifetimes of work behind this. It’s also a flag planted for a different way of doing things as technology makes the “perfect” & “clean” sound easier and easier to obtain, with AI art slapped on the front. This record is handmade, full of love and feeling, from the music to the incredible art by Brazilian muralist Amanda Lobos that graces the gatefold vinyl. The statement made by this record is that we should still take our time and delve deeply into projects with our whole soul.  Marco Fajardo - Sax (2, 3, 6, 7, 8, 9) Jose Miguel Vega - Trombone (2, 3, 6, 7, 8, 9) Leon Pardo - Trumpet (2, 3, 6, 7, 8, 9) Andres “Bongie” Giraldo - Timbales (4) FLORENTIN KOUDJOU - Trombone (1, 4) TCHANVOEDOU PARFAIT TADAGBÉ - Trumpet (1, 4) ANICET HOUNDONOUGBO - BARI SAX(1, 4) Erlyn Correa - Bass (1, 2, 3, 10) Yuki Kanesaka - Keys, Synths, Organ (2, 4) Wilton Bravo Tascon “El Towii” - Congas (1, 2, 3, 7) Luis Miguel “Papinm” Guerrero - Marimba (3, 11) Hemmy Shout - Trumpet (10) NOAH DREIBLATT - Tenor & Bari Sax (10) Thank you Josephine Ikudehinbu & Salomon Fassinou OROBIYI MOTUNRAYO ABIODUN - Backing Vocals (2, 10) Daniel Biodun - Backing Vocals (10) HORNS RECORDED AT OZANA TRINITE IN COTONOU, BENIN (1, 4) HORNS RECORD AT MAMBO NEGRO RECORDS, BOGOTA (2, 3, 6, 7, 8, 9) All songs mixed & mastered by Caserta

[cavalierzee]

Serpentine Fire

[sonicandvisualsurprises]

1947

[soulmusicsongs]

Lupita - Nico Gomez And His Afro Percussion Inc. (Ritual, 1971)

[innervoiceart]

Santana

Track: 'Incident at Neshabur'

[alexskydj]

Afrobeat Session Mix 2022 by AlexSkyDj